Âm nhạc - Chapter 15: Jazz tenth edition

JazzTenth EditionChapter 15PowerPointbySharon Ann Toman, 20041Chapter 15 - Latin JazzLatin JazzLatin jazz coexisted and interacted with jazz from the very start of jazzPoor documentation has made it difficult to reconstruct the total significance of this early influence2Chapter 15 - Latin JazzLatin JazzLatin jazz can be viewed from two sides:Jazz perspective: we see the importation of Latin influences into established jazz ensemblesArea of rhythmic complexityLatin perspective: we see that Latin jazz has maintained it own musical tradition and audienceYet remains distinct but influential in jazz circles3Chapter 15 - Latin Jazz1890s-1910, Early New OrleansLatin music was a part of the New Orleans musical mix and contributed to the Creole musical vocabularyCuban and Haitian music, like French music, were prevalent influences in the early prejazz music of New OrleansRagtime music was derived initially from Mexican music compositions like the habanera, the danza, and the seguidilla4Chapter 15 - Latin Jazz1910s-1920s, The Tango CrazeThe tango which is a fast habenera became a popular musical dance rhythm during the 1910s and worked its way into many jazz compositionsThe tango and ragtime both reached their peaks at the same time 5Chapter 15 - Latin Jazz1930s, The Rumba CrazeBecame a popular dance rhythm of the 1930sRumba could be heard in most of the swing dance hallsBy the end of the 1930s, the crossover between jazz and Latin music surfaced in bands like: Cab CallowayThe real fusion of Latin and jazz in a single musical style is called the “cubop”6Chapter 15 - Latin JazzClaveClaves are two resonant sticks that are struck togetherIt is the signature of Latin dance rhythms, especially of Cuban originClave also refers to the rhythm played by claves in a musical compositionBasic rhythm takes four forms in different dancesThe rhythm repeats over every two measures and has rhythmic groupings of alternating two and three notes (or strikes of the claves)Clave rhythm creates a syncopation across the two measures that is a basic requirement of Latin music7Chapter 15 - Latin Jazz1940s, Swing to CubopBy the 1940s, most of the big swing bands had Latin numbers in their repertoiresDizzy Gillespie is clearly the most important figure in the effort to import Latin music into the developing jazz mainstreamAs progressive big bands like Gillespie adopted the music of the early Afro-Cuban bands resulting in the new bop style of the Latin jazz movementAt the same time, the term cubop began surfacing to describe this fusion© Bettmann/Corbis8Chapter 15 - Latin Jazz1950s, The Mambo and CubopThe mambo consisted of the complex harmonies of jazz and the complex Latin rhythmsTito Puente (vibraphonist) showed the Latin versions of jazz materials as well as mambos that had a clear jazz swingResulted in a fusion that generated great excitement and variation in his performances9Chapter 15 - Latin Jazz1960s, The Brazilian WaveEmerged in the 19460s as the jazz bossa enjoyed widespread popularitySubtle dance rhythms proved particularly appropriate for the West Coast style of jazz and its cooler performance styleThe bossa brought a shift in emphasis from the complex, highly charged percussion to a more complex melodic and harmonic styleBossa jazz movement also brought nonpercussion Latin musicians to prominenceSuch as: Laurindo Almeida and Bola Sete10Chapter 15 - Latin Jazz1960s, The Brazilian WaveBossa nova’s popularity led to an eventual decline in the jazz circle just like the original jazz bossa gave way to a lighter bossa pop styleIts decline was not the endIt would return in a new hybrid form as a combination of funky jazz and late cubopThe 1960s offered a number of fronts for the hybridization of jazz, Latin, R&B, funky jazz, and increasingly, rock and roll. The groundwork laid in this decade would play itself out more fullly in the fusion of the 1970s11Chapter 15 - Latin Jazz1970s, Latin Jazz FusionThroughout the 1970s, Latin jazz was becoming ore intertwined with diverse jazz streamsIt was no longer easily identified as a new stylistic fusion but rather a more subtle flavor of jazz itself12Chapter 15 - Latin JazzContemporary TrendsMany performers important to the many fusions of Latin music are still active todaybut their collective work can’t be neatly tied to one defining streamThe 1980s saw a shift from the Latin-jazz-funk and jazz fusion back to a more Brazilian-centered interest paralleling the change in the late 1970s from the jazz fusion to the more Latin tipico characterized by tradition Cuban musicIn the late 1980s, Latin jazz settled down into its own evolution as a more self-defined musical streamEven though jazz accepts the presence of Latin music, they both remain distinct and active forms of musical traditions13Chapter 15 - Latin Jazz