History of music: jazz. New Orleans New Orleans of the beginning of the 20th century

Louisiana (geographical map).

New Orleans (New Orleans, New Orleans) - City and Port in the south of the United States (freight turnover of over 100 million tons per year), Louisiana, on the Mississippi River (the central part of the city is located on the eastern shore). The population is 466.6 thousand people (2004), with suburbs about - 1.36 million people (2004). The city is below sea level and suffered a lot in August 2005 from the destruction caused by the hurricane of Katrina, and the subsequent breakthrough of the dam; Subsequently, it was quickly restored.

New Orleans - an important financial and shopping center of the South USA, the transportation unit, the largest (second cargo turnover in the USA) port of 175 km from the Mississippi River in the Mexican Bay (the largest in the country and in the world in the export of grain, export of agricultural, chemical, Textile, tobacco products; annually about 5,000 ocean courts, about 40 foreign consulates in the city). International Airport. Large knot of railway and highways. The city has numerous oil refineries, enterprises of petrochemical, food, textile industry, mechanical engineering, shipbuilding, aerospace industry, non-ferrous metallurgy. This is a major medical and tourist center.

The decision to establish New Orleans (named after the regent of the Duke of Orleans) was made in Paris in 1717, when Louisiana moved under the control of the Western company John Low. It was assumed that a transit point for trading on Mississippi will be created here. The founder of the city was Jean-Baptiste Lemoan de Bianville, the clearing of the territory under the future city began in March 1718. Engineer Adrian de Sea created the first plan of the city, including the current French Quarter (Vieux Carre). The composition of the first settlers was a motley, consisted of immigrants from French Canada, a cortex, slaves, soldiers. In 1721, about 470 people lived here. In 1722, New Orleans became the administrative center of Louisiana. After failures in the seven-year war, France gave way to Louisiana Spain (1763). The Spaniards restricted the possibilities of settlers in trade with British colonies in North America, growing ties with other colonies in Latin America. In 1800, Napoleon returned Louisiana France, but in 1803 he lost it to the United States.

The urban population of New Orleans in 1803 was about 8 thousand people. During the war of 1812, the city tried to take British troops. On January 8, 1815, General E. Jackson won here a victory over the British landing. The next 40 years were the Golden Age of New Orleans, he became the largest cotton port. The first steamer appeared here in 1812; In 1840, about 400 steamers were already on Mississippi. By the middle of the 19th century, the network of river canals and railways tied new Orleans with New York. In the first half of the 19th century, numerous waves of German and Irish immigrants arrived, the population increased to 116 thousand people (1850). The 1853 yellow fever epidemic took the lives of about 8 thousand inhabitants. During the Civil War, New Orleans was the most important strategic item of confederates, in April 1862, the Northwood flotilla from 30 steamers and 21 canoners under the direction of D.G. Ferragata captured the city. During the reconstruction period, the city lost its importance, by the beginning of the 20th century, steamers were ousted by rail. Economic lifting emerged after the Second World War with the development of the petrochemical industry, tourism and trade with the countries of Latin America.

New Orleans. Jackon Square.

Tourists to New Orleans attracts the ancient architecture of the "French Quarter", the Carnival "Mardi Gra", the atmosphere of the Motherland of Jazz. The French Quarter ("Vieux Carre", "Old Square") is one of the main attractions of the city, its streets form about a hundred perfect square quarters. Here are the main historical monuments: Kabildo (initially the building of the Spanish administration, the "Shopping Louisiana" ceremony was held here, now the state museum), Cathedral of St. Louis (1794) on Jackson Square Square, House "Heritage Madame John" (Madame John "S Legacy , 1727), the oldest multi-apartment houses Pontalba (1849-1850), built in a French style. Here the carnival is held, which begins on January 6 and lasts until Mardi Gra (Fr. "Fat Tuesday", the last day of spending before the great post) . Two weeks before Mardi Gir at night and the day are carnival processions that attract numerous tourists. On the main street of the quarter, Bourbon Street, named after the French royal dynasty, are the Jazz Museum, which is located in the building of the old Mint, as well as numerous night Jazz clubs. Every spring here is a jazz festival.

After World War II, the city became one of the art centers, there are many artists, there are various galleries and museums, including the Novorlean Art Museum (1912, a collection of old European masters, the art of pre-colombian america, a large collection of works of Degas, European painting and sculpture of the 20th century ), Center for Contemporary Art. Additional area attractions include Voodoo Museum in the country of Oceanariums. Near the city there is a resort on Lake Pontchartrayin.

Higher educational institutions: University of Tuylin (founded in 1834 as a medical college, the largest center of tropical medicine), Jesuit University of Loiol in New Orleans (1904), Catholic University of St. Xaveria in Louisiana (1925), University of New Orleans, University of Dillard, South University In New Orleans, Delgado Community College, Faculty of University of Louisiana. Here are published the largest newspaper New Orlyls-Times-Picaun, weekly and monthly editions, dozens of television and radio stations operate.

New Orleans. Vintage house in the French quarter.

Contrary to all the destruction that brought one of the most colorful cities of America Hurricane Katrina, New Orleans lives. And let some skeptics claim that this amazing place will never be such as before, we will simply agree with it. But the idea of \u200b\u200bever to go there anyway will not even - the world jazz capital is still of interest to tourists and travelers around the world. And every day, everything is more for the first, because the infrastructure of the city is restored quickly.

Title and base of the city

It is unlikely that we ever find out why we call this city with New Orleans, and not New Orleans, as it could be assumed by holding an analogy with New York or New Gempshire, in the names of which the prefix "New" on the word "new "No one changes. But we know many other interesting facts from the history of the American South Cultural Center. Like many cities of the continent, it was not only founded by European colonists, but also a very long time was the object of the immediate interests of his European donors, which supplied the local territory (South of Louisiana) the necessary fresh blood - new settlers. The initial name of the city is not English New Orleans, and French La Nouvelle-Orl? ANs, later simply translated into the language of international communication. This situation is completely unsurprising, given that during the base of this settlement, the French had all the full-fledged claims for the title of dominant nationality of colonizers in those places that are now considered 100% Anglo-Saxon. Those who are interested in this issue have already probably noticed that French influence in North America is not limited to Canada. To do this, it is enough to pay attention to many toponyms of the state of Louisiana - from the names of small towns like Baton Rouge to the very name of the state.

New Orleans's birthday and the history of its development

New Orleans has a clearly definite birthday. This is August 25, 1718. Then the French colony was founded on the site of the modern city, who received his name in honor of Philip the Second, Duke of Orleans, who at that time was the regent of France. The epoch was anxious, altered the colonized lands reminded the redistribution of the spheres of influence between Saltsevsky and Tambov, and as a result of these redistributes, in 1763 due to the Paris Agreement of the Earth, which was located New Orleans were transferred to the Spanish Empire. Only in 1801, the city with adjacent surroundings was returned to France. But Napoleon's power was long lasting. In 1803, the emperor sold Louisiana the United States of America, which was very favorably affected by the economic and demographic development of New Orleans.

On suburban plantations, slaves ensured the financial wealth of the city, growing sugar and cotton. The urban population grew irritate, at the expense of the British, French and French-speaking Creoles. It is especially worth noting in this regard by the Haitian revolution of 1804, when more ninety percent of refugees from the island, a significant part of which was the so-called "free color", downtowed in New Orleans.

Ten years old happened the most glorious event in the history of the city. On January 8, 1815, the grandiose battle between American troops and British military forces, who wanted to restore the power of the kingdom over the local lands. She ended with the full and unconditional victory of representatives of the New World.

These and subsequent years largely determined the unique face of New Orleans. The port of the city had the most important strategic importance in the slave trade - almost all vessels stuffed, like a product, live cargo from Africa, stopped in New Orleans. Including here it was like anywhere in America a lot of free ones, endowed with all the necessary non-Rights, mostly educated and related to the middle class. That is why the city is considered to be the venue of the true merger of black and white crops with the predominance of the first one, but there is no such state for a similar result. In the relations of two races in New Orleans, there was no such strong alienation, which is still present in the same New York. As a result, a special atmosphere of equality reigned in the city, the level of black crime was incredibly low, and racism on both sides was minimized. Although it did not cost without any problems: after all, despite the presence of many free, wealthy immigrants from Africa, the largest slave market of the country was located. In any case, falling on the streets of the new Orleans, you clear one thing: in these places, the blacks created the appearance of the city along with white, and were not an embittered criminalized interlayer, first of all just a hip-hop subculture.

The slave trade is a shameful thing, but by 1840, the new Orleans occupied an honorable third place in the United States on the population, and in revenues, and completely ran into the first place.

At the beginning of the twentieth century, the city was a truly progressive settlement, among other things, known one of the first on the continent of municipal sewer systems, designed by the engineer and inventor Baldwin Wood, full of localities in the number of local urban heroes. True, as some scientists are considered, it is Wood's activities along with some natural processes led to a planned settlement of the soil and as a result - to the fact that a significant part of the city territory turned out to be lower than the sea level a few feet, which significantly aggravates the consequences of potential flooding.

However, given the destructive power of the Hurricane Katrina, who wrapped on the coast in August 2005, even normal correlation with the sea level was unlikely to help avoid the catastrophe.

Hurricane Katrina in 2005

More than eighty percent of New Orleans was flooded, which contributed to the destruction of the municipal system of Damb, later called the largest misfortune of federal urban planning in all American history. Compared to the evening, even the 1999 earthquake in San Francisco. However, travel lovers can breathe with relief: the historic part of the city, in which all attractions are located, is not located in the lowland, but much higher, so it remained untouched, but the modern part of the city still leaves much to be desired.

Restoration after hurricane Katrina

Official tourism recently earned in New Orleans recently, since the beginning of 2008. Louis Armstrong International Airport began to function, as well as hotels and other services for visitors to. Of course, about half of the fact that the traveler's eyes could be interested in four years ago, still in a state of inaction and stagnation, but anyone anyone will still find a lot of interesting things in the local surroundings. Moreover, the types of ruins (and in the new part of the city can not be driven by car and twenty minutes without seeing at least one compared to the ground of the house) for the time after the Catherine, the term turned into a kind of attraction. For the most interested in this subject, the Gray Line Tours agency has been working here, conducting excursions to the most impressive places of destruction with associated clarification of the causes of what happened.

But, of course, the charm of New Orleans is less related to the consequences of a hurricane jammed here than with a rich cultural heritage of the city.

As often happens in the United States, most of the population of New Orleans lives not in the city itself, but represents a suburban agglomeration. According to 2007, it is now about one million and two hundred thousand people, while in the city only three hundred thousand. Every month, more and more people are becoming more and more people - refugees from the hasties return home, although many sociologists argue that before the previous demographic level, the new Orleans will not rise.

But the most important thing is that the spirit of the Old Town itself has been preserved here. Standing Novoorlean chefs are considered one of the best in the country, still on the streets regularly sounds jazz of the highest class, and the famous festivals held in the cultural capital of the South, rejoice at the guests and local residents.

The city is known primarily as a place where it is truly comfortable for adult tourists - a variety of exquisite alcoholic beverages, acute Creole cuisine, jazz music, architecture of the eighteenth and nineteenth centuries, an abundance of old-fashioned taxi on the streets, awareness of the fact that one of The largest gay communities in America, all this will be much more interesting than an adult person, not a teenager.

New Orleans is divided into several quarters - is divided, naturally, not at anyone plan, but historically. The most famous residential area of \u200b\u200bthe city is the French Quarter, a favorite place of stay of all tourists. Old buildings that are no accumulating antique shops, restaurants and peteed places with a richest choice of drinks brought a strong fame to this area. To visit the new Orleans and miss the french quarter, it is simply impossible to miss attention, except if you know such a perverted goal in front of you. This is a resting place not only tourists, but also citizens. There are only those who earn their lives in those places where others prefer their money to spend.

Central Business District is another matter. Despite the presence of several museums in it (including the Children's Museum of the State of Louisiana, who will certainly need you if you still capture a child with you, the center of contemporary art and the museum of southern art), this place in Novorleans is more associated with concluded here business agreements. Local restaurants are much better suited for blurred drinking fun in the company of friends, but for a leisurely respectable dinner with a business partner. And if in the fall of 2005 for obvious reasons to present that someone in the city thinks about business transactions, it was difficult, now it is again the usual lesson for local entrepreneurs. The tourist will also be carelessly looking at Julia Street, called the street-gallery for his exemplary Novorlean appearance.

Opposite the French Quarter is the Fabourg of Marigny - the rest area of \u200b\u200bBohemia. In addition to stylish nightclubs, in which you are carvated not only with exquisite dishes and drinks, but also the most authentic jazz in the world, this quarter has a very specific glory of gay and lesbian assemblies, which in the West is incredibly much in artistic circles. In any other American city, sexual minorities do not feel so comfortable - all the same states country is very conservative. But in New Orleans, where in a much greater extent than the classic Anglo-Saxon Protestantism, the continental European Catholicism influenced the local mentality, to such things relate quite calmly. By the way, New Orleans is perhaps the city in the United States, who mostly retained the spirit of old world, most likely, according to the above religious reason.

Jazz without snobism

However, to feel the very essence of the New Orleans solely through the eating of Creole delicacies and admirement of architecture is impossible. The most fanatical tourists need to pay attention to two things that have formed modern New Orleans from the spiritual side. The first one has repeatedly mentioned. This is jazz - music, which is not just reproducing a tank text, an alleged European musical tradition, and the spontaneous improvisation born by the African dance culture in which the sound and movement of the body are inseparable from each other. It is not surprising that the European jazz school gradually moved away from the dance roots of the style, turning it into an academic waum. Here, on the stage of Novorlanean cafes, in clubs and simply on the streets, he was still that born and was supposed to be in development - vigorous, savory, often frankly dance and very entertaining, trustly deprived of the characteristic snobism. Here they still follow their countryman, the great Louis Armstrong and the traditions of Dixienda, the basis of the local jazz direction, is the desire to emotionally excite a simple, challenged after many hours of human work, and not load the mind of a bored intellectual complex sound structures. So, being in this city, his jazzmen should always listen - first, to express the respect of New Orleans, secondly, it is actually nice and interesting.

Cult Voodoo.

Another spiritual side of the city will surely wake up all lovers of exotic, romance and mystics. It was in New Orleans that the cult of Voodoo has grown firmly. More precisely, his Louisiana branch, which, unlike Haitiansky, is closely connected with the Catholic tradition and, as a result, with Christian superstitions. In addition to purely ethnic reasons, this can be found an explanation and reversing the gaze to local cemeteries. The fact is that the soil here is a swampy, the dead were sent to the most soil and prone to the depositing of the soil. In this regard, they were not buried in the earth itself, and were placed in the crypts, which, by the way, are considerable interest for art lovers. Therefore, the sorcerer Voodoo during the execution of the main ritual - that is, the call on this world of Zombies, worked in lightweight conditions - he did not have to wake a shovel for a long time, breaking the grave.

In the shops, you can always buy amulets associated with the ominous cult, and the happy connoisseurs of English will surely receive pleasure from terrible mystical stories walking among the local population. The man of a more prose warehouse of the mind is unlikely to share the emotions of the fans of mysticism. He and in the restaurant for a glass of Hard Grenada will be very good.

Local population

Of course, it is worth it to touch the topic of communication and mutual understanding with the local population. Contrary to a fairly common stereotype, most of the inhabitants of the New Orleans do not belong to Kajunam. Kajuna, they are just French-speaking residents of the state of Louisiana, in honor of which and called the "American" dialect of French, they live mainly in rural areas. Therefore, the knowledge of the language of Balzak and Baudelaire to some extent, it can nevertheless bring you closer to the sources of culture of the city, will allow you to freely read the inscriptions on houses, famous Novoroanian scleps and other architectural monuments, but in the number of skills and skills, sharply necessary for survival and comfortable Stay here it is not included. Although, without visiting a single Kajun cafe or shop, which are present in the southwestern part, you will still be able to plunge into the atmosphere of local exotic.

When the traveler interests in the Earth, the traveler steps on the land of New Orleans (usually it happens at the Louis Armstrong airport), usually he already knows a number of features of the local life structure, without awareness of which he can not feel comfort from staying here.

Credit cards - destroy stereotypes of America

The attitude of local residents to credit cards is extremely important. An ordinary tourist often turns out to be the hostage of one stereotype about America and Americans. The name of this stereotype is confidence in the limitless power of credit cards in the United States. It is because of him, many visitors to New Orleans are tightly in their wallet, which they subsequently regret. Of course, supermarkets will always be glad to such customers, but not for the sake of supermarkets they arrive here. And if the restaurant is some hotel in New York or, say, Boston conducts calculations with its visitors based on the card system, the most colorful and attractive establishments for tourists of this city still prefer to pay them in the old manner. Therefore, it should be remembered that the paper here is valued significantly above the plastic, it is necessary to pay particularly close attention along the way here.

How to move around the city

Expenditures during their stay in New Orleans (usually most of these expenses fall into the French quarter) can be carried out differently and even stay without a single cent. In the first evening of stay here - the attractiveness of the city contributes to this. But there are one point among expenses on which, unlike Las Vegas, Los Angeles or San Diego, in New Orleans is always easy to save. These are taxi costs. In other major megalopolis, it is simply impossible to do without them, while a jazz capital is a city of pedestrians. His streets, usually filled with golden sunlight, as if created in order to stroll slowly, looking at the old signs over the entrances to the shops and admiring the game of "bunnies" in the shop windows. There are, of course, here and truly noisy streets, damaged by cars, but the glory of the automotive city has never been inherent in the Louisiana Pearl. Here, as in London, choosing urban transport to move to not suitable for walking distance walking distance, it is customary to stop on buses. But there is here and its "branded" way of moving from one end of the city to another is a train, the only municipal train of intracity follows in urban america.

Truly the original feature of the local consciousness is the absence of the concepts familiar to most people about the sides of the world. The fact is that the landmark for movement on the terrain for the inhabitants of New Orleans is in the sun, as traditionally accepted almost everywhere, and the course of the legendary Mississippi River, on which the city was erected. So here you can often hear phrases like "Food down the river", "You should go towards the river" or "Our company keeps the way from the river." And it is true in its own way, because it was in the mouths of the rivers that the centuries were built and precisely fresh water, and not the sunlight, and is crucial for the human settlement at any point of the globe.

Mississippi is very long, everyone will remember this who read the "Adventures of Geclberry Finn", and there are many cities on her shores, the history of most of which is still in the cowboy era. They can be visited for many reasons, which there is no particular sense to list which here. They are mixed with numerous Creole and Kajun settlements, each of which in one form or another, an amazing alloy of African, European and actually American cultures has been preserved. But nowhere he is expressed so bright and clearly, as here in New Orleans.

Enjoy your journey to the meeting on the pages of the site !!!

In fact, there are hundreds, if not thousands, photographs of other American cities at the same time. However, it was the new Orleans that became one of the centers of culture and industry of the South-Eastern territory of the United States of America.

At that time, the largest city of Louisiana recruited several cultures at once and was half of the Europeans, and half from Africans. New Orleans became the largest port in the south of the country, which became another impetus for development. In the twentieth century, the tram appeared here, buildings of theaters and operas were built.

The main problem was the floods, since its essential part is located below sea level. The development of the city took place until the middle of the twentieth century. After that, a noticeable decline began in the economy and the development of an industrial settlement. A selection of historical pictures is presented to your attention, which shows the era of the development of New Orleans.

Right originated in the middle of the Negro Piano-lovers. The peak of the popularity of regteps falls on the first decade of the 20th century, but they appeared twenty years earlier. Right's popularity at the beginning of the 20th century was largely related to a massive request for dance music. The phonograph was not yet common, and the masses of ordinary Americans danced under the piano. The dance nature of the regtex, in contrast to the "melodic" popular music having vocal roots, determined the rhythmic innovation of this genre.

Scott Joplin - "MAPLE LEAF RAG"

Daniel Kramer

Classic European dances were mainly a lot of aristocrats. To dance them, it was necessary to learn the various PA and their combinations, sometimes quite complicated, and people who were on their position rank down, simply did not want to bother them. Despite the ease and simplicity of rhythm, Right played in exotic African Pentatonic Ladas and using some techniques that were not familiar with white musicians. This is a combination of simple and new and givinglish an amazing pre-joining type of muscy, which is called regtext.

Regtime is not a sheet of leaf, not a concert of Chopin, not the 5th concert of Beethoven, not Mozart and not Bach. This is not the type of complexity, not technological and not composite complexity is a stylistic complexity. For academic musicians of the beginning of the 20th century, such a stylism was not easy enough: these syncopes were not familiar to the ear of Europeans. Therefore, when in 1918 for the first time early jazz hit the European shores, he got a nickname "Crazy Syncopes" - "Crazy Syncopes."

Syncopa - in European music the sound starting on a weak share of the tact and continuing on a strong, which is why the rhythmic accents are shifting, the separation of the challenge from the accompaniment.

Right is not jazz, it is played smoothly, it is pure polka water, which could write any composer who wants to write not quite classical music. The "Father Rextay" Scott Joplin brought several rejected elements - for example, the reception "3 against 4" - and some exotic intervals for that time, such as sexts. It is characterized by another type of rhythm. In Regtaye, Rhythm is counted from the second and fourth share of the tact, plus every two clutch a separate strong emphasis on the last, fourth, share. On these off-bit accents, separate syncination of the melody is superimposed.

Off-bit is the principle in which rhythmic accents are shifted from the "strong" stakes of the tact - 1st and 3rd - on the "weak" - 2nd and 4th.

"3 against 4" is the main variety of cross-rhythm characteristic of West African music. Inside a single metric unit (clock), two rhythmic schemes sound in parallel, contrasting each other. One of them, the main, consists of four equal rhythmic units, the second, sounding over it, consists of three equal units.

2. Traditional jazz: Novorlean style and Dixieland. 1910-1920-E.

By the beginning of the 20th century, there were several dozen Russian orchestras and dance music ensembles - mostly Negro and Creoles. The music they played was created under the influence of regtime, blues, marches, Negro Work-Songs. A significant influence on them was produced by the musical culture of Creoles, originally close to European home-made musitization. Later, when the Creoles of the Southern States were equalized with the rights with blacks, Negro and Creole cultures were nearby, which contributed to the emergence of new synthetic forms. After the end of the US-Spanish war in the city there was a large number of tools from military orchestras, which contributed to the creation of amateur musical groups, the musicians of whom were not familiar with a tanning letter. How exactly the music was sounded in New Orleans at this time, one can only guess - on the game of Imitters of Novorlean style in the first records that appeared only in 1917. The concept of "Dixieland" initially was an analogous to the concept of "jazz", invented in the Wednesday of White Musicians on the conventional name of the Southern States of the United States. Later, the Dixieland style was associated with the "white" ensembles of early jazz, although often Novorlasan style and Dixieland are understood as synonyms. After the release of the first jazz plate of the group of white musicians ORIGINAL DIXIELAND JASS BAND In 1917, jazz as a new form of folk musitization in the era of modernity begins to spread throughout the country.

ORIGINAL DIXIELAND JASS BAND - "TIGER RAG"

Vladimir Tarasov

drummer, participant of the TRIO "GTH" (Hanelin-Tarasov-Chekasin)

It is surprising to hear from the musicians that the swing appeared after Dixieland. It turns out that Dixieland is not jazz. In Dixieland, Swing as much as you like. Just listen to the syncous game of banjo and a small drum. Later, in the 1930-1940, when new twigs sprouted from this tree, including white, much changed in the language, and the feeling of swing.

Swing is the nature of the execution of a soloist or an ensemble, based on constant deviations from the support rhythm and creating the effect of "swinging" of all sound mass. Swing is characteristic of different styles and periods in the history of jazz. In the 1930s, this term began to call the popular jazz style in the era of the spread of Big Bend.

King Oliver "S Creole Jazz Band -" Dippermouth Blues "

Valery Kiselev

clarinetist, saxophonist, classic jazz ensemble leader

New Orleans is a specific city, he was called "Paris of the New World". The port city in the mouth of Mississippi, in which there was a lot of business, a lot of visits. There were picnics, parades, processions, so the musicians in New Orleans constantly had a lot of work. If a solid man died, he ordered a funeral with the orchestra - it was also a job for musicians. There were almost all the self-taught, did not know the notes, played by hearing, and King Oliver (the legend of Novorlean style, in the orchestra of which began to play young Louis Armstrong. - Ed.) He was self-taught. Some confuse Discilend and Novorlean style. Novoorleansky is a bluing manner, they did not beat dominants, reduced septakord, as already later in Dixieland.

The New Orleans Rhythm Kings - "She" S Crying for Me "

Yury Chugunov

composer, Arranger, Teacher

The improvisational principle in Jazz never lost its role. The main textured principle of Novorlanean style was the spontaneous polyphony. This polyphonic principle was based on the simultaneous improvisation of several spherical soloists (pipe, trombone and clarinet). In addition, simple chords sprouted completely in a new way thanks to Blues Lada. On top of the continuous bit of the rhythm section, the soloists could allow rhythmic freedom to improvisation. All these features led to the fact that Jazz began to be perceived by the public as something new and unprecedented, which led to his rapid spread in the world. Jazz was originally programmed on rapid development. The prospect of this development was determined by a combination of two elements: folklore (blues) beginning and use of the tools of the symphony orchestra, including the piano.

Polyphony - the principle of building a musical work (warehouse), at which there are separate melody voices in parallel, equal in their function. It is opposed to a homophone warehouse in which the function of the melody performs the upper voice, and the other voices support it harmonically.

3. Chicago style. 1920-E.

In the 20s, important social changes took place. This era entered the story under the name "roaring twentieth". Francis Scott Fitzgerald in his famous stories expressed differently - "Age of Jazz". In early 30s, he wrote: "The word" jazz ", which no one else considers indecent, meant first sex, then the dance style and, finally, music. When they talk about jazz, they mean the state of nervous infection, approximately which comes in large cities while approaching them the front line. " In the 20s, Jazz begins to move to restaurants and Dance, becoming an important part of the mass culture. Jazz's essence is expressed in the very manner of execution that it is impossible to record on paper, and thanks to the development of the gramzaping industry, Jazz begins to replicate on a massive scale, illustrating the thesis of Walter Benjamin about the "works of art in the era of its technical reproducibility." In the 20s, the migration of jazz musicians in the northern industrial cities, the center of which is becoming Chicago. At this time also get distribution jam Sessions - Free speeches in the kabas after midnight for a few audience of connoisseurs based on spontaneous improvisation of several solts. The complication of arrangements and opposition to a separate soloist is a whole ensemble.

Louis Armstrong - "West End Blues"

Daniel Kramer

The jazz ensemble is built in a completely different principle than different. Dixieland is built on the principle of two lines, when the rhythm section plays the rhythm section - bass, banjo and percussion instruments. And in front there are polyphonic lines, say, from the pipe, trombone and clarinet. And these polyphonic lines are continuously intertwined, some of them are the main, and the rest is framed. At the same time, the rhythmic basis is off-bit, the harmonic principle is much simpler. In the jazz ensemble, the rhythmic basis is already a Fouur Bit, and not off-bit. If there are several soloists, they do not frame the main line, but everyone is improving themselves. And finally, much more complex on the construction of the arrangement of jazz plays. Jazz feeling is the feeling of stretched onion. This rhythmic component, referred to as the drive, an inexperienced rhythmic flow, is still present at the Bach, already in a slightly lesser extent in Mozart and begins to be lost in romantics. Jazz musicians brought this drive to a new level. I understood where he was taken from when I was in Africa and saw the rustic African musicians play: he is in blood.

Four-bit is the type of rhythm, in which all four stakes of the tact are evenly emphasized - strong and weak.

From dixielands and early jazz ensembles, I would single out the ensembles Louis Armstrong - Hot Five. and Hot Seven.. Personally, I am driving Armstrong closer to King Oliver's King or Beyderbeck Bix. Such a drive is very tough and at the same time beautiful - no, perhaps, at this time at this time.

Biks Beyderbek - "Singin" The Blues "

Oleg Grymov

clarinetist, Saxophonist, Oleg Lundstrem Orchestra

In the early jazz swing was another, more grotesque, both in the white and black musicians. And later, at Hawkins, Lester Yang, he became more smooth. Biks Beyderbek is a great cornetist, but if he listen to his swing, it can be seen that the corners are slightly more pointed. This early swing was more like Right.

I come to the conclusion that great artists became the older, the more striving for simplicity. Just many did not survive like Young or Parker, they left the takele. Armstrong lived for a long time, but as he began with this simplicity, she finished. And in this simplicity there was a depth that was needed by intellectuals. It seems to me that the main thing is natural. If this complexity is not exhausted, it must exist if simplicity is not a gaping emptiness, then let it be. Armstrong was a quintessence of his time. This is Johann Sebastian Bach Jazz. Too much coincided in this person. There were many very good musicians of that time from which everything did not coincide like him. Less famous musician - Sydney Beeshe. Beeshe was very passionate in kind, just listen to his records to make sure. He was a man of extremes, and everything he did was the same passionate as his game. How his student Bob Wilber recalls about him, Beach could be very kind and caring, but if I felt some kind of disdain in your words, I could be very angry and vengeful. If there were no faces, it is unknown, we would know about John Hodgez (the famous Alt-Saxophonist from Duke Ellington Orchestra. - Ed.), Because Hodges listened all his life after and even took several lessons from him. It is audible, such a newly eurlean approach to the tool. Beeshe has a very bright, original sound, very frequent vibrato, which is difficult to copy. Perhaps the most famous composition in its execution - Summertime. George Gershvin. For many soprano-saxophonists, she became a template for execution. I personally love recording Black Stick Blues., there he plays on the clarinet - he started as a clarinetist. Swiss conductor Ernest Angereme about him said that there is such a musician from the orchestra Southern Syncopated Orchestra.- This is a genuine genius. Then he played on the clarinet.

Sydney Beeshe - "Summertime"

Vibrato is the fast pulsation of one sound with a periodic change in its height less than halftone. As a result, a continuous wave-like line is obtained.

Jack Teagarden and His Orchestra - "Basin Street Blues"

Rosell Radd.

trombonist, Composer, New York Art Quartet

Dixieland is the music on which I studied. I heard it in the 40s and 50s when it was young. What attracted me most in it is collective improvisation. She was very open. There was a clear structure, but in this structure, people created music, listening to each other. It struck me then and still amazing. I think collective improvisation is that I and my twenty-year-old peers returned to Jazz in the 60s. When we first appeared before the public, we included collective improvisation in our game. For me it was natural, because I left Dixieland, and I had a feeling of how to play in relation to someone else, an improvisational "Question-answer". Charles Mingugus Groups, Cecil Taylor; San Ra - they all were engaged in collective improvisation and did it very beautifully. These people revived old music and at the same time created something modern.

The response technology (question-answer) is a fundamental compositional principle in which all elements of the musical form are built into complementary pairs, where the first element, unstable and incomplete, implies the presence of a subsequent, logically final element.

Jack Tiharden is our American monument; He is like Jay Johnson (the legendary thrombonist of the Bibop era. - Ed.). It personifies a certain style of playing on Trombone - very clean, fresh and energetic. I like the earlier music Tigarden when it was more experimenter. In my youth, I heard a lot of later things during living speeches, and it was beautiful. But I lacked his "mistakes".

All Jazz is "free", not only free jazz. It all depends on what musicians are you talking about. Jazz is, in essence, first music. It can be found worldwide, because when people improvise - this is the first music. Dixieland, collective improvisation is the most avant-garde form you can achieve, and if you do it well, to invest this feeling in it and do not overdo it with intellectualism - then you get excellent music. Free jazz, new music, free improvisation - all this means the same for me, all this is just music. Collective improvisation is the basis of what I do. It is possible to analyze certain periods and styles - the Congo Square (area near New Orleans, where in the XVIII - early XIX century, the black population was allowed to be gathered for trade, singing and dances. - Ed.), New Orleans, Chicago, Kansas City, New York, West Coast, etc. Or great styles - Louis Armstrong, Coleman Hawkins, Pi Su Russell, John Birks Gillespi, Charlie Parker, Ornetta Colemen, etc. But it distinguishes each of them a unique way of improvisation, and when it is collectively, it turns out free "symphonic" music. I call it a Dixieland.

Bad Freman - "The Sheel"

Oleg Grymov

Bad Freman is a wonderful musician. He was so fierce, she always looked very stylish and played as beautiful. Many critics believe that he influenced Yang Leicester. Indeed, at the concerts of the late 1960s, if you climb your eyes, it seems that Leader Young. Lester, in my opinion, denied it, but about Bad Freimane spoke very high. Freman worked a lot with Benny Goodman, Tommy Dorsey. He is a typical representative of the swing, but played with Dixieland musicians. He has many records on which he plays in dixiel compositions, where it seems to be thrombone, and there is a tenor-saxophone Bad Freeman, it turns out a completely different sound, more mobile, less bond. He was born and died in Chicago. At this time, many great musicians lived there - for example, Jimmy Nun. I hear in the records of the 30s explicit effect of nun. It is quite obvious that they went to each other on the speeches, they took something, borrowed. So it all moved: Freeman you find Jimmy Nuna, the leter you find Friman and Franki Trambauer. This is such a mixed soil from which beautiful flowers grow. In general, with the entire dominant role of black musicians - it is unknown, as it were, if there were no new Orleans, where there were huge French and Spanish colonies. Creoles are illegitimate children of French and Spanish colonists from their slaves. In early jazz, it was accepted on wind instruments to use fine vibrato, especially by the end of the phrase. The most extreme example is the faces in which French blood flowed. It seems to me that even this genetic French influence manifested in this: if you take the singing of the French chanson, it is heard.

4. Era Swing, the Epoch of Big Bend. 1930

The popularity of Jazz spawned the demand for large orchestras of dance music. This, in turn, demanded a more coordinated, organized game and complicated arrangements. The hot jazz manner becomes familiar to the general public and begins to move in mainstream. Especially important is how the whole orchestra becomes.

Fans Waller - "HoneySuckle Rose"

Daniel Kramer

Swing is natural syncoping based on a continuous rhythmic flow called drive, in combination with a different variable ratio of real and felt rhythms, which, according to some opinions, including in my opinion, is one of the values \u200b\u200bof the term "bit" (another value - Punch, method of available accent). When there are three components in the complex - bits, drive and natural syncoping, then, in fact, jazz begins. In Fats Waller, the swing is fully present, and the established jazz harmonic complexes. One person will speak with the emphasis, the other will pronounce the same words, but without an accent. Fans Waller already speaks without an accent, there is a thorough language. There is already a swine fourse bit. In jazz music, the soloist plays either with the rhythm, or slightly behind, but never in front. Triol in jazz music swings inside itself, the rhythm is counted from a weak, third share of trioli and descends to a strong, first, as with a wave.

Triol is a way to group three equal in the duration of notes, which in the amount lasts as much as two notes of the same duration.

Fletcher Henderson and His Orchestra - "Copenhagen"

Valery Kiselev

Fletcher Henderson belonged to the Negro Circle, who was gave out into the higher layers, and was very proud of it. They very much treated with their position, did not allow their children to play with black children: when it huhuliganite white is one thing, and when black - everything is different. Fletcher received a good education. It is actually considered the founder of modern big bend. In the Dixieland ensemble, the pipe leads the main melody, the clarinet plays the so-called big., Trombone leads a harmonic voice. Four to five tools will continue to succeed - it is nowhere to expand. When the orchestras began to play solid houses, where it was necessary to have more musicians, somehow had to be organized in a new way. And then Fletcher Henderson with his companion Don Redman came up with comparison groups - three saxophones and three copper tools, as a rule, these were two pipes and trombone. Permanent mapping, saksa play a theme, honey playing copper, then copper intercepts the melody, saxophones - accompaniment. This is the first signs of big bend, tool sections competition.

Big Bend is a jazz ensemble, by the number of participants exceeding ten people. For big bend, a more thorough arrangement, a complicated texture and strengthening of the role of the ensemble is characteristic.

Glenn Miller ORCHESTRA - "IN THE MOOD"

saxophonist, composer, leader of "round bend"

For me, the period of jazz music that sounded before the bibopa was mysterious for a long time. I will say honestly, it is infrequently listening to this music and now, when I appeal, for example, to the records of the 30s of the last century, it seems a little strange not to hear in the game of sweened musicians of typical bopovsky opposites, clichés, alterations. But, deepening in the study of this style, the style of playing musicians, their linguistic features, harmony, improvisation, you understand - this is an extraordinary artistic layer, a huge direction, without which a new step was impossible. The world "Era Sving" is, I would say a special worldview. The game of musicians, as it were, splashes by the flow of emotions, sometimes even unformed, unrealized ideas in the form of various melodic constructions, sometimes even arguing, interrupting each other, with bright contrasting images, in hot spirits, for example, which accommodate or passage element, or a long whary on one note. Perhaps this is the influence of hot jazz, in which the musicians tried to achieve greater freedom and expressiveness in solo, in which African origins can be heard.

Hot jazz is a kind of jazz, characterized by the enhanced improvisational principle, the primacy of intonational and rhythmic expressiveness over the composition. "Hot" from the very beginning of Jazz meant "authentic", in contrast to the imitation of Novorlean style with white musicians and a commercial version of jazz, who used only some characteristic elements of the jazz language. While hot jazz and commercial version of Jazz - Svit Jazz are sharply opposed in the 1920s, in the 1930s, hot jazz becomes commercially successful popular music and goes into mainstream.

But at the same time, in the era of Swing, in the 30s, musicians in the expression and expressiveness of ideas there are solid, even a rational game, in which a clear rhythmic organization is always heard, and an integral swing with a special rhythmic delay in this period of jazz. There is a feeling that the musicians seem to be trying to adopt with the help of their tools what they cannot say words. But at the same time, in their game, it is heard clear sustainability, loyalty to their style, manner, tongue, melodies, metrochrit. By the way, about the rhythm is a separate conversation. After all, let's say if we talk about the Dobopovsky period at all, the rhythmic organization was built and perceived by musicians in different ways. Suppose Benda Count Basey, Glenna Miller, Duke Ellington, Benny Gudman is not only different melodic, improvisational concepts, but also different approaches to the metrohymic solution.

Count Basie Orchestra - "SWINGIN" THE BLUES "

Vladimir Tarasov

We, jazzmen, the famous statement, paroding party members, sounded like this: say "jazz", mean "swing" - and vice versa. So far, no one is specifically able to describe what the swing is. What is this special swinging manner of sound recovery with syncination. I once simplified and made for myself the conclusion that if it was performed simply eighth, then for me it is not jazz, and if the musical phrases are built through the eighth with a point and sixteenth, then jazz. And at all, not necessarily at regular pace. Previously, the musicians in Russia for some reason persistently thought that the swing was when it was necessary to play a little in front or a little rear, then everything would work out. Today, fortunately, many musicians who know how to play with the swing. I also know many performers of classical music, possessing, in my opinion, excellent swing.

Benny Goodman - "Sing, Sing, Sing"

Valery Kiselev

My acquaintance with jazz occurred in 1963, when I studied in the 7th grade. My senior comrade invited me to the District House of Culture, there showed the film "Serenade of the Solar Valley" with Glen Miller. With this film I entered Jazz, Big Bend, Swing. In the 1930s, the swine jazz was of great importance. This, expressing modern tongue, was the only "pop". In the 30s in New York, there were more than a hundred big bend with known names. By the end of the 1930s, America was covered with a network of radio stations, and people from morning to evening could listen to jazz, dancing, having fun. Before the start of the war, a huge number of records were produced. With the help of plates, the orchestras received fame, drove on tour, people bought their plates and went to dances. When video recorders appeared in the Soviet Union and we saw these orchestras alive, we were amazed: how, such stars - and play dancing! In general, it was not customary to buy tickets, sit in the chair and listen to jazz. Jazz played where people drank, climbed, danced.

Lindi Hop is the main dance "Era Sving".

All Musicians of the Swing era went to dance. When I learned about these dances, I realized that such a swing. A nastyanty person perceives the music of the ears, and the swing dances are based on Bauns, on the body of the body. Only in January 1938, a jazz concert of Benny Goodman Orchestra was organized for the first time in Carnegie Holle, where symphonic music was usually played. This music came out of the bottom and had to go through his way to the concert hall.

Bauns - execution in a moderately fast pace with an "elastic" rhythmic feed, characteristic of swing. Also a type of swing dance.

"Savoy" was the first dance hall, where it was allowed to dance mixed vapors - black with white. As a rule, in such halls there were two orchestra - one of their own, another invited; Competition went between them. When Benny Gudman created his orchestra, he had a problem: as they were expressed, he did not have his own "portfolio" - repertoire. He was advised to seek arrangements for the Fletcher Henderson, who recently dismissed his orchestra. Fletcher Henderson already then gave his works to Chiku Webbu. And two orchestra played by the same notes. Someone came the idea to arrange a competition - a white and black orchestra. The recording of this concert has been preserved. I never believed that the black orchestras sworn better, but, playing the same notes, Benny Gudman's orchestra looked much weaker. I would not share white and black culture in America. They all grew up in this culture - just need to live in America.

There were many very similar orchestras, passing things for dancing. But there were a lot of bright orchestras, arrangers, soloists. Someone was more, expressing modern tongue, is promoted, someone less. Benny Gudman was a great clarinetist, but also a great businessman. One critic said about two friends who together worked at Ben Pollak in youth, Benny Goodman and Glenna Miller: If these two guys did any other business, they would have it. Glenn Miller considered each penny. Not a particularly talented musician, he collected an orchestra, arranger and became great.

In the 1930s, the solicists played a smaller role. The play was supposed to fit into some three minutes. Therefore, soloists never played a full square in 32 tact. All soloists played solo in pieces, divided the square on the part. Therefore, the soloists could not show themselves as in the bobope.

The square is a harmonic mesh (chords sequence), which is a certain number of clocks (most often 32), underlying the main topic, to which improvisation is superimposed during repetition. Jazz composition most often consists of a series of such squares.

Duke Ellington - "Take The A Train"

Vladimir Tarasov

The era of Big Bendov was wonderful. I myself began with Big Bend and adored the orchestras of Duke Ellington, Count Basey, Don Ellis, Gila Evans, who formed compositive thinking of Miles Davis. For big bend, the competent work of the arranger and the talent of the head, conductor is important. Orchestra Duke Ellington I listened to twelve concerts. They almost did not improvised in the generally accepted understanding of this word, played the same program, but each concert was different. This and the mastery of the musician lies here and now, in this time and space. They played completely awesome. Duke Ellington himself sounded and was part of what he played. The charisma of the artist, the leader "started" the orchestra. When Ellington went into a different world, I heard literally a month later, as this orchestra played with the same composition, only conducted by his son Mercer Ellington. There was the same program, the same musicians, but completely different music. In art, there are three gradations - Amater, professional and master. Duke Ellington was a great master. Professionals today in Russia a lot, and the wizards of the unit. The point is not in the technique. We all know how to read notes, books, but we still have to understand the meaning of the text. That's what you need good orchestra leaders (and not only jazz) - they reveal to us "history", laid down in sound.

5. Jazz in academic music and saxophonists of the 30s

"Porgy and Bess"

Hermann Lukyanov

trumpeter, flughelnorn, composer, leader of the "Kadans" ensemble

Shostakovich was at the premiere of "Porgi and Bess" in Leningrad. My mom was familiar with him, she learned how he responded about the opera: "Thirty percent of good music." One hundred percent I would also not give - there are some weaknesses, it is impossible to say that this is an impeccable masterpiece. But thirty percent is very little. Of course, there are more than half of good music. This is a music that contains elements of jazz art. Gershwin treated jazz with sympathy, it was completely obvious. If it were not so, the jazzmen would not play his themes. They felt something native - in Lada, on rhythm, on aesthetics. But he rushed to Simphonism, the scale of jazz seemed small.

Colemen Hawkins - "Body and Soul"

Oleg Grymov

Hawkins confessed a harmonic approach to improvisation. He swallowed every square centimeter of a musical fabric, tried to reveal all the verge of jazz harmony. Before it, few people played on the tenor saxophone so masterfully.

Lester Young - "Way Down Yonder in New Orleans"

Alexey Kruglov

Among the musicians, discontinued in the 1930s, I, as a saxophonist, is especially interested in the identity of Leterter Yang. This is an amazing musician who, completely being in the steeple of the sweep improvisational direction, is still significantly different from other Saxophonists of Swing, in particular - Ben Webster and Hawkins Colemen. This is a lot of comprehensive personality. Firstly, he obviously did not like the "hot" game, he often audible outdoor intonation than he may have anticipated the appearance of a coole as a style. Lester Young Sometimes uses alterations, bellows that stood in the head of the corner of bopers. Of course, this moment was not its main line, often his solo is built on a conventional sepkord row using blues turns, but nevertheless the creation of a harmonic stress caused by the use of partial bopovskogo stroke with alteration, to a cold game, is a unique impression.

Alteration - an increase or decrease in sound height without changing its name.

I think not only Leicester Young Let and unwittingly, but went beyond his style. This question is still to explore, since the topic of performing skills in this direction only seems at first glance an easy task. After all, jazzman is a special worldview, and even more so - in the Dobopovsky period, where every musician did not try to resemble someone, but walked in his original path.

To be continued

Jazz (eng. Jazz) - A form of musical art that emerged at the end of the XIX - early XX century in the United States, in New Orleans, as a result of the synthesis of African and European cultures and later widespread distribution. The sources of jazz were blues and other African American folk music. The characteristic features of the jazz musical language initially became improvisation, polyrhythmia based on syncous rhythms, and a unique complex of receptions for the execution of rhythmic texture - swing. The further development of jazz occurred at the expense of the jazz musicians and composers of new rhythmic and harmonic models. Pierced jazz are: avant-garde jazz, bobop, classic jazz, cool, swab jazz, swing, smus-jazz, soul jazz, fried jazz, fusion, hard bob and a number of others.

History of development Jazz

Jazz College College Valek, Texas

Jazz appeared as a combination of several musical cultures and national traditions. Initially, he appeared from Africa. For any African music, a very complex rhythm is characteristic, music is always accompanied by dancing, which are fast feeding and bay. On this basis, at the end of the XIX century, another musical genre was formed - Right. Subsequently, the rhythms of Right in combination with blues elements gave rise to a new musical direction - Jazz.

The blues appeared at the end of the XIX century as a merger of African rhythms and European harmony, but the origins should be sought from the moment of the delivery of slaves from Africa to the territory of the New World. The brought slaves were not immigrants from one kind and usually did not even understand each other. The need for consolidation led to the unification of the set of cultures and, as a result, to the creation of a single culture (including musical) African Americans. The processes of mixing the African musical culture, and the European (which also underwent serious changes in the new light) began from the XVIII century and in the XIX century led to the emergence of "podoliz", and then jazz in the generally accepted understanding. Jazz's cradle was an American south, and above all, New Orleans.
The pledge of the eternal youth of Jazz - improvisation
The style feature is the unique individual execution of the virtuoso jazzman. The key to the eternal youth of Jazz is improvisation. After the appearance of a brilliant performer who lived in the rhythm of jazz and still legend, Louis Armstrong still remains, the art of Jazz's execution saw new unusual horizons: vocal or tool execution-solo becomes the center of the entire performance, changing fully ideas about Jazz. Jazz is not only a certain kind of musical performance, but also a unique cheerful era.

Novorlean jazz

The term Novoorleansky usually defines the style of musicians who performed jazz in New Orleans in the period between 1900 and 1917, as well as Novornoanian musicians who played Chicago and recorded records, starting at about 1917 and during the 20s. This period of jazz history is also known as the "Jazz Epoch". And this concept is also used to describe the music performed in various historical periods by representatives of the Novoorlean Renaissance, striving to fulfill jazz in the same style as the musicians of the Novoro-Electoic school.

The paths of African American folklore and jazz are divided from the time of the opening of Storkyvil, the red lanterns area of \u200b\u200bNew Orleans, glorified by its entertainment facilities. Have you wanted to have fun and have fun here have been waiting for a lot of seductive capabilities that offered a dance flooring, a cabaret, variety, circus, bars and snack bars. And everywhere in these institutions, the music sounded and musicians who mastered new syncous music could find a job. Gradually, with an increase in the number of musicians who professionally working in fusion institutions of Storkyville, the number of march and street brass orchestras decreased, and instead of them there were so-called Storkyville ensembles, the musical manifestation of which becomes more individual, in comparison with the game of brass bands. These compositions, called often "combo orchestras" and became the founders of the style of classical Novoroanian jazz. In 1910-1917, Storkyville night clubs became an ideal environment for jazz.
In 1910-1917 Night clubs Storkyville became an ideal environment for jazz
Development of jazz in the United States in the first quarter of the XX century

After the closure of Storkyville, Jazz from the regional folklore genre begins to turn into a nationwide musical direction, extending to the Northern and Northeastern US provinces. But of course, only the closure of one fishery quarter could not be promoted to its widespread. Along with New Orleans, Saint Luis, Kansas City and Memphis played great importance from the very beginning. In Memphis in the XIX century, Ragtime originated, from where, then in the period 1890-1903, he spread throughout the North American continent.

On the other hand, the presentation of the Messenters, with their motley mosaic of all sorts of musical currents of the African American folklore from Jigs to Ragtight, quickly spread throughout and prepared the ground to arrive jazz. Many future celebrities jazz started their way in a menstrosh show. Long before the closure of Storkyville, Novoorlean musicians went on tour with the so-called "water-owned" troupes. Jelly Roll Morton from 1904 regularly toured in Alabama, Florida, Texas. Since 1914, he had a contract for speeches in Chicago. In 1915, he moved to Chicago and the White Dixieland Orchestra Tom Brown. Large watering tour in Chicago performed both the famous "Creole Band", led by the Novorlean Cornestist Freddie Keppard. Separating at one time from Olympia Band, Freddie Capepard artists have successfully performed successfully at the best Chicago theater and received an offer to make the sound record of their speeches even before "Original Dixieland Jazz Band", which, however, Freddie Capepard dismissed. Significantly expanded the territory covered by the influence of jazz, orchestras, playing at the walking steamboats that went up Mississippi.

Since the end of the XIX century, river trips from New Orleans in St. Paul first have become popular at the weekend, and afterwards for a whole week. Since 1900, Novoorlean orchestras, whose music becomes the most attractive entertainment for passengers during river tours is beginning to perform on these pleasure vapors (Riverboat). The future wife of Louis Armstrong, the first jazz pianist Lil Hardin, began in one of these orchestras "Shuger Johnny", the first jazz pianist Lil Hardin. In the riverboat orchestra of another Pianist Fates Maribla, a lot of future Novorlean jazz stars.

Steamers who have completed flights along the river often stayed in fair stations where the orchestras arranged concerts for the local public. It was such concerts that became creative debuts for Bix Beyderbeck, Jesse Stacy and many others. Another famous route passed through Missouri to Kansas City. In this city, where, thanks to the strong roots of the African American folklore, developed and finally disgraced the blues, the virtuoso game of Novorlean jazzmen found an exceptionally fertile environment. The main center of the development of jazz music by the beginning of the 1920s becomes Chicago, in which the efforts of many musicians who gathered from different ends of the United States is created by the style of the nickname Chicago jazz.

Big BenDa

The classical formative form of big bandov is known in Jazz from the beginning of the 1920s. This form has retained its relevance until the end of the 1940s. The musicians who entered most of the big bands as a rule almost in adolescence, played well-defined parties, or bought at rehearsals, or by notes. Careful orchestrations along with large sections of copper and wooden wind instruments took rich jazz harmonies and created a sensationally loud sound that became known as the "Big Band" sounds "(" The Big Band Sound ").

Big Band has become a popular music of his time, reaching the peak of glory in the mid-1930s. This music has become the source of the cooking dance. Heads of the famous jazz orchestras Duke Ellington, Benny Goodman, Count Basy, Arti Show, Chick Webb, Glenn Miller, Tommy Dorsey, Jimmy Lansford, Charlie Barnets composed or arranged and recorded a genuine hit parade melodies on the records not only on the radio But everywhere in the dance halls. Many Big Bennda demonstrated their soloist improvisers who brought viewers to a state close to hysteria during well-promoted "battle of the orchestras."
Many Big Bennda demonstrated their soloist improvisers who brought viewers to a state close to hysteria
Although the popularity of Big Bendov after World War II decreased significantly, the orchestras led by Bassi, Ellington, Woody Hermann, Stan Kenton, Harry James and many others often toured and recorded records over the next few decades. Their music has gradually transformed under the influence of new flows. Such groups as an ensemble led by Boid Riebert, San Ra, Oliver Nelson, Charles Mingus, Ted Johns-Mally Lewis investigated new concepts in harmony, tools and improvisational freedom. Today, Big Bands are standard in jazz education. The repertoire orchestras of the Jazz Orchestra of the Lincoln Center, Jazz Orchestra Carnegie Hall, Smithsonian orchestra of Jazz and Chicago Jazz Ensemble regularly play original arrangements of big-bendic compositions.

Northeast Jazz

Although the story of Jazz began in New Orleans with the onset of the 20th century, but this music survived the real takeoff in the early 1920s, when the Louis Armstrong trumpeter left New Orleans to create a new revolutionary music in Chicago. The migration of Novorlean jazz masters began shortly after this marked the trend of the permanent movement of jazz musicians from the south to the north.

Louis Armstrong

Chicago took the music of New Orleans and made her hot, raising her heat not only with the effort of the famous Armstrong ensembles hot five and hot seven, but also others, including such masters, like Eddie Kondon and Jimmy McPartland, whose brigade from Austin High School helped the revival of Novoroan Schools. By the number of other famous Chicaggers who spread the horizons of the classic jazz style of New Orleans, the Pianist Art Hudes, the drummer Barrett Dims and Clarnetist Benny Goodman. Armstrong and Gudman, who walked in the ultimately in New York, created a kind of critical mass there, which helped this city to turn into a real jazz capital of the world. And while Chicago remained in the first quarter of the 20th century, in the main center of sound record, New York along with it turned into the main concert area of \u200b\u200bjazz, having such legendary clubs as Minton Playihaus, Cotton Club, Savoy and Village Village Village, and Also such arenas like Carnegie Hall.

Kansas City Style

In the era of the Great Depression and Dry Law, the jazz scene of Kansas City turned into a peculiar Mecca of the newcomer sounds of the late 1920s and 1930s. For a style that flourished in Kansas City is characterized by penetrating plays with blues color, performed by both big bendes and small swine ensembles, demonstrated very energetic solo, who occurred for visitors to zucchini with a weed-selling alcohol. It was in these zucchini and crystallized the style of the Great Count of Bassas, who started in Kansas City in the orchestra Walter Padja and subsequently at Benny Moutien. Both of these orchestra were typical representatives of Kansas City style, the basis of which became a kind of blues form, called the "urban blues" and formed in the game of the above-mentioned orchestras. The jazz scene of Kansas City was also distinguished by the whole Pleiagee of the outstanding masters of vocal blues, recognized by the "king" among which was a long-term soloist of the County Bassa Orchestra, the famous blues singer Jimmy Rashing. The famous Altsaxophonist Charlie Parker, born in Kansas City, on arrival in New York widely used characteristic blues "chips" of the Kansas City orchestras and subsequently one of the starting moments in the experiments of boppers in the 1940s.

Jazz West Coast

The performers captured by the movement of Kul Jazz in the 50s worked a lot in Los Angeles Recording Studios. To a large extent, under the influence of Nonet Miles Davis, the performers based in Los Angeles developed what is now known as "West Coast Jazz", or jazz of the western coast. The jazz of the western coast was much softer than the fierce bobop that was preceded by him. Most works of jazz of the west coast were discharged in large details. Counterpoint lines, often used in these compositions, seemed like the parties of the European influence penetrated into jazz. However, there remained a lot of space in this music and for prolonged linear solo improvisations. Although West Coast Jazz was fulfilled mainly in recording studios, such clubs such as the "Lighthouse" on the Ermons of Beach and Heig in Los Angeles often represented his main masters, including Trumpets Sorta Rogers, Saxophonists Art Pepper and Bad Schenk, Drummer Shelley Mann and Clannetist Jimmy Jüffri.

Distribution of jazz

Jazz always caused interest among musicians and listeners around the world, regardless of their state affiliation. It is enough to trace the early works of Dizzy Gillespi and his synthesis of jazz traditions with the music of dark-skinned Cubans in the 1940th or later jazz compound with Japanese, Eurasian and Middle Eastern music, known in the work of the Pianist Dave Bruck, as well as the brilliant composer and the leader Jazz - Duke Ellington, combining the musical heritage of Africa, Latin America and the Far East.

Dave Brubek

Jazz constantly absorbed and not only western musical traditions. For example, when different artists began to try working with musical elements of India. An example of these efforts can be heard in the records of the Floor Floor Horn at the Taj Mahal Palace (Taj Mahal), or in the World Music Stream, presented for example in the work of the Oregon group or the John McLaughlin project. In McLaughlin's music, earlier, the new tools of Indian origin began to be used in the period of work with Shakti, the new tools or the table were used, the confused rhythms were combined and the form of Indian Ragi was widely used.
Since the globalization of the world continues, in jazz constantly felt the impact of other musical traditions.
The Art Ensemble of Chicago's art ensemble was an early pioneer in the fusion of African and jazz forms. Later, the world recognized the saxophonist / composer John Zorn and his research of Jewish musical culture, both within the Masada orchestra and outside it. These works inspired entire groups of other jazz musicians, such as Keyman John Messe, who made a record with the African musician Salif Keita, Guitarist Mark Ribo and Basist Anthony Colemen. Trubagach Dave Douglas with inspiration introduces Balkan motifs to his music, while the Asian American Jazz Orchestra (Asian-American Jazz Orchestra) appeared as a lead supporter of the convergence of jazz and Asian musical forms. Since the globalization of the world continues, in Jazz constantly felt the impact of other musical traditions, providing mature food for future research and proving that jazz is really world music.

Jazz in the USSR and Russia

First in the RSFSR Jazz Band Valentina Parnach

The jazz-scene is born in the USSR in the 20s at the same time with its flourishing in the United States. The first jazz orchestra in Soviet Russia was created in Moscow in 1922 by the poet, the translator, the dancer, the theater actor Valentin Parnah and was called "First in the RSFSR Eccentric Orchestra Jazz Band Valentina Parnach". The birthday of domestic jazz is traditionally considered to be October 1, 1922, when the first concert of this team took place. The first professional jazz composition, speaking in the radio and recorded record, is considered an orchestra of a pianist and composer Alexander Thasman (Moscow).

Early Soviet Jazz-Bandy specialized in the performance of fashionable dances (Foxtrot, Charleston). In the mass consciousness, Jazz began to acquire wide popularity in the 1930s, largely due to the Leningrad ensemble under the guidance of the actor and singer Leonid Rockov and the Trubach Ya. B. Skomorovsky. Popular Kininomedy with his participation "Merry Guys" (1934) was devoted to the history of the Jazz Musician and had a corresponding soundtrack (written by Isaac Dunaevsky). Rocks and Scromorovsky have formed the original style "Tea-Jazz" (theatrical jazz), based on a mixture of music with the theater, operetta, the vocal numbers and an element of the presentation played a major role in it. Eddi Rinner is a noticeable contribution to the development of Soviet Jazz, the musician and the head of the orchestras. Having started his career in Germany, Poland and other European countries, Rosner moved to the USSR and became one of the swing pioneers in the USSR and the namoor of the Belarusian jazz.
In the mass consciousness, Jazz began to acquire wide popularity in the USSR of the 1930s
The attitude of the Soviet authorities to jazz was ambiguous: domestic jazz performers, as a rule, were not prohibited, but the tough criticism of jazz was spread as such, in the context of the criticism of Western culture as a whole. In the late 40s, during the fight against cosmopolitanism, Jazz in the USSR experienced a particularly difficult period when collectives that perform "Western" music were persecuted. With the beginning of the "thaw" repression against musicians were discontinued, but criticism continued. According to studies of the professor of history and American culture Penny Van Eschechen, US Department Department tried to use jazz as ideological weapons against the USSR and against the expansion of the Soviet influence on the third world countries. In the 50s and 60s. In Moscow, the orchestra of Eddie Radin and Oleg Lundstrema resumed their activities, new compositions have emerged, among which the orchestras of Joseph Weinstein (Leningrad) and Vadima Ludwikovsky (Moscow) were distinguished, as well as the Riga Orchestra (REO).

Big Bennda brought up a whole pleiad of talented arrangers and improviser soloists whose creativity brought the Soviet jazz to a qualitatively new level and brought to world samples. Among them, Georgy Garanyan, Boris Frumkin, Alexey Teeth, Vitaly Dolgov, Igor Kantyukov, Nikolai Kapustin, Boris Matveyev, Konstantin Nosov, Boris Rychkov, Konstantin Baholdin. The development of chamber and club jazz begins in all the variety of his stylistics (Vyacheslav Hagnelin, David Goloshchekin, Gennady Holstein, Nikolay Ground, Vladimir Daniline, Alexey Kozlov, Roman Kunsman, Nikolay Levinovsky, Hermann Lukyanov, Alexander Pirikistov, Alexey Kuznetsov, Victor Friedman, Andrei Tovmasyan , Igor Brill, Leonid Chizhik, etc.)

Jazz Club "Blue Bird"

Many of the above-mentioned Matters of Soviet Jazz began their creative way on the scene of the legendary Moscow jazz club "Blue Bird", which existed from 1964 to 2009, opening new names of the representatives of the modern generation of stars of domestic jazz (Brothers Alexander and Dmitry Brill, Anna Buturlin, Yakov Okun, Roman Miroshnichenko and others). In the 70s, a jazz trio "Hanelin-Tarasov-Chekasin" was widely known in the 1970s, as part of Pianist Vyacheslav Ganelia, Drummer Vladimir Tarasov and Saxophonist Vladimir Chekasin, existed until 1986. In the 70s and 1980s, a jazz quartet from Azerbaijan "Guy", Georgian vocal instrumental ensembles "Oeror" and "Jazz-Choral" was also known.

After the recession of interest in Jazz in the 90s, he again began to gain popularity in youth culture. In Moscow, festivals of jazz music are held annually, such as "Manor Jazz" and "Jazz in the Hermitage Garden". The most popular jazz club playground in Moscow is the Jazz Club "Union of Composers", inviting world-famous jazz and blues performers.

Jazz in the modern world

The modern world of music is just as diverse as the climate and geography that we learn through travels. And yet, today we are watching a mixture of an increasing number of world cultures constantly bringing us to the fact that in essence is already becoming "world music" (World Music). Today jazz no longer may not be influenced by sounds penetrating it from almost any corner of the globe. European experimentalism with a classic subtext continues to influence the music of young pioneers, such as Ken Vandermark, a Frianzazvaya avant-garde-saxophonist, known to work with such well-known contemporaries as Mats Gustafsson saxophonists, Evan Parker and Peter Britzmann. To other young musicians, more traditional orientation, which continue to search for their own identity, include Jackkey's pianists. Terrasson, Benny Green and Braid Meldo, Saxophonists Joshua Redman and David Sanchez and Drummers Jeff Watts and Billy Stewart.

The old tradition of sounding is rapidly continuing with such artists as Winton Marsalis Trubach, working with a whole team of assistants, both in its own small groups and in the jazz orchestra of the Lincoln Center, which he heads. Under his patronage, Markus Roberts and Eric Reed, Saxophonist WES "Warmdaddy" Enderson, Trubacch Markus Proppect and Vibrafonist Stefan Harris, grew up under his patronage. Basist Dave Holland is also an excellent opener of young talents. Among his many discoveries, artists such as Saxophonist / M-bassist Steve Colemen, Saxophonist Steve Wilson, Vibraphonist Steve Nelson and Drummer Billy Killy. To the number of other great mentors of young talents are also a pianist Chic Coria, and now the deceased - the drummer Elvin Jones and singer Betty Carter. The potential opportunities for the further development of jazz are currently large enough, since the ways of developing the talent and the means of its expression are unpredictable, multiplied by the intersection of various jazz genres encouraged today.