Skip to main content Accessibility help
×
Hostname: page-component-78c5997874-fbnjt Total loading time: 0 Render date: 2024-11-04T21:07:02.176Z Has data issue: false hasContentIssue false

9 - North American Jazz

Published online by Cambridge University Press:  29 May 2021

Michael Church
Affiliation:
Classical music and opera critic, The Independent/i
Dwight Reynolds
Affiliation:
Professor of Arabic Language and Literature at the University of California, Santa Barbara
Scott DeVeaux
Affiliation:
Professor in the McIntire Department of Music at the University of Virginia
Ivan Hewett
Affiliation:
Classical music critic for the Daily Telegraph, broadcaster on BBC Radio 3, and teacher at the Royal College of Music.
David Hughes
Affiliation:
Research Associate, University of London
Jonathan Katz
Affiliation:
Fellow of All Souls College, Oxford
Frank Kouwenhoven
Affiliation:
University of Leiden Founder and Secretary-Treasurer of CHIME
Roderic Knight
Affiliation:
Professor of Ethnomusicology Emeritus, Oberlin College, Conservatory of Music
Robert Labaree
Affiliation:
Member of the Musicology faculty at the New England Conservatory in Boston
Scott Marcus
Affiliation:
Professor of Ethnomusicology at the University of California, Santa Barbara
Terry E. Miller
Affiliation:
Professor Emeritus of Ethnomusicology at Kent State University, Ohio
Will Sumits
Affiliation:
University of Central Asia Research Fellow in Humanities
Neil Sorrell
Affiliation:
Senior Lecturer in Music, University of York
Richard Widdess
Affiliation:
Professor of Musicology in the Department of Music, School of Oriental and African Studies, University of London
Ameneh Youssefzadeh
Affiliation:
Visiting scholar at the City University of New York Graduate Center
Get access

Summary

It's jazz night at a local restaurant. There's no permanent stage: musicians squeeze into a small nook at the front. The drummer and bass are in the rear, their backs against the neon sign in the plate-glass window. The leader of the group, a silver-haired trumpet player, brings in the band with brief grunts on the backbeat before launching into a complicated unison line with his saxophonist. His improvisations are melodically inventive and rhythmically brisk, pulling the band into sharper focus. When he finishes playing, he strolls away from the stand to chat with a friend, while keeping an eye on the band.

The atmosphere is casual: many in the audience simply drink and chat. Yet there's an atmosphere of seriousness and expectation. People are deeply attentive, leaning forward and cheering the end of each solo. The musicians don't seem to notice either the audience or the music on their stands; their concentration and satisfaction is evident. The saxophonist leans against the wall, his eyes closed, while the guitarist rocks back and forth, a smile warming his face. The music is wild and chaotic, but always under control, and it ends on a crisply-timed syncopation.

JAZZ does not have a long history. Indeed, compared to many of the musics covered in this book, which often span centuries, it barely has a tradition at all. It emerged about a hundred years ago in rough, working-class neighbourhoods of New Orleans with a jaunty, polyphonic style that bears little relation to the intricate chamber music that is played today. ‘Modern jazz’ – the kind currently heard in nightclubs, concert halls and other venues across the country – did not take shape until the 1940s and 1950s, well within living memory. As an improvised music, it gives little sense in live performance that it cares terribly much about its past.

Beneath this surface, though, are layers of cultural meaning – especially for African Americans, who are disproportionately represented among its creators. Although musicians of every race play jazz, there is general agreement that its origins lie in black culture. Indeed, it is the most highly developed musical tradition created by African Americans over a period that encompasses their most stringent trials for citizenship.

Type
Chapter
Information
The Other Classical Musics
Fifteen Great Traditions
, pp. 198 - 215
Publisher: Boydell & Brewer
Print publication year: 2015

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

Save book to Kindle

To save this book to your Kindle, first ensure [email protected] is added to your Approved Personal Document E-mail List under your Personal Document Settings on the Manage Your Content and Devices page of your Amazon account. Then enter the ‘name’ part of your Kindle email address below. Find out more about saving to your Kindle.

Note you can select to save to either the @free.kindle.com or @kindle.com variations. ‘@free.kindle.com’ emails are free but can only be saved to your device when it is connected to wi-fi. ‘@kindle.com’ emails can be delivered even when you are not connected to wi-fi, but note that service fees apply.

Find out more about the Kindle Personal Document Service.

Available formats
×

Save book to Dropbox

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Dropbox.

Available formats
×

Save book to Google Drive

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Google Drive.

Available formats
×