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The term "M-Base" is used in several ways. In the 1980s, a loose collective of young African-American musicians including Steve Coleman, Graham Haynes, Cassandra Wilson, Geri Allen, Robin Eubanks, and Greg Osby emerged in Brooklyn with a new sound and specific ideas about creative expression. Using a term coined by Steve Coleman, they called these ideas "M-Base-concept" and critics have used this term to categorize this scene's music as a jazz style. But Coleman stressed "M-Base" doesn't denote a musical style but a way of thinking about creating music. As famous musicians did in the past, he also refuses the word "jazz" as a label for his music and the music tradition represented by musicians like John Coltrane, Charlie Parker, Louis Armstrong, etc. However, the musicians of the M-Base movement, which also included dancers and poets, strived for common creative musical languages, so their early recordings show many similarities reflecting their common ideas, the experiences of working together, and their similar cultural background. To label this kind of music, jazz critics have established the word "M-Base" as a jazz style for lack of a better term, distorting its original meaning.
Joshua Redman is an American jazz saxophonist and composer.
Michael Cain is a pianist and composer.
Walter Dewey Redman was an American saxophonist who performed free jazz as a bandleader and with Ornette Coleman and Keith Jarrett.
George Garzone is a saxophonist and jazz educator from Boston, Massachusetts.
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Scott Colley is an American jazz double bassist and composer. He has performed in bands led by Herbie Hancock, Jim Hall, Andrew Hill, Michael Brecker, Chris Potter, Pat Metheny, Carmen McRae, Edward Simon, Adam Rogers, Brian Blade, David Binney, Antonio Sanchez, Kenny Werner.
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James J. Snidero is an American jazz saxophonist.
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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.
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References
- ↑ Kennedy, Gary W. (2001). "Palmetto". In Root, Deane L. (ed.). The New Grove Dictionary of Music and Musicians . Oxford University Press.
- ↑ "Palmetto Records". www.palmetto-records.com.
- ↑ Kennedy, Gary (2002). Kernfeld, Barry (ed.). The New Grove Dictionary of Jazz. 3 (2nd ed.). New York: Grove's Dictionaries Inc. p. 221. ISBN 1-56159-284-6.
- ↑ Arvedlund, Erin (25 December 2016). "Retired music producer now plays in tune with Haiti microfinance nonprofit Fonkoze". Philly.com. Retrieved 14 February 2017.
