Glossary of technical terms - d. Education: "Concise Dictionary of Jazz Terms" - G-R

After Christopher Columbus discovered a new continent and Europeans settled there, ships of human traders increasingly followed the shores of America.

Exhausted by hard work, homesick and suffering from the cruel treatment of the guards, the slaves found solace in music. Gradually, Americans and Europeans became interested in unusual melodies and rhythms. This is how jazz was born. What is jazz, and what are its features, we will consider in this article.

Features of the musical direction

Jazz refers to music of African American origin, which is based on improvisation (swing) and a special rhythmic construction (syncope). Unlike other areas where one person writes music and another performs, jazz musicians are also composers.

The melody is created spontaneously, the periods of writing, performance are separated by a minimum period of time. This is how jazz comes about. orchestra? This is the ability of musicians to adapt to each other. At the same time, everyone improvises their own.

The results of spontaneous compositions are stored in musical notation (T. Cowler, G. Arlen "Happy all day long", D. Ellington "Don't you know what I love?" etc.).

Over time, African music was synthesized with European. Melodies appeared that combined plasticity, rhythm, melodiousness and harmony of sounds (CHEATHAM Doc, Blues In My Heart, CARTER James, Centerpiece, etc.).

Directions

There are more than thirty directions of jazz. Let's consider some of them.

1. Blues. Translated from English, the word means "sadness", "melancholy". Blues was originally a solo lyric song by African Americans. Jazz-blues is a twelve-bar period corresponding to a three-line verse form. Blues compositions are performed at a slow pace, some understatement can be traced in the texts. blues - Gertrude Ma Rainey, Bessie Smith and others.

2. Ragtime. The literal translation of the name of the style is broken time. In the language of musical terms, "reg" denotes sounds that are additional between the beats of the measure. The direction appeared in the USA, after they were carried away by the works of F. Schubert, F. Chopin and F. Liszt overseas. The music of European composers was performed in the style of jazz. Later original compositions appeared. Ragtime is characteristic of the work of S. Joplin, D. Scott, D. Lamb and others.

3. Boogie-woogie. The style appeared at the beginning of the last century. The owners of inexpensive cafes needed musicians to play jazz. What is musical accompaniment requires the presence of an orchestra, of course, but it was expensive to invite a large number of musicians. The sound of different instruments was compensated by pianists, creating numerous rhythmic compositions. Boogie features:

• improvisation;
• virtuoso technique;
• special accompaniment: the left hand performs a motor ostinant configuration, the interval between bass and melody is two or three octaves;
• continuous rhythm;
• pedal exclusion.

Boogie-woogie was played by Romeo Nelson, Arthur Montana Taylor, Charles Avery and others.

style legends

Jazz is popular in many countries around the world. Everywhere there are stars, which are surrounded by an army of fans, but some names have become a real legend. They are known and loved throughout. Such musicians, in particular, include Louis Armstrong.

It is not known how the fate of a boy from a poor Negro quarter would have developed if Louis had not ended up in a correctional camp. Here, the future star was recorded in a brass band, however, the team did not play jazz. and how it is performed, the young man discovered much later. Armstrong gained worldwide fame thanks to diligence and perseverance.

Billie Holiday (real name Eleanor Fagan) is considered the founder of jazz singing. The singer reached the peak of popularity in the 50s of the last century, when she changed the scenes of nightclubs to the stage.

Life was not easy for the owner of a range of three octaves, Ella Fitzgerald. After the death of her mother, the girl ran away from home and led a not too decent lifestyle. The start of the singer's career was the performance at the Amateur Nights music competition.

George Gershwin is world famous. The composer created jazz works based on classical music. The unexpected manner of performance captivated listeners and colleagues. Concerts were invariably accompanied by applause. The most famous works of D. Gershwin are "Rhapsody in Blues" (co-authored with Fred Grof), the operas "Porgy and Bess", "An American in Paris".

Also popular jazz performers were and remain Janis Joplin, Ray Charles, Sarah Vaughn, Miles Davis and others.

Jazz in the USSR

The emergence of this musical trend in the Soviet Union is associated with the name of the poet, translator and theatergoer Valentin Parnakh. The first concert of a jazz band led by a virtuoso took place in 1922. Later A. Tsfasman, L. Utyosov, Y. Skomorovsky formed the direction of theatrical jazz, combining instrumental performance and operetta. E. Rozner and O. Lundstrem did a lot to popularize jazz music.

In the 40s of the last century, jazz was widely criticized as a phenomenon of bourgeois culture. In the 1950s and 1960s, attacks on performers ceased. Jazz ensembles were created both in the RSFSR and in other Union republics.

Today, jazz is performed without hindrance at concert venues and in clubs.

Dictionary of jazz terms. A

Avant-garde jazz

(or French avant-garde forward detachment) - The conditional name for a group of styles and trends in modern jazz, focused on the modernization of the musical language, on the development of new, non-traditional expressive means and techniques (in the field of atonality, modal improvisation and composition, sonoristics, electronic synthesis sound, etc.). It is customary to refer to avant-garde jazz as free jazz, "third trend", electronic jazz, some experimental forms of hard bop, cool jazz, jazz rock, etc.

Arrangement

(eng. arrange to arrange, arrange, put in order) - A musical presentation, designed for a certain composition of performers and recorded in musical notation. In jazz, arrangement is a way of fixing the general idea of ​​an ensemble or orchestral interpretation and the main carrier of stylistic qualities, as a result of which it becomes no less important than composition in academic music.

Archaic (early) blues / Archaic

(early) blues - The oldest, traditional type of blues, which is supposed to have developed in the first half of the last century in the South of the USA and finds a close connection with African origins, as well as with other traditional genres of American Negro folk music (for example, work song, holler, ballad and spiritual).

Archaic (early) jazz / Archaic (early) jazz

The designation of the oldest, traditional types of jazz that have existed since the middle of the last century in a number of southern states of the United States. Archaic jazz was represented, in particular, by the music of Negro and Creole marching bands of the 19th century. The period of archaic jazz preceded the emergence of the New Orleans (classical) style.

Sound Attack

One of the important dynamic characteristics of sound production in jazz, associated with the initial moment of taking sound in playing a musical instrument or in singing. It can be sharply accentuated, aggressive or relaxed. The quality of the sound attack is largely determined by the jazz sound.

Base / Base (English lower part, base, support)

An ensemble or part of an ensemble performing the function of accompanying soloists.

Ballad / Ballad (from Latin ballo I dance)

A song genre found among many peoples, originating from ancient round dance songs. The typical features of a ballad are a combination of epic narrative and lyricism, strophic form, slow or moderate tempo, a through development of the plot and musical material. In the folk music of American Negroes, an original type of ballad has developed, which has some commonality with the blues and has retained a connection with African traditions. In jazz, the lyrical ballad style of instrumental playing and singing has become widespread.

Barbershop harmony ("hairdresser's harmony") / Barbershop harmony (English bar-bershop hairdresser's)

A type of harmonic accompaniment to a melody based on the parallel chromatic movement of voices when connecting chords (mainly seventh chords). This technique of voice leading corresponds to the fingering of the banjo in the practice of playing, on which, apparently, this peculiar harmonic style was formed. It is also assumed that its origin is connected with the existence in old America of the tradition of semi-folklore amateur music playing by small ensembles that played in hairdressing salons, which in those days were favorite places for recreation and entertainment of the townspeople (such hairdressing salons usually had a bar and a room for singing and dancing). Barbershop ensembles influenced the development of American minstrel theater (see minstrel show) and ragtime.

Barrel house style / Barrel house style, Barrel house piano (English barrel house tavern beer)

The archaic style of Negro piano jazz that emerged in the second half of the last century and became widespread by the beginning of the 20th century. Barrel house music was played on the piano in a sharply syncopated, percussive manner without a pedal, with a clear separation of the functions of the pianist's right and left hands (in the right hand part - a free syncopated melody, in the left hand part - accompaniment of the "bass chord" type with strictly sustained metric pulsation). Barrel house style was also practiced in small ensembles, which, in addition to the piano, could include banjo, guitar, mandolin, harmonica, bass and percussion, as well as primitive folk instruments (kazoo, jug, "singing saw", washboard, comb with tissue paper, etc.).

Bounce / Bounce (English jump, jump)

1. A kind of swing, elastic rhythmic movement at a moderate pace with emphasis on the main beats of the measure. The opposite of jump with its simplistic, slightly swinged beat and very fast tempo.
2. Fashionable North American dance in a moderate 4/4 tempo, resembling a slow foxtrot.

Begin / Begin

Dance of Latin American origin (presumably from the island of Martinique), in quadruple meter, at a moderate pace. It has some similarities with tango and rumba. Received international distribution in the 30s. 20th century. The melody "Begin the Beguin" from the musical "Jubilee" by C. Porter (1935) is one of the popular jazz themes.

Bebop - see bop.

Big band (large orchestra) / Big band

A characteristic variety of a jazz orchestra, distinguished by a certain composition of instruments (with the leading role of wind instruments), a specific division of instrumental groups (sections), a peculiar technique of ensemble playing (a combination of arranged sections with improvisations of soloists, the use of special types of orchestral accompaniment - background, as well as special types of metrorhythmic pulsation , mixing timbres, etc.). The number of musicians in a big band is 10-20 people. Typical line-up: 4 trumpets, 4 trombones, 5 saxophones and a rhythm group (piano, guitar, bass, drums); some other variants are possible. It is supposed to have a saxophone section (reads), a brass section (breaststroke) and a rhythm section; a woodwind section (woods), as well as a string group, can be added to them. The development of the big band began in the 20s, and in the early 30s. on its basis, swing was formed - one of the fundamental styles of orchestral jazz.

Beat / Beat (English blow)

In a broad sense - metrorhythmic pulsation in music. In jazz, the type of beat (ground-beat, off-beat, on-beat, too-beat, four-beat, etc.) is determined by the interpretation of the metric structure of the measure, the ratio of equity and rhythmic accents, the degree of their coincidence or mismatch. As a rule, a more free and flexible rhythm is opposed to a regular, strictly organized beat. Constantly emerging microshifts of rhythmic accents relative to the beats of the measure enhance the impression of impulsiveness, internal conflict and tension of the musical movement.

Block chords

Jazz piano playing technique based on parallel monorhythmic chordal movement in the parts of both hands of the pianist. Another well-known name for it is "tied hands technique". First developed in the early 40s. Subsequently, this type of chord texture found application in the performing practice of small ensembles (combos) and big bands.

Blues

(presumably from the American idiom to feel blue to be sad or from the English blue devils melancholy, blues; blue also means blue) - A traditional genre of African-American music, which is one of the highest achievements of Negro musical culture. Closely connected with African origins, it is represented by many genre varieties in the folk music of the blacks of South, Central and North America. According to researchers, the blues developed from a number of Negro folklore vocal genres, among which the most important are work song, holler, Negro ballad and spiritual. The bright and unique look of the blues is manifested in the characteristic features of its intonational structure, mode, melody, harmony, and form. The blues tradition is represented in almost all major jazz styles; the leading academic composers of the 20th century turned to her in their work (including Ravel, Milhaud, Gershwin, Copland, Honegger, Martinou, etc.); many forms and genres of contemporary popular and dance music emerged under her influence.

Blues form

A characteristic type of blues stanza structure. Most often, the blues form refers to the classic twelve-bar AAB question-answer structure with a repeated "question" A and a single "answer" B, based on the principle of "change for the third time." This structure corresponds to a certain functional-harmonic model (square) with a typical blues cadence D-S-T, which has no analogues in European music. The stability of the repeatedly repeated "blues square" serves as an organizing factor in melodic improvisation. The specificity of the blues form can also manifest itself within the thematic structures of a different scale (8, 10, 16, 20, 24, 32 measures).

"Blues tones" / Blue notes

Zones of labile (unstable) intonation of individual steps of the mode, which do not coincide with the division of the octave into tones and semitones accepted in European practice. Typical of both jazz and all Negro music in general. In the seven-step scale (heptatonic) they are most often located on the III and VII steps ("blues third" and "blues seventh"), conditionally iotated as lowered III and VII steps of the major. The inadequacy of the perception of "blues tones" by Europeans led to the emergence of an erroneous idea of ​​the Negro blues as sad, sad music (from the point of view of European norms, lowering the III and VII steps of the major mode creates a kind of "o-minor" major).

"Blues scale" / Blue scale

A conditional concept that reflects the European idea of ​​the scale basis of Negro music (primarily blues), limited by the framework of the equal temperament system and the notation system associated with it. In accordance with this idea, the "blues scale" is considered as a seven-step natural major with additional "blues tones" - lowered III and VII steps. In fact, these "steps" are part of special intonation zones that have a different pitch volume than similar steps of the European scale.

Big Band - See Big Band.

Bop/ Thief

Jazz style, developed by the beginning of the 40s. Also known as "bebop", "beebap", "ribap", "mintons style". Almost all of these names (except the last one) are onomatopoeic in origin and are associated with the practice of scat vocals. The term "mintons-style" comes from the name of the Harlem club "Minton" s Playhouse, where the first bop musicians, its founders, performed. Bop replaced swing, emerging as a new, experimental direction of Negro jazz of small ensembles (combos). The most important trends, characterizing bop - the modernization of old hot jazz, the cult of free solo improvisation, innovation in the field of melody, rhythm, harmony, form and other expressive means.Bop is considered the first significant style of modern jazz.

Boper / Boper

A musician playing bop. Brass band / Brass band

(English brass - copper, brass; band - orchestra) - One of the names of the Negro brass band, referring to the period of archaic jazz. Occasionally found in classical jazz and in the names of modern Dixieland jazz ensembles. See also Marching Band.

Break / Break

(English breakthrough, break, change) - A short solo improvisational insert that interrupts the sound of the ensemble. It can play the role of a cadenza "answer" (see the question-answer principle), completing any section of a jazz piece, or an introduction to a soloist's accompanied improvisational chorus.

Breakdown (breakdown) / Breakdown

(eng. break-down collapse, confusion, jumble)_ Fast temperamental Negro folk dance. In the middle of the XIX century. gained wide popularity thanks to the minstrel theater (see minstrel show). It was used here in the final performance of the mass dance scenes, built on the free collective improvisation of all participants. The term also referred to the related boogie-woogie piano style popular in Chicago in the first two decades of this century.

Bridge

(English bridge, transition) - An intermediate section in the structure of a jazz theme that precedes the final reprise section (for example, the third eight-bar B in a standard thirty-two-bar AABA stanza). Contains elements of thematic development or contrast, which serve as additional incentives for improvisation. Other names for the bridge are rilis (eng. release - release) and channel (eng. channel - path, source).

Boogie woogie / Boogie woogie

(onomatopoeic) - Piano blues style, one of the earliest varieties of Negro instrumental blues (along with archaic guitar blues, barrel house blues, etc.). Presumably, it is the result of the transfer of the technique of playing the banjo and guitar, which was used to accompany blues singing, into the practice of piano music playing by North American blacks. The boogie-woogie style originated in the United States in the second half of the 19th century. It became widespread in the first decades of our century thanks to the so-called. house rent party. Its classic examples date back to the 1920s. During the swing period, boogie-woogie entered the repertoire of big bands. The characteristic features of the piano boogie-woogie are reliance on the blues tradition, the predominance of metro-rhythms and off-beat phrasing, saturation with breaks and riffs, improvisation, technical virtuosity, a specific type of accompaniment (walking bass - "wandering bass") and rhythms in the part of the left pianist's hands (shuffle rhythm). Some features of jazz boogie-woogie (twelve-bar blues square, motor rhythm, fast tempo, ostinato repetition of bass figurations) became attributes created in the 30s. the commercial entertainment industry of a fashionable eccentric dance of the same name, popular in Europe since 1945.

Background

(English background, background) - A term denoting the accompaniment of a leading melodic voice or soloist's part. The following types of background are distinguished: 1) chordal (the background is a sequence of chords corresponding to the harmonic square of the theme); 2) melodic (the leading voice is contrasted with contrapuntal melodic accompaniment voices); 3) riff (based on the technique of riff-ostinato repeated melodic patterns); 4) bass (the role of accompaniment is played by the bass line, which is the functional-harmonic support of the melody); 5) rhythmic (in the form of a clearly organized rhythmic pulsation with accents on the main beats of the measure); b) mixed (combining features of the above types).

"Jazz Age" - See "Jazz Age".

West Coast Jazz (West Coast Jazz) / West Coast Jazz is a stylistic trend in modern jazz that was formed in a number of California cities in the 50s. (the first samples date back to 1949). West coast jazz emerged primarily under the influence of progressive and bop styles, but it also has other stylistic connections - with symphonic jazz, swing, cool jazz and with European academic music. It is characterized by emotional restraint, strictness of form and voicing, a tendency to use linear-counterpuntal techniques, a predilection for moderate tempos and rounded cantilena melody (in the spirit of ballads and evergreens), softness of sound production (in this sense, West Coast jazz is closer to cool, rather than hot jazz), the sophistication of harmonic and timbre means, the combination of a diatonic ladotonal base with chromatisms that “colorize” it and various modulation techniques, the “relaxed” nature of swing pulsation along with a calm, even rhythm, a tendency to complete, symmetrical phrasing. The connection between West Coast jazz and traditional jazz is indicated by the musicians' use of this style of simultaneous group improvisation. In the field of chamber-ensemble music-making, it is typical for West Coast Jazz to borrow the techniques of the performing technique of large orchestras (up to the transformation of the entire ensemble into a single instrumental group, similar to the big band section). In the orchestral practice of West Coast Jazz, the opposite trend is observed - towards a chamber style of playing, individualization of timbres, strengthening the role of solo improvisation. Also noteworthy is the inclusion in the instrumentation of such instruments, rarely used before in jazz ensembles, as oboe, English horn, bassoon, bass clarinet, bass trumpet, bass trombone, horn, harp, bowed strings; common is the combination of low woodwinds with saxophones. The West Coast jazz style contributed greatly to the development of Europeanized concert jazz.

Vaudeville

In the modern sense, it is a kind of everyday comedy with musical numbers, couplets, dances, pantomimes and trick scenes. In the USA, the so-called. American vaudeville (and as its variety - Negro vaudeville), the specificity of which is associated with the national-characteristic features of the plot and music, with an appeal to local folklore and everyday material, as well as with the influences of the minstrel theater (see minstrel show).

"The Revival of Dixieland and New Orleans Jazz" - See Revival.

Question-answer (responsible) principle / Responsorial principle

(responsory, responsorium) (from lat. respondeo to respond) - One of the universal, fundamental principles of musical formation, providing for such a type of connection of form elements (constructions, sections, parts; motives, phrases, sentences, etc.), in which these elements form complementary pairs. The presence of a musical construction that performs the function of a "question" (and therefore has such properties as instability, incompleteness, openness) is a factor that determines the emergence of an "answer" construction (more stable and complete, restoring the previously disturbed dynamic balance). The question-answer principle finds application in many European musical forms (imitative, reprise, refrain; based on concentric planning, mirror symmetry, periodic repetition, etc.). The simplest way to implement this principle in performing practice is the so-called. antiphon (lat. antiphonos - counter-sound) - the alternation of two groups of the ensemble, the roll call between the soloists, between the soloist and the ensemble. The responsorial technique in African-American music (work song, holler, spiritual, blues) and jazz is represented by an extraordinary variety of means and techniques - from the simplest (roll call) to the most complex (in the field of the logic of improvisation and composition, harmony and melody, in the distribution of functions between individual performers and instrumental groups).

East Coast Jazz - See East Coast Jazz.

Harlem jazz/ Harlem jazz

The general name of a number of styles of Negro jazz of the 20s and 30s, the emergence of which is associated with the musical life of New York Harlem. Here, an original style of blues performance (Harlem blues) was developed, its own school of piano jazz was formed (Harlem stride style), and a special kind of chamber and orchestral swing (Harlem jump) was formed. In the 20s. Negro vaudeville reached its peak in Harlem. By the same time, the beginning of the fruitful concert and composing activity of Duke Ellington [link to "Masters"], who performed with his orchestra in many Harlem clubs and created a number of original style concepts (jungle style, concert style, lyrical "mood style" ). Influenced by the traditions of Harlem jazz in the 40s. the bebop style developed (see bop).

Hemiola/ Hemiola

(hemiole) (lat. one and a half) - A type of rhythmic grouping in which groups of durations are formed that do not coincide in their total length with the fractional cycles of the main meter (for example, 3 two-part groups in 2 three-part measures, etc.). The resulting discrepancy between metrical and rhythmic accents creates the impression of a temporary change in meter, violates its stability and thereby dynamizes the musical presentation. This principle is very characteristic of African rhythm, from which it was transferred to African-American music and jazz (see also pattern, stomp).

Gospel song

(Eng. Gospel - gospel; song - song) - A genre of Negro religious song on evangelical themes, which became widespread in the USA in the 1930s. Unlike other spiritual Negro genres of folklore origin (such as spiritual, jubilee, etc.), the text and music of gospel songs were created mainly by professional authors. The gospel song differs from the choral spiritual in that it is most often intended for solo performance and is much more closely associated with the blues tradition, is more saturated with improvisation, and can have a developed instrumental accompaniment (whereas the spiritual is usually performed a cappella).

Growl / Growl (English growl)

Harsh, "growling" sound. An instrumental-timbre effect transferred to jazz from the folklore practice of Negro singing (see shout, dgrti-tone). It is most often used in playing brass instruments in the lower register with the use of mutes (especially on trombone, but can also be achieved when performed on other instruments (clarinet, saxophone, etc.). A variety of growl effects are characteristic of the so-called. jungle style.

Ground beat

(eng. main beat, pulse) - Steady regular pulsation in jazz, coinciding with the metric structure of the measure. As a rule, assigned to the rhythm group of a jazz ensemble; is the organizing principle in the ensemble performance. At the same time, the ground beat serves as the basis for creating various meter-rhythmic conflicts in jazz music by combining it with more individualized and rhythmically free counter-voices or by introducing subtle shifts in rhythmic accents relative to metric beats (see off-beat).

Down beat / Down beat (English down below; beat beat, pulse)

A type of jazz phrasing in which, within freely articulated rhythmic groups, reference accents are retained on the main beats of the bar. This method allows you to simultaneously combine a ground beat (in a hidden form) and an off beat in the part of one instrument.

Dgrti tone / Dirty tone (English dirty unclean)

A specific type of intonation in African American music and jazz, characterized by extreme pitch instability (lability), wide and frequent vibration, extreme dynamism and tension, and a pronounced ecstatic character. By its origin it is associated with Negro religious cults. It is an essential component of shout singing. It is especially often used in hot jazz (both vocal and instrumental) - often in combination with other expressive means related to it (off-pitch, "blues tones", groul effects, scat, etc.).

"Jazz at the Philharmonic" / Jazz at the Philharmonic (abbr. JATP)

Jazz concert organization founded in 1942 in Los Angeles by impresario Norman Granz. One of the main tasks of its activity is to provide leading jazz musicians with the opportunity to regularly perform in philharmonic concert halls, as well as arrange tours of jazz bands and soloists in the United States and abroad. At present, the concept of "jazz in the philharmonic", or "philharmonic jazz" is also used in a broader sense - in relation to all modern concert jazz music.

"Jazz Age" ("Jazz Age") / Jazz Age

Conventional name for a period in jazz history dating from approximately 1917-1929. (from the end of World War I to the economic crisis in the USA). Francis Scott Fitzgerald called this period the "Jazz Age" in his book. "Tales of the Jazz Age" (1922). The sensational "discovery" of jazz, which led to its rapid flowering and widespread distribution, is associated with this time. Chronologically, the indicated period coincides with the period of classical jazz and the beginning of the transition from it to the "swing era".

Jazz rock/ Jazz rock

A stylistic direction that arose on the basis of the synthesis of jazz and rock music. Jazz-rock reached its peak by the end of the 60s. (The first experiments undertaken on the initiative of free jazz musicians date back to the end of the 50s).

Jive / Jive (American slang, chatter, jargon)

The term has a number of meanings: 1) the same as jazz; 2) the symbolic language of the blues, which makes it possible to play with all sorts of "forbidden" topics in the text - for example, those related to sex, alcoholism, drug addiction, crime, etc.; 3) during the swing period, the name of the music performed by the big band in the manner of the Harlem jump, as well as the name of the popular dances associated with this style; 4) jargon of jazz musicians and jazz lovers.

Jump / Jump (English jump, jump)

A kind of Negro swing, created in the 20-30s. musicians of the Harlem school of jazz (see Harlem jazz). It is distinguished by an increased exaltation of the performing manner, a strong and sharp attack of the sound, an abundance of breaks and jumps in the melody, a large dynamic pressure and aspiration (see drive), a hard, uniform rhythm with heavy accents on the main metric beats (see, beat, ground beat). ). Jump is closely related to the blues and Negro hot jazz traditions.

Jungle style ("jungle style") / Jungle style

A stylistic trend in jazz that arose in the second half of the 1920s. One of the founders and leading representatives of this style is Duke Ellington [link to<Мастера>]. Characteristic features of the jungle style: exotic combinations of timbres, an abundance of sharply dissonant sounds and clusters, various mute effects, growl-style in playing wind instruments, dgrti-tones, glissando, shout techniques, imitation of the voices of wild animals and humans. Exotic stylization and barbarism are often combined here with refined orchestral coloring, the traditions of blues and hot jazz - with experiments in the field of harmony, tonality, form and instrumentation. Many expressive means of jungle style have found application in modern jazz.

Jam session / Jam session (English random meeting)

Traditional creative meetings of jazz musicians who gather in their free time (most often at night) to freely play music together, exchange ideas or compete with each other in performing skills and in the art of improvisation. The composition of the ensembles performing at the jam session, as a rule, is not determined in advance and may change directly during the performance. The program of such "concerts" is also of a random nature, which excludes the possibility of preliminary preparation of musicians, rehearsals, and the use of arrangements. The tradition of jam sessions has existed since the beginning of the 20th century. musicians of New Orleans jazz and is preserved to our time. Jam sessions have played an important role in the development and development of many jazz styles.

Jubilee / Jubilee (English celebration, jubilation)

Archaic Negro religious song-praise. The basis of the jubilee is the canonical choral melody, repeated many times with minor changes and new improvisational overtones (the principle of strophic variation). In the process of performing a jubilee, there is usually a gradual transition from a strict and calm presentation of the melody of a European church hymn to a more free and dynamic one - using Africanized responsor techniques, improvisation, "blues tones", dance rhythms - up to ecstatic shaug singing.

Dixieland / Dixieland (English Dixie country)

One of the main style varieties of traditional jazz (along with the New Orleans style). The term has a folklore origin ("Dixie Country" is a symbolic name for the southern states of the USA); Introduced by white musicians - the creators of Dixieland, to emphasize its difference from Negro jazz and avoid the use of the word "jazz", the attitude towards which for quite a long time was very dismissive. The earliest examples of Dixieland date back to the end of the 19th century, and this style finally took shape in the 1910s. At first, the activity of white musicians was limited to blind imitation of the New Orleans style and was not very fruitful. The second generation of Dixieland musicians (early 1920s) mastered the main expressive means of Negro jazz (improvisation, off-beat, "blues scale", "hot something", etc.), embarking on the path of gradually overcoming racial barriers. As a result, the differences between Dixieland jazz and the New Orleans style began to smooth out, which greatly contributed to the emergence and development of new, mixed style forms of jazz music. Early on, Dixieland developed mainly under the influence of minstrel traditions, the music of archaic marching brass bands (see marching band) and especially ragtime. Its final reorientation to classical Negro jazz took place c. 1916. Many characteristic features of Dixieland were preserved in the 1920s, which replaced it. Chicago style.

Drive / Drive (English movement, pursuit, race, haste)

An energetic style of performance in jazz, in which the effect of increasing acceleration of the tempo of the active aspiration of the movement is achieved. Drive involves the use of a whole range of expressive means and techniques, such as the constant advance of the beats of the metric pulsation (see off-beat), the transition from the dispersed placement of share accents (on the 1st and 3rd beats or on the 2nd and 4th) to the accentuation of each beat from larger to smaller rhythmic durations, dynamic sound attack, swing, stomp, riffs, etc.

West Coast Jazz - See West Coast Jazz.

"Sound ideal" / Ideal sound

A term used in Western musicology (cf. German Klangideal, French sonorite ideale, in. suono ideale) to express an aesthetic idea of ​​the quality and beauty of musical sound, that is, about those necessary properties of it that are determined by the norms of artistic perception and thinking inherent in a particular historical era, national culture, style. "Sound ideal" has loudness, temporal, timbre and pitch characteristics; it is closely connected with the criteria of correct, artistically complete sound extraction and sound science, with the expressive possibilities of musical instruments and voice, with the traditions of performing arts. In the music of different eras and peoples, he discovers the features of individual originality and originality. The "sound ideals" of the musical cultures of the Middle Ages and Classicism, academic music and folklore are different. The "sound ideal" of jazz (the so-called jazz sound) has its own specific features and is one of the most important categories of jazz style.

Improvisation / Improvisation

(from lat. improvisus unforeseen, unexpected, sudden) - A method of creativity (in music and some other forms of art), which involves the creation of a work in the process of free fantasy, impromptu. In musical improvisation, there is no separation of the functions of the composer (composing music) and the performer (interpretation); they form an organic unity and are carried out by the musician-improviser at the same time. In jazz (unlike academic musical art) improvisation is of fundamental importance, although its use in some cases is not considered mandatory. The types and means of improvisational technique in jazz are extremely diverse, which is due to the peculiarities of various jazz styles, the individual performing style of musicians, and the specifics of musical forms and genres characteristic of jazz. Such varieties of improvisation are widely used here, such as vocal and instrumental, solo and ensemble, tonal and atonal, free and limited (based on given schemes, models, standards, partially or completely planned, combined with elements of composition and arrangement, even completely fixed in musical notation). It can be a short break or an extended melodic chorus, improvisation on a certain theme, on a harmonic square or even on a complete piece with a developed form, improvisation on improvisation, modal or aleatoric improvisation, collective playing in a linear-counterpuntal, heterophonic, ornamental variation or responsorial manner. , an imitation by a musician of the improvisational style of other jazz performers, etc. Combinations of various types of improvisation are also possible.

East Coast Jazz (East Coast Jazz)/East Coast Jazz-General

The name of a group of styles and trends of modern jazz that developed in the first half of the 50s. on the East Coast of the USA (the main center is New York). Representatives of East Coast Jazz are predominantly colored musicians. His most important style forms are hard bop and soul. These styles, which arose as a reaction to West Coast jazz experiments in the field of Europeanized concert forms, are characterized by a tendency to revive the traditions of blues and black hot jazz on a modern basis.

Kansas Style (Kansas City Jazz)/ Kansas City Jazz

A stylistic variety of early Negro swing, which arose in the late 20s. in Kansas City. It is distinguished by a characteristic type of swing pulsation (bounce), sustained four-beat, varied use of riffing and beat-phrasing techniques. Reveals traces of influences from traditional jazz, ragtime, and musical folklore from the Midwest. In some respects, the Kansas style anticipates later styles of modern jazz, in particular bop and cool.

Country (Country music)

(English country rural, rustic) - A traditional song and instrumental musical culture of the white population of rural areas of the southeastern and western states that grew out of folklore sources and is represented in the United States by many local schools, styles and trends. It developed by the beginning of the 20th century as a result of a long process of mixing archaic forms of musical folklore of various European peoples. Initially, it existed in rural areas as the music of farmers, agricultural workers, lumberjacks, etc. under the name folk music, or abbr. folk (folk music). After the First World War, it became widespread due to the development of recording and radio. In the 1920s, it became known as hillbilly, named after one of its most popular performers, violinist and singer Billy Hill (1899-1940). By the 40s. commercialized, turning into the so-called.<вторичный фольклор>(created by professional authors). Together with the cowboy songs of the West - westerns - it gained popularity in the urban environment under the name country and western (country and western, C & W). In some of its varieties, country music reveals Negro influences. It is now almost entirely within the realm of commercial entertainment music; often popularized in the form of theatrical variety programs - country shows.

Country blues/ Country blues

One of the names of the archaic blues, emphasizing its belonging to rural musical folklore, in contrast to the classical blues, which had a predominantly urban existence and therefore was also called big city blues (lit. big city blues). See also country.

Square

In jazz music, this term denotes a complete functional-harmonic structure of a certain scale (eight-bar, twelve-bar, sixteen-bar, etc.), underlying the theme on which improvisation is performed, and repeated many times without significant changes throughout the piece. . This concept is associated with the existence of a special type of musical form in jazz, which is a series of harmonic squares against which melodic improvisation unfolds. This suggests the possibility of using several different principles of shaping at the same time: strophic variation (the structural scheme of the harmonic square remains unchanged, while its chord, texture and rhythm vary), end-to-end improvisational deployment of melody, responsor technique (dialogical roll call of soloists within the one square or a question-answer alternation of melodic solos with a length of several squares each), as well as recapitulation (framing the play with exposition and recapitulation of the theme).

Classic blues/ Classic blues

A type of blues that developed by the end of the 19th century on the basis of new, urbanized varieties of this genre that developed from the archaic, or rural, blues (urban blues, big city blues). The heyday of the classic blues dates back to 1925-1935, after which there was a transition to its modern forms (see modern blues). By this time, the most important characteristic features of the blues as an independent artistic phenomenon were finally determined: the classical twelve-bar blues form, the original type of melody, the developed responsor technique, the system of genre varieties (vocal, vocal-instrumental and instrumental blues; combo and big band blues; lyrical and dramatic, melodic, hot and swing blues). Classical blues had a great influence on the formation of the leading styles and trends of traditional jazz, such as the New Orleans style, barrel house, boogie-woogie, etc.

Classic jazz/ Classic jazz

The general name for jazz styles that developed from archaic jazz. The classical period dates from approximately 1890-1929. Ended with the beginning of the "swing era". Moments of the heyday of classical jazz - ca. 1917 (New Orleans) and again in the mid-20s. (Chicago). It is customary to attribute the following stylistic forms to classical jazz: the New Orleans style (represented by the Negro and Creole directions), the New Orleans-Chicago style (which arose in Chicago after 1917 in connection with the move here of most of the leading Negro jazzmen of New Orleans), Dixieland (in its New Orleans and Chicago varieties), a number of varieties of piano jazz (barrel house, boogie-woogie, etc.), as well as jazz trends related to the same period that arose in some other cities of the South and Midwest of the United States. Classical jazz, together with certain archaic style forms, is sometimes referred to as traditional jazz.

Classic swing

Mature swing style of the period 1930-1944. It is a new, higher stage in the development of early swing (see Chicago style). It flourished in 1938-1942, after which it began to gradually lose its dominant importance due to its commercialization and the promotion of modern jazz to the fore. In the 50s. there has been some revival of classic swing in its traditional and modernized forms.

Combo

(from the English. combination combination, combination) - A characteristic type of chamber jazz ensemble, established in modern jazz. Unlike a big band, in which the collective performance and sectional division of instruments prevails over soloing, a combo, as a rule, is an ensemble of soloists improvising accompanied by a rhythm group (sometimes the rhythmic function is entrusted here to only one instrument or even be not isolated from the solo parts). The number of performers in a combo can vary within a fairly wide range - from 2 to 10-11 people - and, therefore, is not a defining feature of this type of ensembles. Their specificity is associated primarily with the distribution of functions between musicians, which gives reason to consider combo jazz as a relatively independent stylistic variety of jazz music.

Concert jazz

This concept is applied to jazz music specially intended for public performance in large concert halls or having qualities inherent in concert genres (by analogy with the concert genres of academic music). Concert jazz is characterized by an increased seriousness and depth of content, refinement of expressive means, a carefully thought-out and developed form (and as a result of this, an increase in the role of composition and arrangement), a high level of professional skill and technical virtuosity of performance, a rejection of entertaining and applied functions and from dance rhythms, appeal to a prepared, intelligent listener with a developed musical taste and an appropriate culture of perception. There are examples of concert genres created on the basis of Negro folklore (concert spiritual, concert blues), archaic forms of Euro-American music (concert ragtime), traditional jazz (concert Dixieland). In the 20s. concert arrangements of song, dance and jazz melodies performed by the so-called orchestras were very popular. symphonic jazz. In the same period, an original concert jazz style developed by Duke Ellington [link to<Мастера>] and the musicians of his orchestra. The trend towards concert performance is evident in almost all styles and directions of modern jazz. To the greatest extent, this concept is applicable to such varieties as philharmonic jazz (see "Jazz in the Philharmonic"), progression, West Coast, cool, free jazz, "third stream", modern symphonic jazz.

Creole jazz/ Creole jazz

(also frenchmen jazz) - A variety of traditional jazz related to the New Orleans style. It developed in parallel and in close connection with its Negro direction. It arose among the colored Creoles of New Orleans - the descendants of French and Spanish settlers with an admixture of Negro blood. This explains the peculiar intermediate position of Creole jazz between Negro jazz and Dixieland, which found direct expression in its style. Creole musicians brought elements of their native folklore and Latin American music to jazz, contributed to the expansion of jazz instrumentation and the development of ensemble forms of jazz, as well as to introduce blacks to European culture.

Cool jazz ("cool" / "cold" jazz) / Cool jazz

(eng. cool cold, cool) - The style of modern jazz that arose in the late 40s. Created by some Negro jazz boppers based on the achievements of bop, but in many ways it is the opposite of it. First of all, this manifested itself in a departure from the traditions of hot jazz, which bop followed, in the rejection of its inherent excessive rhythmic expressiveness and emphasized Negro specificity. The origin of the cool style is also commonly associated with the name of the Negro swing saxophonist Lester Young, who back in the 30s. developed the "cold" manner of sound extraction (the so-called Lester sound), opposite to the sound ideal of hot jazz. The characteristic features of the kula are emotional restraint, increased intellectuality, reduced role of off-beat and drive, increased importance of composition, arrangement and harmony, sophistication of timbres, the use of various modulation techniques, polyphonization of texture, the use of elements of polytonality, atonality and dodecaphony, a tendency to converge with European academic music. Most representatives of cool jazz are white musicians. Basically cool is performed by combo-type ensembles, less often by large orchestras. His influences have influenced the development of other contemporary jazz styles, especially West Coast and Third Stream jazz.

Coon song

(English coon fallen, lost) - Popular songs in a quasi-Negro spirit that have existed in the USA since the 20s. the last century. "Kun" is a contemptuous nickname for blacks. Kun-songs were created mainly by white authors in imitation of Negro plantation songs. They became widespread thanks to the minstrel theater (see minstrel show). Subsequently, some of them entered the jazz repertoire.

Kaykuok / Cakewalk (English procession to the kitchen)

Popular since the mid-19th century, a fast syncopated march dance of African American origin. He was a member of minstrel performances (minstrel show). It is the forerunner of ragtime. In Europe, it became widespread as a fashionable household dance in the 1900s. The name kaykuoka, according to one version, is associated with the dances of black slaves, performed to amuse the white masters. The procession to the kitchen was probably a reward for distinguished dancers.

Lead / Lead (Lead party)

(English lead lead) - Leading melodic voice in a jazz ensemble. In classical jazz, the leading part was usually played by a cornetist or trumpeter, who was called a leader or band leader. During the swing period, this was the name of the leader of the orchestra.

Marching Band

A type of Negro brass band that became popular during the archaic jazz period in New Orleans. It arose on the model of military marching bands that existed in the French army since the time of the Napoleonic wars. The repertoire of the marching chapels of New Orleans consisted mainly of marches and popular dances performed in the syncopated manner characteristic of the Negroes. Such orchestras participated in carnivals and holidays, solemn processions and parades. They were instrumental in shaping the New Orleans style and classical jazz in general.

Minstrel show / Minstrel show

(English minstrel performance) - An original form of American musical theater that arose in the first half of the 19th century under the influence of Negro folklore. Initially, these were short comedy-eccentric impromptu skits performed by itinerant white minstrel musicians, who, disguised as blacks, parodied their habits, speech, songs and dances. Such skits were often inserted as interludes between actions in theatrical productions, for the entertainment of the public during intermissions. Subsequently, on their basis, a special type of complete multi-act show performance with the participation of professional acting troupes and musical ensembles (banjo, castanets, tambourine, to which other instruments could sometimes be added) developed. The period of the highest heyday of the minstrel show 1840-1870. After the end of the American Civil War (1865), Negro troupes appeared, continuing the tradition of white minstrels. By the early 20th century, the minstrel theater had become commercialized and lost its importance. Nevertheless, he played an important role in the history of American music - he contributed to the emergence and development of ragtime and early jazz, the formation of national genres of musical theater and variety and entertainment art (vaudeville, musical, music hall, show, revue, etc.).

Modal jazz/ Modal jazz

An experimental trend in modern jazz associated with the transition from the traditional type of tonal organization (European major-minor with its functional-harmonic system) and shaping (strophic form in the form of a series of repeating harmonic squares) to a new, modal ("modal") principle. According to this principle, the main organizing basis of musical presentation is the so-called. "modes" are special (non-normative) scale-scale structures that preserve the constancy of the step composition throughout the piece or its section, but at the same time allow free combination of tones within a certain scale. This kind of modality allows you to connect a lot of melodic and harmonic elements into a single whole and at the same time divide the whole into parts and sections that are organically interconnected. The material for building modes can be very diverse: diatonic modes of European folk music, medieval church modes, scales of non-European origin, artificially constructed scale structures. Particular preference in modal jazz is developed in 1953 by pianist George Russell, a system of 9 chromatic variants of the Lydian mode, intended mainly for use in the practice of blues improvisation (the so-called "Lydian concept of tonal organization"). Modal technique in jazz is not purely linear; her arsenal also includes such techniques as melodic expansion of a given chord structure or, conversely, "folding" of the original melodic scale into chords. This gives musicians the opportunity to use various types of texture in ensemble playing: polyphonic, homophonic, choral, responsorial (question-answer), etc. Representatives of many modern jazz styles turned to the modal technique. To the greatest extent this applies to free jazz musicians.

Model / Pattern - See Pattern.

Mainstream/Mainstream

(English main, central current) - A conditional concept that was established in the jazz lexicon in the 50s. in connection with the revival of swing - a style that occupies an intermediate, central position between traditional hot jazz and modern cool. Later it began to be used to denote a moderately progressive direction that exists within any style, not breaking with tradition, in contrast to the conservative, canonized forms of this style and its experimental varieties (for example, the New Orleans-Chicago style as a mainstream within the framework of classical jazz, cool with elements of hot jazz and swing, free jazz blues, etc.).

Neobop / Neobop (English new bop) - Same as hard bop.

New Orleans style

The founding style of the classical period of jazz history. Represented by Negro and Creole Jazz of New Orleans. Formed at the end of the 19th century. based on African-American folklore (work song, Negro ballad, spiritual, blues, etc.), folk and everyday music of colored Creoles, as well as archaic (early) jazz. The New Orleans style is associated primarily with the emergence of developed instrumental-ensemble forms of Negro music-making, which replaced the vocal folklore genres with primitive instrumental accompaniment, everyday dances, piano ragtime and the music of wind chapels organized on the model of European military bands. In the classical period, an independent type of New Orleans jazz band developed with a characteristic division of instrumental groups (sections) - rhythmic (banjo, brass or string bass, drums and piano) and melodic (leading voice - cornet or trumpet, contrapunctuating voices - clarinet and trombone , also participating in the harmonic accompaniment of the melody), with a certain ratio of solo and collective playing, improvisation and arrangement. In contrast to the heterophonic-variational style of performance in archaic jazz, a more complex and perfect responsorial (question-answer) principle of ensemble playing along with polyphony such as improvisational contrast polyphony with a leading voice (lead) has been established here. The blues tradition received a brighter and more consistent incarnation, a range of specific expressive means and techniques was defined - off-beat, drive, dgrti-tones, shwut-effects, stomping, breaks, etc.). After 1917, in connection with the closure of the entertainment establishments in New Orleans, many jazzmen moved to Chicago, where, thanks to this, the so-called. New Orleans-Chicago style, which contributed to the birth of early swing (see also Chicago style). Among the white musicians of New Orleans and Chicago, who imitated Negro jazz, the Dixieland style developed. By the end of the 20s. the New Orleans style lost its importance and was supplanted by commercial entertainment music, but in the second half of the 30s. there was a revival in traditional and new forms (see revival). The ideas and principles of the New Orleans style have found their continuation in modern Dixieland.

On beat (On the beat)

(English to the beat) - Jazz beat approaching a strict metric ripple.

Off-beat / Off beat

(English from beat) - A jazz beat that deviates from a strict metric pulse. One of the most important means of creating metro-rhythmic conflicts in jazz.

Off-pitch / Off pitch

(English from [certain] pitch) - Deviation from the absolute pitch. A term denoting a type of labile (mobile, unstable) intonation characteristic of African American music and jazz that does not fit into the European equal-tempered pitch scale. Specific forms of intonation such as off-pitch include "blues tones" and dirt tones. "Hairdressing Harmony" - See Barbershop Harmony.

Pattern (pattern formation)

(English model) - A term referring to the field of modal technique in jazz (in a broader sense than modal modality; see modal jazz). A pattern is a stable structural formation - a model (a rhythmic figure, a melodic turn, an accent cycle, a chord sequence, a textural formula, etc.), which, when repeated - without losing its stability - allows for its diverse modification and variation due to the change - changes in time, re-emphasis, transposition, sequencing, etc. This is a kind of building material for musical deployment in jazz, an important means of dynamizing presentation and shaping. Often the scale (extension) of such a model does not coincide with intra-beat cycles (for example, a group of three eighths of duration at a time signature of 2/4). The repetition of this pattern creates a sequence of accents that contradicts the main bar grouping. In this case, the effect of "loosening" of the original meter arises, which intensifies the internal conflict and dynamism of musical development. The reception of repeated ostinato repetition of a pattern as a means of pumping up dynamics is called stomp in jazz, or stomping. A private kind of stomping, very characteristic of orchestral swing, is the so-called. riff technique.

Cross rhythms / Cross rhythms

An African type of improvisational rhythmic polyphony based on the free combination of different meters. Unlike European polymetry, in cross-rhythm the stressed beats of combined meters do not coincide with each other. In African music, cross-rhythms are usually used in combination with modal rhythmic technique (see pattern) and stomping, which are also included in the arsenal of expressive means of jazz. Jazz off-beat originates from the cross-rhythm, which arose as a result of transferring the techniques of African polymetry to the European monometric basis.

Progressive/Progressive

(English progressive) - A stylistic direction in jazz that arose in the early 40s. based on the traditions of classic swing and bop. Mainly associated with the practice of big bands and large orchestras of the symphonic type. Progressions are one of the styles of concert jazz that had a significant impact on the further evolution of jazz art.

"Cool Jazz" - See Cool Jazz.

Ride beat / Ride beat

(eng. ride ride, beat beat, pulse) - A type of jazz beat reminiscent of a "jump rhythm" (a kind of dotted rhythm).

Early Jazz - See archaic jazz.

Per/ Rag (short for ragtime) - See ragtime.

Regging / Ragging (prod. from rag) - A syncopated manner of playing in the spirit of ragtime.

Ragtime

(English lit. "torn time", i.e., syncopated rhythm) - An original American piano genre that developed in the last quarter of the 19th century in the field of folk music under the influence of some archaic varieties of Negro instrumental music, as well as minstrel songs (kun - song) and dancing (keikuok). In the distribution and development of ragtime, the leading role belonged to white musicians (this applies in particular to the so-called pop concert ragtime). The characteristic features of ragtime are the juxtaposition of a constantly syncopating melody with a metrically clear marching accompaniment of the "bass-chord" type (see stride-style), the use of ostinato-repeated melodic and rhythmic patterns that do not coincide with the bar grouping (pattern), a special type of compositional structure and etc. In the late 80s - early 90s. formed a classic ragtime, markedly different from their folk varieties. Developing along the path of improving the style, structure and pianistic technique, he lost his improvisation, turning into a form of composer creativity, and then commercialized and became one of the genres of professional pop and entertainment art. In the practice of Negro music-making, he retained his individuality, having a significant impact on the evolution of the early styles of piano jazz, as well as the New Orleans style and Dixieland. Recordings by ragtime pianists of the late 19th and early 20th centuries have been preserved on rollers for a mechanical piano, which are of great historical value and subsequently reproduced on gramophone records.

Rent Party - See House Rent Party.

Responsibility principle - See question-answer principle.

Revival / Revival

(English revival) - In the history of jazz, this concept is primarily associated with a movement that arose in the late 30s. and known as the New Orleans renaissance and the Dixieland revival. Its initiators - white jazz lovers, record collectors, jazz critics and musicians - sought to revive the authentic forms of classical jazz, the traditions of which had already been almost completely forgotten due to the general fascination with commercial dance music. The study and popularization of classical jazz contributed to the emergence of new, modern style forms of Dixieland. The term "revival" is also sometimes used for the swing renaissance in the 1950s).

Ring Shout / Ring shout

(English ring circle, shout cry, call) - A Negro religious circular dance of an ecstatic nature that accompanied the performance of a spiritual.

Rhythm section (rhythm section) - See Rhythm section.

Rhythm and blues / Rhythm and blues

(abbr. R & B) - Blues vocal-instrumental style of Negro music of the 30s, which arose under the influence of swing. It combines elements of classic blues, gospel song, Harlem jump, dance and everyday music of blacks. Subsequently, it was commercialized, becoming the object of imitation and distorted imitation in the field of entertainment music. Rhythm and blues is considered one of the earliest forms of Negro rock music. Its commercial modifications, created by white musicians, include rock and roll and twist.

Riff / Riff

A technique of jazz melodic technique particularly characteristic of swing, but also found in various forms in African-American folklore, classical and contemporary jazz. It is a short melodic phrase repeatedly repeated by a group of instruments, or tutti, the ostinato conduct of which is used either as a means of pumping up dynamics (see stomp) or as a stable form of accompaniment to an improvising soloist (background). In a big band, several different riffs can be performed simultaneously, sometimes a series of riffs is performed in sequential alternation or in the form of a responsor roll call between groups of orchestra instruments.

Rock music / Rock music

(eng. rock rock, shake) - A type of modern pop music, originating from the song and dance genres of Negro urban folklore of the 20-30s, rhythm and blues, country and western music (see country ) and rock and roll. Important characteristics of rock music (sometimes no less significant than its musical features) are its social functions, forms of existence, and technical equipment. From the musical side, its most characteristic features can be considered the presence in it of transformed blues elements in combination with a specific rhythm. With all the variety of varieties of rock music, three main styles can be distinguished in it: pop rock (closely associated with the traditions of country music and represented by popular song and dance genres), mainstream rock (similar to the concept of mainstream in jazz), which focuses on traditions blues and rhythm and blues) and avant-garde rock (its experimental forms). The mutual influences of jazz and rock music have led to the emergence of a number of new synthetic musical styles, in particular, jazz-rock and fusion.

Rock and roll / Rock "n roll

(prod. from rock and roll to swing and rotate) - Fashionable American dance of the 50s. A commercialized modification of Negro rhythm and blues. The name appeared for the first time in 1934 on a disc by the Negro singer Buswell with a recording of blues sustained in dance rhythms. Later (since 1951) it was used in radio music programs by the American disc jockey Alan Fried, the popularizer of rock and roll, who is often mistakenly credited with the invention of this term. On the basis of rock and roll, a number of new dance genres arose (twist, halli-gully, madison, etc.), in addition, it is one of the main sources of modern rock music.

Sound

(English sound, sound) - One of the important style categories of jazz, characterizing the individual sound quality of an instrument or voice. It is determined by the method of sound production, the type of sound attack, the manner of intonation and the interpretation of timbre. It is an individualized form of manifestation of the sound ideal in jazz. The concept of sound is also applicable to the sound style of an ensemble or orchestral performance.

Swing

(English swing, swing) -
1. Expressive means in jazz. A characteristic type of metrorhythmic pulsation based on constant deviations of the rhythm (leading or lagging) from the reference beats of the ground beat. This creates the impression of a large internal energy in a state of unstable equilibrium, the effect of "rocking" the sound mass, loosening the metrical basis. When swinging, metro-rhythmic conflicts arise, concentrated mainly around the main beats, which - to enhance the impulsiveness of the rhythm - are emphasized by strong accents. This is its difference from other types of jazz beat and, in particular, from off-beat, associated with the dynamization of not only the beat rhythm, but also the whole rhythm as a whole.
2. The style of orchestral jazz that developed at the turn of the 1920s and 1930s. as a result of the synthesis of Negro and Europeanized style forms of jazz music. Initially, it was represented mainly by big bands, and by the end of the 30s. also began to be performed by chamber ensembles (combos). The distinctive features of the swing style include: a characteristic swing pulsation ("rocking"), a specific combination of sectional playing techniques with solo improvisation, a special timbre coloring, and an increased importance of arrangement and composition. The swing big band is the result of the consolidation and development of Chicago-style orchestras. Historically, swing occupies an intermediate position between traditional and modern jazz, and in terms of its stylistic qualities - between hot and sweet jazz. The classic swing style was formed in the first half of the 30s. In connection with the commercialization and the emergence of new modern style concepts, by the end of the same decade, it faded into the background, turning into a kind of dance and entertainment music. Revived in the 50s.

Swinging / Swinging

Playing in a swing manner, with a swing. "Swing Era" - See "Swing Era".

Sweet / Sweet (English sweet, pleasant)

A term used to refer to a range of commercial entertainment and dance music of a sentimental, lyrical nature, as well as related forms of commercialized jazz (sweet jazz) and "jazzed" popular music. It is customary to refer to sweet music, for example, early symphonic jazz, dance swing music (sweet swing). Elements of the sweet style can be found in many styles of jazz (such as cool, funky, soul, bossa nova jazz, jazz rock), in modern pop music.

"Free Jazz" - See Free Jazz.

Section

An instrumental group in a jazz ensemble or orchestra that performs a certain expressive function (melodic, rhythmic background, etc.).
Woodwind section/ Woods - Rarely used in jazz. Sometimes added to regular big band instrumental groups. It is found in large jazz orchestras of the symphonic type (symphonic jazz, sweet swing, progressive siv, "third trend"). May include flute, oboe, cor anglais, cl

Down beat / Down Beat (English down below; Beat blow, pulse) - A type of jazz phrasing in which reference accents on the main beats of the measures are preserved within freely articulated rhythmic groups. This method allows you to simultaneously combine a ground beat (in a hidden form) and an off beat in the part of one instrument.

Dirty tone / Dirty tone (English dirty impure) - A specific type of intonation in African American music and jazz, characterized by extreme pitch instability (lability), wide and frequent vibration, extreme dynamism and tension, a pronounced ecstatic character. By its origin it is associated with Negro religious cults. It is an essential component of shout singing. It is especially often used in hot jazz (both vocal and instrumental) - often in combination with other expressive means related to it (off-pitch, "blues tones", groul effects, scat, etc.).

Jag / Jug (English jug, vessel) - Archaic Negro musical instrument of West African origin. It is a vessel with a narrow neck, used in folklore ensembles in a rhythmic function or as a resonator to enhance the sound of a voice. Most often used as a bass instrument. It is most widely used in South and Central America, especially in the West Indies. Among North American blacks, it is often used to accompany blues singing and dancing.

"Jazz at the Philharmonic" / Jazz at the Philharmonic (abbr. JATR) - Jazz concert organization, created in 1942 in Los Angeles by impresario Norman Granz. One of the main objectives of its activity is to provide leading jazz musicians with the opportunity to regularly perform in philharmonic concert halls, as well as arrange tours of jazz bands and soloists in the United States and abroad. At present, the concept of "jazz in the philharmonic", or "philharmonic jazz" is also used in a broader sense - in relation to all modern concert jazz music.

"Jazz Age" ("Jazz Age") / Jazz Age - The conditional name of the period in the history of jazz, dating from approximately 1917 - 1929. (from the end of the First World War to the economic crisis in the United States). Francis Scott Fitzgerald called this period the "Jazz Age" in Tales of the Jazz Age (1922). The sensational "discovery" of jazz, which led to its rapid flowering and widespread distribution, is associated with this time. Chronologically, the indicated period coincides with the period of classical jazz and the beginning of the transition from it to the "swing era".

Jazz rock / Jazz rock - A style direction that arose on the basis of the synthesis of jazz and rock music. Jazz-rock reached its peak by the end of the 60s. (The first experiments undertaken on the initiative of free jazz musicians date back to the end of the 50s).

Jive / Jive (Amer. slang. chatter, jargon) - The term has a number of meanings: 1) the same as jazz; 2) the symbolic language of the blues, which allows you to beat all sorts of "forbidden" topics in the text - for example, those related to sex, alcoholism, drug addiction. crime, etc.; 3) during the swing period, the name of the music performed by the big band in the manner of the Harlem jump, as well as the name of the popular dances associated with this style; 4) jargon of jazz musicians and jazz lovers.

Jump / Jump (English jump, jump) - A kind of Negro swing, created in the 20s and 30s. musicians of the Harlem school of jazz (see Harlem jazz). It is distinguished by an increased exaltation of the performing manner, a strong and sharp attack of the sound, an abundance of breaks and jumps in the melody, a large dynamic pressure and aspiration (see drive), a hard, uniform rhythm with heavy accents on the main metric beats (see beat, ground beat) . Jump is closely related to the traditions of blues and Negro hot jazz.

Jungle style ("jungle style") / Jungl style - A style direction in jazz that arose in the second half of the 20s. One of the founders and leading representatives of this style is Duke Ellington. Characteristic features of the jungle style: exotic combinations of timbres, an abundance of sharply dissonant sounds and clusters, a variety of mute effects, growl-style in playing wind instruments, dertitons, glissandos, shout techniques, imitation of the voices of wild animals and humans. Exotic stylization and barbarism are often combined here with sophisticated orchestral color, the traditions of blues and hot jazz - with experiments in the field of harmony, tonality, form and instrumentation. Many expressive means of jungle style have found application in modern jazz.

Jam session / Jam session (English casual meeting) - Traditional creative meetings of jazz musicians who gather in their free time (most often at night) for free joint music-making, exchange of ideas or competition with each other in performing skills and in the art of improvisation. The composition of the ensembles that performed at the jam session, as a rule, is not determined in advance and may change immediately during the performance. The program of such "concerts" is also of a random nature, which excludes the possibility of preliminary preparation of musicians and rehearsals. use of arrangements. The tradition of jam sessions still existed at the beginning of the 20th century. musicians of New Orleans jazz and is preserved to our time. Jam sessions have played an important role in the development and development of many jazz styles.

Jubilee / Jubilee (English celebration, jubilation) - Archaic Negro religious song-praise. The basis of the jubilee is the canonical choral melody, repeated many times with minor changes and new improvisational undertones (the principle of strophic variation). In the process of performing a jubilee, there is usually a gradual transition from a strict and calm presentation of the melody of a European church hymn to a more free and dynamic one - using Africanized responsor techniques, improvisation, "blues tones", dance rhythms - up to ecstatic shout singing.

Dixieland / Dixiland (eng. Dixie country) - One of the main style varieties of traditional jazz (along with the New Orleans style). The term has a folkloric origin ("Dixie country" is the symbolic name of the southern states of the USA); Introduced by white musicians - the creators of Dixieland, to emphasize its difference from Negro jazz and avoid the use of the word "jazz", the attitude towards which for quite a long time was very dismissive. The earliest samples of Dixieland date back to the end of the 19th century; this style finally took shape in the 1910s. At first, the activity of white musicians was limited to blind imitation of the New Orleans style and was not very fruitful. so-called. The second generation of Dixieland musicians (early 1920s) mastered the main expressive means of Negro jazz (improvisation, off-beat, "blues scale", hot tone, etc.), embarking on the path of gradually overcoming racial barriers. As a result, the differences between Dixieland jazz and the New Orleans style began to smooth out, which greatly contributed to the emergence and development of new, mixed style forms of jazz music. In its early days, Dixieland developed mainly under the influence of minstrel traditions, the music of archaic marching brass bands (see marching band) and especially ragtime. Its final reorientation to classical Negro jazz took place c. 1916. Many characteristic features of Dixieland were preserved in the 1920s, which replaced it. Chicago style.

Drive / Drive (English movement, pursuit, race, haste) - An energetic manner of performance in jazz, in which the effect of increasing acceleration of the tempo, active aspiration of movement is achieved. Drive involves the use of a whole range of expressive means and techniques, such as the constant advance of the beats of the metric pulsation (see off-beat), the transition from the dispersed placement of share accents (on the 1st and 3rd beats or on the 2nd and 4th) to the accentuation of each beat, from larger rhythmic durations to smaller ones, dynamic sound attack, swing, stomp, riffs, etc.

Jazz has its origins in the mixture of European and African musical cultures that began with Columbus, who discovered America for Europeans. African culture, represented by black slaves transported from the western coast of Africa to America, gave jazz improvisation, plasticity and rhythm, European - melody and harmony of sounds, minor and major standards.

There is still debate about where jazz music was first performed. Some historians believe that this musical direction originated in the north of the United States, where Protestant missionaries converted blacks to the Christian faith, and they, in turn, created a special kind of spiritual chants "spirituals", which were distinguished by emotionality and improvisation. Others believe that jazz appeared in the southern United States, where African-American musical folklore managed to maintain its originality, only because the Catholic views of the Europeans who inhabited this part of the mainland did not allow them to contribute to a foreign culture, which they treated with contempt.

Despite the difference in the views of historians, there is no doubt that jazz originated in the United States, and New Orleans, which was inhabited by free-thinking adventurers, became the center of jazz music. On February 26, 1917, it was here in the Victor studio that the first phonograph record of the Original Dixieland Jazz Band with jazz music was recorded.

After jazz firmly settled in the minds of people, its various directions began to appear. Today there are more than 30 of them.
Some of them:

Spirituals

One of the founders of jazz is Spirituals (English Spirituals, Spiritual music) - spiritual songs of African Americans. As a genre, spirituals took shape in the last third of the 19th century in the United States as modified slave songs among the blacks of the American South (in those years the term "jubilize" was used).
The source of Negro spirituals are spiritual hymns brought to America by white settlers. The theme of spirituals was made up of biblical stories that adapted to the specific conditions of everyday life and life of blacks and were subjected to folklore processing. They combine the characteristic elements of African performing traditions (collective improvisation, characteristic rhythm with a pronounced polyrhythm, glissand sounds, untempered chords, special emotionality) with the stylistic features of American Puritan hymns that arose on the Anglo-Celtic basis. Spirituals have a question-answer structure, expressed in the dialogue of the preacher with the parishioners. Spirituals significantly influenced the origin, formation and development of jazz. Many of them are used by jazz musicians as themes for improvisations.

Blues

One of the most common is the blues, which is a descendant of the secular music-making of American blacks. The word "blue", in addition to the most well-known meaning "blue", has many translation options that fully characterize the features of the musical style: "sad", "melancholy". "Blues" has a connection with the English expression "blue devils", meaning "when cats scratch their souls." Blues music is unhurried and unhurried, and the lyrics always carry some understatement and ambiguity. Today, blues is most often used exclusively in instrumental form, as jazz improvisations. It was the blues that became the basis of many outstanding performances by Louis Armstrong and Duke Ellington.

Ragtime

Ragtime is another specific direction of jazz music that appeared at the end of the 19th century. The name of the style itself is translated as "torn time", and the term "rag" means the sounds that appear between beats of the bar. Ragtime, like all jazz, is another European musical craze that was taken by African Americans and performed in their own way. We are talking about the romantic piano school that was fashionable at that time in Europe, whose repertoire included Schubert, Chopin, Liszt. This repertoire sounded in the USA, but in the interpretation of African-American blacks, it acquired a more complex rhythm, dynamism and intensity. Later, improvisational ragtime began to be turned into notes, and its popularity was added by the fact that every self-respecting family had to have a piano, including a mechanical one, which is very convenient for playing a complex ragtime melody. Cities where ragtime was the most popular music destination were St. Louis and Kansas City and the town of Sedalia, Missouri, in Texas. It was in this state that the most famous performer and composer of the ragtime genre Scott Joplin was born. He often performed at the Maple Leaf Club, from which the name of the famous ragtime "Maple Leaf Rag", written in 1897, comes from. Other famous authors and performers of ragtime were James Scott, Joseph Lamb.

Swing

In the early 1930s, the economic crisis in the United States led to the disintegration of a large number of jazz ensembles, leaving mainly orchestras playing pseudo-jazz commercial dance music. An important step in stylistic development was the evolution of jazz into a new, cleaned and smoothed direction, called swing (from the English "swing" - "swing"). Thus, an attempt was made to get rid of the slang word "jazz" at that time, replacing it with the new "swing". The main feature of the swing was the bright improvisation of the soloist against the backdrop of complex accompaniment.

Great jazzmen about swing:

"Swing is what real rhythm is to me." Louis Armstrong.
"Swing is the feeling of speeding up the tempo even though you're still playing at the same tempo." Benny Goodman.
"An orchestra swings when its collective interpretation is rhythmically integrated." John Hammond.
"Swing is meant to be felt, it's a feeling that can be passed on to others." Glenn Miller.

Swing required musicians to have good technique, knowledge of harmony and principles of musical organization. The main form of such music-making is large orchestras or big bands, which gained incredible popularity among the general public in the second half of the 1930s. The composition of the orchestra gradually acquired a standard form and included from 10 to 20 people.

Boogie Woogie

In the era of swing, a specific form of blues performance on the piano, which is called "boogie-woogie", gained particular popularity and development. This style originated in Kansas City and St. Louis, then spread to Chicago. Boogie-woogie was adopted by Southern pianists from banjo and guitar players. For pianists performing boogie-woogie, a combination of "walking" bass, performed by the left hand and improvisation on blues harmony with the right hand, is characteristic. The style dates back to the second decade of this century, when pianist Jimmy Yancey played it. But it gained real popularity with the appearance on the general public of three virtuosos "Mid Lux" Lewis, Pete Johnson and Albert Ammons, who turned boogie-woogie from dance to concert music. Further use of boogie-woogie took place in the genre of swing and then rhythm and blues orchestras and largely influenced the emergence of rock and roll.

Bop

In the early 40s, many creative musicians began to acutely feel the stagnation in the development of jazz, which arose due to the emergence of a huge number of fashionable dance-jazz orchestras. They did not strive to express the true spirit of jazz, but used replicated preparations and techniques of the best bands. An attempt to break out of the impasse was made by young, primarily New York musicians, which include alto saxophonist Charlie Parker, trumpeter Dizzy Gillespie, drummer Kenny Clarke, pianist Thelonious Monk. Gradually, in their experiments, a new style began to emerge, which received the name "bebop" or simply "bop" with Gillespie's light hand. According to his legend, this name was formed as a combination of syllables with which he hummed the musical interval characteristic of bop - the blues fifth, which appeared in bop in addition to the blues thirds and sevenths. The main difference of the new style was the complicated and built on other principles of harmony. The super-fast pace of performance was introduced by Parker and Gillespie in order to keep out non-professionals from their new improvisations. The complexity of building phrases compared to swing primarily lies in the initial beat. An improvisational phrase in bebop might start on a syncopated beat, maybe on a second beat; often the phrase played on an already known theme or harmonic grid (Anthropology). Among other things, a shocking demeanor has become a hallmark of all bebopites. Gillespie's curved "Dizzy" trumpet, the behavior of Parker and Gillespie, Monk's ridiculous hats, etc. The revolution that bebop made turned out to be rich in consequences. At an early stage of their work, boper were considered: Erroll Garner, Oscar Peterson, Ray Brown, George Shearing and many others. Of the founders of bebop, only the fate of Dizzy Gillespie was successful. He continued his experiments, founded the Cubano style, popularized Latin jazz, opened the world to the stars of Latin American jazz - Arturo Sandoval, Paquito DeRivero, Chucho Valdes and many others.

Recognizing bebop as music that required instrumental virtuosity and knowledge of complex harmonies, jazz instrumentalists quickly gained popularity. They composed melodies that zigzagged and rotated according to chord changes of increased complexity. The soloists in their improvisations used notes that were dissonant in tonality, creating more exotic music with a sharper sound. The appeal of syncopation led to unprecedented accents. Bebop was best suited to play in a small group format such as quartet and quintet, which proved to be ideal for both economic and artistic reasons. Music flourished in urban jazz clubs, where audiences came to listen to inventive soloists rather than dance to their favorite hits. In short, bebop musicians were transforming jazz into an art form that appealed perhaps a little more to the intellect than to the senses.

With the bebop era came new jazz stars, including trumpeters Clifford Brown, Freddie Hubbard and Miles Davis, saxophonists Dexter Gordon, Art Pepper, Johnny Griffin, Pepper Adams, Sonny Stitt and John Coltrane, and trombonist JJ Johnson.

In the 1950s and 1960s, bebop went through several mutations, including hard bop, cool jazz, and soul jazz. The format of a small musical group (combo), usually consisting of one or more (usually no more than three) wind instruments, piano, double bass and drums, remains the standard jazz line-up today.

progressive jazz

In parallel with the emergence of bebop, a new genre is developing in the jazz environment - progressive jazz, or simply progressive. The main difference of this genre is the desire to move away from the frozen cliche of big bands and outdated, worn out techniques of the so-called. symphonic jazz introduced in the 1920s by Paul Whiteman. Unlike the boppers, the creators of progressive did not seek to radically abandon the jazz traditions that had developed at that time. Rather, they sought to update and improve swing phrase-models, introducing into the practice of composition the latest achievements of European symphonism in the field of tonality and harmony.

The greatest contribution to the development of the concepts of "progressive" was made by the pianist and conductor Stan Kenton. Progressive jazz of the early 1940s actually originates from his first works. The sound of the music performed by his first orchestra was close to Rachmaninoff, and the compositions bore the features of late romanticism. However, in terms of genre, it was closest to symphojazz. Later, during the years of the creation of the famous series of his albums "Artistry", elements of jazz no longer played the role of creating color, but were already organically woven into the musical material. Along with Kenton, credit for this belongs to his best arranger, Pete Rugolo, a student of Darius Milhaud. Modern (for those years) symphonic sound, specific staccato technique in playing saxophones, bold harmonies, frequent seconds and blocks, along with polytonality and jazz rhythmic pulsation - these are the distinguishing features of this music, with which Stan Kenton entered the history of jazz for many years, as one of his innovators, who found a common platform for European symphonic culture and bebop elements, especially noticeable in pieces where solo instrumentalists seemed to oppose the sounds of the rest of the orchestra. It should also be noted that Kenton paid great attention to the improvisational parts of soloists in his compositions, including the world-famous drummer Shelley Maine, double bassist Ed Safransky, trombonist Kay Winding, June Christie, one of the best jazz vocalists of those years. Stan Kenton has maintained his fidelity to the chosen genre throughout his career.

In addition to Stan Kenton, interesting arrangers and instrumentalists Boyd Ryburn and Bill Evans also contributed to the development of the genre. A kind of apotheosis of the development of progressive music, along with the already mentioned "Artistry" series, one can also consider a series of albums recorded by Bill Evans' big band together with the Miles Davis ensemble in the 1950s-1960s, for example, "Miles ahead", "Porgy and Bess" and "Spanish Drawings". Shortly before his death, Miles Davis turned to the genre again, recording old Bill Evans arrangements with the Quincy Jones Big Band.

hard bop

Around the same time that cool jazz was taking root on the West Coast, jazz musicians from Detroit, Philadelphia, and New York began to develop harder, heavier variations on the old bebop formula, dubbed Hard bop or hard bebop. Closely resembling traditional bebop in its aggressiveness and technical demands, the hardbop of the 1950s and 1960s was based less on standard song forms and began to place more emphasis on blues elements and rhythmic drive. Incendiary soloing or improvisational prowess, together with a strong sense of harmony, were attributes of paramount importance to brass players, the drums and piano became more prominent in the rhythm section, and the bass took on a more fluid, funky feel.

In 1955, drummer Art Blakey and pianist Horace Silver formed The Jazz Messengers, the most influential hardbop group. This constantly improving and developing septet, which worked successfully until the 1980s, brought to jazz many of the main performers of the genre, such as saxophonists Hank Mobley, Wayne Shorter, Johnny Griffin and Branford Marsalis, as well as trumpeters Donald Bird, Woody Shaw, Wynton Marsalis and Lee Morgan. One of the biggest jazz hits of all time, Lee Morgan's 1963 tune, "The Sidewinder" was performed, albeit somewhat simplistic, but definitely in a solid bebop dance style.

soul jazz

A close relative of hardbop, soul jazz is represented by small, organ-based mini-compositions that emerged in the mid-1950s and continued to perform into the 1970s. Blues- and gospel-based soul jazz music pulsates with African-American spirituality. Most of the great jazz organists arrived on the scene during the soul jazz era: Jimmy McGriff, Charles Erland, Richard "Groove" Holmes, Les McCain, Donald Patterson, Jack McDuff, and Jimmy "Hammond" Smith. They all led their own bands in the 1960s, often playing in small venues as trios. The tenorsaxophone was also a prominent figure in these ensembles, adding its own voice to the mix, much like a gospel preacher's voice. Luminaries such as Gene Emmons, Eddie Harris, Stanley Turrentine, Eddie "Tetanus" Davis, Huston Person, Hank Crawford, and David "Junk" Newman, as well as members of the Ray Charles ensembles of the late 1950s and 1960s, are often regarded as representatives soul jazz style. The same applies to Charles Mingus. Like hardbop, soul jazz was different from West Coast jazz: The music evoked passion and a strong sense of togetherness rather than the loneliness and emotional coolness of West Coast jazz. The fast-paced melodies of soul jazz, thanks to the frequent use of ostinato bass figures and repetitive rhythmic samples, made this music very accessible to the general public. Soul jazz-born hits include, for example, pianist Ramsey Lewis's The In Crowd (1965) and Harris-McCain's Compared To What (1969). Soul jazz should not be confused with what is now known as "soul music". Despite partial gospel influences, soul jazz grew out of bebop, and soul music's roots go straight back to rhythm and blues, which had been popular since the early 1960s.

Cool Jazz (Cool Jazz)

The term cool itself appeared after the release of the album "Birth of the Cool" (recorded in 1949-50) by the famous jazz musician Miles Davis.
In terms of sound production, harmonies, cool jazz has much in common with modal jazz. It is characterized by emotional restraint, a tendency towards rapprochement with composer music (strengthening the role of composition, form and harmony, polyphonization of texture), the introduction of symphony orchestra instruments.
Outstanding representatives of cool jazz are trumpeters Miles Davis and Chet Baker, saxophonists Paul Desmond, Jerry Mulligan and Stan Getz, pianists Bill Evans and Dave Brubeck.
Cool jazz masterpieces include such compositions as "Take Five" by Paul Desmond, "My Funny Valentine" by Gerry Mulligan, "Round Midnight" by Thelonious Monk by Miles Davis.

modal jazz

Modal jazz (English modal jazz), a direction that arose in the 1960s. It is based on the modal principle of organizing music. Unlike traditional jazz, in modal jazz the harmonic basis is replaced by modes - Dorian, Phrygian, Lydian, pentatonic and other scales of both European and non-European origin. In accordance with this, a special type of improvisation has developed in modal jazz: musicians look for development stimuli not in changing chords, but in emphasizing the features of the mode, in polymodal overlays, etc. This direction is represented by such outstanding musicians as Thelonious Monk, Miles Davis, John Coltrane, George Russell, Don Cherry.

free jazz

Perhaps the most controversial movement in the history of jazz emerged with the advent of free jazz, or the "New Thing" as it was later called. Although elements of free jazz existed within the musical structure of jazz long before the term itself, most original in the "experiments" of such innovators as Coleman Hawkins, Pee Wee Russell and Lenny Tristano, but only towards the end of the 1950s through the efforts of such pioneers as saxophonist Ornette Coleman and pianist Cecil Taylor, this direction took shape as an independent style.

What these two musicians, along with others including John Coltrane, Albert Ayler, and communities like the Sun Ra Arkestra and a group called The Revolutionary Ensemble, did was a variety of structural changes. and feel for the music. Among the innovations introduced with imagination and great musicality was the abandonment of the chord progression, which allowed the music to move in any direction. Another fundamental change was found in the area of ​​rhythm, where "swing" was either redefined or ignored altogether. In other words, pulsation, meter and groove were no longer an essential element in this reading of jazz. Another key component was associated with atonality. Now the musical saying was no longer built on the usual tonal system. Shrill, barking, convulsive notes completely filled this new sound world. Free jazz continues to exist today as a viable form of expression, and in fact is no longer as controversial a style as it was at the dawn of its inception.

Funk

Funk is another popular style of jazz in the 70s and 80s. The founders of the style are James Brown and George Clinton. In funk, a diverse set of jazz idioms is replaced by simple musical phrases consisting of blues shouts and moans taken from saxophone solos by such performers as King Curtis, Junior Walker, David Sanborn, Paul Butterfield. The word funk was considered slang, it means to dance so as to get very wet. Jazzmen often used it, referring to the audience as a request to dance and move actively to the accompaniment of their music. Thus, the word "funk" was assigned to the style of music. The dance direction of funk determines its musical features, such as a downbeat rhythm and pronounced vocals.

The formation of the genre took place in the mid-80s and is associated with the fashion for the use of samples from jazz-funk of the 70s among DJs playing in nightclubs in the UK. One of the trendsetters of the genre is considered to be DJ Jills Peterson, who is often credited with the authorship of the name "acid jazz". In the US, the term "acid jazz" is almost never used, the terms "groove jazz" and "club jazz" are more common.

acid jazz (acid jazz)

Acid jazz peaked in popularity in the first half of the 1990s. At that time, in addition to the synthesis of dance music and jazz, this direction included jazz funk of the 90s (Jamiroquai, The Brand New Heavies, James Taylor Quartet, Solsonics), hip-hop with elements of jazz (recorded with live musicians or jazz samples) ( US3, Guru, Digable Planets), jazz musicians experimenting with hip-hop music (Miles Davis' Doo Bop, Herbie Hancock's Rock It), etc. After the 1990s, the popularity of acid jazz waned, and the traditions of the genre were later continued in new jazz.

Its direct psychedelic ancestor is Acid Rock.

It is believed that the term "acid jazz" was coined by Gilles Petterson, a London-based DJ and founder of the eponymous record label. In the late 80s, the term was popular among British DJs playing similar music, who used it as a joke, implying that their music was an alternative to the then popular acid house. Thus, the term has no direct relation to "acid" (that is, LSD). According to another version, the author of the term "acid jazz" is the Englishman Chris Bangs (Chris Bangs), known as one of the members of the duet "Soundscape UK".

Jazz is a style of improvisation. The most important type of improvised music is folklore, but unlike jazz, it is closed and aimed at preserving traditions. Jazz is dominated by creativity, which, combined with improvisation, has given rise to many styles and trends. So the songs of dark-skinned African-American slaves came to Europe and turned into complex orchestral works in the style of blues, ragtime, boogie-woogie, etc. Jazz became a source of ideas and methods that actively affect almost all other types of music from popular and commercial to academic music our century.

The article includes an excerpt from the article "About Jazz" - The Union of Composers Club and extracts from Wikipedia.