1. JAZZ. THE AMERICAN ARTFORM THE ORIGINS OF JAZZ

2. ‘Whose music is it anyway?’ and other stupid questions Approaches to jazz history: –Tracing cultural influences African influences European influences West Indies influences –Tracing social trends which influenced jazz history –Tracing demographic trends which influenced jazz history Jazz – in its early history often referred to as ‘race music’ IS NOT ‘race music’, which is not to say race did not play a part in its creation and evolution The American artform

3. Most ethnically diverse and racially integrated American city of the 19 th century Part of Lousiana purchase French and Spanish influences Descendants of French and Spanish colonists and African slaves – Creoles of Color – the largest non-slave Black population in the South Significant presence of Carribean culture New Orleans

4. African influences in jazz Slave songs and dances –Original African rhythms / Syncopation –Congo Square, New Orleans Plantation worksongs Baptist Church’s Gospel spirituals –Call and response –Ring shouts Blues –Simple chord structure – three chords –Stress on individual performer’s skill and aptitude – technique and the feeling –The story (uplifting rather than depressing)

5. First confusions: Minstrelsy Minstrel shows –White performers with ‘blackface’ to pass for Black performers –At times Black performers blacked to pass for white performers blacked to pass for Black performers –A wide repertoir of hugely popular songs (including ‘Jim Crow’) –Original American popular culture –Strengthening racist stereotypes

6. European influences Military bands popular in New Orleans after the Civil War Dixieland European instrumentation European folk music Further confusions: Creoles of color – classically trained musicians, playing ‘European music’ for mostly white audiences »This changes after Civil Rights Cases of 1880’s and after Jim Crow laws are introduced in Lousiana »Creole musicians are now forced to seek new audiences and look for new artforms »Ragtime (the most popular music of the turn of the century)

7. Further confusions: Creole culture Mardi Gras parade – introducing the Brass band Ragtime –Scott Joplin Creole musicians combine brass band tradition with new syncopated music (ragtime), the blues, West Indies influences – earliest jazz –roots of the traditional New Orleans Jazz Band

8. Before jazz was jazz Territory bands Jass bands Further confusions – ‘inventors of jazz’: First recorded jazz (or jass) Original Dixieland Jassband (1917) Massive commercial success Other recordings follow Jelly Roll Morton

9. The Jazz Age (1920’s) Migrations to the north - two directions: Chicago, New York Prohibition Era The Speakeasy Louis Armstrong scat singing (Heebie Jeebies 1926) Duke Ellington ‘jungle music’ first broadcast from the Cotton Club – jazz goes national

10. The Blues Besie Smith Ethel Waters

11. The Swing Era Jazz primarily dance music –Charlston –Foxtrot Swing –Strong swing rhythm – strong rhythm section –Improvised solos Benny Goodman Count Basie

12. Towards improvisation – jazz is no longer about dancing Virtuosity –Louis Armstrong –Art Tatum The birth of Bebop –Usually fast tempos (although the blues returns as a major inspiration) –Arrangements not as crucial as in swing – certain harshness of form / Departure from the Big Band format –Virtuosity –Improvisation (against a strong rhythm section, following simple chord progressions taken from swing melodies or blues) Shifts of tempo, departures from the theme –Coleman Hawkins, Body and Soul –Dizzie Gilespie –Charlie Parker –Clifford Brown

13. Arrangments again important Smoothing out the dissonances of bebop Gerry Mulligan Stan Getz Lester Young Early records by Miles Davis Yet – revolutionary compositional techniques are often incporporated: The Dave Brubeck Quartet, Time Out (1959) –Sometimes leading to avantgarde, anticipating free improvisation: Jimmy Giuffre Later – influenced massively by Brazilian music – Bossa nova (João Gilberto, Antonio Carlos Jobim, Stan Getz, Charlie Byrd, Coleman Hawkins, etc.) Cool Jazz / West Coast Jazz

14. Extension of Bebop – reaction to Cool Jazz (yet obviously influenced by later cool jazz) Simpler melodies, even more blues based, often incorporating other influences Rhythm sections often playing outside 4/4 time signatures Blue Note – the birth of the ‘hard bop label’ The golden age of modern jazz (approx. 1955 – 1970) Massive influence of hard bop on later (and contemporary) avantgarde forms of jazz Sonny Rollins, Saxophone Collossus (1956) Some hard bop artists became major figures of the avantgarde (John Coltrane, Giant Steps, 1960) Hard Bop

15. Modal Jazz In bebop improvisations built around specific keys (tonal centers) -whole compositions were also built ‘in keys’ Modal music builds from changes of modes – several within one composition, improvisation is then built around not specific keys but the musician’s choice of mode. As the modes are changed – the tonal center of music is also changed, so these changes of modes are often surprising, challangeing not only to musicians, but also listeners. Hence – modal musicians often stick to melodic playing, not to make the music too complex and dissonant. Result – for laymen listeners – more ‘abstract’, ‘meditative’ (repetitions) sound Miles Davis, Kind of Blue (1959)

16. Avantgarde / Free improvisation / Free jazz Free Jazz is not all avantgarde jazz OUT is in Cecil Taylor, Jazz Advance (1956) Ornette Coleman, The Shape of Jazz to Come (1959) Free Jazz –John Coltrane, A Love Supreme (1964) Anthony Braxton, For Alto Albert Ayler Andrew Hill Eric Dolphy Roland Kirk Collective improvisation –Joe Harriott, Free Form (1960) –Jimmy Giuffre, Free Fall (1964) –Art Ensemble of Chicago

17. What I did not manage to speak about Fusion / electric jazz Jazz in 1970s-1980s (crisis…) European jazz Contemporary jazz scene Jazz and other art forms –Jazz as subculture –Beat generation –Political activism and jazz Jazz in contemporary popular music –Hip hop influences –Funk –R’n’B –Smooth ‘jazz’ Etc, etc, etc.