The roots of jazz

　　The folk songs and plantation dance music of black Americans contributed much to early jazz. These forms of music occurred throughout the Southern United States during the late 1800's.

　　拉格泰姆，早期爵士乐的音乐风格的影响，出现了从密苏里州圣路易斯，面积在1890年代后期。它迅为美国的音乐风格。拉格泰姆是一个充满活力和切分音的各种音乐，主要用于钢琴，强调正式组成。

　　蓝调是一种音乐形式，这一直是爵士的重要组成部分。蓝调尤其是在美国南部广泛。它的凄厉的规模和简单重复的和声帮助塑造的性格爵士乐。爵士器乐早就利用蓝调作为车辆即兴。

　　早期的爵士乐。

　　完全开发的爵士音乐，很可能起源于新奥尔良在1900年年初。新奥尔良风格的爵士乐从城市自身的音乐传统乐队的音乐出现黑色，葬礼游行和街头游行。今天，这种类型的爵士有时也被称为经典的爵士乐，传统爵士，或南方爵士乐。新奥尔良的音乐家庭的个显着的球员和爵士乐作曲家，包括巴迪博尔登cornetists和奥利弗国王，短号和小号手路易斯·阿姆斯特朗，萨克管和单簧管手西德尼·白塞，和钢琴家果冻卷莫顿。

　　从新奥尔良爵士队很快蔓延到全国各地。命运玛拉贝尔LED新奥尔良乐队河船旅客上下密西西比河上播放。奥利弗国王迁移到芝加哥和果冻卷莫顿在美国各地演出。五白人音乐家组成了一个乐队在新奥尔良，效力于芝加哥，并前往纽约市，自称原始迪克西兰爵士乐队（拼写很快就被改变为“爵士”）。这个小组在1917年最早的爵士乐留声机录音。玛米·史密斯于1920年记录“疯狂的蓝调”，拉格泰姆，蓝调和爵士乐的各种录音，很快就普及了音乐一个庞大而急切的公众。

　　1920年的

　　1920年被称为爵士乐或爵士时代的黄金时代。商业电台，它最早出现在1920年的现场表演为特色，受到越来越多的爵士乐音乐家。新奥尔良，孟菲斯，圣路易斯，密苏里州堪萨斯城，芝加哥，底特律和纽约市的所有重要的爵士乐中心。

　　中西部地区的青少年，很多来自芝加哥的奥斯汀高中，一组开发一种类型的即兴创作和安排，成为被称为“芝加哥式”爵士。这些音乐家包括号手吉米安迈马格西斯巴涅尔;短号BIX斯‧贝德贝克;单簧管弗兰克特舍马赫，小便一点点罗素，阁楼Mezzrow，班尼，萨克斯风演奏者弗兰基Trumbauer和巴德·弗里曼;鼓手戴夫强悍，乔治Wettling，和基因克鲁帕和吉他手艾迪康登。他们演奏和声发明的音乐，和一些球员的技术能力，尤其是古德曼，在更高层次上比许多早期表演。

　　在纽约，詹姆斯·约翰逊推广一种新的音乐风格从拉格泰姆称为步幅钢琴。在步幅钢琴，左手起着交替，向上和向下移动的规模，而右手演奏独奏旋律，伴随着节奏，有趣的弦通道的单音符和和弦。约翰逊的强烈影响其他爵士乐钢琴家，尤其是贝西伯爵，艾灵顿公爵，艺术塔图姆，油脂Waller，泰迪威尔逊。

　　亨德森弗莱彻在大乐队爵士是个重要人物。1923年，他成为位领导，组织一支爵士乐队到部分黄铜，芦苇，和节奏乐器。他的编曲，唐雷德曼，率先掌握的技术得分为大乐队的音乐。亨德森乐队在1920年和1930年的路易斯·阿姆斯特朗和萨克斯风演奏者班尼·卡特和科尔曼·霍金斯爵士器乐。

　　阿姆斯特朗1925年至1928年做了一些他最有名的录音用自己的热五热七连击。这些录音跻身爵士乐的杰作，随着他二人同期录音的钢琴家厄尔的“Fatha”海因斯。阿姆斯特朗也成为个的男性爵士乐歌手，推广SCAT唱歌，唱无言的音节工具的方式。

　　在1920年代后期和1930年代初期，从相对简单的音乐表演者往往无法读取到一个更复杂，更复杂的形式的音乐演奏爵士乐先进。带来这种变化的音乐家科尔曼·霍金斯，萨克斯风演奏者班尼·卡特和约翰尼·霍奇斯小提琴家乔韦努提和吉他手埃迪·朗的球队;和钢琴家艺术塔图姆。许多人认为塔图姆在爵士乐历史上最有灵感和技术上有天赋的即兴。

　　摇摆时代的蓬勃发展，从1930年中期到1940年中期。艾灵顿公爵在1932年，记录了他的作文“这并不意味着一件事，如果不是得到了挥杆。” “摇摆”作为的爵士乐风格的名字很快就被采纳。摇摆强调四拍了吧。摇摆大乐队为主的时代，尤其是那些班尼，贝西伯爵，艾灵顿公爵。

　　Benny Goodman became known as the "King of Swing." Starting in 1934, Goodman's bands and combos brought swing to nationwide audiences through ballroom performances, recordings, and radio broadcasts. Goodman was the first white bandleader to feature black and white musicians playing together in public performances. In 1936, he introduced two great black soloists-pianist Teddy Wilson and vibraphonist Lionel Hampton. Until then, racial segregation had held back the progress of jazz and of black musicians in particular. In 1938, Goodman and his band, and several guest musicians, performed a famous concert at Carnegie Hall in New York City. Their performance was one of the first by jazz musicians in a concert hall setting.

　　Other major bands of the swing era included those led by Benny Carter, Bob Crosby, Jimmy Dorsey, Tommy Dorsey, Woody Herman, Earl Hines, Andy Kirk, Jimmie Lunceford, Glenn Miller, Artie Shaw, Chick Webb, and, toward the end of the period, Stan Kenton. The bands in Kansas City, Missouri, especially the Count Basie band, had a distinctive swing style. These bands relied on the 12-bar blues form and riff backgrounds, which consisted of repeated simple melodies. They depended less heavily on written arrangements, allowing more leeway for rhythmic drive and for extended solo improvisations.

　　Boogie-woogie

　　Boogie-woogie was another jazz form that became popular during the 1930's. Chiefly a piano style, it used eight beats to the bar instead of four. Boogie-woogie featured the traditional blues pattern for most themes. The music had an intense quality that created excitement through the repetition of a single phrase. Albert Ammons, Pete Johnson, Meade Lux Lewis, and Pinetop Smith were among its most important artists.

　　Jazz vocalists came into prominence during the swing era, many singing with big bands. Many fine jazz singers emphasized popular songs. These singers included Mildred Bailey, Ella Fitzgerald, Billie Holiday, Nat "King" Cole, Carmen McRae, and Sarah Vaughan. Blues singing at its best can be heard in recordings by Jimmy Rushing, Jack Teagarden, Joe Turner, and Dinah Washington. In addition to singing, Nat "King" Cole was a superb jazz pianist and Jack Teagarden was a great jazz trombonist. See also Special Reports: Ella Fitzgerald: First Lady of Song.

　　Bebop

　　In the early 1940's, a group of young musicians began experimenting with more complicated chord patterns and melodic ideas in a combo setting. The group included trumpeter Dizzy Gillespie, alto saxophonist Charlie Parker, pianists Bud Powell and Thelonious Monk, and drummers Kenny Clarke and Max Roach. The style they developed became known as bebop or bop.

　　Most bop musicians had an exceptional technique. They played long, dazzling phrases with many notes, difficult intervals, unexpected breaks, and unusual turns in melodic direction. On slower tunes, they displayed a keen ear for subtle changes of harmony. Only extremely skilled musicians were able to play bebop well, and only sophisticated listeners at first appreciated it.

　　In bebop performances, musicians usually played an intricate melody, followed with long periods of solo improvisation, and restated the theme at the end. The bassist presented the basic beat for the group by plucking a steady, moving bass line. The drummer elaborated the beat with sticks or brushes on cymbals, snare drum, and tom-tom. The bass drum was reserved for unexpected accents called "bombs." The pianist inserted complex chords at irregular intervals to suggest, rather than state, the complete harmonies of the piece.

　　Hard bop

　　Bebop was followed in the 1950's by hard bop, or funk, jazz. This form emphasized some of the traditional values of jazz derived from gospel and blues music, including rhythmic drive, uninhibited tone and volume, and freedom from restricting arrangements. The hard bop leaders were drummer Art Blakey and pianist Horace Silver. Blakey led a combo called the Jazz Messengers from the mid-1950's until his death in 1990. The Jazz Messengers served as a training ground for many of the greatest soloists in jazz history. Trumpeter Clifford Brown and drummer Max Roach were co-leaders of another outstanding hard bop combo.

　　Cool jazz

　　Cool jazz originated in the works of such musicians as tenor saxophonist Lester Young, who starred with Count Basie, and guitarist Charlie Christian, who played with Benny Goodman. In the late 1930's and early 1940's, these musicians made changes in the sound and style of jazz improvisation. For example, they softened the tones of their instruments, used syncopation more subtly, and played with a more even beat.

　　In 1948, tenor saxophonist Stan Getz recorded a slow, romantic solo of Ralph Burns's composition "Early Autumn" with the Woody Herman band. This work profoundly influenced many younger musicians. In 1949 and 1950, a group of young musicians that included trumpeter Miles Davis, alto saxophonist Lee Konitz, baritone saxophonist Gerry Mulligan, and arranger Gil Evans recorded several new compositions. These recordings emphasized a lagging beat, soft instrumental sounds, and unusual orchestrations that included the first successful use of the French horn and the tuba in modern jazz. The recordings, with Davis as leader, were later released as Birth of the Cool.

　　During the 1950's, many combos became identified with the cool movement. Some of the most successful combos were the Gerry Mulligan Quartet, the Modern Jazz Quartet, and the Dave Brubeck Quartet.

　　The spread of jazz.

　　In the 1940's and 1950's, the sophisticated forms of bebop and cool jazz began to gain wide acceptance among intellectuals and college students. Jazz concerts became popular. Groups of jazz stars made a series of international tours called Jazz at the Philharmonic. The international growth of jazz resulted in many successful overseas tours by U.S. bands and combos.

　　The introduction of the 331/3 rpm long-playing (LP) record, which was first produced commercially in 1948, also helped spread the popularity of jazz. For 30 years, jazz recordings had been limited to 78 rpm records that restricted performances to about 3 minutes in length. The LP allowed recorded performances to run many minutes. The LP also permitted a number of shorter performances to be issued on a single record.

　　During the 1950's, musicians in other countries began to improve greatly as jazz performers as they were exposed to performances by American musicians through recordings and concerts. Sweden, France, Germany, Japan, and other countries developed players and composers whose work compared favorably with that of the leading Americans. The first foreign jazz musicians to influence Americans were Belgian-born guitarist Django Reinhardt in the late 1930's, and George Shearing, a blind, English-born pianist who immigrated to the United States in 1947.

　　In 1954, the first large American jazz festival was held at Newport, Rhode Island. Since then, annual festivals also have been held in Monterey, California; New York City; Chicago; Nice, France; Montreux, Switzerland; Warsaw, Poland; Berlin, Germany; and many other locations throughout the world. These festivals have featured almost all of the most popular jazz musicians and have introduced many extended concert works.

　　New directions

　　Beginning in the 1950's, jazz became even more experimental. Jazz music began to feature nontraditional instruments, such as French horn and bass flute. Jazz musicians began to take an interest in non-Western music, especially the modes (different arrangements of scales), melodic forms, and instruments of Africa, India, and the Far East.

　　In the late 1950's, John Lewis, musical director of the Modern Jazz Quartet, worked with classical musician and composer Gunther Schuller to write and play orchestral works that combined elements of modern jazz and classical concert music. Stan Kenton also played this so-called third stream music when he toured the United States with a 40-piece orchestra.

　　Also during this period, pianist George Russell developed a jazz theory of modes. In 1959, the Miles Davis combo, with pianist Bill Evans and saxophonists John Coltrane and Cannonball Adderley, recorded compositions and improvised solos based on modes rather than on patterns of chords.

　　In 1960, saxophonist Ornette Coleman reshaped the thinking of younger jazz musicians when he recorded the album Free Jazz with a double quartet. In this recording, Coleman discarded harmony, melody, and regular rhythms. He substituted unstructured improvisation played atonally (in no definite key). Pianist Cecil Taylor and bassist Charles Mingus conducted similar atonal experiments.

　　In the 1960's, the influence of the music of India entered jazz through the adaptations of John Coltrane. Jazz musicians also began to use more unusual meters, such as 5/4, 7/4, and 9/8.

　　Fusion

　　In the 1970's, many musicians blended jazz and rock music into fusion jazz. Fusion combined the melodic and improvisational aspects of jazz with the rhythms and instruments of rock. Electronic music played an important part in fusion. Jazz pianists began exploring the increased sound potential of synthesizers. Horn and string players began to use electronics to intensify, distort, or multiply their sounds. Many well-known jazz musicians gained new popularity by playing fusion. Some of the best-known fusion musicians were guitarist George Benson, trumpeters Donald Byrd and Miles Davis, pianist Herbie Hancock, and two combos, Weather Report and the Mahavishnu Orchestra.

　　At the same time, many veteran jazz musicians retained their popularity by leading groups that played in the swing, bebop, and cool styles. These leaders included Stan Getz, Dizzy Gillespie, Woody Herman, Gerry Mulligan, and Oscar Peterson.

　　Recent developments

　　During the 1980's, a number of young jazz musicians returned to mainstream jazz. Mainstream jazz includes elements of the swing, cool, and bebop styles. The most widely acclaimed young musician of the 1980's was trumpeter Wynton Marsalis, a performer of both jazz and classical music. Marsalis plays with brilliant technique and tone. He and his brother, saxophonist Branford Marsalis, have led excellent hard bop combos.

　　Many young musicians continued to forge ahead with fusion groups. Two of the most respected fusion artists are the brothers trumpeter Randy Brecker and saxophonist Michael Brecker. Jane Ira Bloom also displays a mastery of the soprano saxophone and the synthesizer.

　　In the 1990's, jazz was dominated by a blend of older values and more modern styles. Many musicians favored acoustical over electronic instruments, formal structure over total freedom, and a sense of history over harsh modernity. Music of older artists continued to gain respect and followers. For example, bands devoted to the music of Count Basie and Charles Mingus became popular. Veteran musicians, such as trombonist J. J. Johnson and saxophonists Joe Henderson and Sonny Rollins, found new audiences among younger listeners.

　　The young musicians who energized jazz in the 1980's had become establishment figures by the end of the 1990's. They included trumpeters Roy Hargrove and Wynton Marsalis, guitarist Pat Metheny, trombonists Steve Turre and Ray Anderson, and pianist Chick Corea. A younger group of musicians also gained popularity, focusing on "straight-ahead jazz" that reflected earlier mainstream styles. They included saxophonists Joshua Redman and Donald Harrison, bassist Christian McBride, trumpeter Terence Blanchard, and pianist Marcus Roberts. At the same time, the free jazz style of the 1960's continued strong throughout the 1990's in the playing of saxophonists Steve Lacy and Roscoe Mitchell, pianist John Zorn, and their young followers.

　　Today, jazz continues to feature a variety of styles. Many musicians play in historic styles, such as swing and bebop. Others seek a more experimental approach. For example, the Art Ensemble of Chicago blends free jazz, African costumes and makeup, exotic instruments, and surprise techniques into theatrical musical events. Ornette Coleman's group, called Prime Time, mixes free and fusion jazz in new and interesting ways.

　　Electronics technology is gaining a greater role in jazz music. Such young jazz composers as Michael Daugherty are demonstrating that live musicians can interact creatively with computer-generated sound. Some artists have attempted new fusion sounds that blended jazz with such forms as rap music.

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