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.
Bebop or bop is a style of jazz developed in the early to mid-1940s in the United States. The style features compositions characterized by a fast tempo, complex chord progressions with rapid chord changes and numerous changes of key, instrumental virtuosity, and improvisation based on a combination of harmonic structure, the use of scales and occasional references to the melody.
Modal jazz is jazz that makes use of musical modes, often modulating among them to accompany the chords instead of relying on one tonal center used across the piece.
Free jazz or Free Form in the early- to mid-1970s is a style of avant-garde jazz or an experimental approach to jazz improvisation that developed in the late 1950s and early 1960s when musicians attempted to change or break down jazz conventions, such as regular tempos, tones, and chord changes. Musicians during this period believed that the bebop and modal jazz that had been played before them was too limiting, and became preoccupied with creating something new. The term "free jazz" was drawn from the 1960 Ornette Coleman recording Free Jazz: A Collective Improvisation. Europeans tend to favor the term "free improvisation". Others have used "modern jazz", "creative music", and "art music".
Hard bop is a subgenre of jazz that is an extension of bebop music. Journalists and record companies began using the term in the mid-1950s to describe a new current within jazz that incorporated influences from rhythm and blues, gospel music, and blues, especially in saxophone and piano playing.
Avant-garde jazz is a style of music and improvisation that combines avant-garde art music and composition with jazz. It originated in the early 1950s and developed through to the late 1960s. Originally synonymous with free jazz, much avant-garde jazz was distinct from that style.
Soul jazz or funky jazz is a subgenre of jazz that incorporates strong influences from hard bop, blues, soul, gospel and rhythm and blues. Soul jazz is often characterized by organ trios featuring the Hammond organ and small combos including saxophone, brass instruments, electric guitar, bass, drums, piano, vocals and electric organ. Its origins were in the 1950s and early 1960s, with its heyday with popular audiences preceding the rise of jazz fusion in the late 1960s and 1970s. Prominent names in fusion ranged from bop pianists including Bobby Timmons and Junior Mance to a wide range of organists, saxophonists, pianists, drummers and electric guitarists including Jack McDuff, Eddie "Lockjaw" Davis, and Grant Green.
Cool jazz is a style of modern jazz music inspired by bebop and big band that arose in the United States after World War II. It is characterized by relaxed tempos and a lighter tone than that used in the fast and complex bebop style. Cool jazz often employs formal arrangements and incorporates elements of classical music. Broadly, the genre refers to a number of post-war jazz styles employing a more subdued approach than that of contemporaneous jazz idioms. As Paul Tanner, Maurice Gerow, and David Megill suggest, "the tonal sonorities of these conservative players could be compared to pastel colors, while the solos of [Dizzy] Gillespie and his followers could be compared to fiery red colors."
Nu jazz is a genre of jazz and electronic music. The music blends jazz elements with other musical styles, such as funk, electronic music, and free improvisation.
A suspended chord is a musical chord in which the third is omitted and replaced with a perfect fourth or a major second. The lack of a minor or a major third in the chord creates an open sound, while the dissonance between the fourth and fifth or second and root creates tension. When using popular-music symbols, they are indicated by the symbols "sus4" and "sus2". For example, the suspended fourth and second chords built on C (C–E–G), written as Csus4 and Csus2, have pitches C–F-G and C–D-G, respectively.
Filles de Kilimanjaro is a studio album by American jazz trumpeter Miles Davis. It was recorded in June and September 1968, and released on Columbia Records. It was released in the United Kingdom by the company's subsidiary Columbia (CBS) in 1968 and in the United States during February 1969. The album is a transitional work for Davis, who was shifting stylistically from acoustic recordings with his "second great quintet" to his electric period. Filles de Kilimanjaro was well received by contemporary music critics, who viewed it as a significant release in modern jazz. Pianist Chick Corea and bassist Dave Holland appear together on two tracks, their first participation on a Davis album.
E.S.P. is an album by Miles Davis, recorded on January 20–22, 1965 and released on August 16 of that year by Columbia Records. It is the first release from what is known as Davis's second great quintet: Davis on trumpet, Wayne Shorter on tenor saxophone, Herbie Hancock on piano, Ron Carter on bass, and Tony Williams on drums. The album was named after a tune by Shorter, and was inspired by the fact that, "since Wayne Shorter's arrival, the five members of the quintet seemed to communicate by mental telepathy."
Miles Smiles is an album by jazz musician Miles Davis, released on February 16, 1967 on Columbia Records. It was recorded by Davis and his second quintet at Columbia 30th Street Studio in New York City on October 24 and October 25, 1966. It is the second of six albums recorded by Davis' second great quintet, which featured tenor saxophonist Wayne Shorter, pianist Herbie Hancock, bassist Ron Carter, and drummer Tony Williams.
Miles in the Sky is a studio album by American trumpeter and composer Miles Davis, released on July 22, 1968, by Columbia Records. It was the last full album recorded by Davis' "Second Great Quintet" and marked the beginning of his foray into jazz fusion, with Herbie Hancock playing electric piano and Ron Carter playing electric bass guitar on opening track “Stuff”. Additionally, electric guitarist George Benson features on “Paraphernalia”.
On the Corner is a studio album by American jazz trumpeter, bandleader, and composer Miles Davis. It was recorded in June and July 1972 and released on October 11 of the same year by Columbia Records. The album continued Davis's exploration of jazz fusion, and explicitly drew on the influence of funk musicians Sly Stone and James Brown, the experimental music of Karlheinz Stockhausen, the free jazz of Ornette Coleman, and the work of collaborator Paul Buckmaster.
Straight-ahead jazz is a genre of jazz that developed in the 1960s, with roots in the prior two decades. It omits the rock music and free jazz influences that began to appear in jazz during this period, instead preferring acoustic instruments, conventional piano comping, walking bass patterns, and swing- and bop-based drum rhythms.
European free jazz is a part of the global free jazz scene with its own development and characteristics. It is hard to establish who are the founders of European free jazz because of the different developments in different European countries. One can, however, be certain that European free jazz took its development from American free jazz, where musicians such as Ornette Coleman revolutionised the way of playing.
A contrafact is a musical work based on a prior work. The term comes from classical music and has only since the 1940s been applied to jazz, where it is still not standard. In classical music, contrafacts have been used as early as the parody mass and In Nomine of the 16th century. More recently, Cheap Imitation (1969) by John Cage was produced by systematically changing notes from the melody line of Socrate by Erik Satie using chance procedures.
Neo-bop refers to a style of jazz that gained popularity in the 1980s among musicians who found greater aesthetic affinity for acoustically based, swinging, melodic forms of jazz than for free jazz and jazz fusion that had gained prominence in the 1960s and 1970s. Neo-bop is distinct from previous bop music due to the influence of trumpeter Wynton Marsalis, who popularized the genre as an artistic and academic endeavor opposed to the countercultural developments of the beat generation.
The following outline is provided as an overview of and topical guide to jazz:
References
- ↑ Yudkin, pg. 125
- 1 2 Barry Kernfeld (2001). "Post-bop". Grove Music Online . Oxford Music Online. Oxford University Press. doi:10.1093/gmo/9781561592630.article.J752800.
- ↑ Stuart Nicholson (1990). Jazz, the Modern Resurgence. Simon & Schuster. p. 157. ISBN 9780671710125.
- ↑ Yudkin, pg. 125
- ↑ Marc Sabatella. "Post-bop". A Jazz Improvisation Primer. Outside Shore Music.
- ↑ Yudkin, pg. 125
- 1 2 Waters, Keith (2019). Postbop jazz in the 1960s : the compositions of Wayne Shorter, Herbie Hancock, and Chick Corea. New York, NY. ISBN 978-0-19-060460-8. OCLC 1104790682.
{{cite book}}: CS1 maint: location missing publisher (link) - ↑ Yudkin
- 1 2 3 Bailey, C. Michael (April 11, 2008). "Miles Davis, Miles Smiles, and the Invention of Post Bop". All About Jazz . Retrieved February 23, 2013.
