Ethno jazz

Last updated

Ethno jazz, also known as world jazz, is a subgenre of jazz and world music, developed internationally in the 1950s and '60s and broadly characterized by a combination of traditional jazz and non-Western musical elements. Though occasionally equaled to or considered the successor of world music, an independent meaning of ethno jazz emerged around 1990 through the commercial success of ethnic music via globalization, which especially observed a Western focus on Asian musical interpretations. The origin of ethno jazz has widely been credited to saxophonist John Coltrane.

Contents

Notable examples of ethno jazz include the emergence of jazz through New Orleanian and Cuban exchange, Afro-Cuban jazz of the 1940s and '50s, and the Arabic influence present in some American jazz from the 1950s and '60s.

Origins

Globalization

Globalization allowed for the rise of ethno jazz. The Industrial Revolution of the 19th century created new global trade networks that facilitated the spread of cross-cultural phenomena. Philip Bohlman, ethnomusicologist at the University of Chicago, described jazz as the "music of the African Diaspora," describing the movement of ideas between the Caribbean, the United States, and Western Europe. Jazz in America grew out of racial tensions, and was seen by African Americans as a form of resistance. These ideas of resistance were spread and redefined through globalization. [1]

Globalization brought jazz to larger audiences through recordings and touring performances. Examples include a New Orleans band, the "Original Creole Orchestra", which toured Canada for the first time during the fall of 1914, performing at the Pantages Playhouse Theatre in Winnipeg, [2] the first jazz performance outside the United States and the beginning of jazz as an international movement. [3] The Original Dixieland Jazz Band toured Europe in 1919 and was popular enough to continue touring England for a year. [4] Their music spread around the globe. Countries like China began jazz festivals with enough public support to become annual traditions. [4] Musicians outside the United States were gaining popularity as well. One of the most respected non-American jazz musicians was guitarist Jean "Django" Reinhardt, who was born to a Romani family and performed with famous musicians like Arthur Briggs, Bill Coleman, and Bill Arnold. His predominant style of playing was "gypsy jazz". [5] Traveling to and learning from other cultures was another factor that influenced the development of ethno jazz. For example, a variety of musicians like pianist Randy Weston, trumpeter Lester Bowie, drummer Max Roach, and multi-instrumentalists Yusef Lateef and Ornette Coleman had a fascination with other cultures' music. They went to Africa and studied different countries' melodies, rhythms, and harmonies, and adapted them into their jazz playing and compositions. [4] Artists like Wayne Shorter and Marcus Miller found inspiration in the Maghreb jazz from North-West Africa. [6] [7]

Intercultural musical exchange was well received internationally, inspiring many musicians to take on cross-cultural influences. Many of these musicians brought foreign artists as well as their musical styles back to their home countries, which resulted in a number of big jazz names hiring immigrants to perform in their ethno jazz projects. [8]

North America

John Coltrane is generally understood to be the father of ethno jazz, having incorporated African, Middle Eastern, and Indian musical elements in many of his compositions. [9] One of the first recognized examples of this fusion can be found in the African rhythm of his 1961 track "Dahomey Dance", which Coltrane discovered after a trip to Los Angeles earlier that year. "Amen" and "Sun Ship", recorded four years later and released posthumously on the album Sun Ship , both feature extensive improvisation on commonly used conga and bongo rhythmic patterns, as opposed to more common, chordal improvisation, with the vocal quality of Coltrane's tenor saxophone intentionally paralleling the sound of an African horn he had heard in a Kenyan recording from the late 1930s. [10] His 1967 avant-garde track "Ogunde", named for Nigerian musician Hubert Ogunde, was recorded in the free, lyrical style of the same name, which embodied a movement to return to traditional African music uninfluenced by European elements. Coltrane's Afro-Eastern sound is best exemplified in "Africa", from the album Africa/Brass , which was created after drawing rhythmic and timbral inspiration from many African records. [11]

Coltrane's incorporation of Indian and Middle Eastern styles in his music was more limited, but still prevalent. In 1961, he stated his intention to use the "particular sounds and scales" of India "to produce specific emotional meanings, as in [his own composition] 'India'". [12] [13] Both "Impressions" and the chords of "So What", the all-time most popular jazz track, recorded with Miles Davis, are centered on scales Coltrane invented as a mix of Indian ragas and Western scales. [12] In another collaboration with Miles Davis, Coltrane dropped in on the recording of "Teo", where his playing sounds remarkably more "Middle Eastern" than on previous Davis records, [14] and on the lead sheet to his own composition "All or Nothing At All", Coltrane reportedly handwrote the phrase "Arabic feeling". [15]

Latin and South America

One of the most popular genres of ethno jazz is Latin jazz, characterized by a combination of jazz elements with traditional Latin American music. In addition, instrumentation plays an important role. While standard jazz bands feature a rhythm section (piano, guitar, bass and drums) and winds (saxophone, trumpet or trombone), Latin music makes use of many more percussive instruments, such as timbales, congas, bongos, maracas, claves, guiros, and vibes, which were first played in a Latin setting by Tito Puente. Musicians combine these two instrumentations to create a Latin jazz sound. [16] Cuba and Brazil were among the first countries to develop this music, and thereby some of the most influential.

Cuba

Afro-Cuban music developed in Cuba from West African origins, and is characterized by the use of Cuban claves. There are two kinds of clave: the rumba and the son, both of which are typically used in a two-measure pattern in cut time. Both add a base, mood, and flow to the music, creating polyrhythms and asymmetry within their traditional settings. When combined with jazz, which was more symmetrical and featured a heavy back beat, a new Cuban-jazz fusion was created, known as Afro-Cuban jazz or Cubop.

The musicians known for planting the seeds of Cubop were Mario Bauzá, a Cuban trumpeter, and Frank Grillo, a Cuban maraca player who was also known as Machito. Both immigrated to the United States, where they performed Cuban music and were influenced by jazz. One of the most important collaborations was when Bauzá was working with famous jazz trumpeter Dizzy Gillespie. Bauzá introduced Dizzy to Chano Pozo and Chiquitico, conga and bongo players, respectively; together they began a big band that combined jazz and Cuban music. In 1946 they performed the first Afro-Cuban jazz concert in Carnegie Hall. The concert was a sensation because it combined Latin syncopated bass lines, percussion drumming, cross rhythms, and bebop language over a Latin feel. Some of the most famous recordings from this band were "Cuban Be", "Cuban Bop", "Algo Bueno", and "Manteca". [17]

Brazil

Brazilian jazz has its roots in samba , which comes from a combination of African dances and march rhythms from the 19th century. The samba rhythm is characterized by an emphasis on the second beat of each measure. Unlike Cuban music, this style does not have a clave pattern, resulting in a more relaxed sensation and less tension. Brazilian music was introduced to the United States around the 1930s by Hollywood, with songs like "Tico-Tico no Fubá" and "Brazil", but lost popularity over the coming years until its revival in 1962, when saxophonist Stan Getz and guitarist Charlie Byrd recorded the album Jazz Samba with Verve Records after Byrd was inspired by a trip to Brazil; the track "Desafinado" reached #1 status in the pop charts and won a Grammy for Best Solo Performance. [17]

In the 1950s, pianist Antônio Carlos Jobim, guitarist João Gilberto, and poet Vinicius de Moraes introduced a style similar to samba called bossa nova , which translates to "new flair" or "new beat". This music is slower, text-based, melancholic, and has a mellow feeling. Bossa nova did not use the heavy percussive instruments in samba and was much softer. [18] Gilberto's "Bim-Bom," often described as the first bossa nova song, was inspired by Brazil's post-WWII modernization movement in the 1950s. In 1958, Jobim and de Moraes recorded "Chege de Saudede," but it was Gilberto's version that launched the bossa nova movement. After the release of Jazz Samba, Stan Getz invited Gilberto to record an album together. They released Getz/Gilberto in 1964, which also featured Gilberto's wife, Astrud Gilberto, whose soft vocal style became definitive of bossa nova. [18]

The Bossa Nova era was followed by various trends called Música popular brasileira, including Tropicália begun in Bahia.

The Balkans

Milcho Leviev was the first composer to definitively bridge Bulgarian folk music and jazz, the synthesis of which is evident in tracks from the early 1960s, such as "Blues in 9" and "Blues in 10", respectively in the 9
8 and 10
8 meters common to Bulgarian folk dances. [19] The former of the two makes use of the provikvane (a Bulgarian folk element characterized by an ascending leap to the leading tone of the scale) and interplay between the two genres via call and response. Throughout "Blues in 9", the call is commonly a modal portion of a Bulgarian folk tune, answered by its response in the style of pentatonic blues.

Eastern Europe

Jazz was introduced to Moscow by Valentin Parnakh in 1922. This event was followed by the arrest, imprisonment, and deportation of many jazz musicians throughout the Soviet Union for their Western influence, as ordered by Joseph Stalin. [20] This only made the genre more appealing to young musicians, resulting in multiple "underground" jazz bands and orchestras, among the first of which was a handful of Azerbaijani ensembles directed from 1926 by A. Ionannesyani and Mikhail Rol'nikov.

Ethno jazz was more recently represented in the Eurovision Song Contest by Georgia with entries such as "Three Minutes to Earth" by The Shin and Mariko Ebralidze in the 2014 contest and "For You" by Iriao in the 2018 contest.

The Middle East

Much of the Western music introduced to Iran (and subsequently neighboring Middle Eastern countries) after World War II by the modernization policies of Shah Mohammad Reza Pahlavi was met with censorship similar to that what had occurred in the Soviet Union decades before. Jazz became popular contraband after the 1979 Revolution. In 1994, saxophonist and bandmaster Peter Soleimanipour received the first musical permit after the revolution, which led to public performances of his band Atin, who played jazz standards alongside original compositions that combined Iranian musical elements with jazz. [21] Soleimanipour has described his music as talfiqi (trans. "fusion"), explicitly avoiding the label of "jazz artist", while incorporating African and Latin rhythms, Iranian instrumentation, and jazz elements on works as recent as his 2003 album Egosystem.

See also

Related Research Articles

Jazz is a music genre that originated in the African-American communities of New Orleans, Louisiana, in the late 19th and early 20th centuries, with its roots in blues and ragtime. Since the 1920s Jazz Age, it has been recognized as a major form of musical expression in traditional and popular music. Jazz is characterized by swing and blue notes, complex chords, call and response vocals, polyrhythms and improvisation. Jazz has roots in European harmony and African rhythmic rituals.

<span class="mw-page-title-main">Salsa music</span> Latin American dance music genre

Salsa music is a style of Latin American music, combining elements of Cuban, Puerto Rican, and American influences. Because most of the basic musical components predate the labeling of salsa, there have been many controversies regarding its origin. Most songs considered as salsa are primarily based on son montuno and son cubano, with elements of guaracha, cha-cha-chá, danzón, descarga, bolero, guajira, rumba, mambo, jazz, funk, R&B, rock, bomba, and plena. All of these elements are adapted to fit the basic Son montuno template when performed within the context of salsa.

Bossa nova is a relaxed style of samba developed in the late 1950s and early 1960s in Rio de Janeiro, Brazil. It is mainly characterized by a "different beat" that altered the harmonies with the introduction of unconventional chords and an innovative syncopation of traditional samba from a single rhythmic division. The "bossa nova beat" is characteristic of a samba style and not of an autonomous genre. The bossa nova wave became popular around the world; this increased popularity helped to renew samba and contributed to the modernization of Brazilian music in general.

Jazz standards are musical compositions that are an important part of the musical repertoire of jazz musicians, in that they are widely known, performed, and recorded by jazz musicians, and widely known by listeners. There is no definitive list of jazz standards, and the list of songs deemed to be standards changes over time. Songs included in major fake book publications and jazz reference works offer a rough guide to which songs are considered standards.

<span class="mw-page-title-main">Clave (rhythm)</span> Rhythmic pattern in Cuban music

The clave is a rhythmic pattern used as a tool for temporal organization in Brazilian and Cuban music. In Spanish, clave literally means key, clef, code, or keystone. It is present in a variety of genres such as Abakuá music, rumba, conga, son, mambo, salsa, songo, timba and Afro-Cuban jazz. The five-stroke clave pattern represents the structural core of many Cuban rhythms. The study of rhythmic methodology, especially in the context of Afro-Cuban music, and how it influences the mood of a piece is known as clave theory.

Latin jazz is a genre of jazz with Latin American rhythms. The two main categories are Afro-Cuban jazz, rhythmically based on Cuban popular dance music, with a rhythm section employing ostinato patterns or a clave, and Afro-Brazilian jazz, which includes samba and bossa nova.

<span class="mw-page-title-main">Stan Getz</span> American jazz saxophonist (1927–1991)

Stan Getz was an American jazz saxophonist. Playing primarily the tenor saxophone, Getz was known as "The Sound" because of his warm, lyrical tone, with his prime influence being the wispy, mellow timbre of his idol, Lester Young. Coming to prominence in the late 1940s with Woody Herman's big band, Getz is described by critic Scott Yanow as "one of the all-time great tenor saxophonists". Getz performed in bebop and cool jazz groups. Influenced by João Gilberto and Antônio Carlos Jobim, he also helped popularize bossa nova in the United States with the hit 1964 single "The Girl from Ipanema".

<span class="mw-page-title-main">João Gilberto</span> Brazilian musician, pioneer of bossa nova (1931–2019)

João Gilberto was a Brazilian guitarist, singer, and composer who was a pioneer of the musical genre of bossa nova in the late 1950s. Around the world, he was often called the "father of bossa nova"; in his native Brazil, he was referred to as "O Mito" . In 1965, the album Getz/Gilberto was the first jazz record to win the Grammy Award for Album of the Year. It also won Best Jazz Instrumental Album – Individual or Group and Best Engineered Album, Non-Classical. Nominated at the Grammy 1978 in the category Best Jazz Vocal Performance, album Amoroso, and winner category in Grammy 2001 with João voz e violão Best World Music Album.

<span class="mw-page-title-main">Baden Powell (guitarist)</span> Brazilian guitarist

Baden Powell de Aquino, known professionally as Baden Powell, was a Brazilian guitarist. He combined classical techniques with popular harmony and swing. He performed in many styles, including bossa nova, samba, Brazilian jazz, Latin jazz and MPB. He performed on stage during most of his lifetime. Powell composed many pieces for guitar, such as Abração em Madrid, Braziliense, Canto de Ossanha, Casa Velha, Consolação, Horizon, Imagem, Lotus, Samba, Samba Triste, Simplesmente, Tristeza e Solidão, and Samba da Benção. He released Os Afro-sambas, a watershed album in MPB, with Vinicius de Moraes in 1966.

<i>Getz/Gilberto</i> Album by Stan Getz and João Gilberto

Getz/Gilberto is an album by American saxophonist Stan Getz and Brazilian guitarist João Gilberto, featuring pianist and composer Antônio Carlos Jobim, who also composed many of the tracks. It was released in March 1964 by Verve Records. The album features the vocals of Astrud Gilberto on two tracks, "Garota de Ipanema" and "Corcovado". The artwork was done by artist Olga Albizu. Getz/Gilberto is a jazz and bossa nova album and includes tracks such as "Desafinado", "Corcovado", and "Garota de Ipanema". The last received a Grammy Award for Record of the Year and started Astrud Gilberto's career. "Doralice" and "Para Machucar Meu Coração" strengthened Gilberto's and Jobim's respect for the tradition of pre-bossa nova samba.

Afro-Cuban jazz is the earliest form of Latin jazz. It mixes Afro-Cuban clave-based rhythms with jazz harmonies and techniques of improvisation. Afro-Cuban music has deep roots in African ritual and rhythm. The genre emerged in the early 1940s with the Cuban musicians Mario Bauzá and Frank Grillo "Machito" in the band Machito and his Afro-Cubans in New York City. In 1947, the collaborations of bebop trumpeter Dizzy Gillespie and percussionist Chano Pozo brought Afro-Cuban rhythms and instruments, such as the tumbadora and the bongo, into the East Coast jazz scene. Early combinations of jazz with Cuban music, such as "Manteca" and "Mangó Mangüé", were commonly referred to as "Cubop" for Cuban bebop.

<span class="mw-page-title-main">Charlie Byrd</span> American jazz guitarist (1925–1999)

Charlie Lee Byrd was an American jazz guitarist. Byrd was best known for his association with Brazilian music, especially bossa nova. In 1962, he collaborated with Stan Getz on the album Jazz Samba, a recording which brought bossa nova into the mainstream of North American music.

<span class="mw-page-title-main">Praful</span> Musical artist

Ulrich Schröder, known under the pseudonym Praful, is an acid jazz artist who performs on several instruments including tenor and soprano saxophones, Indian bamboo flutes, pandeiros, Fender Rhodes and many electronic effects. Two of his CDs One Day Deep and Pyramid in Your Backyard have won many awards and worldwide recognition. "Sigh", included in the One Day Deep CD and as a single, had stayed in the Billboards for over 70 weeks.

<span class="mw-page-title-main">Mario Bauzá</span> Cuban-American musician, composer, and founder of Afro-Cuban Jazz

Prudencio Mario Bauzá Cárdenas was an Afro-Cuban jazz, and jazz musician. He was among the first to introduce Cuban music to the United States by bringing Cuban musical styles to the New York City jazz scene. While Cuban bands had had popular jazz tunes in their repertoire for years, Bauzá's composition "Tangá" was the first piece to blend jazz harmony and arranging technique, with jazz soloists and Afro-Cuban rhythms. It is considered the first true Afro-Cuban jazz tune.

"Samba de uma Nota Só", known in English as "One Note Samba", is a bossa nova and jazz standard song composed by Antônio Carlos Jobim with Portuguese lyrics by Newton Mendonça. The English lyrics were written by Jon Hendricks. It was first recorded by João Gilberto in 1960 for his album O Amor, o Sorriso e a Flor.

Carlos Valdés Galán, better known as Patato, was a Cuban conga player. In 1954, he emigrated from La Habana to New York City where he continued his prolific career as a sideman for several jazz and Latin music ensembles, and occasionally as a bandleader. He contributed to the development of the tunable conga drum which revolutionized the use of the instrument in the US. His experimental descarga albums recorded for Latin Percussion are considered the counterpart to the commercial salsa boom of the 1970s. Tito Puente once called him "the greatest conguero alive today".

<span class="mw-page-title-main">Jazz drumming</span> Art of playing percussion, predominantly the drum set, in jazz styles

Jazz drumming is the art of playing percussion in jazz styles ranging from 1910s-style Dixieland jazz to 1970s-era jazz fusion and 1980s-era Latin jazz. The techniques and instrumentation of this type of performance have evolved over several periods, influenced by jazz at large and the individual drummers within it. Stylistically, this aspect of performance was shaped by its starting place, New Orleans, as well as numerous other regions of the world, including other parts of the United States, the Caribbean, and Africa.

In the late 1960s, Latin jazz, combining rhythms from African and Latin American countries, often played on instruments such as conga, timbale, güiro, and claves, with jazz and classical harmonies played on typical jazz instruments broke through. There are two main varieties: Afro-Cuban jazz was played in the US right after the bebop period, while Brazilian jazz became more popular in the 1960s. Afro-Cuban jazz began as a movement in the mid-1950s as bebop musicians such as Dizzy Gillespie and Billy Taylor started Afro-Cuban bands influenced by such Cuban and Puerto Rican musicians as Xavier Cugat, Tito Puente, and Arturo Sandoval. Brazilian jazz such as bossa nova is derived from samba, with influences from jazz and other 20th-century classical and popular music styles. Bossa is generally moderately paced, with melodies sung in Portuguese or English. The style was pioneered by Brazilians João Gilberto and Antônio Carlos Jobim. The related term jazz-samba describes an adaptation of bossa nova compositions to the jazz idiom by American performers such as Stan Getz and Charlie Byrd.

William Frank Reichenbach Sr. was an American jazz drummer and percussionist, who co-developed the jazz-samba drumming style. He was the father of trombonist Bill Reichenbach Jr. and the singer Kurt Reichenbach.

<span class="mw-page-title-main">Outline of jazz</span> Overview of and topical guide to jazz

The following outline is provided as an overview of and topical guide to jazz:

References

  1. ↑ Carnig, Jennifer (May 11, 2006). "All that jazz could be heard in all corners of our world". The University of Chicago Chronicle. Vol. 25, no. 16. Retrieved 22 July 2020.
  2. ↑ "Such Melodious Racket". Quill and Quire. 3 March 2004. Retrieved January 3, 2021.
  3. ↑ "Creole Orchestra The Big Hit on Pantages" ("Creole Orchestra and Ragtime Band"), Edmonton Bulletin, September 30, 1914, p. 3
  4. 1 2 3 Whitehead, Kevin. "Jazz Worldwide". Jazz Educators Journal XXXIII/1 (July 2000), 39-50.
  5. ↑ Givan, Benjamin. The Music of Django Reinhardt. Arbor, MI: The University of Michigan Press, 2013.
  6. ↑ "Mâalem Kouyou ft Wayne Shorter Quartet ( Moroccan Gnawa fusion Jazz)". YouTube .
  7. ↑ "Marcus MILLER Feat Moustapha BAQBOU at Gnawa Festival Morocco". YouTube .
  8. ↑ Nicholson, Stuart. Jazz and Culture in a Global Age. Lebanon, NH: University Press of New England, 2014.
  9. ↑ Simpkins, Cuthbert Ormond (1975). Coltrane: a Biography. New York: Herndon House Publishers. ISBN   0915542838. OCLC   1582506.
  10. ↑ Simpkins, p. 168.
  11. ↑ Simpkins, p. 130.
  12. 1 2 Simpkins, p. 137.
  13. ↑ Liner notes to Live at the Village Vanguard, John Coltrane, Impulse Records, CD, 1962.
  14. ↑ Simpkins, p. 128.
  15. ↑ Simpkins, p. 163.
  16. ↑ Roberts, John Storm. Latin Jazz: The First of the Fusions, 1880s to Today. New York: Schirmer Books, 1999.
  17. 1 2 Giddins, Gary, and Scott DeVeaux. Jazz. New York: W. W. Norton & Company, 2015.
  18. 1 2 "Stan Getz: 'Getz/Gilberto'". NPR.org. Retrieved 2020-07-23.
  19. ↑ Levy, Claire (2016). Jazz Worlds/World Jazz. ed. Philip V. Bohlman and Goffredo Plastino. Chicago and London: University of Chicago Press. pp. 79–87. ISBN   9780226236032. OCLC   907147475.
  20. ↑ Naroditskaya, Inna (2016). Jazz Worlds/World Jazz. ed. Philip V. Bohlman and Goffredo Plastino. Chicago and London: University of Chicago Press. pp. 100–103. ISBN   9780226236032. OCLC   907147475.
  21. ↑ Nooshin, Laudan (2016). Jazz Worlds/World Jazz. ed. Philip V. Bohlman and Goffredo Plastino. Chicago and London: University of Chicago Press. pp. 126–133. ISBN   9780226236032. OCLC   907147475.
This page is based on this Wikipedia article
Text is available under the CC BY-SA 4.0 license; additional terms may apply.
Images, videos and audio are available under their respective licenses.