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Jazz is a true American musical art form that originated
in America. Jazz musicians are often considered
the best musicians in the world,
What makes jazz and jazz mucianship so profound
is the unbridled and unleashed pure improvisation
musicians perform. There is nothing quite like attending
a live jazz concert and hearing the unique solo
of a horn player. What you'll hear has never been
played before, and it will never be played again,
not in the quite the same way.
The players are making it up as they go along!
The horn players, the upright bass player (who makes
up jazz bass lines on the spot for everything he
does), the sax player, trumpet and trombone players,
the piano and drummer are all improvising along
the chord progressions of each particular jazz song.
So, there's nothing like attending (or playing
in) a live jazz concert. Get Your Tickets provides
cheap live jazz concert tickets at low prices. This
summer, and all year round, catch your favorite
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Jazz
Jazz is an original American musical
art form, originating around the early 1920's in New Orleans,
rooted in Western music technique and theory, and is marked by
the profound cultural contributions of African Americans. It is
characterized by blue notes, syncopation, swing, call and response,
polyrhythms, and improvisation. Jazz has been described as "America's
Classical Music", and started in saloons throughout the nation.
History
Roots of jazz
Jazz has roots in the combination of Western and African music
traditions, including spirituals, blues and ragtime, stemming
ultimately from West Africa, western Sahel, and New England's
religious hymns and hillbilly music, as well as in European military
band music. After originating in African American communities
near the beginning of the 20th century, jazz gained international
popularity by the 1920s. Since then, jazz has had a pervasive
influence on other musical styles worldwide. Even today, various
jazz styles continue to evolve.
The word jazz itself is rooted in American slang,
probably of sexual origin, although various alternative derivations
have been suggested. According to University of Southern California
film professor Todd Boyd, the term was originally slang for sexual
intercourse as its earliest musicians found employment in New
Orleans brothel parlors, with the word deriving from the term
'jass'. The term "jass" was rude sexual slang, related
either to the term "jism" or to the jasmine perfume
popular among urban prostitutes. Lacking an attentive audience,
the musicians began to play for each other and their performances
achieved esthetic complexity not evident in ragtime. At the root
of jazz is the blues, the folk music of former enslaved Africans
in the U.S. South and their descendants, heavily influenced by
West African cultural and musical traditions, that evolved as
black musicians migrated to the cities. According to Pulitzer
Prize–winning African American composer and classical and
jazz trumpet virtuoso Wynton Marsalis:
Jazz is something Negroes invented, and it said
the most profound things -- not only about us and the way we look
at things, but about what modern democratic life is really about.
It is the nobility of the race put into sound ... jazz has all
the elements, from the spare and penetrating to the complex and
enveloping. It is the hardest music to play that I know of, and
it is the highest rendition of individual emotion in the history
of Western music.
Needless to say, the view of jazz as simply and
solely "black music" is controversial. Numerous non-black
musicians (Bix Beiderbecke, Benny Goodman, Harry James, Zoot Sims,
Gerry Mulligan, Bill Evans, Stan Getz, Dave Brubeck, and Charlie
Haden among others) have made important contributions to jazz.
The origins of jazz are multicultural, not entirely "pure,"
and perhaps reflect the hybrid nature of American culture more
than any other art form.
Early jazz influences found their first mainstream
expression in the marching band and dance band music of the day,
which was the standard form of popular concert music at the turn
of century. The instruments of these groups became the basic instruments
of jazz: brass, reeds, and drums, and are voiced in the Western
12-tone scale.
Black musicians frequently used the melody, structure,
and beat of marches as points of departure; but says "North
by South, from Charleston to Harlem," a project of the National
Endowment for the Humanities: "...a black musical spirit
(involving rhythm and melody) was bursting out of the confines
of European musical tradition, even though the performers were
using European styled instruments. This African-American feel
for rephrasing melodies and reshaping rhythm created the embryo
from which many great black jazz musicians were to emerge."
Many black musicians also made a living playing in small bands
hired to lead funeral processions in the New Orleans African-American
tradition. These Africanized bands played a seminal role in the
articulation and dissemination of early jazz. Traveling throughout
black communities in the Deep South and to northern big cities,
these musician-pioneers were the Hand helping to fashion the music's
howling, raucous, then free-wheeling, "raggedy," ragtime
spirit, quickening it to a more eloquent, sophisticated, swing
incarnation.
For all its genius, early jazz, with its humble,
folk roots, was the product of primarily self-taught musicians.
But an impressive postbellum network of black-established and
-operated institutions, schools, and civic societies in both the
North and the South, plus widening mainstream opportunities for
education, produced ever-increasing numbers of young, formally
trained African-American musicians, some of them schooled in classical
European musical forms. Lorenzo Tio and Scott Joplin were among
this new wave of musically literate jazz artists. Joplin, the
son of a former slave and a free-born woman of color, was largely
self-taught until age 11, when he received lessons in the fundamentals
of music theory from a classically trained German immigrant in
Texarkana, Texas.
Also contributing to this trend was a tightening
of Jim Crow laws in Louisiana in the 1890s, which caused the expulsion
from integrated bands of numbers of talented, formally trained
African-American musicians. The ability of these musically literate,
black jazzmen to transpose and then read what was in great part
an improvisational art form became an invaluable element in the
preservation and dissemination of musical innovations that took
on added importance in the approaching big-band era.
The United States music scene and jazz at the start of
the 20th century
By the turn of the century, American society had begun to shed
the heavy-handed, straitlaced formality that had characterized
the Victorian era.
Strong influence of African American music traditions
had already been a part of mainstream popular music in the United
States for generations, going back to the 19th century minstrel
show tunes and the melodies of Stephen Foster.
Public dance halls, clubs, and tea rooms opened
in the cities. Curiously named black dances inspired by African
dance moves, like the shimmy, turkey trot, buzzard lope, chicken
scratch, monkey glide, and the bunny hug eventually were adopted
by a white public. The cake walk, developed by slaves as a send-up
of their masters' formal dress balls, became the rage. White audiences
saw these dances first in vaudeville shows, then performed by
exhibition dancers in the clubs.
The popular dance music of the time was not jazz,
but there were precursor forms along the blues-ragtime continuum
of musical experimentation and innovation that soon would blossom
into jazz. Popular Tin Pan Alley composers like Irving Berlin
incorporated ragtime influence into their compositions, though
they seldom used the specific musical devices that were second
nature to jazz players—the rhythms, the blue notes. Few
things did more to popularize the idea of hot music than Berlin's
hit song of 1911,"Alexander's Ragtime Band," which became
a craze as far from home as Vienna. Although the song wasn't written
in rag time, the lyrics describe a jazz band, right up to jazzing
up popular songs, as in the line, "If you want to hear the
Swanee River played in ragtime...."
The early New Orleans "jass" style
A number of regional styles contributed to the early development
of jazz. Arguably the single most important was that of the New
Orleans, Louisiana area, which was the first to be commonly given
the name "jazz" (early on often spelled "jass").
The city of New Orleans and the surrounding area
had long been a regional music center. People from many different
nations of Africa, Europe, and Latin America contributed to New
Orleans' rich musical heritage. In the French and Spanish colonial
era, slaves had more freedom of cultural expression than in the
English colonies of what would become the United States. In the
Protestant colonies African music was looked on as inherently
"pagan" and was commonly suppressed, while in Louisiana
it was allowed. African musical celebrations held at least as
late as the 1830s in New Orleans' "Congo Square" were
attended by interested whites as well, and some of their melodies
and rhythms found their way into the compositions of white Creole
composer Louis Moreau Gottschalk. In addition to the slave population,
New Orleans also had North America's largest community of free
people of color, some of whom prided themselves on their education
and used European instruments to play both European music and
their own folk tunes.
According to many New Orleans musicians who remembered
the era, the key figures in the development of the new style were
flamboyant trumpeter Buddy Bolden and the members of his band.
Bolden is remembered as the first to take the blues — hitherto
a folk music sung and self-accompanied on string instruments or
blues harp (harmonica) — and arrange it for brass instruments.
Bolden's band played blues and other tunes, constantly "variating
the melody" (improvising) for both dance and brass band settings,
creating a sensation in the city and quickly being imitated by
many other musicians.
By the early years of the 20th century, travelers
visiting New Orleans remarked on the local bands' ability to play
ragtime with a "pep" not heard elsewhere.
Characteristics which set the early New Orleans
style apart from the ragtime music played elsewhere included freer
rhythmic improvisation. Ragtime musicians elsewhere would "rag"
a tune by giving a syncopated rhythm and playing a note twice
(at half the time value), while the New Orleans style used more
intricate rhythmic improvisation often placing notes far from
the implied beat (compare, for example, the piano rolls of Jelly
Roll Morton with those of Scott Joplin). The New Orleans style
players also adopted much of the vocabulary of the blues, including
bent and blue notes and instrumental "growls" and smears
otherwise not used on European instruments.
Key figures in the early development of the new
style were Freddie Keppard, a dark Creole of color who mastered
Bolden's style; Joe Oliver, whose style was even more deeply soaked
in the blues than Bolden's; and Kid Ory, a trombonist who helped
crystallize the style with his band hiring many of the city's
best musicians. The new style also spoke to young whites as well,
especially the working-class children of immigrants, who took
up the style with enthusiasm. Papa Jack Laine led a multi-ethnic
band through which passed almost all of two generations of early
New Orleans white jazz musicians (and a number of non-whites as
well).
Jazz and the Electronic Music
With the rise in popularity of various forms of electronic music
during the late 1980s and 1990s, some jazz artists have attempted
a fusion of jazz with more of the experimental leanings of electronica
(particularly IDM and Drum and bass) with various degrees of success.
This has been variously dubbed "future jazz", "jazz-house"
or "nu jazz". The more experimental and improvisional
end of the spectrum includes Scandinavia-based artists such as
pianist Bugge Wesseltoft, trumpeter Nils Petter Molvær (who
both began their careers on the ECM record label), and the trio
Wibutee, all of whom have gained their chops as instrumentalists
in their own right in more traditional jazz circles. The Cinematic
Orchestra from the UK or Julien Lourau from France have also gained
praise in this area. Toward the more pop or pure dance music end
of the spectrum of nu jazz are such proponents as St Germain and
Jazzanova, who incorporate some live jazz playing with more metronomic
house beats.
In the 2000s, "jazz" hit the pop charts
and blended with contemporary Urban music through the work of
artists like Norah Jones, Jill Scott, Jamie Cullum, Erykah Badu,
Amy Winehouse and Diana Krall and the jazz advocacy of performers
who are also music educators (such as Jools Holland, Courtney
Pine and Peter Cincotti). Some of these new styles may be light
on improvisation, a key characteristic of jazz. However, their
instrumentation and rhythms are similar to other jazz music, and
the label has stuck.
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