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Post-disco; funk; soul; jazz-funk; synthpop. Excerpt taken From the book. Get the latest Rolling Stone new music news, song and album reviews, free music downloads, artist videos & pictures, playlists and more.
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. Subgenres. Fusion genres. Regional scenes.
Other topics. Jazz is a of music that originated from the mixing of various cultures in in the United States during the late 19th and early 20th centuries, and flourished within the community of the city after segregation laws prevented the mixing of races.
It emerged in the form of independent and styles, all linked by the common bonds of African American and musical parentage with a performance orientation. Jazz spans a period of over a hundred years, encompassing a range of music from to of the 1970s and 1980s, and has proved to be difficult to define.
Jazz makes heavy use of, and the, as well as aspects of European harmony, the tradition, and African musical elements such as and African-American styles such as. The birth of jazz in the multicultural society of America has led intellectuals from around the world to hail jazz as 'one of America's original art forms'. As jazz spread around the world, it drew on different national, regional, and local musical cultures, which gave rise to many distinctive styles. Began in the early 1910s, combining earlier marches, French, and with collective. In the 1930s, heavily arranged dance-oriented, a hard-swinging, bluesy, improvisational style and (a style that emphasized waltzes) were the prominent styles. Emerged in the 1940s, shifting jazz from danceable popular music towards a more challenging 'musician's music' which was played at faster tempos and used more chord-based improvisation.
Developed in the end of the 1940s, introducing calmer, smoother sounds and long, linear melodic lines. The 1950s saw the emergence of, which explored playing without regular meter, beat and formal structures, and in the mid-1950s, emerged, which introduced influences from, and blues, especially in the saxophone and piano playing. Developed in the late 1950s, using the, or musical scale, as the basis of musical structure and improvisation.
Jazz-rock appeared in the late 1960s and early 1970s, combining jazz improvisation with rock rhythms, electric instruments and the highly amplified stage sound of. In the early 1980s, a commercial form of jazz fusion called became successful, garnering significant radio airplay.
Other styles and genres abound in the 2000s, such as. More evidence suggests that jazz music began in the mid 1880s by and his Reliance Brass Band, as he united the different communities of New Orleans through music, instigating the co-influence of European, African and Latin American musical styles before segregation laws took full effect. More importantly, many of the first jazz musicians had their start in Laines band, including the members of the who recorded the first jazz record in 1917. Jazz would be nourished predominately in the African-American and communities after segregation laws.
It was the red light district of that was crucial in bringing jazz music to a wider audience via tourists to the port city. This area was governed by Tom Anderson, a self-made businessman and politician who owned numerous restaurants, clubs and brothels within Storyville. The district had experimenting laws in regards to prostitution and segregation and many jazz musicians from the African-American communities were hired to perform live music in Andersons venues including many early jazz pioneers such as and, in addition to those from New Orleans other communities such as. Also got his start in Storyville and would later find success in Chicago (along with others from New Orleans) after the United States government shutdown Storyville in 1917., whose career spanned from the 1920s to the 1960s, observed: 'At one time they were calling it levee camp music, then in my day it was ragtime. When I got up North I commenced to hear about jazz, Chicago style, swing. All refinements of what we played in New Orleans.
There ain't nothing new.' Or as jazz musician put it in a 1988 interview: 'Jazz is restless.
It won't stay put and it never will.' ' jazz vocal version by the Problems playing this file? Jazz has proved to be very difficult to define, since it encompasses such a wide range of music spanning a period of over 100 years, from to the 2010-era -infused.
Attempts have been made to define jazz from the perspective of other musical traditions, such as European music history or African music. But critic argues that its terms of reference and its definition should be broader, defining jazz as a 'form of which originated in the United States through the confrontation of the Negro with European music' and arguing that it differs from European music in that jazz has a 'special relationship to time defined as ', involves 'a spontaneity and vitality of musical production in which improvisation plays a role' and contains a 'sonority and manner of phrasing which mirror the individuality of the performing jazz musician'. Double bassist, saxophone player, and drummer performing in 1978 A broader definition that encompasses all of the radically different eras of jazz has been proposed by Travis Jackson: 'it is music that includes qualities such as swing, improvising, group interaction, developing an 'individual voice', and being open to different musical possibilities'. Krin Gibbard has provided an overview of the discussion on definitions, arguing that 'jazz is a construct' that, while artificial, still is useful to designate 'a number of musics with enough in common to be understood as part of a coherent tradition'. In contrast to the efforts of commentators and enthusiasts of certain types of jazz, who have argued for narrower definitions that exclude other types, the musicians themselves are often reluctant to define the music they play. As, one of jazz's most famous figures, said: 'It's all music'.
Importance of improvisation. Main article: Although jazz is considered highly difficult to define, at least in part because it contains so many varied subgenres, is consistently regarded as being one of its key elements. The centrality of improvisation in jazz is attributed to influential earlier forms of music: the early, a form of folk music which arose in part from the and of the African-American slaves on plantations. These were commonly structured around a repetitive pattern, but early blues was also highly improvisational. European performance is evaluated by its fidelity to the, with much less discretion over interpretation, ornamentation and accompaniment: the classical performer's primary goal is to play a composition as it was written. In contrast, jazz is often characterized as the product of group creativity, interaction, and collaboration, which places varying degrees of value on the contributions of composer (if there is one) and performers. In jazz, the skilled performer will interpret a tune in very individual ways, never playing the same composition exactly the same way twice: depending upon the performer's mood and personal experience, interactions with other musicians, or even members of the audience, a jazz musician may alter melodies, harmonies or time signature at will.
The approach to improvisation has developed enormously over the history of the music. In early New Orleans and jazz, performers took turns playing the melody, while others improvised.
By the era, were coming to rely more on arranged music: were either or learned by ear and memorized, while individual soloists would improvise within these arrangements. Later, in bebop the focus shifted back towards small groups and minimal arrangements; the melody would be stated briefly at the start and end of a piece, but the core of the performance would be the series of improvisations.
Later styles such as abandoned the strict notion of a, allowing the individual musicians to improvise even more freely within the context of a given scale or mode. In many forms of jazz, a soloist is often supported by a consisting of one or more chordal instruments (piano, guitar, etc.), playing the basslines.
These performers provide accompaniment by playing chords and rhythms that outline the song structure and complement the soloist. In and idioms, the separation of soloist and band is reduced, and there is license, or even a requirement, for the abandoning of chords, scales and rhythmic meters. —, Since at least the emergence of, forms of jazz that are commercially oriented or influenced by popular music have been criticized by purists. According to Bruce Johnson, there has always been a 'tension between jazz as a commercial music and an art form'.
Traditional jazz enthusiasts have dismissed bebop, free jazz, the 1970s jazz fusion era and much else as periods of debasement of the music and betrayals of the tradition. An alternative viewpoint is that jazz is able to absorb and transform influences from diverse musical styles, and that, by avoiding the creation of 'norms', other newer, avant-garde forms of jazz will be free to emerge. To some African Americans, jazz has highlighted their contribution to American society and helped bring attention to black and culture, but for others, the music and term 'jazz' are reminders of 'an oppressive and racist society and restrictions on their artistic visions'. Main article: The question of the origin of the word jazz has resulted in considerable research, and its history is well documented.
The word began under various spellings as West Coast around 1912, the meaning of which varied but did not refer to music. The use of the word in a musical context was documented as early as 1915 in the.
Its first documented use in a musical context in New Orleans was in a November 14, 1916 article about 'jas bands.' The named it the.
Race argues that there is a distinct 'white jazz' expressive of. White jazz musicians appeared in the early 1920s in the, as well as other areas. Was one of the most prominent white jazz musicians. An influential style referred to as the Chicago School (or Chicago Style) was developed by white musicians including,.,. Others from Chicago such as and became leading members of big-band swing during the 1930s. Role of women. (1887–1972) was an American -based bandleader, session musician (piano), composer, singer, and arranger during the 1920s era.
She and are often ranked as two of the best female piano players of the period. Have contributed throughout jazz history. While such as and are famous for their jazz singing, women have achieved much less recognition for their contributions as, and instrumental performers. Other notable jazz women include piano player and jazz songwriters (1918-1988) and (1905-1974). Women began playing instruments in jazz in the early 1920s, with the piano being one of the earliest instruments used which allowed female artists a degree of social acceptance. Some well known artists of the time consists of,.
When the men were drafted for WWII, many took over. However, with the racial divisions that were at that time part of society, there was no real band that any one society listened to. Was a well-known group of this era. The dress codes of the era required women to wear strapless dresses and high heeled shoes, which was somewhat of a hindrance to the integration of women into bands of suit-wearing men. Nevertheless, women were hired into many of the big-league big bands such as and 's groups. Women's Jazz Festival Dr. Billy Taylor (1921-2010), the 's Artistic Director for jazz, created the Women's Jazz Festival, It was dedicated to the composer and pianist, in honor of her extraordinary talent.
The Mary-Lou Williams Jazz Festival has existed for sixteen years, showcasing women of any age or race. History Jazz originated in the late 19th to early 20th century as interpretations of American and European classical music entwined with African and slave folk songs and the influences of West African culture. Its composition and style have changed many times throughout the years with each performer's personal interpretation and improvisation, which is also one of the greatest appeals of the genre. Origins Blended African and European music sensibilities By 1866, the had brought nearly 400,000 to. The slaves came largely from and the greater basin, and brought strong musical traditions with them. The African traditions primarily make use of a single-line melody and pattern, and the rhythms have a structure and reflect African speech patterns. In the late 18th-century painting, African-Americans dance to banjo and percussion.
Lavish festivals featuring African-based dances to drums were organized on Sundays at Place Congo, or, in until 1843. There are historical accounts of other music and dance gatherings elsewhere in the southern United States. Said of percussive slave music: Usually such music was associated with annual festivals, when the year's crop was harvested and several days were set aside for celebration. As late as 1861, a traveler in North Carolina saw dancers dressed in costumes that included horned headdresses and cow tails and heard music provided by a sheepskin-covered 'gumbo box', apparently a frame drum; triangles and jawbones furnished the auxiliary percussion.
There are quite a few accounts from the southeastern states and Louisiana dating from the period 1820–1850. Some of the earliest Mississippi Delta settlers came from the vicinity of New Orleans, where drumming was never actively discouraged for very long and homemade drums were used to accompany public dancing until the outbreak of the Civil War. Another influence came from the harmonic style of of the church, which black slaves had learned and incorporated into their own music as. The are undocumented, though they can be seen as the secular counterpart of the spirituals. However, as points out, whereas the spirituals are, rural blues and early jazz 'was largely based on concepts of.' The in 1843, featuring tambourine, fiddle, banjo.
During the early 19th century an increasing number of black musicians learned to play European instruments, particularly the, which they used to parody European dance music in their own dances. In turn, European-American performers in popularized the music internationally, combining with European harmonic accompaniment. In the mid-1800s the white New Orleans composer adapted slave rhythms and melodies from Cuba and other Caribbean islands into piano salon music. New Orleans was the main nexus between the Afro-Caribbean and African-American cultures. African rhythmic retention The ' outlawed drumming by slaves, which meant that African drumming traditions were not preserved in North America, unlike in Cuba, Haiti, and elsewhere in the Caribbean.
African-based rhythmic patterns were retained in the United States in large part through 'body rhythms' such as stomping, clapping,. In the opinion of jazz historian, what preceded New Orleans jazz before 1890 was 'Afro-Latin music', similar to what was played in the Caribbean at the time. A three-stroke pattern known in Cuban music as is a fundamental rhythmic figure heard in many different slave musics of the Caribbean, as well as the folk dances performed in New Orleans and Gottschalk's compositions (for example 'Souvenirs From Havana' (1859)). Tresillo is the most basic and most prevalent duple-pulse rhythmic in and the music of the. Tresillo is heard prominently in music and in other forms of popular music from that city from the turn of the 20th century to present. 'By and large the simpler African rhythmic patterns survived in jazz.
Because they could be adapted more readily to European rhythmic conceptions,' the Jazz historian Gunther Schuller observed. 'Some survived, others were discarded as the Europeanization progressed.' In the post-Civil War period (after 1865), African Americans were able to obtain surplus military bass drums, snare drums and fifes, and an original African-American drum and fife music emerged, featuring tresillo and related syncopated rhythmic figures.
This was a drumming tradition that was distinct from its Caribbean counterparts, expressing a uniquely African-American sensibility. 'The snare and bass drummers played syncopated,' observed the writer, speculating that 'this tradition must have dated back to the latter half of the nineteenth century, and it could have not have developed in the first place if there hadn't been a reservoir of polyrhythmic sophistication in the culture it nurtured.' 'Spanish tinge'—the Afro-Cuban rhythmic influence began incorporating rhythmic motifs in the 19th century, when the (Cuban ) gained international popularity. Musicians from and would take the twice-daily ferry between both cities to perform, and the habanera quickly took root in the musically fertile Crescent City. States that the musical genre habanera 'reached the U.S.
Twenty years before the first rag was published.' For the more than quarter-century in which the, and proto-jazz were forming and developing, the habanera was a consistent part of African-American popular music. Habaneras were widely available as sheet music, and were the first written music which was rhythmically based on an African motif (1803), From the perspective of African-American music, the habanera rhythm (also known as congo, tango-congo,. ) can be thought of as a combination of and the. The habanera was the first of many Cuban music genres which enjoyed periods of popularity in the United States, and reinforced and inspired the use of tresillo-based rhythms in African-American music. In 1903 The abolition of in 1865 led to new opportunities for the education of freed African Americans.
Although strict segregation limited employment opportunities for most blacks, many were able to find work in entertainment. Black musicians were able to provide entertainment in dances, and in, during which time many marching bands were formed. Black pianists played in bars, clubs and brothels, as developed. Ragtime appeared as sheet music, popularized by African-American musicians such as the entertainer, whose hit songs appeared in 1895. Two years later, recorded a medley of these songs as a solo known as 'Rag Time Medley'. Also in 1897, the white composer published his ' as the first written piano instrumental ragtime piece, and published his ', the first rag published by an African-American.
The classically trained pianist produced his ' in 1898, and in 1899 had an international hit with ', a multi- ragtime with four parts that feature recurring themes and a bass line with copious. Its structure was the basis for many other rags, and the in the right hand, especially in the transition between the first and second strain, were novel at the time. Excerpt from 'Maple Leaf Rag' by Scott Joplin (1899). Seventh chord.
Note that the seventh resolves. African-based rhythmic patterns such as tresillo and its variants, the habanera rhythm and cinquillo, are heard in the ragtime compositions of Joplin, Turpin, and others. Joplin's 'Solace' (1909) is generally considered to be within the habanera genre: both of the pianist's hands play in a syncopated fashion, completely abandoning any sense of a march rhythm. Postulates that the tresillo/habanera rhythm 'found its way into ragtime and the cakewalk,' whilst Roberts suggests that 'the habanera influence may have been part of what freed black music from ragtime's European bass.' or Blues is the name given to both a and a, which originated in communities of primarily the ' of the United States at the end of the 19th century from their, and and rhymed simple narrative. The African use of pentatonic scales contributed to the development of in blues and jazz.
As Kubik explains: Many of the rural blues of the Deep South are stylistically an extension and merger of basically two broad accompanied song-style traditions in the west central Sudanic belt:. A strongly Arabic/Islamic song style, as found for example among the. It is characterized by melisma, wavy intonation, pitch instabilities within a pentatonic framework, and a declamatory voice.
An ancient west central Sudanic stratum of pentatonic song composition, often associated with simple work rhythms in a regular meter, but with notable off-beat accents (1999: 94). Handy: early published blues. WC Handy age 19, 1892 became intrigued by the folk blues of the Deep South whilst traveling through the. In this folk blues form, the singer would improvise freely within a limited melodic range, sounding like a field holler, and the guitar accompaniment was slapped rather than strummed, like a small drum which responded in syncopated accents, functioning as another 'voice'. Handy and his band members were formally trained African-American musicians who had not grown up with the blues, yet he was able to adapt the blues to a larger band instrument format, and arrange them in a popular music form. Handy wrote about his adopting of the blues: The primitive southern Negro, as he sang, was sure to bear down on the third and seventh tone of the scale, slurring between major and minor.
Whether in the cotton field of the Delta or on the up St. Louis way, it was always the same. Till then, however, I had never heard this slur used by a more sophisticated Negro, or by any white man.
I tried to convey this effect. By introducing flat thirds and sevenths (now called blue notes) into my song, although its prevailing key was major., and I carried this device into my melody as well.
The publication of his ' sheet music in 1912 introduced the 12-bar blues to the world (although Gunther Schuller argues that it is not really a blues, but 'more like a cakewalk' ). This composition, as well as his later ' and others, included the habanera rhythm, and would become.
Handy's music career began in the pre-jazz era, and contributed to the codification of jazz through the publication of some of the first jazz sheet music. Within the context of Western harmony The blues form which is ubiquitous in jazz is characterized by specific chord progressions, of which the progression is the most common.
An important part of the sound are the blue notes which, for expressive purposes, are sung or played flattened, or gradually bent (minor 3rd to major 3rd) in relation to the of the. The blues were the key that opened up an entirely new approach to Western harmony, ultimately leading to a high level of harmonic complexity in jazz. The had a profound effect on the creation of early jazz. Many early jazz performers played in venues throughout the city, such as the brothels and bars of the around, known as '.
In addition to dance bands, there were numerous marching bands who played at lavish funerals (later called ), which were arranged by the African-American and European American communities. The instruments used in and dance bands became the basic instruments of jazz: brass, reeds tuned in the European 12-tone scale, and drums. Small bands which mixed self-taught and well educated African-American musicians, many of whom came from the funeral-procession tradition of, played a seminal role in the development and dissemination of early jazz. These bands travelled throughout Black communities in the Deep South and, from around 1914 onwards, and African-American musicians played in shows which took jazz to western and northern US cities. Syncopation The cornetist led a band who are often mentioned as one of the prime originators of the style later to be called 'jazz'. He played in New Orleans around 1895–1906, before developing a mental illness; there are no recordings of him playing. Bolden's band is credited with creating the big four, the first syncopated bass drum pattern to deviate from the standard on-the-beat march.
As the example below shows, the second half of the big four pattern is the habanera rhythm. Morton published 'Jelly Roll Blues' in 1915, the first jazz work in print. Afro-Creole pianist began his career in Storyville. From 1904, he toured with shows around southern cities, also playing in.
In 1905 he composed his ', which on its publication in 1915 became the first jazz arrangement in print, introducing more musicians to the New Orleans style. Morton considered the tresillo/habanera (which he called the ) to be an essential ingredient of jazz. In his own words: Now in one of my earliest tunes, 'New Orleans Blues,' you can notice the Spanish tinge. In fact, if you can't manage to put tinges of Spanish in your tunes, you will never be able to get the right seasoning, I call it, for jazz. Excerpt from Jelly Roll Morton's 'New Orleans Blues' (c. The left hand plays the tresillo rhythm.
The right hand plays variations on cinquillo. Morton was a crucial innovator in the evolution from the early jazz form known as ragtime to jazz piano, and could perform pieces in either style; in 1938, Morton made a series of recordings for the, in which he demonstrated the difference between the two styles. Morton's solos however were still close to ragtime, and were not merely improvisations over chord changes as in later jazz; but his use of the blues was of equal importance. Bottom: even duple subdivisions of the beat.
Top: swung correlative—contrasting of duple and triple subdivisions of the beat. or Morton loosened ragtime's rigid rhythmic feeling, decreasing its embellishments and employing a feeling. Swing is the most important and enduring African-based rhythmic technique used in jazz.
An oft quoted definition of swing by is: 'if you don't feel it, you'll never know it.' The New Harvard Dictionary of Music states that swing is: 'An intangible rhythmic momentum in jazz. Swing defies analysis; claims to its presence may inspire arguments.'
The dictionary does nonetheless provide the useful description of triple subdivisions of the beat contrasted with duple subdivisions: swing superimposes six subdivisions of the beat over a basic pulse structure or four subdivisions. This aspect of swing is far more prevalent in African-American music than in Afro-Caribbean music. One aspect of swing, which is heard in more rhythmically complex Diaspora musics, places strokes in-between the triple and duple-pulse 'grids'. New Orleans brass bands are a lasting influence, contributing horn players to the world of professional jazz with the distinct sound of the city whilst helping black children escape poverty. The leader of New Orleans', D'Jalma Ganier, taught Louis Armstrong to play trumpet; Armstrong would then popularize the New Orleans style of trumpet playing, and then expand it.
Like Jelly Roll Morton, Armstrong is also credited with the abandonment of ragtime's stiffness in favor of swung notes. Armstrong, perhaps more than any other musician, codified the rhythmic technique of swing in jazz, and broadened the jazz solo vocabulary. Sheet music for 'Livery Stable Blues'/'Barnyard Blues' by the Original Dixieland Jazz Band, Leo Feist, Inc., New York, copyright 1917. The made the music's first recordings early in 1917, and their ' became the earliest released jazz. That year, numerous other bands made recordings featuring 'jazz' in the title or band name, but most were ragtime or novelty records rather than jazz. In February 1918 during, 's 'Hellfighters' infantry band took ragtime to Europe, then on their return recorded Dixieland standards including '.
Other regions In the northeastern United States, a 'hot' style of playing ragtime had developed, notably 's symphonic orchestra in, which played a benefit concert at in 1912. The rag style of influenced 's development of playing, in which the right hand plays the melody, while the left hand provides the rhythm and bassline. In Ohio and elsewhere in the midwest the major influence was ragtime, until about 1919.
Around 1912, when the four-string banjo and saxophone came in, musicians began to improvise the melody line, but the harmony and rhythm remained unchanged. A contemporary account states that blues could only be heard in jazz in the gut-bucket cabarets, which were generally looked down upon by the Black middle-class. 1920s and 1930s Jazz Age. The King & Carter Jazzing Orchestra photographed in Houston, Texas, January 1921. From 1920 to 1933 banned the sale of alcoholic drinks, resulting in illicit which became lively venues of the 'Jazz Age', hosting popular music including current dance songs, novelty songs and show tunes.
Jazz began to get a reputation as being immoral, and many members of the older generations saw it as threatening the old cultural values and promoting the new decadent values of the. Professor Henry van Dyke of Princeton University wrote: '. It is not music at all. It's merely an irritation of the nerves of hearing, a sensual teasing of the strings of physical passion.'
The media too began to denigrate jazz. The New York Times used stories and headlines to pick at jazz: Siberian villagers were said by the paper to have used jazz to scare off bears, when in fact they had used pots and pans; another story claimed that the fatal heart attack of a celebrated conductor was caused by jazz. From 1919, 's Original Creole Jazz Band of musicians from New Orleans played in and, where in 1922 they became the first black jazz band of New Orleans origin to make recordings. That year also saw the first recording by, the most famous of the 1920s blues singers. Meanwhile was the main center developing the new ', where joined. Formed The Wolverines in 1924.
In 1924, Louis Armstrong joined the dance band for a year, as featured soloist. The original New Orleans style was polyphonic, with theme variation and simultaneous collective improvisation. Armstrong was a master of his hometown style, but by the time he joined Henderson's band, he was already a trailblazer in a new phase of jazz, with its emphasis on arrangements and soloists. Armstrong's solos went well beyond the theme-improvisation concept, and extemporized on chords, rather than melodies. According to Schuller, by comparison, the solos by Armstrong's bandmates (including a young ), sounded 'stiff, stodgy,' with 'jerky rhythms and a grey undistinguished tone quality.'
The following example shows a short excerpt of the straight melody of 'Mandy, Make Up Your Mind' by and Arthur Johnston (top), compared with Armstrong's solo improvisations (below) (recorded 1924). (The example approximates Armstrong's solo, as it doesn't convey his use of swing.).
Top: excerpt from the straight melody of 'Mandy, Make Up Your Mind' by George W. Meyer & Arthur Johnston. Bottom: corresponding solo excerpt by Louis Armstrong (1924).
Armstrong's solos were a significant factor in making jazz a true 20th-century language. After leaving Henderson's group, Armstrong formed his virtuosic band, where he popularized. Recorded with the in an early mixed-race collaboration, then in 1926 formed his. There was a larger market for jazzy dance music played by white orchestras, such as 's orchestra and 's orchestra. In 1924 Whiteman commissioned 's, which was premiered by Whiteman's Orchestra.
By the mid-1920s, Whiteman was the most popular bandleader in the U.S. His success was based on a 'rhetoric of domestication' according to which he had elevated and rendered valuable a previously inchoate kind of music.
Other influential large ensembles included Fletcher Henderson's band, Duke Ellington's band (which opened an influential residency at the in 1927) in New York, and ' Band in Chicago (who opened in The Grand Terrace Cafe there in 1928). All significantly influenced the development of big band-style swing jazz. By 1930, the New Orleans-style ensemble was a relic, and jazz belonged to the world. Benny Goodman (1943) The 1930s belonged to popular, in which some virtuoso soloists became as famous as the band leaders. Key figures in developing the 'big' jazz band included bandleaders and arrangers, and, Fletcher Henderson,.
Although it was a collective sound, swing also offered individual musicians a chance to 'solo' and improvise melodic, thematic solos which could at times be very complex and 'important' music. Swing was also dance music. It was broadcast on the radio 'live' nightly across America for many years, especially by Earl Hines and his Orchestra broadcasting coast-to-coast from Chicago (well placed for 'live' US time-zones). Over time, social strictures regarding racial segregation began to relax in America: white bandleaders began to recruit black musicians and black bandleaders white ones. In the mid-1930s, Benny Goodman hired pianist, vibraphonist and guitarist to join small groups. In the 1930s, as exemplified by tenor saxophonist marked the transition from big bands to the bebop influence of the 1940s. An early 1940s style known as 'jumping the blues' or used small combos, music and blues chord progressions, drawing on from the 1930s.
Beginnings of European jazz As only a limited amount of American jazz records were released in Europe, European jazz traces many of its roots to American artists such as, and, who visited Europe during and after. It was their live performances which inspired European audiences' interest in jazz, as well as the interest in all things American (and therefore exotic) which accompanied the economic and political woes of Europe during this time. The beginnings of a distinct European style of jazz began to emerge in this interwar period. This distinct style entered full swing in France with the, which began in 1934. Much of this French jazz was a combination of African-American jazz and the symphonic styles in which French musicians were well-trained; in this, it is easy to see the inspiration taken from Paul Whiteman, since his style was also a fusion of the two. Belgian guitar virtuoso popularized, a mix of 1930s American, French dance hall ' and Eastern European folk with a languid, seductive feel; the main instruments are steel stringed guitar, and, and solos pass from one player to another as the guitar and bass play the role of the.
Some music researchers hold that it was Philadelphia's and who pioneered the guitar-violin partnership typical of the genre, which was brought to France after they had been heard live or on in the late 1920s. 1940s and 1950s 'American music'—the influence of Ellington.