Jazz

With jazz is a style of music based on improvisation meant influenced by West-African rhythms and originated in New Orleans from a cross pollination of ragtime and blues,folk, French negrospirituals and marching music. Originally meant the word jazz a "very energetic dance". Jazz in the early years, by the general public was not very accepted, especially since this kind of music was associated with loose morals and low social status. When ' white ' and mixed jazz orchestras as that of Benny Goodmanfrom the thirties this music started to play, it was also for whites an accepted form of entertainment. The swing period that then began meant a high point in the popularity of jazz, something that was primarily due to the fact that still exclusively when dance music was jazz. When jazz from the fifties evolved to more experimental musical forms, and because of the rise of exciting dance music such as rock and roll, strong sales of jazz record went backwards. The jazz music is, however, remained, and continues to innovate. This article gives an overview of jazz history from ragtime and fusionstijlen to the hot jazz of the last decades.



Content
[hide] *1 Music of the moment  ==Music of the moment[ Edit] == Basically jazz ' music of the moment ' – new musical choices are made at any time up to the form and all the currently-playing musicians reach out (see the mentioned jazz currents below) making a personal and intensive music perception. In classical music and pop music, this property is virtually absent. In the jazz music is a theme or small composition or an appointment only used as a basis for improvisation. This property affects many other style movements like jazz and blues, (pop) world, folk, heavy metal, funk, soul, classical and early music and there are nowadays many hybrids.
 * 1.1 the beginning
 * 1.2 New Orleans and Dixieland
 * 1.3 Boogie Woogie
 * 1.4 Swing era
 * 1.5 Harlem Jump
 * 1.6 Bebop
 * 1.7 Revival
 * 1.8 Cooljazz
 * 1.9 West Coast
 * 1.10 East Coast
 * 1.11 Hard Bop
 * 1.12 Soul jazz
 * 1.13 Free Jazz: the desire for maximum freedom
 * 1.14 Fusion
 * 1.15 neo-BOP: simplicity as intensity
 * 1.16 the present and the future
 * 1.17 live music?
 * 2 jazz standards
 * 3 Harmonic and rhythmic characteristics
 * 4 Many musical instruments used in jazz
 * 5 famous jazz musicians
 * 6 Jazz styles
 * 7 Belgian jazz
 * 8 Dutch jazz orchestras
 * 9 Jazz composers
 * 10 Famous contemporary jazz ensembles
 * 11 see also
 * 12 external link

The weight of improvisation we see back in the history of jazz, where mitigating factors-held by the human dimension and commerce-be cleaned up; letting go of dance music which may be lower and upper tempos and more complex rhythms, allowing aesthetics, releasing themes and the pursuit of complete freedom and the use of other music genres. ===The beginning[ Edit] === The main source for the jazz is in all likelihood in Africa. The Africans who were brought to America as slaves, brought their traditional, strongly rhythmic music with it. On their route to the United States, many slaves first brought to the West India Islands, particularly in Hispaniola (Haiti and the Dominican Republic); After a while many of them were sold in New Orleans. They took with them their religious and musical heritage. The slaves from Santo Domingo (the capital of the Dominican Republic, founded by the brother of Chris Campagna) put their old voodoo practices unchanged on in New Orleans.

That music was based on a five-tone scale. A characteristic example of a five-tone (pentatonic) scale in the key of c minor are the tones c – es – f – g – b-flat. African music has a strong pentatonic tradition.

Slaves working on the plantations developed a singing style that as the origin of what is now called blues can be. In New Orleans played percussion bands on the street on which the black population was dancing.Those places in the city were given the nickname ' Congo Square '.

Musicians in pubs and brothels (often also Africans) made use of musical elements from the European classical music and added it to the base of the ' plantation ' vocals.

In the ' Honky Tonks ' sounded ragtime. At ragtime pianist with two hands know a strong rhythm with themes to link up. This music is polyritmisch, but has less improvisation possibilities.

<p style="margin-top:0.5em;margin-bottom:0.5em;line-height:22.3999996185303px;color:rgb(37,37,37);font-family:sans-serif;">Experts agree that work songs of the cotton fields, urban and rural blues, banjo styles of variety shows, syncopated brass bands (brass bands) and ragtime (syncopated dance music) all played an important role in the development of jazz. The syncope ring (accent shift) as the primary ingredient of the jazz, developed as a rhythmic adaptation of the Africans. The syncope was the most obvious and best substitute for the complicatedpolyrhythms (the simultaneous combination of contrasting rhythms in a musical composition) which is an integral part of their musical heritage. It is this syncope that music does "swinging".

<p style="margin-top:0.5em;margin-bottom:0.5em;line-height:22.3999996185303px;color:rgb(37,37,37);font-family:sans-serif;">Because the African music and dance traditions were exposed to the public, there was a mutual influence with the European music tradition. The unique rhythmic emphasis of these dances plus many other ingredients came together to provide a kind of music that became known as jazz.

<p style="margin-top:0.5em;margin-bottom:0.5em;line-height:22.3999996185303px;color:rgb(37,37,37);font-family:sans-serif;">The name jazz comes from the no longer existing Word jass, with which the sexual act in a vulgar way was referred to. Jazz was a symptom of the glorious liberation from the bondage of morality. It originated in the slums and was primarily developed for use in brothels; one brothel tried to other assets with the best jazz band. ===New Orleans and Dixieland<span class="mw-editsection" len="335" style="-webkit-user-select:none;font-size:small;margin-left:1em;line-height:1em;display:inline-block;white-space:nowrap;unicode-bidi:-webkit-isolate;"><span class="mw-editsection-bracket" len="1" style="color:rgb(85,85,85);">[ Edit<span class="mw-editsection-bracket" len="1" style="color:rgb(85,85,85);">] === <p style="margin-top:0.5em;line-height:22.3999996185303px;color:rgb(37,37,37);font-family:sans-serif;">Around 1900 is a good working combination of instruments found to blues and ragtime to play; instruments that were more readily available from the fanfare and plenty of sound such as saxophone, trumpet, clarinet andtrombone and tuba. Indoors was the piano already known. As rhythm-the percussion instrument was also apart from banjo used standing next to harmony also a clear rhythm can bring forth.

<p style="margin-top:0.5em;margin-bottom:0.5em;line-height:22.3999996185303px;color:rgb(37,37,37);font-family:sans-serif;">With these bands were blues and ragtime musicians played and got the space to improvise and thus to strengthen the expression. In the Storyville district of New Orleans was so much interest that musicians could earn enough money to live on, which makes the development of this music was going faster and faster. After 1917 the musicians themselves shifted to elsewhere-in particular to Chicago-after the Government forbade the wild scenes in Storyville. This marks the beginning of the so-called New Orleans Jazz-style period.

MENU    0: 00 The Original Dixieland Jass Bandplays "Jazz me Blues", a composition written by Tom Delaney. This recording was 3 May 1921.<p style="margin-top:0.5em;line-height:22.3999996185303px;color:rgb(37,37,37);font-family:sans-serif;">Also white musicians go along in the flow and not long after that the first-time inclusion of a (white) jazz band; the Original Dixieland Jass Band. There would be more white musicians from Chicago, as the trumpeter Bix Beiderbeckeand Frankie Trumbauer, saxophonist Bud Freeman. They played slightly less heavy than their colored contemporaries.

<p style="margin-top:0.5em;margin-bottom:0.5em;line-height:22.3999996185303px;color:rgb(37,37,37);font-family:sans-serif;">In Chicago is especially the Creole Jazz Band Joe "King" Oliver 's famous, containing the Louis Armstrongfrom New Orleans. The sound when Oliver was less cantabile and seemed to have less to do with ragtime. Armstrong then temporarily Fletcher Henderson's Orchestra plays and then shoot himself with his formations ' Hot Five "and"Hot Seven"(especially the recordings from 1925-1927 are recommended). He develops further, and plays more easily with more contrasts than most of his contemporaries. He get together with Earl Hines of the New Orleans approach and went on to the swing. It was not until the Revival period following World War II he will come back.

<p style="margin-top:0.5em;margin-bottom:0.5em;line-height:22.3999996185303px;color:rgb(37,37,37);font-family:sans-serif;">With the ' New Orleans-vibrato ' Sidney Bechet also moved slowly but surely towards swing. He is especially popular in Europe for his stay in France.

<p style="margin-top:0.5em;margin-bottom:0.5em;line-height:22.3999996185303px;color:rgb(37,37,37);font-family:sans-serif;">The afro-Creole pianist Jelly Roll Morton began in Storyville and toured from 1904 around with Vaudeville shows. He made arrangements for his Orchestra as a conductor more far-reaching. His "Jelly Roll Blues" from 1905 was released in 1915 and was the first printed jazz arrangement. He agreed to the musical compositions or arrangements are properties of specific soloists in his Orchestra. Morton was a precursor of the larger big bands and the work of Duke Ellington. He saw himself – according to his business card – as an inventor of jazz.

<p style="margin-top:0.5em;margin-bottom:0.5em;line-height:22.3999996185303px;color:rgb(37,37,37);font-family:sans-serif;">It could be said that the jazz in the twenties of the 20th century developed along two parallel tracks: a ' blank ' rail and a ' black ' track. The early New Orleans jazz styles are (the ' black ' branch) and Dixieland (the ' white ' branch) called. ===Boogie Woogie<span class="mw-editsection" len="323" style="-webkit-user-select:none;font-size:small;margin-left:1em;line-height:1em;display:inline-block;white-space:nowrap;unicode-bidi:-webkit-isolate;"><span class="mw-editsection-bracket" len="1" style="color:rgb(85,85,85);">[ Edit<span class="mw-editsection-bracket" len="1" style="color:rgb(85,85,85);">] === <p style="margin-top:0.5em;line-height:22.3999996185303px;color:rgb(37,37,37);font-family:sans-serif;">To add more improvisation to the ragtime (which still existed by musicians such as Fats Waller and Willie the Lion Smith) were 25-30 to the left hand rolled more rhythmic patterns that more than jumps. Also made the Boogie-Woogie pianists use of recognizable short pieces that almost had a signal function. Leading Boogie-Woogie pianists are Pine Top Smith, Albert Ammons and Jimmy Yancey. The Boogie Woogie deviates rhythmically off of the New Orleans style and seems structurally to look ahead on the swing era. We see a continuation of Harlem in the development of the Jump and thus of rock and roll. ===Swing Era<span class="mw-editsection" len="324" style="-webkit-user-select:none;font-size:small;margin-left:1em;line-height:1em;display:inline-block;white-space:nowrap;unicode-bidi:-webkit-isolate;"><span class="mw-editsection-bracket" len="1" style="color:rgb(85,85,85);">[ Edit<span class="mw-editsection-bracket" len="1" style="color:rgb(85,85,85);">] === <p style="margin-top:0.5em;line-height:22.3999996185303px;color:rgb(37,37,37);font-family:sans-serif;">In general, with the swing era called the period before the advent of Bebop, which was formed in the 1940s. More specifically, it is also the time after the New Orleans-period.

<p style="margin-top:0.5em;margin-bottom:0.5em;line-height:22.3999996185303px;color:rgb(37,37,37);font-family:sans-serif;">The economic crisis just before 1930 marked the end for many New Orleans-orchestras. In Kansas City the Mayor saw nothing in the Liquor Ban (or he got proposals he couldn't refuse) whereby beside the crime the nightlife flourished. This was Kansas City has become an important meeting place for musicians. Soloists and in larger venues even complete bands names the late into night face off. Perhaps could make it sound of music on the radio and Gramophone players present more and more other jazz musicians and public informed about developments so that the changes were less region-specific.

<p style="margin-top:0.5em;margin-bottom:0.5em;line-height:22.3999996185303px;color:rgb(37,37,37);font-family:sans-serif;">Swing is characterized by a rhythm that less drag and more ' hupst ' or ' jumps ' in typically two times per measure; a heavy moment on the first beat and a light moment on the second, ditto on the third and fourth tel. through this at an energetic and generally light way to play a rhythm that occurs in the legs and danceable ' creeps ' (to dance or move to the music). In this day and age we find a lot of dance and show orchestras.Soloists and arrangement give the music more story, the rhythm section remains mainly contribute to the base of the package.

<p lang="en" len="88" style="margin-top:0.5em;margin-bottom:0.5em;line-height:22.3999996185303px;color:rgb(37,37,37);font-family:sans-serif;">Harmonious arrangements were more complicated and this also had consequences for the solos.

<p style="margin-top:0.5em;margin-bottom:0.5em;line-height:22.3999996185303px;color:rgb(37,37,37);font-family:sans-serif;">Bands grew to big bands of 10 to 20 musicians ( Benny Carter,Chick Webb, Jimmy Lunceford, Count Basie). The rhythm section kept maladjusted, but the blazers were organized in groups. A package wrapped in an attractive theme was followed by soloists. Sometimes singers were also deployed from a variant on the blues tradition, the so-called blues shouters. Developed by pianist Duke Ellington to band leader, composer and arranger. With musicians like saxophonist Ben Webster and trumpeter Cootie Williams in his band he could arrange on specific properties of the soloists. Ellington noticed the young bass player Jimmy Blanton on which also the bassist for the first liberating steps to put the bebop.

<p style="margin-top:0.5em;margin-bottom:0.5em;line-height:22.3999996185303px;color:rgb(37,37,37);font-family:sans-serif;">Also smaller combos prove it's good to be able to do such as the collaboration of singer Billie Holiday with Teddy Wilson. Despite that jazz popular commonplace of the American and European had become public and more orchestras with both black and white musicians remained in the entertainment world were the racial segregation still exist. Clarinet player Benny Goodman used for his smaller occupation in addition to white drummer Gene Krupa and vibraphonist Lionel Hampton the black pianist Teddy Wilson and guitarist Charlie Christian (see also at bebop). He also turned out in larger orchestras, it's no problem to find important gigs to do with mixed orchestras. This became possible by his fame. Billie Holiday made a number of recordings of Strange Fruit.

<p lang="en" len="239" style="margin-top:0.5em;margin-bottom:0.5em;line-height:22.3999996185303px;color:rgb(37,37,37);font-family:sans-serif;">Django Reinhardt on falls In Europe by its innovative style.

<p style="margin-top:0.5em;margin-bottom:0.5em;line-height:22.3999996185303px;color:rgb(37,37,37);font-family:sans-serif;">After World War II, celebrated the Swing was rampant. After the emergence of bebop in the 1940s, the continued existence and the swing is to this day no longer with a vengeance. In Netherlands was on 5 may 1945founded the Dutch Swing College Band . This was followed by, among others, the Down Town Jazz band, New Orleans Syncopators and the Dixieland Pipers. ===Harlem Jump<span class="mw-editsection" len="322" style="-webkit-user-select:none;font-size:small;margin-left:1em;line-height:1em;display:inline-block;white-space:nowrap;unicode-bidi:-webkit-isolate;"><span class="mw-editsection-bracket" len="1" style="color:rgb(85,85,85);">[ Edit<span class="mw-editsection-bracket" len="1" style="color:rgb(85,85,85);">] === <p style="margin-top:0.5em;line-height:22.3999996185303px;color:rgb(37,37,37);font-family:sans-serif;">Gradually became New York yet toonaangevender than Kansas City. In the New York Harlem one extremely energetic danced the Jitterbug on a style very swinging was with a combination of Boogie Woogie and blues shouters. Important interpreters were Lionel Hampton and Illinois Jacquet. ===Bebop<span class="mw-editsection" len="316" style="-webkit-user-select:none;font-size:small;margin-left:1em;line-height:1em;display:inline-block;white-space:nowrap;unicode-bidi:-webkit-isolate;"><span class="mw-editsection-bracket" len="1" style="color:rgb(85,85,85);">[ Edit<span class="mw-editsection-bracket" len="1" style="color:rgb(85,85,85);">] === <p style="margin-top:0.5em;line-height:22.3999996185303px;color:rgb(37,37,37);font-family:sans-serif;">In the early 1940s musicians started to look for a style that determines the appearance of the solos were less restricted and more dynamic was possible. They found the ' old style ' too limited for their musical ability.Guitarist Charlie Christian plays harmonically more complicated than in the swing time usual, the pianist Thelonious Monk are looking for ways to strengthen harmony and rhythm that have not at all connect (the music of Monk was also called zombie-called music). In particular, given the kick-off with trumpeter Dizzy Gillespie and saxophonist Charlie Parker.

<p style="margin-top:0.5em;margin-bottom:0.5em;line-height:22.3999996185303px;color:rgb(37,37,37);font-family:sans-serif;">Due to the lack of shots in the first half of the forties (a friction between the music industry and the Trade Union) we don't have a good picture of what took place at that time. Curiously enough there are no or few interviews made with musicians or recording engineers of that time about this change.

<p style="margin-top:0.5em;margin-bottom:0.5em;line-height:22.3999996185303px;color:rgb(37,37,37);font-family:sans-serif;">The solution was found in the rhythm change and the enrichment of harmony. The rhythm was not more two-fold (heavy-light) played but was fourfold and got a running character. This could be placed more freely without rhythmic accents to disrupt the rhythm. Harmony was more powerful by compelling harmonies and themes to use. Thus arose more musical possibilities and could be ' unpacked '. That was further enhanced because the dance nature of the swing music was released, which came to be the music itself. The early bebop sounds usually energetic and virtuosic and sometimes a bit erratic.

<p lang="en" len="302" style="margin-top:0.5em;margin-bottom:0.5em;line-height:22.3999996185303px;color:rgb(37,37,37);font-family:sans-serif;">By the war In Europe, devoid of the guitarist Django Reinhardt developments is one of the first to pick up the bebop.

<p lang="en" len="71" style="margin-top:0.5em;margin-bottom:0.5em;line-height:22.3999996185303px;color:rgb(37,37,37);font-family:sans-serif;">The late 1940s were also included in the Bebop Cuban elements.

<p style="margin-top:0.5em;margin-bottom:0.5em;line-height:22.3999996185303px;color:rgb(37,37,37);font-family:sans-serif;">The term "bebop" is a so-called onomatopoeia or onomatopoeia. A frequently applied reef in the Bebop is be-bop-be-bop with-be-the highest sound is. It owes the music style probably his name.

<p style="margin-top:0.5em;margin-bottom:0.5em;line-height:22.3999996185303px;color:rgb(37,37,37);font-family:sans-serif;">The podiumact is now also more erratic; hats and sunglasses and sikjes. The gallant 1930s-style is replaced by whimsy. The small ensembles prove more agile and faster than the big dance bands and thus at least as spectacular. The skills (producing of tempo and harmony) needed for playing bebop are higher than in the swing time and this also applied to the capacity of the public. The black population is better off, but in the white audience are in the early years of bebop but little to find lovers. Some will be mustered to the jive and the rock and roll that not long after in the Middle 1940s, arose from the very popular Harlem Jump (see above) of the black rhythm and blues orchestras (such as Eddie Vinson) and the white Western Swing. ===Revival<span class="mw-editsection" len="318" style="-webkit-user-select:none;font-size:small;margin-left:1em;line-height:1em;display:inline-block;white-space:nowrap;unicode-bidi:-webkit-isolate;"><span class="mw-editsection-bracket" len="1" style="color:rgb(85,85,85);">[ Edit<span class="mw-editsection-bracket" len="1" style="color:rgb(85,85,85);">] === <p style="margin-top:0.5em;line-height:22.3999996185303px;color:rgb(37,37,37);font-family:sans-serif;">Not everyone was pleased with the sudden emergence of bebop. At the white audience creates new interest for the first jazz styles. Musicians such as Louis Armstrong and Sidney Bechet benefit. Bunk Johnson gets to play a denture.

<p style="margin-top:0.5em;margin-bottom:0.5em;line-height:22.3999996185303px;color:rgb(37,37,37);font-family:sans-serif;">Among other Lu Watters and Turk Murphy played prefer the earlier music, especially black musicians from New Orleans. They gathered in San Francisco and formed the Lu Watters Yerba Buena's jazz band, played as Joe "king" Oliver with two cornets in the lead and in particular on the rhythm successfully refreshed by accents on the after beat (second and fourth tel).

<p style="margin-top:0.5em;margin-bottom:0.5em;line-height:22.3999996185303px;color:rgb(37,37,37);font-family:sans-serif;">To the American west coast developed a style that originated to the Ragtime and also known as Frisco jazz is called. Especially Bob Scobey , Turk Murphyand the Orchestra of The Firehouse Five Plus Two Disney employees play a stimulating role.

<p style="margin-top:0.5em;margin-bottom:0.5em;line-height:22.3999996185303px;color:rgb(37,37,37);font-family:sans-serif;">Some jazz lovers see the return to the older styles as a relapse or simply preferred by a financial success above musical development. Be that as it may, as in the case of swing is the ' revival ' to date Active (see below). ===Cooljazz<span class="mw-editsection" len="319" style="-webkit-user-select:none;font-size:small;margin-left:1em;line-height:1em;display:inline-block;white-space:nowrap;unicode-bidi:-webkit-isolate;"><span class="mw-editsection-bracket" len="1" style="color:rgb(85,85,85);">[ Edit<span class="mw-editsection-bracket" len="1" style="color:rgb(85,85,85);">] === <p lang="en" len="693" style="margin-top:0.5em;line-height:22.3999996185303px;color:rgb(37,37,37);font-family:sans-serif;">Shortly afterwards came into being – in response to the rousing bebop – the cooljazz, which Miles Davis was one of the most important and best known performers (see albums Birth of the Cool and Kind Of Blue).

<p style="margin-top:0.5em;margin-bottom:0.5em;line-height:22.3999996185303px;color:rgb(37,37,37);font-family:sans-serif;">Cooljazz sounds less whimsical, more subtle and more serious and one seems to be more looking for the beauty and organization than to Ecstasy. Here also the incitement to the use of modal techniques that more balanced sound than the compelling harmonies from the early bebop.

<p lang="en" len="622" style="margin-top:0.5em;margin-bottom:0.5em;line-height:22.3999996185303px;color:rgb(37,37,37);font-family:sans-serif;">An almost wrenching combination can be heard in ' The Man I Love ' on the album ' Miles Davis and the Modern Jazz Giants ' where Miles Davis and Thelonious Monk play together and – so the story goes – nearly to blows went through Monks strongly compelling harmonies during the game by Davis.

<p style="margin-top:0.5em;margin-bottom:0.5em;line-height:22.3999996185303px;color:rgb(37,37,37);font-family:sans-serif;">There Is also a commitment to chordal but independent longer melody lines (polyphony), then given the name "Westcoast" there earlier. Think of the akkoordinstrumentloze deliberately occupations with Gerry Mulliganand Chet Baker and the harder classifiable pianist Lennie Tristano. The music a georganiseerdere impression. It is striking that relatively many white musicians this active.

<p style="margin-top:0.5em;margin-bottom:0.5em;line-height:22.3999996185303px;color:rgb(37,37,37);font-family:sans-serif;">Musicians that can be counted among the Cool-Jazz are also Chet Baker, Dave Brubeck , Paul Desmondand Stan Getz, Lee Konitz, Art Pepper, Russ Freeman and Ann Burton in Netherlands and Rita Reys.

<p style="margin-top:0.5em;margin-bottom:0.5em;line-height:22.3999996185303px;color:rgb(37,37,37);font-family:sans-serif;">And organizing the innovative character of cooljazz persisted and we see in later times in initiatives by Toots Thielemans (Bluesette), Joe Vanenkhuizen (which has a preference for 6/8 time signatures) and drummerPierre Courbois deliberately other metrums used. In the run-up to the Free jazz (see below) is also sought for new rhythmic freer possibilities (considerably more complex African rhythms, free floating rhythm, Indian rhythm patterns) which then be used less subdued (addressing ' My favorite things ' by John Coltrane).

<p lang="en" len="243" style="margin-top:0.5em;margin-bottom:0.5em;line-height:22.3999996185303px;color:rgb(37,37,37);font-family:sans-serif;">The retained character comes back in the end of the 80 's and 90 's where after a return is the pursuit of expression to clear structure and harmony, but in which the intensity of contrasts with a retained basis. ===West Coast<span class="mw-editsection" len="322" style="-webkit-user-select:none;font-size:small;margin-left:1em;line-height:1em;display:inline-block;white-space:nowrap;unicode-bidi:-webkit-isolate;"><span class="mw-editsection-bracket" len="1" style="color:rgb(85,85,85);">[ Edit<span class="mw-editsection-bracket" len="1" style="color:rgb(85,85,85);">] === <p style="margin-top:0.5em;line-height:22.3999996185303px;color:rgb(37,37,37);font-family:sans-serif;">Because most musicians who came from Los Angeles was played cooljazz cooljazz also known with the term West Coast indicated. However, not all ' West Coasters ' played ' cool ' and cooljazz was also played elsewhere. ===East Coast<span class="mw-editsection" len="322" style="-webkit-user-select:none;font-size:small;margin-left:1em;line-height:1em;display:inline-block;white-space:nowrap;unicode-bidi:-webkit-isolate;"><span class="mw-editsection-bracket" len="1" style="color:rgb(85,85,85);">[ Edit<span class="mw-editsection-bracket" len="1" style="color:rgb(85,85,85);">] === <p style="margin-top:0.5em;line-height:22.3999996185303px;color:rgb(37,37,37);font-family:sans-serif;">As counterpart was in New York in particular, continued the line of the Bebop. The music would eventually lead to Hard Bop. ===Hard Bop<span class="mw-editsection" len="320" style="-webkit-user-select:none;font-size:small;margin-left:1em;line-height:1em;display:inline-block;white-space:nowrap;unicode-bidi:-webkit-isolate;"><span class="mw-editsection-bracket" len="1" style="color:rgb(85,85,85);">[ Edit<span class="mw-editsection-bracket" len="1" style="color:rgb(85,85,85);">] === <p style="margin-top:0.5em;line-height:22.3999996185303px;color:rgb(37,37,37);font-family:sans-serif;">In contrast to the cooljazz was formed in the mid-fifties the Hard Bop (also called Hard Bop called Regression). Because the cooljazz on the west coast of the Usa huge start (West Coast Jazz), especially in Los Angeles where the movie studios were located, the jazz musicians in New York had little work. That is why they went to to introduce a new, extroverted jazz style that was full of emotion. The chord progressions were simpler, mostly blues schemes, and the driving rhythm became important again (including the shuffle rhythm). A link was established with Gospel music in the Church, although Hard Bop never was carried out. This is reflected in the titles of real Hard Bop songs like Moanin, The Preacher and The Sermon.

<p style="margin-top:0.5em;margin-bottom:0.5em;line-height:22.3999996185303px;color:rgb(37,37,37);font-family:sans-serif;">The 1950s and 1960s are the years of the biggest popularity of hard bop, but the musicians remained popular to this day. Nat Hentoff reports writes in the liner notes for the Blakey Columbia LP of the same name from 1957, that the term "hard bop" was coined by author-critic-pianist John Mehegan, jazz reviewer of the New York Herald Tribune at the time.

<p lang="en" len="38" style="margin-top:0.5em;margin-bottom:0.5em;line-height:22.3999996185303px;color:rgb(37,37,37);font-family:sans-serif;">Soul jazz developed from the hard bop.

<p lang="en" len="418" style="margin-top:0.5em;margin-bottom:0.5em;line-height:22.3999996185303px;color:rgb(37,37,37);font-family:sans-serif;">Important musicians in the Hard Bop include Art Blakey and his Jazz Messengers, Horace Silver, Clifford Brown, Miles Davis, John Coltrane, Cannonball Adderley, Sonny Stitt, Donald Byrd, Sonny Clark, Lou Donaldson, Kenny Drew, Benny Golson, Dexter Gordon, Joe Henderson, Andrew Hill, Freddie Hubbard, Jackie McLean, Charles Mingus, Blue Mitchell, Hank Mobley, Thelonious Monk, Lee Morgan, and Sonny Rollins. ===Soul jazz<span class="mw-editsection" len="321" style="-webkit-user-select:none;font-size:small;margin-left:1em;line-height:1em;display:inline-block;white-space:nowrap;unicode-bidi:-webkit-isolate;"><span class="mw-editsection-bracket" len="1" style="color:rgb(85,85,85);">[ Edit<span class="mw-editsection-bracket" len="1" style="color:rgb(85,85,85);">] === <p lang="en" len="126" style="margin-top:0.5em;line-height:22.3999996185303px;color:rgb(37,37,37);font-family:sans-serif;">Soul jazz was a development from the hard bop with influences from blues, gospel and rhythm and blues with small formations.

<p style="margin-top:0.5em;margin-bottom:0.5em;line-height:22.3999996185303px;color:rgb(37,37,37);font-family:sans-serif;">It is a stereotype formation (hammond) organ combo (also called Tenorgel combo), consisting of a hammond organ, tenor saxophone and drums as a base. Important soul jazz organists include Bill Doggett, Charles Earland, Richard "Groove" Holmes, Les McCann, "Brother" Jack McDuff, Jimmy McGriff, Lonnie Smith, Lou Donaldson, Big John Patton, Don Patterson, Reuben Wilson, Jimmy Smith and Johnny Hammond Smith.

<p style="margin-top:0.5em;margin-bottom:0.5em;line-height:22.3999996185303px;color:rgb(37,37,37);font-family:sans-serif;">Tenor Saxophone and guitar are important in soul jazz; soul jazz tenors include Gene Ammons, Eddie "Lockjaw" Davis, Eddie Harris, Houston Person, and Stanley Turrentine; and the guitarists as Grant Green andGeorge Benson. Other important contributions came from alto saxophonist Lou Donaldson and Hank Crawford, trumpeter Blue Mitchell, drummer Idris Muhammed (Leo Morris).

<p lang="en" len="147" style="margin-top:0.5em;margin-bottom:0.5em;line-height:22.3999996185303px;color:rgb(37,37,37);font-family:sans-serif;">Unlike hard bop, soul jazz lay more emphasis repetitive grooves and melodic themes and the improvisations tend to be less complicated.

<p lang="en" len="429" style="margin-top:0.5em;margin-bottom:0.5em;line-height:22.3999996185303px;color:rgb(37,37,37);font-family:sans-serif;">Soul jazz developed in the late 1950s and reached the public with the release of The Cannonball Adderley Quintet in San Francisco and was at its peak in the mid to late sixties, although many soul jazzmusici have remained popular.

<p lang="en" len="1673" style="margin-top:0.5em;margin-bottom:0.5em;line-height:22.3999996185303px;color:rgb(37,37,37);font-family:sans-serif;">Well-known soul jazz recordings are Lee Morgans "The SideWinder" (1963), Herbie Hancock's "Cantaloupe Island" (1964) (sampled by Us3 in "Cantaloop"), Horace Silvers "Song for My Father" (1964), Ramsey Lewis' "The In Crowd" (1965) and Cannonball Adderley's "Mercy, Mercy, Mercy" (1966) (used in a song by The Buckinghams ).

<p lang="en" len="99" style="margin-top:0.5em;margin-bottom:0.5em;line-height:22.3999996185303px;color:rgb(37,37,37);font-family:sans-serif;">Soul jazz would be a great contribution to the development of Jazz-funk in the 1970s. ===Free Jazz: the desire for maximum freedom<span class="mw-editsection" len="359" style="-webkit-user-select:none;font-size:small;margin-left:1em;line-height:1em;display:inline-block;white-space:nowrap;unicode-bidi:-webkit-isolate;"><span class="mw-editsection-bracket" len="1" style="color:rgb(85,85,85);">[ Edit<span class="mw-editsection-bracket" len="1" style="color:rgb(85,85,85);">] === <p style="margin-top:0.5em;line-height:22.3999996185303px;color:rgb(37,37,37);font-family:sans-serif;">On the other hand was made accessible in the Soul jazz jazz, on the other hand, limits of harmony and rhythms looked up and exceeded (John Coltrane, Pharoah Sanders). The result was freer and more expressive improvised music, sometimes with an almost religious ecstasy.

<p style="margin-top:0.5em;margin-bottom:0.5em;line-height:22.3999996185303px;color:rgb(37,37,37);font-family:sans-serif;">The extent to which there is a basic is used for improvisation led to music-ethical differences over improvisation. Discussions on this topic-via publications and in forums-at this time heat. The one is music without any appointment or stereotyping after (right views of John Cage), the other saw it as an inevitable part of a musical personality. Because in the free jazz the improvisation in all freedom's main objective is seen above bringing a melody or theme, we are here on a transition area. After all, if everything can be used, there are also no specific properties that can classify music to jazz, classical or pop, similar to releasing the figurative painting. Regardless of the relevance of these, accept jazz lovers free jazz as an inevitable consequence of improvised music, but want some for lack of or stick to a starting starting starting theme or melody, structure the result no more call jazz. Interesting is, therefore, the problem of the definition of jazz at modern mixed forms (see below) in which to correct large absence of improvisation is used as an argument. If (theoretical) criticism of the free jazz that also avoiding any limiting factor is still a style attribute, a Mannerism, unless perhaps using zen-views as with John Cage (one can not have the goal to be aimlessly). The moment spontaneously playing authentic ' Maple Leaf Rag ' is part of a ' happening ' and the lack of variation will be experienced as a field of tension. There is another musical activity takes place than playing the stand-alone ragtime piece.

<p style="margin-top:0.5em;margin-bottom:0.5em;line-height:22.3999996185303px;color:rgb(37,37,37);font-family:sans-serif;">Because deliberately freedom was pursued at this time we see a search for more variation in the range of instruments and musical interaction. What was seen as exoticism was welcome; tampoera, harp (Alice Coltrane), electronics, more percussion, freer use of voice, responding to enter too late and chance, at a concert running away. Everything was allowed to broaden the expression and to make maximum use-and stir up-from the musical possibilities of the moment, without ' disruption ' of style characteristics or appointments.

<p style="margin-top:0.5em;margin-bottom:0.5em;line-height:22.3999996185303px;color:rgb(37,37,37);font-family:sans-serif;">The late 1950s were the Sun Ra and Ornette Coleman in particular that the free jazz movement started: one of the starting points was Coleman's Free Jazz album (1960); It played two quartets, one each side of the stereo channel, which is 38 minutes long improvised without any appointment. Later musicians were Albert Ayler and Eric Dolphy.

<p style="margin-top:0.5em;margin-bottom:0.5em;line-height:22.3999996185303px;color:rgb(37,37,37);font-family:sans-serif;">In Netherlands, the Dutch musicians Misha mengelberg, Han Bennink and Willem Breuker and the ICP Orchestra active (they used and still use the term instant composing rather than improvisation). Also the collaboration of the Italian ensemble ' Zu ' with the saxophonists Mats Gustafsson and Luca Mai is an example of contemporary freer music.

<p style="margin-top:0.5em;margin-bottom:0.5em;line-height:22.3999996185303px;color:rgb(37,37,37);font-family:sans-serif;">Free jazz has ensured that the stage of musicians has become larger. There are jazz musicians who continuously make an exciting trip from hard bop to free jazz or against abrasion.

<p lang="en" len="128" style="margin-top:0.5em;margin-bottom:0.5em;line-height:22.3999996185303px;color:rgb(37,37,37);font-family:sans-serif;">While the free jazz originated at the same time the commercial turned out unattractive, much better selling fusion (see below). ===Fusion<span class="mw-editsection" len="318" style="-webkit-user-select:none;font-size:small;margin-left:1em;line-height:1em;display:inline-block;white-space:nowrap;unicode-bidi:-webkit-isolate;"><span class="mw-editsection-bracket" len="1" style="color:rgb(85,85,85);">[ Edit<span class="mw-editsection-bracket" len="1" style="color:rgb(85,85,85);">] === Philip Catherine<p style="margin-top:0.5em;line-height:22.3999996185303px;color:rgb(37,37,37);font-family:sans-serif;">At the end of sixties hits Miles Davis a new path. He goes with his group jazz mix with popular music, especially rock. Hence also called jazz rock fusion. The album Miles Davis'sBitches Brew is often considered the start of this movement. Musicians such as John McLaughlin, Herbie Hancock, Chick Corea, Joe Zawinul played with Miles Davis, Tony Williams who all start their own fusion groups: Weather Report, Mahavishnu Orchestra, Lifetime. Others consider Larry Coryell as the first already in 1966 with a ' fusion ' between jazz, rock and blues, first experimented in 1966 at Chico Hamilton, in 1967 at the Free Spirits and Gary Burtonin 1968 at. Fusion as style remains popular during the 1970s. The Dutchman Rob Franken can be heard on more than 400 shots, especially on the Fender Rhodes Piano. Belgian guitarist Philip Catherine is internationally to the greats of jazz rock and also made numerous recordings as accompanist for except their own albums jazz legends such as Dexter Gordon and Stéphane Grappelli, Charles Mingus, Benny Goodman, Toots Thielemans and Chet Baker. ===Neo-BOP: simplicity as intensity<span class="mw-editsection" len="343" style="-webkit-user-select:none;font-size:small;margin-left:1em;line-height:1em;display:inline-block;white-space:nowrap;unicode-bidi:-webkit-isolate;"><span class="mw-editsection-bracket" len="1" style="color:rgb(85,85,85);">[ Edit<span class="mw-editsection-bracket" len="1" style="color:rgb(85,85,85);">] === <p style="margin-top:0.5em;line-height:22.3999996185303px;color:rgb(37,37,37);font-family:sans-serif;">In the late 1980s follows after the pursuit of maximum expression and freedom may be right-the minimal music (Steve Reich, Arvo Pärt), neo-classical (Samuel Barber) and more aesthetic music (Ton de Leeuw) in classical music, even if this is not a harmonic or melodic sounds are (Sofia Gubaidulina)-the need to another intensity based on strengthening the experience by magnifying differences and sounds. Therefore, this happens on a more restrained manner using only Dynamics (differences). The music is typically clear and seems to like to stress some melodic and harmonic components instead of playing a lot. This requires a certain balance between the decor and the musical story. This music sometimes sounds slow-intoxicating. Examples include James Carter on ' The Real Quiet Storm ' and Joshua Redman on ' Moodswing '. While this is not a revival of the movement is to recognize a corresponding cooljazz from Free jazz, Bebop to Cool evenly. ===The present and the future<span class="mw-editsection" len="336" style="-webkit-user-select:none;font-size:small;margin-left:1em;line-height:1em;display:inline-block;white-space:nowrap;unicode-bidi:-webkit-isolate;"><span class="mw-editsection-bracket" len="1" style="color:rgb(85,85,85);">[ Edit<span class="mw-editsection-bracket" len="1" style="color:rgb(85,85,85);">] === <p style="margin-top:0.5em;line-height:22.3999996185303px;color:rgb(37,37,37);font-family:sans-serif;">The jazz music mixed themselves gradually with popular music since the 1960s, and also the bebop and swing-jazz evolves, such styles as neo-bop, nu-jazz, acid-jazz, modern creative and free-jazz. The term jazz now faces a much wider range of musical genres than was the case in the 1930s and 1940s. Music evolves, the jazz music so well. More new styles of jazz are emerging, as well as innumerable types of compound shapes with pop, soul, funk and rock and world music. Jazz fusion and latin-jazz (such as Nueva Mantecaformation) are examples. In the jazz-world music combines Renaud Garcia-Fons relatives of the tango with jazz.Especially the differences in the presence and absence of expression and improvisation space are getting bigger.

<p style="margin-top:0.5em;margin-bottom:0.5em;line-height:22.3999996185303px;color:rgb(37,37,37);font-family:sans-serif;">There are now only few musicians over those older styles such as Dixieland and New Orleans have remained faithful. However, due to the greater availability of sound carriers and information exchange can new musicians delve into these styles and develop an accurate and reasonable valuation. There is therefore always remained, both in interest (amateur) musicians as listeners, both from pleasure as music historical and technical finishing perspective (Wynton Marsalis).

<p style="margin-top:0.5em;margin-bottom:0.5em;line-height:22.3999996185303px;color:rgb(37,37,37);font-family:sans-serif;">Also there is nostalgieloze interest exist for the performance of the former musicians. Friedemann Jules Deelder with its cd compilations and radio programs with typically energetic performances from especially the bebop, hard bop and eastcoast.

<p style="margin-top:0.5em;margin-bottom:0.5em;line-height:22.3999996185303px;color:rgb(37,37,37);font-family:sans-serif;">Jong talent jazz courses at the conservatories that can sustain the living music, comes after other music to have included. They can – as a result of the twentieth century – a wide range of use and make music, and with it, yet individually are authentic. ===Live music?<span class="mw-editsection" len="327" style="-webkit-user-select:none;font-size:small;margin-left:1em;line-height:1em;display:inline-block;white-space:nowrap;unicode-bidi:-webkit-isolate;"><span class="mw-editsection-bracket" len="1" style="color:rgb(85,85,85);">[ Edit<span class="mw-editsection-bracket" len="1" style="color:rgb(85,85,85);">] === <p style="margin-top:0.5em;line-height:22.3999996185303px;color:rgb(37,37,37);font-family:sans-serif;">Since the advent of manageability and accessibility of digital sound reproduction be included jazz pieces processed in pop music (lounge and jazz-dance). There are also made on cd compilations including jazz from different currents that induce a joint (Entertainment) atmosphere, such as the Blue Note Tripseries compiled by DJ Maestro, derived from choosing the live music on sound carriers by disk jockeys in entertainment venues. Although usually these compilations are usually less expressive and fragmentary applications come in this way also in contact with the younger generations (derivatives of) the jazz.

<p style="margin-top:0.5em;margin-bottom:0.5em;line-height:22.3999996185303px;color:rgb(37,37,37);font-family:sans-serif;">By the mechanical reproduction of recorded sound instead of playing a musical given there are no or limited freedom of improvisation and livevariatiemogelijkheden is absent. But mixed forms such as the cooperating of disk jockeys and Wicked Jazz playing musicians such as (mainly danceable music) and all previous initiatives by Ben van den Dungen and Jarmo hoogendijk come to meet again. Supporters and opponents of these developments can be found everywhere and sometimes the discussions heated. Both sides have good arguments, but often these are not based on the same basis; is music with absence of electric guitars and the presence of wind instruments and a smooth rhythm but without the musical goal live-improvisation is jazz or not? ==Jazz Standards<span class="mw-editsection" len="325" style="-webkit-user-select:none;font-size:small;margin-left:1em;line-height:1em;display:inline-block;white-space:nowrap;unicode-bidi:-webkit-isolate;font-family:sans-serif;"><span class="mw-editsection-bracket" len="1" style="color:rgb(85,85,85);">[ Edit<span class="mw-editsection-bracket" len="1" style="color:rgb(85,85,85);">] == <p style="margin-top:0.5em;line-height:22.3999996185303px;color:rgb(37,37,37);font-family:sans-serif;">Music that lends itself well as a basis for improvisation, can be reused endlessly. Through the years, a number of works are fixed in the collective memory of jazz musicians. These are called jazz standards . It normally involves works whose famous performances and strong melodic and/or harmonic or modal properties. ==Harmonic and rhythmic characteristics<span class="mw-editsection" len="346" style="-webkit-user-select:none;font-size:small;margin-left:1em;line-height:1em;display:inline-block;white-space:nowrap;unicode-bidi:-webkit-isolate;font-family:sans-serif;"><span class="mw-editsection-bracket" len="1" style="color:rgb(85,85,85);">[ Edit<span class="mw-editsection-bracket" len="1" style="color:rgb(85,85,85);">] == <p style="margin-top:0.5em;line-height:22.3999996185303px;color:rgb(37,37,37);font-family:sans-serif;">Characteristic of jazz (especially the more modern variants, but with the exception of free jazz) is the reuse of all sorts of Church scales and use of complex chords; almost every moment with seventh, none, tredeciemundeciem, harmonized. "Naked" chords are a high exception.

<p style="margin-top:0.5em;margin-bottom:0.5em;line-height:22.3999996185303px;color:rgb(37,37,37);font-family:sans-serif;">Most forms of jazz swing, that is, it uses the "triolenfeel" with swinging quavers. This means that walk – on paper – all equally long (eighth) nuts be played so that the odd eighths about twice as long as the even eighths.This is also known as noted in the form of pairs of eighth note with a period followed by a sixteenth note (time ratio 3: 1 instead of 2: 1), but that is still more played in a 2: 1 ratio.

<p style="margin-top:0.5em;margin-bottom:0.5em;line-height:22.3999996185303px;color:rgb(37,37,37);font-family:sans-serif;">Jazz is what Wittgenstein called a Typusbegriff : all the features of jazz are also to be found in other music. It is the combination that distinguishes the true jazz. However, borderline cases to think: how should the jazz suite of "classic" composer Stravinsky be placed, and how the suites for large orchestra that "jazz musician" Duke Ellington wrote in his later life? ==Many musical instruments used in jazz<span class="mw-editsection" len="353" style="-webkit-user-select:none;font-size:small;margin-left:1em;line-height:1em;display:inline-block;white-space:nowrap;unicode-bidi:-webkit-isolate;font-family:sans-serif;"><span class="mw-editsection-bracket" len="1" style="color:rgb(85,85,85);">[ Edit<span class="mw-editsection-bracket" len="1" style="color:rgb(85,85,85);">] == <p lang="en" len="246" style="margin-top:0.5em;line-height:22.3999996185303px;color:rgb(37,37,37);font-family:sans-serif;">Many tools can be used for jazz, a jazz instrument is actually not exclusive, there are already tools in particular through use in jazz known (usually in combination with a famous musician it):

<p lang="en" len="2686" style="margin-top:0.5em;margin-bottom:0.5em;line-height:22.3999996185303px;color:rgb(37,37,37);font-family:sans-serif;">banjo – bass guitar – double bass – Cornet – drum set – flute – hammond organ – clarinet – harmonica – piano – saxophone – semi-acoustic guitar trumpet trombone – – – vibraphone ==Famous jazz musicians<span class="mw-editsection" len="335" style="-webkit-user-select:none;font-size:small;margin-left:1em;line-height:1em;display:inline-block;white-space:nowrap;unicode-bidi:-webkit-isolate;font-family:sans-serif;"><span class="mw-editsection-bracket" len="1" style="color:rgb(85,85,85);">[ Edit<span class="mw-editsection-bracket" len="1" style="color:rgb(85,85,85);">] == ==Jazz Styles<span class="mw-editsection" len="323" style="-webkit-user-select:none;font-size:small;margin-left:1em;line-height:1em;display:inline-block;white-space:nowrap;unicode-bidi:-webkit-isolate;font-family:sans-serif;"><span class="mw-editsection-bracket" len="1" style="color:rgb(85,85,85);">[ Edit<span class="mw-editsection-bracket" len="1" style="color:rgb(85,85,85);">] == ==Belgian jazz<span class="mw-editsection" len="326" style="-webkit-user-select:none;font-size:small;margin-left:1em;line-height:1em;display:inline-block;white-space:nowrap;unicode-bidi:-webkit-isolate;font-family:sans-serif;"><span class="mw-editsection-bracket" len="1" style="color:rgb(85,85,85);">[ Edit<span class="mw-editsection-bracket" len="1" style="color:rgb(85,85,85);">] == ==Dutch jazz orchestras<span class="mw-editsection" len="336" style="-webkit-user-select:none;font-size:small;margin-left:1em;line-height:1em;display:inline-block;white-space:nowrap;unicode-bidi:-webkit-isolate;font-family:sans-serif;"><span class="mw-editsection-bracket" len="1" style="color:rgb(85,85,85);">[ Edit<span class="mw-editsection-bracket" len="1" style="color:rgb(85,85,85);">] == <p lang="en" len="2110" style="margin-top:0.5em;line-height:22.3999996185303px;color:rgb(37,37,37);font-family:sans-serif;">Metropole Orchestra – Dutch Swing College Band – Harbour Jazz band - Jazz Orchestra of the Concertgebouw – The Skymasters - The Ramblers - Monsieur Dubois - Dixieland Crackerjacks - Alice in Dixieland Jazz Connection ==Jazz Composers<span class="mw-editsection" len="327" style="-webkit-user-select:none;font-size:small;margin-left:1em;line-height:1em;display:inline-block;white-space:nowrap;unicode-bidi:-webkit-isolate;font-family:sans-serif;"><span class="mw-editsection-bracket" len="1" style="color:rgb(85,85,85);">[ Edit<span class="mw-editsection-bracket" len="1" style="color:rgb(85,85,85);">] == ==Famous contemporary jazz ensembles<span class="mw-editsection" len="346" style="-webkit-user-select:none;font-size:small;margin-left:1em;line-height:1em;display:inline-block;white-space:nowrap;unicode-bidi:-webkit-isolate;font-family:sans-serif;"><span class="mw-editsection-bracket" len="1" style="color:rgb(85,85,85);">[ Edit<span class="mw-editsection-bracket" len="1" style="color:rgb(85,85,85);">] == <p style="margin-top:0.5em;line-height:22.3999996185303px;color:rgb(37,37,37);font-family:sans-serif;">Aka Moon (Belgian.) – Big Phat Band (US) – Bob Mintzer Big Band (USA) – Brussels Jazz Orchestra (Belg.) – Carla Bley big band (USA) – Dave Holland big band (USA) – Flat Earth Society (Belg.) – ICP Orchestra –Jaga Jazzist (No.) – Jazz Orchestra of the Concertgebouw (JOC) (Ned.) – Joe Vanenkhuizen Europeanjazz Trio (Ned.) – Maria Schneider Orchestra (USA) – Mathew Herbert big band (UK) – Metropolitan Orchestra –New Cool Collective (Ned.) – Skalbeaggar – Tetzepi – Vienna Art Ensemble (Oos.)