Âm nhạc - Chapter 14: Jazz tenth edition

JazzTenth EditionChapter 14PowerPointbySharon Ann Toman, 2004Chapter 14 - Contemporary Trends: A Maturing Art FormThe Neoclassical SchoolThe Neoclassical school of jazz appeared at the beginning of the 1990sName implies:“New” expressions of “classical” jazz Jazz as an art form was certainly not on the minds of the 1st jazz players, but is on the minds of today’s players and teachers2Chapter 14 - Contemporary Trends: A Maturing Art FormThe Neoclassical SchoolToday’s musicians carry the weight and responsibility of this new historical understandingThe ownership of jazz is clearly to the African American crosscurrent but at the same time places it in a Western European historical context3Chapter 14 - Contemporary Trends: A Maturing Art FormThe Neoclassical SchoolThis historical context grants validity to jazz as an art formMusical lines as unique as country, rock, even blues, have not gained art status, at least not yet; but jazz has4Chapter 14 - Contemporary Trends: A Maturing Art FormThe Jazz CanonIdentifying those musicians who define jazz in its purest formJazz has joined classical music as a functioning art formOnce the music of the dance hall, the street, and the church, jazz now finds itself on concert stages, in universities, and in historical accounts5Chapter 14 - Contemporary Trends: A Maturing Art FormThe Jazz CanonThe mainstream has weathered 2 dominant attempts at redirection:1. an overly strong interest in composition at the expense of improvisation2. excessive importation from competing musical styles such as classical and rock6Chapter 14 - Contemporary Trends: A Maturing Art FormThe Young LionsNew players faced a different set of expectations than the original bop playersRather than lead jazz in a new direction, away from cool sound of jazz, these new players supported a revival of an earlier jazz era7Chapter 14 - Contemporary Trends: A Maturing Art FormThe Young LionsThe new lions found it necessary to earn recognition within the pride of existing mature lions (who still had a strong hold on the rein of straight-ahead jazz)8Chapter 14 - Contemporary Trends: A Maturing Art FormThe Young LionsYoung lions differed from the original straight-ahead players in that they were products of formal training from schools such as BerkeleeTheir knowledge of jazz was both theoretical and historical 9Chapter 14 - Contemporary Trends: A Maturing Art FormWynton MarsalisTrumpeterThe Marsalis jazz perceptive tends to be fairly exclusive:Excluded are those styles not properly respectful of the jazz originators as defined by the neoclassical traditionOne of the dominant voices of neoclassismHe brings the bop to hard bop period full circle© Lynn Goldsmith/Corbis10Chapter 14 - Contemporary Trends: A Maturing Art FormWynton MarsalisControversy surrounds Marsalis He speaks out for the acceptance of jazz as America’s “classical music”In his quest to legitimize jazz, he also blasts those jazz styles that do not fit his mainstream definition11Chapter 14 - Contemporary Trends: A Maturing Art FormThe Trumpet Legacy/Terence BlanchardYoung lionAccomplished trumpet player, he crossed over into film writingHis repertoire reflects his interest in the traditions laid down by earlier jazz figures such as Billie Holiday12Chapter 14 - Contemporary Trends: A Maturing Art FormThe Trumpet Legacy/Nicholas PaytonStylistic inspiration – Louis ArmstrongDevoted to the music of Louis Armstrong13Chapter 14 - Contemporary Trends: A Maturing Art FormThe Trumpet Legacy/Jon Faddis/Wallace RoneyJon Faddis:Known for his agile high range and fast playing style of complex bop melodic lines_________________________________________Wallace Roney:Instropect style and melodic approach like that of Miles Davis14Chapter 14 - Contemporary Trends: A Maturing Art FormThe Saxophone Legacy/Joe LovanoHas very good improvisational techniquesInfluenced by the playing style of Coleman Hawkins15Chapter 14 - Contemporary Trends: A Maturing Art FormThe Saxophone Legacy/Jane Ira BloomSoprano saxophone playerChanges the gender expectations for the saxophoneHer works are often adventurous hybrids of jazz and other media © Getty.16Chapter 14 - Contemporary Trends: A Maturing Art FormThe Saxophone Legacy/ Joshua Redman/ James CarterJoshua Redman:Influenced by the music and style of John Coltrane___________________________________James Carter:Unlimited technique and flexibilityInflunced by Rolling and Coltrane17Chapter 14 - Contemporary Trends: A Maturing Art FormThe Piano LegacyPiano players established themselves as important contributors to jazz early in its evolutionPiano can be both a melodic and a harmonic instrument18Chapter 14 - Contemporary Trends: A Maturing Art FormThe Piano Legacy /Ahmad JamalConnects the bop mainstream players wit the more contemporary pianistsHis dominant format was the trioUsed colorful harmonic offerings and his music created compositional interest19Chapter 14 - Contemporary Trends: A Maturing Art FormThe Piano Legacy /Herbie HancockNot only participated in the mainstream but has been one of its leading championsHe struck a balance between the center of the jazz mainstream and the commercial music worldHe brought his commercial music interest into the center of the mainstream jazz worldHe adapted rock and R&B material into the straight-ahead jazz format 20Chapter 14 - Contemporary Trends: A Maturing Art FormThe Piano Legacy /Keith JarrettHe is at his best in a solo-settingUses free improvisational platform for his technical speed, dynamics, and strong emotional statementsHe draws a historical connection to the solo work of Art TatumIn 1969 joined Miles DavisEstablished himself as a master of large-scale improvisations21Chapter 14 - Contemporary Trends: A Maturing Art FormThe Vocal Legacy/Betty CarterFormer vocalist with the Lionel Hampton bandExcellent scat singer (with her rapid execution of nonsense syllables interspersed with the actual lyrics)Almost sounds like an instrumentalist playing rapid sixteenth-note patternsShe agrees that great jazz singers are linked to the instrumental approach to performingInfluenced by Charlie Parker and Sonny Rollins22Chapter 14 - Contemporary Trends: A Maturing Art FormThe Vocal Legacy/Sheila JordanRoots can be traced back to early bebop daysSings with the prominent white jazz musiciansSuch as: Lennie Tristano and George RussellSpecial way of reinterpreting melodies and lyrics23Chapter 14 - Contemporary Trends: A Maturing Art FormThe Vocal Legacy/Cassandra WilsonInfluenced by Betty CarterWide range of musical material from blues to rockRecognition as gained by imaginatively reworking the standard jazz repertoireShe showed that she could reclaim songs by placing her unique stamp on them with her maturing interpretative skills© Corbis.24Chapter 14 - Contemporary Trends: A Maturing Art FormThe Vocal Legacy/Bobby McFerrinSinger of unusual talentHis ability to scat sing involves more than improvised syllables with jazz inflectionsHe also makes percussive sounds as accompaniment to his improvisationsHe complements the performance with percussive sounds created by striking his chest while he sings25Chapter 14 - Contemporary Trends: A Maturing Art FormJazz/Pop DistinctionsThe line between jazz and pop remains difficult to discernThis line makes the task of defining jazz singer even more frustrating26Chapter 14 - Contemporary Trends: A Maturing Art FormJazz/Pop DistinctionsFrank SinatraHis association with jazz began as a big-band singer in the 1940sHe redefined the jazz singer by reversing the very feature most associated with jazz-syncopationHe sang above the meter with an elongated sense of phrasing that was free from the more traditional jazz syncopation that defined standard song phrases© Getty Picture Library.27Chapter 14 - Contemporary Trends: A Maturing Art FormJazz/Pop DistinctionsFrank SinatraFirst popular vocalist to mine the jazz standard repertoryHis legacy created for future jazz singers a responsibility to the standard jazz repertory This repertory helps us draw the line between jazz and popular singers28Chapter 14 - Contemporary Trends: A Maturing Art FormJazz/Pop DistinctionsHarry Connick, Jr.Pianist/vocalist/composer from New OrleansAs a singer compared to Frank SinatraHis singing style is more reflective of earlier singersAs he matured, his interest moved from contemporary rock and jazz to the classic piano players of jazz and the styles associated with themHe performs in the same swing big-band format like that of Sinatra.but he writes most of the arrangements and often joins the other musicians on the piano29Chapter 14 - Contemporary Trends: A Maturing Art FormJazz/Pop DistinctionsDiana KrallSinger/pianist is a crossover from the jazz world to popular musicUnlike Wilson, her jazz status is acclaimed more outside than within the jazz communityShe is appreciated by the broader popular market while remaining a defining presence in the evolution of jazz singers© Reuters NewsMedia Inc/Corbis.30Chapter 14 - Contemporary Trends: A Maturing Art FormVocal Jazz Groups/Lambert, Hendricks, and RossGroup started in the 1950sWould take old jazz records and setting lyrics to just about everything on themNot only the tunes but also the improvised solos (technique called vocalese)31Chapter 14 - Contemporary Trends: A Maturing Art FormVocal Jazz Groups/Manhattan TransferFollowed closely the tradition of Lambert, Hendricks, and RossUsed jazz overtones and many excellent jazz instrumentalist on their recordings32Chapter 14 - Contemporary Trends: A Maturing Art FormVocal Jazz Groups/New York VoicesOften compared to Manhattan TransferMost of the material is written for two voices and the instrumental accompanied consists of three instruments33Chapter 14 - Contemporary Trends: A Maturing Art FormVocal Jazz Groups/Take 6Group of 6 (men) vocalistsGained national prominence around 1988Their arrangements are a cappella and show a blend of traditional gospel, soul, pop, and jazzSophisticated vocal arrangementsPresentation of the material emanates clearly from the oral gospel tradition and is full of individual and ensemble vocal nuances34Chapter 14 - Contemporary Trends: A Maturing Art Form