The Jazz music sensation began to rub off on other parts of the world which encourages the experimentation of melding their familiar sounds with the essence of Jazz. In Europe’s country in the Region of France came the Quintette Du Hot Club de France who was responsible for the making of the early “Gypsy Jazz”.

The Belgian guitarist Django Reinhardt created gypsy jazz by mixing the style of French Musette which was used in the dance halls, eastern European Folk known as Jazz Manouche, and American swing of the 1930’s. The sound was developed by instruments from the string family which are a steel string guitar, violin, and an upright bass. The atmosphere of the Jazz music is seductive with sudden unpredictable twists, and accelerating rhythms. The French artist Bireli Lagrene plays this unique music with old elements of the past.

Another style of Jazz music that allowed the musicians to express themselves freely was the invention of Avant-garde or free Jazz music. Both of these styles stemmed from the Bebop era, yet produced a relaxed form of harmonic and rhythmic music in the 1940’s and 1950’s. The musicians John Coltrane, Dewey Redman, Charles Mingus, Sun Ra, Sam Rivers, Ornette Coleman and many more were the creators of the free Jazz music. Between the 1960’s and 1970’s the Latin musicians created the Afro-Cuban and Brazilian Jazz Music styles after Bebop musicians Dizzy Gillespie and Billy Taylor cultivated it.

Gillespie and Taylor was influenced by the music of Cuban and Puerto Rican musicians Chico O’farrill, Tito Puente, Chano Pozo, Xavier Cugat, Mario Bauza and Arturo Sandoval. Jazz music expressed in a Latin interpretation was termed Bossa Nova with origins in Samba music which is a mixture of Jazz, classical and pop music from the 20th century. Bossa is a moderate sound of music with Classical harmonic structure from Europe, Samba polyrhythm’s from Brazil and cool music. The tempo of such a work is about 120 beats per minute. The instruments used in this particular sound is nylon stringed guitar, piano, high hat tap of eighths, tapping on the rim of the drum like Sade’s “Sweetest Taboo”, and a vocalist. The sound produced is a new relaxing sound where the acoustic sound of the guitar can lull one to sleep with it’s easy melodic line.

Joao Gilberto and Antonio Carlos Jobim became popular in the sixties with this style of music. The influence of Jazz music returned to the place of its origins in the religious music known as Urban Contemporary Gospel from the spirituals music. Much of spiritual music sung by southern slaves in the past has a haunting dark and mournful sound during the 1800 and 1900’s. The churches know as the sanctified or holy churches took a more happier approach by encouraging member to sing speak their personal testimonies as they celebrated with song and dance.

The sanctified artist Arizona Dranes who was a traveling pastor made recordings that would fit in many musical categories such as blues, and boogie-woogie with the use of Jazz instruments. At the time the Jazz instruments used with religious themed music were percussion and brass instruments.

By: John Horsch

Jazz: What In The Heck Is It?

All of us know what jazz is when we hear it, but trying to define it is a different matter. With so many variant styles, coming up with an accurate definition of jazz is difficult if not impossible.

But I suppose that an article on jazz really ought to attempt to define the term “jazz.” My Thorndike-Barnhart Dictionary defines jazz like this:

*jazz (jaz), noun. 1. American music with the accents falling at unusual places; syncopated music. 2. Slang, liveliness – adj. of or like jazz: a jazz band.

Besides not telling us very much, it is also obviously false. I think immediately of ballads played by jazz musicians, such as Thelonious Monk’s ‘Round Midnight and Bill Evan’s Peace Piece, and countless other examples. They are based on neither syncopation nor liveliness; they are slow, extremely thoughtful, and the antithesis of “jazzy.” Yet they are considered by both jazz musicians and jazz critics alike to be well within the mainstream of jazz.

Let’s try A New Dictionary of Music and see if we can get closer to the essence of jazz:

*jazz, a term used at least from 1914 for a type of American popular music originating among blacks of New Orleans and taken over also by whites; also used generally for various types of dance music indebted to this (though purists reserve the term for such music as retains the original flavor and the original basis of improvisation.) The jazz idiom, characterized by certain syncopations over strongly reiterated rhythms, has influenced e.g. Lambert, Stravinsky, and Milhaud, as well as many American composers.

That’s better than the Thorndike-Barnhart definition, but it still leans heavily toward defining jazz in terms of rhythm alone: “characterized by certain syncopations over strongly reiterated rhythms.” I think again of ballads, but also of much contemporary jazz which is not characterized by “certain syncopations,: such as the work of pianists Keith Jarrett and Chick Corea.

What then is jazz? If the general dictionaries and musical dictionaries can’t satisfactorily answer the question, what hope is there for us?

Ask a hundred jazz musicians what jazz is, and you’ll get a hundred different answers (I know – I’ve asked at least a dozen and gotten as many different responses.)

I would like to suggest that the answer may lie, not in music, but in semantics.

I think it is entirely possible that we are lumping together widely disparate types of music, and labeling them all with the term “jazz,” then wondering why we can’t come up with a lexical definition of the term. Maybe we should abandon the word “jazz,” and use terms such as “improvised fast syncopated music,” or “improvised slow non-syncopated music.” Maybe we should, but we won’t. So we are stuck with the non-definable term “jazz.”

So let’s not define jazz.

We all know what it is, more or less. We would disagree mainly in the “grey” areas, such as ballads, some contemporary works, and so forth. But let’s agree not to disagree, and just enjoy it.

The following articles in this series will deal with the various styles we find in jazz, from ragtime to fusion.

So stay tuned.

By: Duane Shinn