Jazz dhe më shumë..

[ChuChu]

AVANT GARDE

The 1960s in America were filled with social unrest, with protests against oppression and racial discrimination. The "avant garde," (translation: "advance group") as with other musical styles, reflected the social and political climate of the time. Avant garde, a term used synonymously in the 1960s with "free" jazz, first gained recognition in 1958 through saxophonist Ornette Coleman, as well as other pioneers including pianists Cecil Taylor and Sun Ra. The avant garde challenged the listener by allowing the musician to choose his own musical path rather than follow the traditional approaches to which jazz musicians had previously adhered. All aspects of the music were at the discretion of the improviser. The music often transcended recognizable pitches and musical shapes, allowing moans, shrieks, and cries to convey the energy and emotional discourse of the individual musician. In 1960 Ornette Coleman made his revolutionary "Free Jazz" recording featuring collective improvisation between double quartets. Although collective improvisation became a major component within the avant garde movement with recordings including Coltrane's "Ascension," and "Om," the concept of group improvisation dates back to early New Orleans jazz at the turn of the 20th Century. As early as the mid-1950s, jazz musicians including Charles Mingus with his recording "Pithecanthropus Erectus," began re-introducing collective improvisation into modern jazz. In 1959, Miles Davis introduced modal jazz into the mainstream with his composition "So What," allowing the soloist more freedom to explore new ideas by simplifying the chord changes. Saxophonist John Coltrane took on the role of "father figure" in the '60s, bringing exposure to younger avant garde musicians including saxophonists Eric Dolphy, Archie Shepp, Pharoah Sanders, and Albert Ayler. Coltrane would spend the rest of his short life expressing himself musically through the avant garde, also labeled the "new thing" movement. In the 1960s and '70s, Chicago developed an avant garde scene led by pianist/composer Muhal Richard Abrams. In 1965 he founded the Association for the Advancement of Creative Musicians, whose members eventually included saxophonists Anthony Braxton, Henry Threadgill, Chico Freeman, and the Art Ensemble of Chicago. Avant garde styles practiced today can be found in the work of musicians including saxophonists Steve Coleman and David S. Ware. New York City's "downtown" scene headquartered at the Knitting Factory is also a breeding ground for new and experimental music. The musicians in that sphere, such as saxophonists John Zorn and Tim Berne, trumpeter Dave Douglas, drummer Joey Baron, and violinist Mark Feldman, have helped to reshape new directions for the avant garde.

[ChuChu]

FUSION

"Fusion" has often been described as the melding of jazz with rock styles, although most fusion music initially drew from the rhythmic and harmonic aspects of soul music, particularly the music of James Brown and Sly Stone. Such harmonic material found in soul music was also similar to the modal improvisation developed by Miles Davis, Bill Evans, and John Coltrane in the late 1950s and '60s. Improvisations based on these modal structures rather than relying on the blues, (the main structure for rock music), created the mold for the fusion style. Other defining characteristics of fusion music include the use of funk backbeats, electric instruments, loud volumes, rock textures, and intricate ensemble compositions. During the 1960s, popular music in America began changing directions. Younger audiences often chose the Beatles, Jimi Hendrix, or the politically oriented folk music of Bob Dylan over the more complex and demanding jazz styles. With rock and soul appealing to a younger generation, jazz musicians were torn between following conventional approaches to their music or pursuing the avant garde. Miles Davis chose another direction, one that incorporated the influences of rock and soul music as well as modal and contemporary approaches to jazz. This music became known as fusion. Miles's earliest experiment with fusion was documented on his 1968 recording Miles In The Sky, with the song "Stuff." Featuring Herbie Hancock on electric piano and Tony Williams playing a funky back beat, "Stuff" illustrated the genesis of this musical style. By 1969, Davis's albums In a Silent Way and the commercially successful Bitches Brew led the way for this new direction in jazz. Many musicians felt threatened by this new music, and lashed out against the direction that Miles, saxophonist Charles Lloyd, and others including began to pursue. Fusion groups led by Davis and Lloyd began performing alongside successful rock acts including Blood, Sweat and Tears, and singer Laura Nyro at major venues. The exposure from these new venues helped fusion gain new acceptance from the younger Woodstock generation of rock fans. The '70s fusion "supergroups" were led by Miles Davis, Wayne Shorter and Joe Zawinul (Weather Report), Chick Corea (Return To Forever), John McLaughlin (Mahavishnu Orchestra), Herbie Hancock, and Michael Brecker (Brecker Brothers). By no coincidence, most of the leaders of the fusion movement had spent time in the '60s or '70s Miles Davis groups. During these years, fusion became increasingly innovative and adventurous, melding the wild energy of rock guitarist Jimi Hendrix with the advanced technical proficiency of the most evolved jazz musicians. Fusion often incorporated elements of world music — Latin, African, Indian, and Caribbean influences. The fusion style with its very accessible rock-oriented textures gained widespread popularity but declined by the end of the decade. In its place rose a somewhat less aggressive form of electric music called "contemporary" jazz, as well as the "neo-classic" period of the 1980s.

[ChuChu]

SMOOTH AND CONTEMPORARY

Instrumental pop music that emerged in the 1970s is often labeled "contemporary" jazz and reflects some of the same influences found in fusion music. Artists including saxophonists Grover Washington Jr. and David Sanborn developed a lighter, funkier approach, with a radio-friendly style that was even more accessible than the fusion movement's supergroups. Chuck Mangione, John Klemmer, Earl Klugh, Spyro Gyra, and George Benson each had commercial success on pop radio. Benson's hit, "Breezin'", produced by Tommy LiPuma, became a landmark recording, creating widespread acceptance of contemporary jazz and selling millions. The '70s was a period of major transition in jazz. Prior to this time, many jazz recordings focused on capturing live performances created in clubs. Musicians like Cannonball Adderley, John Coltrane, and Horace Silver preferred recording in the club setting in an attempt to capture the spontaneity and excitement of performing before live audiences. By the late 1960s, Creed Taylor began creating highly produced jazz records within the controlled environment of the recording studio. No longer attempting to recreate the club scene, Taylor's approach was to record jazz artists within a studio setting while retaining the elements of improvisation. By combining jazz artists like guitarist George Benson and trumpeter Freddie Hubbard with arrangers Don Sebesky and Bob James, Taylor's concept proved commercially successful. In 1982, Dave Grusin and Larry Rosen launched GRP Records. With Grusin's formidable background as a composer and arranger and Rosen's interest in developing recording technology, GRP created an approach to record production similar to Creed Taylor's studio recordings. In the '80s, with the post-disco record industry in a slump, many major record labels dropped their jazz rosters, creating opportunities for GRP to sign artists including keyboardist Chick Corea, and guitarist Lee Ritenour. By combining contemporary jazz artists with digital recording technology, GRP gained widespread acceptance as one of the first labels to release recordings in the CD format. Open to the concept of integrating elements of pop music with jazz, Grusin and Rosen reacted to popular musical trends and successfully broadened the appeal of jazz to a wider audience. Vocalists Patti Austin, Angela Bofill, and Diane Schuur rounded out what later became known as the "GRP sound." In the '90s, a commercial radio format evolved under the name "smooth jazz" which continues to feature many of the innovators of contemporary jazz.

[Larsus]

chick corea is something.....
eshte kenaqesi te degjosh smooth jazz per efektin smooth te tij, po nojhere ne contemporary ka dhe surpriza muzikore te atilla qe nuk thua dot ne eshte fusion, latin apo just moderrrn

megjithate eshte nje nder xhanret me te degjuara ne NYC ...dhe ja vlen

[amenti]

po thelonious monk e harrut, e gillespie, apo e shkrume aty nalt (qi askush nuk e lexon ashtu kshtu)...tash po e ndigoj "liza"(t.m.), dhe aty mrapa nihet ni ki'ibord tuj qit tinguj t'bukur fluturimthi, c'est magnifique...

(mos t'na nin grishnakhu)

[Lukather]

Dave Weckl Band me pelqejne jashte mase, si dhe shume te tjera si Larry Carlton, Benson ect.

[[Perla]]

Dy albume të reja Jazz të kitaristëve Paul Brown dhe Peter White

Kitaristët Paul Brown dhe Peter White janë gjigantë të jazz-it të qetë. Secili prej tyre ka luajtur së bashku me disa nga yjet më të mëdhenj të muzikës. Në disqet e fundit solo të këtyre dy artistëve shfaqen shumë emra të njohur të së kalurës.

Paul Brown mund të konsiderohet si shpikësi i një nën-kategorie krejtësisht të re të xhazit, "Funk-u i qetë". Në fakt, nota funk-u dëgjohen gjatë gjithë albumit të tij të fundit "The Funky Joint", së bashku me përzierjet e tij të zakonshme të muzikave instrumentale pop, jazz dhe R&B. Emrat e bashkëinterpretuesve në album përfshijnë saxophonistët Boney James dhe Euge Groove, si dhe veteranin e pianos Bob James në pjesën "Backstage Pass".
__

Pauli ishte i destinuar të bëhej muzikant. Prindërit e tij, të cilët kishin kënduar me Mel Torme-in dhe Barbra Streisand, i mbështetën plotësisht përpjekjet e tij muzikore të hershme. Ai mësoi të luajë në bateri në moshën 5 vjeçare dhe kitarën dy vjet më vonë, duke vendosur bazat për karrierën e tij të gjatë dhe të frytshme si interpretues, kompozitor dhe producent.

Fitues i dy çmimeve Grammy, Paul Brown beson në principe elementare. Ai thotë: "Kur diçka më emocionon, atëherë unë e di se është diçka e mirë."

Një nga bashkëpunëtorët e Paul-it prej një kohe të gjatë është kitaristi Peter White, i cili kohët e fundit, për herë të parë, u rendit në krye të klasifikimit të albumeve më të mirë Jazz me "Here We Go".

Peter White u rrit duke dëgjuar The Beatles në radio, në Angli - vendlindja e tij. Një kitarist autodidakt, më vonë ai i shtoi repertorit të tij flautin, pianon dhe klarinetën. Ai ka bashkëpunuar me këngëtarin e folk-rokut Al Stewart, yllin e pop-it Basia (Bash-ah) dhe personazhe të tjerë, përpara s të fillonte karrierën e tij si solist në vitin 1990.

Në këngën prej së cilës merr emrin albumi "Here We Go" interpreton edhe saksofonisti David Sanborn, që Peter White e quan "një legjendë për mua dhe për çdo muzikant që unë njoh."

VOA

[fighterme]

Kenny G, Dave Koz.,

[busavata]

Sdi si dallohen xhaz e Bluz etj.

As qe me behet vone qe sdi ti dalloj por cka eshte e bukur eshte e bukur.

Psh luis armstrong e qan ate....ja harrova emrin..

Pershendes me summer timme kenduar nga mahalia xhakson.. Korazonin, Mancisten e forevrin e ju tjeret natyrlight.

Po dita ,shpirti fsheht etj ku jan.

dallohet ne takte muzikore edhe akorde ...Blues e ka nje ritem ma konstant ndersa Jazz pak ma ndryshe .. Jazz ka lindur dikund ka viti 1930 .. bash ne kohen kur Blues u shperngulur nga fshati ne qytet .. pra asht nje drejtim i muzikes Blues ..

[sirena_adria]

Sot Dita Ndërkombëtare e Muzikës Jazz

30 prilli njihet si dita ndërkombëtare e muzikës Jazz , e cila festohet me qëllim të rritjes së vetëdijes për vlerat e Jazzit si një mjet edukativ dhe forcë për paqen, unitetin, dialogun dhe bashkëpunimin e zgjeruar mes njerëzve.

UNESCO ka caktuar 30 prillin për këtë ditë, me rezolutën e miratuar në Konferencën e Përgjithshme të kësaj organizate, në nëntor të 2011-ës.

Muzika Jazz ndikon për një normë tjetër të menduarit të njeriut. Ajo krijon ndjenja dhe emocione të veçanta tek individi. Melodia, ritmi, harmonia dhe loja modale e bëjnë muzikën Jazz një lloj i veçantë arti.

Muzika e Jazzit është një stil muzikor që u shfaq në fillim të shekullit të 20-të, në komunitetet e personave me ngjyrë në Jug të Shtetet e Bashkuara. Ka lindur nga një përzierje e traditave të muzikës afrikane dhe evropiane. Nga fillimet e saj e deri në ditët e sotme, muzika Jazz ka marrë edhe elemente nga muzika popullore amerikane për shumë stile të dallueshme si: New Orleans Jazz që daton nga fillim të 1910, Gypsy Jazz nga vitet 1930 dhe 1940, Bebop nga mesi i viteve 1940, Cool jazz, Avant-gard jazz e të tjerë.

Instrumentet më të përdorur të muzikës Jazz janë: Saksi, Tromba, Tromboni, Bateria, Contra Basi, Ksilofoni dhe instrumentet elektrike mbas viteve 70-të.


/ KultPlus.com

https://www.kultplus.com/muzika/sot-...uzikes-jazz-3/

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