• Jazz Genres

    1 avr. 2012, 22h17m par cerenbilgisayar

    Jazz subgenres
    Traditional Jazz
    ↳ Big Band
    ↳ Boogie Woogie Piano
    ↳ Bop
    ↳ Classic (1920s) Jazz
    ↳ Dixieland
    ↳ Jump Blues
    ↳ Original New Orleans Jazz
    ↳ Ragtime
    ↳ Stride Piano
    ↳ Swing
    ↳ Vocal Jazz
    Modern Jazz
    ↳ (Post-70s) Eclectic Fusion
    ↳ Afro-Cuban Jazz
    ↳ Avant-Garde Jazz
    ↳ Bossa Nova
    ↳ Classic Fusion
    ↳ Cool Jazz
    ↳ Funk Jazz
    ↳ Hard Bop
    ↳ Latin Jazz
    ↳ Nu Jazz
    ↳ Post Bop
    ↳ Post-Fusion Contemporary
    ↳ Progressive Big Band
    ↳ Soul Jazz
    ↳ World Fusion
    Jazz Related
    ↳ Acid Jazz
    ↳ DJ/Electronica Jazz
    ↳ Dub Fusion
    ↳ Exotica
    ↳ Funk
    ↳ Jazz Related Blues
    ↳ Jazz Related Improvisation
    ↳ Jazz Related RnB
    ↳ Jazz Related Rock
    ↳ Jazz Soundtracks
    ↳ Latin Rock/Soul
    ↳ Pop Jazz/Crossover
    ↳ Third Stream
    (Post-70s) Eclectic Fusion
    As the original fusion movement that was started in the late 60s began to fade in the late 70s, a new generation of musicians led by Blood Ulmer, Bill Frisell, John Zorn, Ronald Shannon Jackson, Bill Laswell, Steve Coleman and Vernon Reid introduced a new style of jazz and rock fusion that arose from the initial efforts of Ornette Coleman's Prime Time band, Miles Davis' 'Get Up With It' album and the jazzy post-punk no wave scene in New York City. This new fusion was both more aggressive and eclectic than the typical output of the 70s fusion artist. The Post-70s Eclectic Fusion artist not only uses elements of jazz, funk and rock; but he is also likely to pull from a diverse set of influences including, but not limited to, New Orleans drum lines, klezmer, jump blues, hip-hop, hardcore punk, exotic lounge, drumnbass, and/or Bulgarian wedding music.

    The (Post-70s) Eclectic Fusion genre at JMA is not about jazz or fusion that is 'eclectic', but rather it is about jazz that is inspired or influenced by the pioneering work of artists such as Ornette Coleman's Prime Time, James 'Blood' Ulmer, Bill Frissell, Ronald Shannon Jackson and John Zorn. Many of today's jazz-rock and fusion artists still play in this sometimes harsh and eclectic style, while others may opt for a more classic 70s sound. The artists with a classic 70s style can be found in our Classic Fusion genre.

    Acid Jazz
    Acid jazz grew out of the late 80s DJ scene in London in which record spinners would treat dancing patrons to difficult to find 45s released by 60s soul jazz artists. Eventually contemporary lounge/jazz performers such as James Taylor began to capitalize on this interest in 60s 'rare groove' and began to perform live music that had equal appeal for the trendy club crowd. Another aspect of early Acid Jazz involved the mixing of 60s RnB-jazz with the sounds and rhythms of acid house. Once Acid Jazz left England, confusion as to what it actually was created a diversity of influences including dub reggae, hip-hop, drumnbass and 60s psychedelic rock. More recently Acid Jazz is often seen as either 60s rare groove, or a merging of jazz with trip-hop or other club friendly electronica sounds and rhythms.

    Typically the artists listed in JMA's acid jazz genre are live bands while acid jazz artists who are more DJ based are listed in our DJ/Electronica jazz genre.

    Afro-Cuban Jazz
    Afro-Cuban Jazz combines traditional African based rhythms from Cuba with the pyrotechnical solos of jazz or fusion. This genre got its start when Mario Bauza introduced bop trumpeter Dizzy Gillespie to Cuban percussionist Chano Pozo. The two made exciting new music together starting in 1947 and ending abruptly in 1948 when Pozo passed away. About this same time Cuban bandleader Machito began to feature jazzy solos in his band arrangements. With the rise of artists such as Tito Puente, Afro-Cuban jazz became one of the most popular styles of jazz in the 1950s.

    Afro-Cuban is still one of the more popular styles of jazz today and continues to grow and evolve as it takes on influences from fusion and even the avant-garde. You can also check our genres; Latin Jazz, Bosasa Nove and World Fusion for other styles of Latin Jazz.

    Avant-Garde Jazz
    Avant Garde jazz is rooted in the so called 'free jazz' of the late 50s and 60s. In 1958 Ornette Coleman shocked the jazz world when he released 'Something Else!'. Although rooted in be-bop, Ornette's music eschewed standard harmonic changes and gave soloists freedom to pursue chromatic melodic excursions based on intuition and improvised interaction with the other musicians. Meanwhile John Coltrane began to leave off the standard bop chord changes in his music and began to pursue lengthy improvisations based on modal drones that gave soloists much more freedom. As the years passed and Coltrane's band changed membership, the background provided by his rhythm section became more and more free and cacophonous as well.

    Although Coleman and Coltrane introduced more freedom to jazz, essentially their music remained rooted in swing and bop in that their melodic phrases, no matter how atonal, still 'swung' in the traditional sense of the word. Soon a new generation of jazz virtuosos such as Cecil Taylor, Archie Shepp and Pharoh Sanders would take jazz into even further abstractions and noise levels creating music that was all about emotive expressionism, not entertainment.

    Although it never totally dissapeared, free jazz faded to the background when fusion came along with its amplified guitars and Fender Rhodes pianos. Ironically enough, Miles Davis, who was always critical of the free players, seemed to adopt much of their expressionism when his brand of fusion became increasingly abstract and aggressive culminating in the beautifully harsh and intense 'Live at Fillmore'.

    One avant-garde jazz musician who always charted his own course outside of the free movement and ahead of Ornette Coleman's innovations was Sun Ra. Possibly one of the most creative jazz musician ever, Ra condemned the free players saying there was no freedom in his band, only the Ra jail. After the demise of the free movement, Sun Ra's vision of avant-garde jazz; in which composition played a large role along side improvisation, became an inspiration to a new wave of avant-garde jazz musicians.

    The avant-garde genre at JMA is dedicated to avant-garde jazz musicians only, and not to the larger world of avant-garde rock and composition. Although the differences may be subtle, avant jazz often differs from other forms of avant-garde music in the use of jazz's characteristic syncopated rhythms and the make-up of the instrumental ensembles which often reflect jazz's past traditions.

    Big Band
    The big band genre at JMA documents groups that work primarily with traditional big band arrangements, while our progressive big band genre is reserved for the more experimental bands. Nonetheless, this genre covers a wide variety of styles and musical eras and stretches from Fletcher Henderson in the 20s to to Brian Setzer in the 21st Century.

    Boogie Woogie Piano
    Boogie-Woogie is a piano style that involves repeating left hand bass patterns made up of hard driving eighth notes grouped in one bar phrases. The patterns often start with an octave leap off of the root note and the songs are usually similar to twelve bar blues in form. Boogie-Woogie first appeared in the 1920s via the innovations of Pine Top Perkins. The genre had several revivals in the 30s and 40s in the hands of Meade Lux Lewis, Albert Ammons and others.

    The left hand patterns of Boogie-Woogie went on to become the roots of Jump Blues, RnB and early Rock-n-Roll.

    Bop, or be-bop in its full name, was a young jazz man's answer to the more conservative prevailingly swing music of the time. Developed in New York City during the early 40s, bop hit the international scene in 1945 and took everyone by surprise with its energetic and radical approach to swing jazz music. In the hands of innovators such as Dizzy Gillespie, Charlie Parker and Bud Powell, the old swing music was given much faster tempos and more spare accompaniments from the rhythm section which opened up space for rapid fire pyrotechnical solos. Still a favorite genre in jazz music schools around the world, many clubs still feature be-bop to this day, but today's bop sounds tamer and calmer than the original item.

    Bossa Nova
    Although it had been developing throughout the 50s, Bossa Nova became popular in the early 60s as a more mellow alternative to the aggressive urban sounds of hard bop and the avant-garde. Bossa Nova was a Brazilian concoction that combined simplified and slowed down samba rhythms, relaxed cool jazz sensibilities and modern European impressionistic harmonies into a music that was pleasing, but hardly simplistic. The pulsing relaxed rhythm, marked with hypnotic accents, that defines Bossa Nova can be heard in the songs and guitar rhythms of Joao Gilberto and Antonio Carlos Jobim.

    Classic (1920s) Jazz
    Classic Jazz refers more to a transitional era (1920s), rather than any specific style. During the 1920s jazz slowly shifted from the exuberant New Orleans and Dixieland styles toward a more sophisticated and urbane swing style. Many artists who participated in this transition had careers that overlapped into Dixieland in the early 20s, and into swing in the middle 30s. Not only was the music shifting during this time, but the performing ensembles were growing bigger as more dance orchestras began to use jazz elements creating a big band jazz/pop hybrid that would lead to the classic big bands of the swing era.

    The leaders of classic 1920s jazz are orchestra leader Fletcher Henderson and his star soloist, Louis Armstrong. The Henderson orchestra did away with the constant polyphonic soloing of New Orleans jazz and replaced it with cool relaxed riffing which provided a background for Armstrong's expressive melodies and exciting solos. Classic jazz is still played by jazz lovers all over the world, although not always with the right feel.

    Classic Fusion
    The Classic Fusion genre at JMA includes those jazz artists who added rock, funk and world beat influences to jazz in the late 60s and 70s, and also to those artists who continue to play in this original fusion style today. Some important leaders in this genre include; Larry Coryell, Tony Williams, John McLaughlin, Soft Machine, Miles Davis, Herbie Hancock, Weather Report and Return to Forever.

    Rock musicians who use jazz as part of their musical language can be found in the Jazz Related Rock genre. Other more modern style jazz fusion artists can be found in the (Post 70s) Eclectic Fusion genre.

    Cool Jazz
    Cool jazz arose slowly in the late 40s when many jazz musicians realised there was no point in following in the fast paced be-bop footsteps of Diz and Bird and began to try a more relaxed and quieter approach to playing. Early examples of cool jazz came from Miles Davis' Nonet and Lenny Tristano's group, while later practitioners like Gerry Mulligan and Chet Baker showed up on the west coast where cool jazz was often refered to as west coast jazz. For some critics west coast jazz seemed like a souless sell-out compared to the more challenging and urban flavored be-bop of New York City. In 1952 Miles Davis was one of the first 'cool' band leaders to lead the way to a more aggressive next phase in jazz, hard bop.

    Dixieland started as a continuation of the original New Orleans jazz tradition (see New Orleans Jazz genre), but in a different locale and under different circumstances. During the early 1920s, many New Orleans musicians drifted up to Chicago seeking work where they continued their musical traditions, but no longer as marching bands. The more stationary aspect of these bands led to the addition of the piano to the band, while the stand up bass replaced the tuba.

    The music also began to evolve as the musicians began to play with a faster more aggressive feel, and the rhythm section began to accent the 2 and 4 of the beat which led to the driving accented rhythms of RnB and rock-n-roll. Dixieland has had many revivals over the years, sometimes authentic and sometimes corny and amateur. To this day you can still find bands all over the world that play this traditional form of jazz.

    DJ/Electronica Jazz
    The DJ/Electronica Jazz genre at JMA is for artists who create jazz music with turntables, samplers, sequencers and the occasional live musician.

    We are only interested in fully developed sophisticated jazz music. Breakbeat and hip-hop artists who have some jazz influence in their music are too numerous to list here. We also do not list generic trip-hop or other types of music built with obvious repeating looped samples.

    Dub Fusion
    Dub Fusion is the mixing of jazz improvisation with dub style rhythms and production, as well as Jamaican rhythms such as reggae, ska and rocksteady. Some other artists who play in a dub influenced style may also be found in JMA's Nu Jazz, Acid Jazz and World Fusion genres.

    Exotica can range from silly kitsch novelty records for 'swingin bachelor pads' to more serious experimental blends of jazz, Latin rhythms, studio technology and modern orchestration. The JMA exotica genre excludes the former but welcomes the latter. Good examples of the more artistic practitioners of the Exotica genre include Martin Denny and Les Baxter. Both Denny and Baxter were accomplished jazz musicians who also drew on a wealth of other musical influences including French impressionistic composers, Afro-Cuban jazz and Polynesian percussion to create highly original and creative musical landscapes.

    Other jazz influenced artists that might be found in the Exotica genre include: artists who record creative versions of well known pop songs, artists who juxtapose incongruent styles in an ironic fashion, artists who have an anachronistic presentation and musical style and artists who create unique recordings that do not fit easily into any standard genre.

    The worlds of jazz and funk have been intertwined since the early days when James Brown brought us the one. Both genres have been such an influence on each other over the years that it is often hard to tell where one starts and the other ends.

    The funk genre at JMA is not an exhaustive list of all the funk bands in the world, but is instead a list of the best, most pure funk bands that are of the most interest to jazz fans. Our definition of pure funk can be found in the music of James Brown, Bootsy Collins and Parliament.

    Funk is a genre that is often misunderstoood, poorly imitated and pimped for all the wrong reasons. You will find none of that at JMA. Its hard to describe what is pure funk, but often it involves interweaving snippets of syncopated melody that intertwine in circles within loops and land on the one every other bar. Funk artists such as Bootsy and Parliament, with their constant improvised polyphony, are closer to the concept of early jazz than most jazz artists since the 1930s.

    Funk Jazz
    Funk jazz is a sub-genre of jazz fusion and is basically the blending of funk rhythms with jazz improvisation. Some classic funk jazz artists include The JBs, The Meters, The Brecker Brothers and Soulive. At JMA, additional funk jazz music can be found in the Fusion, Funk, Soul Jazz and Acid Jazz genres.

    Hard Bop
    Cool jazz's reign as the prevalent jazz style after bop's demise was short lived as many jazz players, especially on the east coast, wanted to return to a style of jazz that had a little more grit and aggression. Hard bop was a return to some of the ascetics of bop, but also offered some new differences. Hard bop brought back the faster tempos of the bop era, but in hard bop the harmonic changes did not come in such rapid fire succession and musicians found themselves stretching out on longer modal style solos. The new emphasis on albums rather than singles also led to longer songs. Hard bop players also began to bring more influences from the church, blues and RnB into jazz which foreshadowed the coming of soul jazz. Despite an influx of avant-garde jazz in the 60s, hard bop remained the prevalent jazz style until the emergence of fusion in the late 60s. Hard bop has enjoyed many revivals over the years and remains one of the most enduring and popular styles in jazz. Miles Davis is considered an early innovator in the field of hard bop, but Art Blakey and the many musicians who played in his Jazz Messengers are considered to be the epitome of the style.

    Jazz Related Blues
    The blues have had a strong influence on jazz since the very beginning. Likewise, when you listen to a guitarist like Robben Ford effortlessly blend the two genres it becomes hard to tell where one genre ends and other starts.

    The Jazz Related Blues genre at JMA is for those blues artists who also play jazz, as well as important blues artists who had an impact on the world of jazz.

    Jazz Related Improvisation
    The art of improvisation in music did not begin with jazz, but the appearance of jazz in the early 20th century has certainly heightened the popularity of improvisation in all styles of contemporary music.

    The artists featured in JMA's Jazz Related Improvisation genre play improvised music that has strong similarities to jazz, especially avant-garde jazz. The boundary between the Jazz Related Improvisation genre and the Avant-Garde Jazz and Fusion genres may not always be clear, but generally the JMA Avant-Garde jazz artist comes from a jazz background, while the Jazz Related Improviser may come from a more eclectic background. Also, the artists listed in this genre may include groups that mix jazz artists with other experimental artists.

    Jazz Related RnB
    The line between jazz and RnB is often blurry. Both styles of music come from the same sources and both influence each other as they constantly cross paths. The Jazz Related RnB genre at JMA pays tribute to RnB bands that are not jazz bands in name only. For example, the early to mid-70s version of Earth Wind and Fire caught the attention of many jazz and fusion fans with their virtuoso horn charts, poly-rhythmic percussion section and extended harmonies over modern jazz chord changes. Many of the RnB artists listed in this genre had a strong impact on the development of jazz.

    Jazz Related Rock
    The appearance of rock had a massive effect on jazz that was both disaterous to the old guard, and 'electrifying' to those seeking change. Over the years, some rock artists have had a stronger effect on the development of jazz than many jazz artists. Here at JMA we pay tribute to those influential rock artists, as well as to those rock artists who draw a lot of respect from the jazz world, with our genre called Jazz Related Rock. Jimi Hendrix is the epitome of a rock musician who had a major impact on jazz.

    Jazz Soundtracks
    The jazz soundtrack genre at JMA is for artists who compose soundtracks with a strong jazz element. These artists may also work in other genres, but its their jazz soundtrack work that is of most interest to the jazz fan. Some good examples of jazz soundtrack composers are Quincey Jones, Henry Mancini and Isaac Hayes.

    Jump Blues
    Jump blues is a loud rowdy simplified blues influenced form of jazz that became popular in the 40s after the hard times of the 30s drove many big bands out of business. Patrons of noisy dance halls and clubs needed small groups that could match the volume of the departed big dance bands to fuel their entertainment. To keep the attention of their patrons in the crowded rooms, the singers would shout and the saxophonists would honk and growl giving the performers names like 'shouters and honkers'. Jump Blues hard rhythmic drive and snare beat emphasis on the 2 and 4 has given the genre credit for being the forebear of rock-n-roll and RnB. Some jump blues innovators include Joe Turner and Louis Jordon.

    Latin Jazz
    The Latin Jazz genre at JMA is a catch all genre for jazz bands that use Latin rhythms, but do not fit our Bossa Nova or Afro Cuban genres. Many of the bands listed here mix rhythms from Brazil, Cuba, Central America and Africa in ways that are not always easy to categorize or define.

    Latin Rock/Soul
    Latin Rock and Soul combines the instrumentation, emphasized back-beat and volume of rock and RnB with the complicated rhythms of Afro-Cuban jazz and other Latin styles. The early music of Santana is an excellent example of an Afro-Cuban/rock mixture. Carlos Santana's loud distorted guitar would cover the high melodic brass parts, Greg Rollie's B3 would cover the rhythm and mid-range parts, and the two extra percussionists would cover the clave and other rhythm parts giving the seven piece band the sound of a full Afro-Cuban jazz band.

    Nu Jazz
    Nu Jazz is a modern Northern European flavored jazz that combines elements of acid jazz, ambient music, modern composition, electronica and world fusion. Nu jazz artist Nils Petter Molvaer draws upon influences such as Miles' Silent Way album, Jon Hassel's fourth world drum patterns and down tempo dub to create serene ascetic atmospheres laced with ancient European folk melodies that reflect his culture and upbringing in a land dominated with clean cold air, wide open spaces and the sea. In England, The Portico Quartet combines Indonesian and Caribbean rhythmic backgrounds with serene ECM style ambient saxophone melodies to create a new age influenced Nu Jazz sound. In another variation on the Nu Jazz style, Norway's Jagga Jazzist mixes a small jazz orchestra with jangly Post Rock guitars to make a new Exotica flavored hybrid.

    Nu Jazz music can also be found in our dub jazz and acid jazz genres, as well as our DJ jazz genre.

    Original New Orleans Jazz
    The genre New Orleans Jazz refers to jazz in its earliest forms. In the late 19th century New Orleans brass bands would perform in marches, parades and funerals playing anything from military tunes to rags in a polyphonic style similar to African-American vocal music. Since many of these marches were very lengthy, the tunes would have to be repeated many times leading the performers to improvise on the melodies to relieve their boredom.

    Typical New Orleans bands in this era had a front line of coronet, clarinet and trombone, while the rhythm section was composed of banjo, tuba and a percussionist. The coronet would play the melody while the clarinet would improvise counter melodies and the trombone supplied pedal points that pointed out harmonic changes while the tuba covered the bass. Improvisation would take place in a similar counter-point style with no one member being a featured soloist. The rhythm sections in early New Orleans bands would place the accent on every beat. Later the Chicago Dixieland musicians would place the accent on 2 and 4, which eventually led to the creation of RnB and rock-n-roll. Unfortunately there are no recordings of early jazz bands because the first recording of a jazz band didn't take place until 1917.

    Pop Jazz/Crossover
    You can't blame a jazz musician for trying to make a buck now and again, even Charlie Parker made an album or two full of ballads backed by strings. In this genre, pop jazz refers to jazz artists who play 'dinner jazz', 'smooth jazz', 'quiet storm' or whatever else they call it these days. Crossover refers to pop artists, such as Sting, who combine jazzy aspirations with caviar dreams for multi-platinum success. In this genre the two artist types come together as they often do on recording dates when the crossover artist shells out some big bucks to enlist the skills of the pop jazz soloist, such as the always in demand David Sanborn, for that authentic jazzy sound.

    Post Bop
    Post Bop begins with the Miles Davis Quintet, as well as a few other artists, in the mid to late 60s. This new genre almost went unnoticed during the height of the Classic Fusion era, but it had a tremendous comeback under the guidance of Wynton Marsalis in the early 80s. During the 90s Post Bop became the preferred style of many young jazz musicians who began to reject the electric instrumentation and rock-fusion style of the 70s.

    Post Bop originally grew out of Hard Bop, but it uses more complex chord progressions and more abstract solos. The rhythms of Post Bop are rooted in Bop and Hard Bop, but they can also be influenced by Latin Jazz and Avant-Garde Jazz as well. Herbie Hancock's piano work also brought a Third Stream sensibility to Post Bop with his harmonies that are influenced by 20th century composers.

    Post Bop is still one of the most popular jazz styles today and continues to take in more genres and influences. Some musicians who mix Post Bop with the relaxed sound of Smooth Jazz and other eclectic influences can be found in our Post-Fusion Contemporary genre.

    Post-Fusion Contemporary
    As jazz continues to grow and evolve, the borders that divide some of the different genres have become less clear. Since the demise of the original fusion movement, many jazz musicians have turned to a more relaxed and polished sound that still maintains strong elements of virtuoso technique and artistic creativity. These artists may blend several elements including; smooth jazz, post-bop, modern RnB, fusion, Latin rhythms, new age, pop, world music and third stream. Meanwhile, in a similar development, many young jazz musicians raised on electric fusion have turned to a semi-acoustic post-bop style that still contains the energy and some stylistic elements of fusion. In Northern Europe, post-fusion musicians often combine light semi-classical styles with folk melodies and a very relaxed approach to improvisation that uses straight rhythms instead of syncopation. At JMA, all of the above described artists can be found in our Post-Fusion Contemporary genre.

    Progressive Big Band
    The Progressive Big Band genre is for post-swing era jazz bands who incorporate more modern elements into their music. Some of these elements might include, modern extended harmonies, electronic instruments and effects, fusion based rhythms and avant-garde arrangements.

    The first progressive tendencies in big band arranging begin with Duke Ellington and come to full flower in the hands of arrangers such as Charles Mingus, Sun Ra and Don Ellis.

    Technically Ragtime isn't really jazz because it does not involve improvisation, but ragtime ran a parallel career to the early New Orleans jazz and featured similar melodies and rhythms. A simple way to look at ragtime is to consider it as a form of composed jazz, or possibly America's first classical music. Likewise, in a style similar to classical music, ragtime's rhythmic syncopations don't swing quite to the degree that they do in New Orleans jazz performance. Although ragtime first appeared in 1892, Scott Joplin would begin to dominate and define the genre in 1895.

    The Smithsonian Collection of Classic Jazz opens with back to back renditions of Maple Leaf Rag by ragtime pianist Scott Joplin and early jazz pianist Jelly Roll Morton. In these two performances of this same piece you can clearly hear the difference between ragtime and jazz as Morton's version swings with free abandon, while Joplin's stricter version is more similar to the European late romantic period style of Chopin.

    Soul Jazz
    Soul jazz is a subset of the hard bop genre and carries the hard bop tendency towards RnB and blues just a bit further. It was the original intention of JMA to list the soul jazz artists in hard bop, but the line was drawn at the bluesy B3 organ players such as Groove Holmes and Jack McDuff. Put simply, soul jazz is instrumental RnB or blues with a swing or funk beat topped with virtuoso jazz solos. You can also find soul jazz artists on JMA in the hard bop, funk jazz, and acid jazz genres.

    Stride Piano
    Stride is a piano style that involves left hand patterns that hit a bass note on beats 1 and 3, followed by a chord, that goes with the preceding bass note, on beats 2 and 4. Stride is based on the typical Ragtime pianist's attempt to make the piano into a one man band, but Stride has more swing and improvisation than Ragtime.

    Stride developed in the 1920s, some major innovators included James P Johnson and Willy 'The Lion' Smith. Stride was a major influence on jazz piano for many years, and still has some influence in modern times.

    The Swing genre represents a golden age for jazz that showed its first signs in the mid-20s, but really peaked from the mid-30s to the mid-40s. Going well into the 20s, most jazz bands still played in New Orleans or Dixieland styles in which the musicians all improvised simultaneously while staying within the boundaries of the original tune's melody and harmony.

    When cornetist Louis Armstrong joined Fletcher Henderson's Orchestra in 1924, the band's arranger, Don Redman, knew he had a rare talent on his hands and began to spotlight Armstrong's melodic skills. No longer would the entire band improvise, instead Armstrong would be given the freedom to take solos to new heights while the rest of the band supplied supporting riffs. This new approach to band arranging spread and reached the public at a time when people were looking for large orchestral bands that could provide an evening's worth of dance music. Thus the golden age for big band jazz was born.

    From 1935 to about 1946 jazz dance bands led by the likes of Benny Goodman and Duke Ellington were the number one form of entertainment in the US. The swing era finally came to an end when new taxation laws on nightclubs made dance floors unprofitable and jazz became an entertainment for listening, not dancing.

    On JMA, The Classic (1920s) Jazz genre is considered the genre that happens between the end of Dixieland and the beginning of Swing. Many of the originators of swing, such as Louis Armstrong, can be found in the Classic Jazz genre.

    Third Stream
    Third stream is a term coined by composer Gunther Schuller to desribe music that attempts to mix jazz with classical concert hall music. Jazz caught the ear of many composers in the early 20th century and soon Ravel, Debussy, Stravinsky and others began to put elements of American ragtime into their music. French composer Darius Milhaud furthered these experiments that culminated in George Gershwin's 'Blue Monday' and 'Rhapsody and Blue', two pieces which represented some of the first truly successful fusions of jazz and concert hall music.

    From the jazz side of things, early attempts at classical influence came from Duke Ellington, Artie Shaw, Woody Herman, Bix Beiderbecke, James P. Johnson and others. Gunther Schuller and John Lewis' 'Third Stream Music', which combined a string quartet with a cool jazz combo, was one of the first entirely successful concert hall pieces by a jazz composer.

    In today's music world, Third Stream often refers to compositions that have some element of jazz. At JMA, the Third Stream genre is also where you will find jazz or jazz related music that relies on composition more than improvisation.

    Vocal Jazz
    Probably the easiest genre to define of all as the title says it best. Obviously here is where you will find vocalists who sing in a distictive jazz style, or styles I should say because although there is a similarity of delivery in the jazz nuances of these listed singers, the performing era and genre style of singers you will find here ranges from Billy Holliday to Doris Day and on to Norah Jones.

    World Fusion
    The world fusion genre at JMA is not just a collection of world beat artists, but is instead a collection of artists who bring world beat influences to the ever expanding world of jazz fusion. Since fusion artists from the US, Western Europe and Latin America are usually covered in our other fusion genres, the world fusion genre typically carries fusion artists with African, Middle Eastern and East European influences.

    Once again though, the world fusion artists at JMA also display the improvisational aspects and virtuoso soloing associated with jazz and fusion.
    Kaynak :
  • ABCs of 60s Jazz

    14 fév. 2012, 21h59m par brianshazaaam

    You know the drill from the 70s, 80s, 90s, and 00s lists. I wasn't originally planning on doing a 60s list, hence why it's appearing out of order, but I enjoyed making the other ones so I decided to put one together. Several greats knocked off because they were featured on previous lists, including John Handy, McCoy Tyner, Joe Henderson, Sun Ra, Herbie Hancock, Gary Burton, Alice Coltrane, Freddie Hubbard, Bill Evans, and Miles Davis. This means some obvious classics were lost (Maiden Voyage, Inner Urge, Nefertiti, Hub-Tones), but I kind of like that because it gives me a chance to promote other lesser known but great albums. Also cut were Sonny Rollins, Andrew Hill, Charles Mingus, Archie Shepp, Wes Montgomery, Oliver Nelson, Albert Ayler, Lee Morgan, and some wild free jazz blasts from the BYG label including albums by Dave Burrell and Alan Silva.

    Autumn - Don Ellis And His Orchestra (1968 Columbia)
    Back At The Chicken Shack - Jimmy Smith (1960 Blue Note)
    Contours - Sam Rivers (1965 Blue Note)
    Destination: Out! - Jackie McLean (1964 Blue Note)
    Eastern Sounds - Yusef Lateef (1961 Prestige)
    Far East Suite - Duke Ellington (1967 RCA)
    Go - Dexter Gordan (1962 Blue Note)
    Hot Barbeque - Brother Jack McDuff (1966 Prestige)
    Idle Moments - Grant Green (1963 Blue Note)
    Juju - Wayne Shorter (1964 Blue Note)
    Karma - Pharoah Sanders (1969 Impulse!)
    Live At The Village Vanguard - John Coltrane (1962 Impulse!)
    Machine Gun - Peter Brötzmann Octet (1968 Bro)
    Now He Sings, Now He Sobs - Chick Corea (1968 Solid State)
    Out To Lunch - Eric Dolphy (1964 Blue Note)
    Percussion Bitter Sweet - Max Roach (1961 Impulse!)
    Quest - Mal Waldron (1961 Prestige)
    Rip, Rig and Panic - Rahsaan Roland Kirk (1965 Limelight)
    Staying On The Watch - Sonny Simmons (1966 ESP-Disk)
    This Is Our Music - Ornette Coleman (1961 Atlantic)
    Unit Structures - Cecil Taylor (1966 Blue Note)
    Very Tall - Oscar Peterson Trio with Milt Jackson (1962 Verve)
    Where Is Brooklyn? - Don Cherry (1966 Blue Note)
    Xtrapolation - John McLaughlin (1969 Polydor)
    Your Prayer - Frank Wright (1967 ESP-Disk)
    Zimbo Trio - Zimbo Trio (1964 RGE/1966 Pacific Jazz)

    Xtrapolation is actually Extrapolation, as with all the other lists, there aren't album titles that start with X. Likewise, Mal Waldron's Quest is actually The Quest and has often been reissued under Eric Dolphy's name, but it was originally a Waldron date. The only other option I found was Marion Brown's great but confusingly titled release from 1966 which is referred to as either Quartet or Marion Brown Quartet. The ESP website refers to it by the latter, so I'm going to go by that so it's disqualified.
  • One Life Left - New Album Out Soon!

    11 fév. 2012, 21h50m par iordache

    Between August 23 and September 4 I was in Timisoara and recorded my next jazz album.
    The sponsor who had promised to pay all the expenses – in exchange of his company’s logo on the back sleeve of the album – vanished mysteriously.
    The album was recorded with the support of the Youth House in Timisoara, who offered us their concert hall, a space with very good acoustics. Utu Pascu rebuilt his recording studio, AudioTM, on stage.
    Besides myself, drummer Tavi Scurtu and bassist Utu Pascu there were Petre Ionutescu on trumpet, Lucian Nagy (saxophone) – both from Blazzaj– Dan Alex Mitrofan on guitar and Toni Kuhn on guitar and keyboards. It was a great joy for me to have them participating in these recordings, because they are some of my favourite musicians. I was especially happy to record with Toni Kuhn, who is known to Romanian rock fans from Post Scriptum, a legendary progressive rock group. The first time I saw him I was a teenager, it was in the 80′s and he was a member of the Eugen Gondi Quartet, one of the most interesting bands in those times.

    The album is going to be released in March.

    You can download the first tune I released, I Guess It's Love , for free.

    You can also sponsor the album to get a free copy in the mail.

    Thanks for listening,

    Mihai Iordache

    P.S. if this message is repeated, there must be a bug. I sent it once and got the message "You haven't written any journal entries..."
  • RIP: Freddie Deronde

    2 fév. 2012, 8h42m par writie

    It is with regret that we learned of the death of jazzman Freddie Deronde in January 2012. Deronde was a natural musician from an early age, and had a very promising jazz career that was constantly troubled. He played with artists such as Bud Powell, Tete Montoliu (p), Clifford Brown, Quincy Jones, Clark Terry, Jon Eardley, Chet Baker (tp), Phil Woods, Don Byas, Sahib Shihab, Jerome Richardson, Lennart Johnson, Robin Kenyatta, Pepper Adams, Joe Henderson, Hank Mobley, Lee Konitz and Jean-Luc Ponty. His troubled private life interrupted his career.

    The album Spontaneous Effort is a superb testimony to Freddie at his best and almost heralded the return to his rightful place in 1989. But was not followed up.

    Deronde is survived by his wife Micheline.

    Video: "Ready for Freddie" with JR Monterose [youtube][/youtube]
  • Para Amy Winehouse. Palavras ao vento'

    25 jan. 2012, 16h11m par JVictorMarques

    26 de Julho de 2011
    Como bom consumidor (alienado) musical, estava assistindo aos clipes do memorável multishow em qualquer dia ou mês do surpreendente ano de 2007. Até que por obra do aleatório, uma esquisita mulher de longos, ondulados e extremamente bagunçados cabelos negros impregnou em minha cabeça seu viciante NO NO NO ou KNOW KNOW KNOW. Ela com certeza seria muito ‘zuada’ no dia seguinte entre os queridos amigos da 7º série ou 8º ano, indiferente.
    Enfim, tempo depois, de tanto ouvir o maldito NO NO NO… Não sei por que decidi baixar algo mais daquela singela problemática. Foi assim que conheci ‘Stronger than Me’ do álbum Frank, puro jazz. O jazz já era um amigo antigo… Logo em seguida fui apresentado a fantástica Back to Black, do álbum de mesmo nome. Mas não era o mesmo jazz; um notável encontro deste com o soul. Por enquanto foi só.
    ‘Tears Dry On Their Own’ foi definitivo para que realmente a tal cantora me deslumbrasse, me arrasando com tamanha fascinação. Os dois álbuns já estavam ali completos na biblioteca.
    Acompanhei sua trajetória desde então: seu destrutivo casamento com Blake; suas brincadeiras com ratinhos brancos ao lado do imundo Pete Doherty; sua interminável viagem pelo Caribe; uma rehab; seus terríveis aparecimentos com ‘inexplicável’ pó branco no nariz; as promessas de um terceiro álbum; a influência sobre a geração Adele, Duffy e sua queridíssima afilhada Dionne Bromfield; outra rehab; suas constantes mudanças de endereço por medo de fantasmas; seus socos distribuídos em alucinados fãs, o que lhe rendeu inquérito policial; seu absurdo gasto de dinheiro; mais outra rehab; seus 5 grandiosos Grammys; seu Brit Award com direito a inúmeras performances; seus desastrosos shows no Rock in Rio Lisboa e Madri; sua brilhante apresentação no Rio naquele 11/01/2011, à qual tive o imenso privilégio de comparecer; olha, mais uma outra rehab; sua aparente recuperação após aplaudidíssimo show não me lembro aonde; a suposta finalização do terceiro álbum; #esperançafeelings; turnê europeia cancelada; REHAB; saída da REHAB; morte.
    Foi numa bela tarde de férias incrivelmente majestosas: estava em paz lavando a louça de cada dia… - João, a Amy morreu ?! - WHAAAT ? suahusha enlouqueceu.. - Olha a manchete na internet.
    Respirei, li apenas três linhas do jornal, voltei para a cozinha, terminei de lavar… Uma lágrima solitária escorreu e secou sozinha.
    Dois dias se passaram, a perda está evidente, o choro finalmente apareceu. Amy Jade Winehouse como diz a Wikipedia já atualizada, FOI uma cantora e compositora londrina.
    Querida, seu inestimável brilho que me acompanhou durante todos esses anos é incomparável. Eu só posso lhe agradecer. Nada mais. Meu vício, meu refúgio, minha droga, você sempre estará viva na sua voz, na sua letra. Você sempre estará viva no meu coração, coração que acreditou até a última gota na sua recuperação. Eterna, já está. Mais uma vez, OBRIGADO. (L)
    ‘she told she was trouble
    J. Victor Marques
  • Piano Rock

    25 jan. 2012, 19h06m par brianshazaaam

    Originally posted to A Stable Reference

    While thinking about doing an update of my Jazz Now post, I realized that almost all of the piano trios I was going to suggest have done versions of modern pop/rock songs, certainly more so than any other instrumental combo, so I thought I'd throw together a quick post featuring some of these songs. I'm hoping to put together a more comprehensive collection of jazz covers at some point. Enjoy.

    Vijay Iyer Trio - Galang (Trio Riot Version) (M.I.A.)

    Brad Mehldau Trio - Knives Out (Radiohead)

    Robert Glasper - Everything In Its Right Place (Radiohead)

    The Bad Plus - Smells Like Teen Spirit (Nirvana)

    Yaron Herman Trio - Toxic (Britney Spears)
  • ABCs of 00s Jazz

    9 jan. 2012, 22h52m par brianshazaaam

    Cross-posted to A Stable Reference

    You know the drill, just like the 70s, 80s, and 90s lists. Too much good stuff, so unfortunately knocked off were Christian Scott, Hiromi, Robert Glasper, Steve Lehman, Drew Gress, Brad Mehldau, Susie Ibarra, The Bad Plus, as well as a bunch of great big bands (Guillermo Klein y Los Guachos, Darcy James Argue's Secret Society, John Hollenbeck Large Ensemble, Adam Lane's Full Throttle Orchestra, Exploding Star Orchestra) and European groups (Polar Bear, Led Bib, Acoustic Ladyland, Portico Quartet, The Thing, Zu, Esbjörn Svensson Trio). Also unfortunately cut were albums by veterans leading young bands including Wayne Shorter's fantastic album Beyond The Sound Barrier with his new quartet featuring Brian Blade, Danilo Perez, and John Patitucci, as well as Charles Lloyd's Rabo de Nube with the quartet of Jason Moran, Reuben Rogers, and Eric Harland.

    Asphalt Flowers Forking Paths - Taylor Ho Bynum Sextet (2009 hatOLOGY)
    Bounce - Terence Blanchard (2003 Blue Note)
    Compass - Joshua Redman (2009 Nonesuch)
    Deep Song - Kurt Rosenwinkel (2005 Verve)
    Emit - Chris Speed's Yeah No (2000 Songlines)
    Fly - Fly (2004 Savoy)
    Gently Disturbed - Avishai Cohen Trio (2008 Sunnyside)
    Human Activity Suite - Brad Shepik (2009 Songlines)
    Invisible Cinema - Aaron Parks (2008 Blue Note)
    Junk Magic - Craig Taborn (2004 Thirsty Ear)
    Kinsmen - Rudresh Mahanthappa (2008 Pi)
    Lawn Chair Society - Kenny Werner (2007 Blue Note)
    Masses - Spring Heel Jack (2001 Thirsty Ear)
    New York Days - Enrico Rava (2009 ECM)
    Oceana - Ben Monder (2005 Sunnyside)
    Perceptual - Brian Blade Fellowship (2000 Blue Note)
    Quake - Erik Friedlander (2003 Cryptogramophone)
    Riding The Nuclear Tiger - Ben Allison & Medicine Wheel (2001 Palmetto)
    Strange Liberation - Dave Douglas (2004 RCA)
    Tragicomic - Vijay Iyer (2008 Sunnyside)
    Ultrahang - Chris Potter Underground (2009 ArtistShare)
    Vu-Tet - Cuong Vu (2007 ArtistShare)
    Worlds - Aaron Goldberg (2006 Sunnyside)
    Xpansion - Patrick Zimmerli Ensemble (2000 Songlines)
    Yo Miles! Sky Garden - Henry Kaiser & Wadada Leo Smith (2004 Cuneiform)
    Zoo Is Far - Christian Wallumrød Ensemble (2007 ECM)

    Obviously, Xpansion is actually Expansion. Also Christian Wallumrød's Zoo Is Far is actually The Zoo Is Far, as I couldn't find an album the started with Z as well, except for Medeski, Martin & Wood's album of John Zorn compositions Zaebos, which was disqualified since MMW was already on the 90s list.

    Spring Heel Jack's Masses is the first in a series of collaborations with top shelf avantgarde jazz instrumentalists, including, on this album, Tim Berne, Matthew Shipp, Roy Campbell, Daniel Carter, Mat Maneri, Evan Parker, and William Parker.

    Yo Miles! Sky Garden is one of several albums from Henry Kaiser and Wadada Leo Smith's Yo Miles! project, which is a tribute to Miles Davis' electric/fusion period featuring his compositions from this period and those of his sidemen that were performed by his bands including on this album Joe Zawinul, original material by Smith influenced by that period, and some group pieces, on this album a tune called Cozy Pete, a reference to Miles sideman guitarist Pete Cosey. In addition to Smith and Kaiser, the band featured, among others, Greg Osby, John Tchicai, and tabla master Zakir Hussain.

    For more recommendations, check out my Jazz Now post.
  • Claudio Nunez - "Nada es para todos" (jazz/improvisation/acoustic)

    8 jan. 2012, 0h21m par maxdis

    "Nada es para todos" use the same procedures than my prior "orchestral albums" : piling up layers of overdubbed lines that I composed in real time as I play all the instrument with the spontaneus interaction tipically found in free jazz, without any prevous ideas about the melodies, rhythms, harmonies, styles, etc... The only exception is track 3 which is a collage of a melodica track cut in 3 parts and stack up like a fake counterpoint in the Frank Zappa's xenocronicity style." Claudio Nunez

    FREE download at Acustronica
  • Just a book recommendation... ;)

    28 déc. 2011, 13h07m par MirkoFait

  • ABCs of 90s Jazz

    14 déc. 2011, 0h18m par brianshazaaam

    Cross-posted to A Stable Reference

    Same deal with my 70s and 80s list, not a definitive best of, just good stuff. Again, good stuff cut, so no albums by Myra Melford, Gerry Hemingway, Chris Cheek, Michael Brecker, Danilo Perez, Marty Ehrlich, Butch Morris, Don Byron, Jon Jang, David Binney, Sam Rivers' Rivbea All-Star Orchestra, or The Vandermark 5. Also cut was the posthumous Charles Mingus Epitaph album, an over two hour work utilizing a 30-piece orchestra featuring Wynton Marsalis, John Abercrombie, George Adams, Randy Brecker, John Handy, and Bobby Watson, as well as Trey Anastasio's unusual one off side project Surrender to the Air, an avant-garde jazz group featuring Sun Ra alums marshall allen and Michael Ray, John Medeski from Medeski, Martin & Wood, and guitarist Marc Ribot, which is, obviously, much different from his better known jam-/folk-rock work with Phish and his solo albums.

    Ask The Ages - Sonny Sharrock (1991 Axiom)
    Black Science - Steve Coleman and Five Elements (1991 Novus)
    Crazy People Music - Branford Marsalis Quartet (1990 Columbia)
    Destroy All Music - The Flying Luttenbachers (1994 Skin Graft)
    Evanescence - Maria Schneider Jazz Orchestra (1994 Enja)
    Forward Motion - Fred Hersch Group (1991 Chesky)
    Graphic - Bill McHenry Quartet (1999 Fresh Sound New Talent)
    Heritage Is - James Jabbo Ware & The Me We & Them Orchestra (1994 Soul Note)
    I Think They Liked It Honey - Big Satan (1997 Winter & Winter)
    Jelly - The Dirty Dozen Brass Band (1993 Columbia)
    Kulak 29 & 30 - Ellery Eskelin, Andrea Parkins, Jim Black (1998 hatOLOGY)
    Low Profile - Michael Formanek (1994 Enja)
    Meant To Be - John Scofield Quartet (1991 Blue Note)
    Notes From the Underground - Medeski, Martin and Wood (1992 Accurate)
    Open Land - John Abercrombie (1999 ECM)
    Pariah's Pariah - Gary Thomas (1998 Winter & Winter)
    Question and Answer - Pat Metheny (1990 Geffen)
    Repent - Charles Gayle (1992 Knitting Factory)
    Sky Piece - Thomas Chapin Trio (1997 Knitting Factory)
    This Land - Bill Frisell (1994 Nonesuch)
    Universal Language - Joe Lovano (1993 Blue Note)
    Vav - Masada (1995 DIW)
    Water Stories - Ketil Bjørnstad (1993 ECM)
    Xecution Ground - Painkiller (1994 Subharmonic)
    Yam Yam - Mark Turner (1995 Criss Cross)
    Zero - Greg Osby (1998 Blue Note)

    Xecution Ground is of course actually Execution Ground as, once again, couldn't find an album the started with X. Anyone else know one?

    Ask The Ages is Sonny Sharrock's best album, featuring the all-star band of Pharoah Sanders, Charnett Moffett, and Elvin Jones.

    For those who don't know, Masada is piano-less quartet led by John Zorn with Dave Douglas on trumpet, Greg Cohen on bass, and Joey Baron on drums. I tend to consider it the John Zorn project for people who don't like John Zorn. Its sound is often compared to that of Ornette Coleman's classic Atlantic piano-less quartets with Don Cherry, Charlie Haden, and either Billy Higgins or Ed Blackwell with a more modern punch.

    If you're looking for more recommendations, check out the results from Destination: Out's best of the 90s poll.