Jazz Origins
In the beginning (1860)~(1900), many slaves came from Africa, the slaves were freed, and in less than a few years after that, they created their own music, called jazz. Every art has its own myth of creation, and the myth of jazz comes from Africa. It originated from poverty. 1865, the American Civil War was declared over, the former slaves gained freedom in their lives, most of them were illiterate and still lived in poverty, the only way to entertain themselves was to rely on the music cultivated in their own homeland, labor horns and farm songs were sung when picking cotton or building roads, hymns and anthems were sung in the segregated churches or in church gatherings, and minstrelsy tunes were sung in tents or on the singing and dancing circuits. sung on the song-and-variety circuit, and improvisations were chanted by solo singers accompanied by a rudimentary dulcimer or fiddle. All these types of songs and more resonated throughout the southern continents. Apparently, music itself did not distinguish between colors. Minstrels, initially white, blackened their faces and imitated and distorted the singing of black musicians; poor white musicians in the countryside performed ballads, often from Europe, and immigrant music unique to French-speaking Louisiana. In the churches, black ministers borrowed the English practice of reciting two or three lines of hymns in a technique known as "chanting" at religious gatherings as a way of dealing with people's illiteracy. Initially, the music was entirely vocal, with minimal instrumental accompaniment. After the Civil War ended and soldiers were demobilized, however, military music became available fairly cheaply; marching bands became commonplace in the southern continents from the 1830s onward, and while the number of people who were able to participate was limited in those years, by this time more people were able to play on their own. The growth of instrumental music meant that black music was maturing, and by the early 1900s a new form of music was ready to be introduced, named ragtime ---- At this time, the story of jazz had not yet begun.
Ragtime music
Black classical music has its roots in ragtime. Had it not been for ragtime, the face of jazz would have been very different from what it is today, and generations of piano players would have suffered a great loss ----- of many notes. In 1865, the American Civil War was declared over and the Negro slaves of old were freed. The work of a growing black middle class of people who owned pianos, could play them, and were bent on creating American classical music. Ragtime Songs ---- The Maple Leaf Rag was the most popular in 1899. As this music was all the rage in New Orleans and other heavy southern towns in the United States. The most prominent black musician in ragtime music ---- Scot. Joplin, who wanted to convert the style of music into first rate American music. His compositions include "The Honorable Visitor" and "Trimonisha". The fact is that the more noble of the native Americans, and those of mixed noble and low* blood, the so-called overly decent people, were not interested in this kind of mumbling and moaning music. At the same time that he was devoting himself to ragtime, the music was quickly disappearing, adopted by the popular music world on the one hand, and relegated to the popular, more hedonistic world of jazz on the other. As such, it contributed to both pop and jazz music in terms of rhythmic leaps, which were syncopated. The absence of syncopation in popular music at the time would have been stilted to the extreme. Ragtime music also gave the piano and jazz music an indelible cultural legacy by launching their careers. With this and only after the emergence of a series of black classical music ---- jazz music, the story of jazz music began ......
Jazz comes to town ------ New Orleans
(1897 ----1917)
The first jazz musician was Buddy Bolden (1877~1917). A cornetist named Buddy Bolden (1877-1931), his band performed a repertoire of popular dance music, mostly drawn from ragtime and blues musicians, and the origins of jazz can be seen in the six instruments on which they played ---- cornet, flugelhorn, and drums from the marching brass bands, clarinets and basses from the well-bred, mixed-race Creoles who lived in the city, and wandering minstrels who were brought into the city. and others in the hands of wandering minstrels and blues singers. Where refinement was lacking, the band compensated with volume and passion; after all, this music was played by ear, full of crude improvisation, with little regard for pitch or intonation. A large number of imitators took up jazz after Bolden. Trombonist Freddie Kippard (1890-1900) Freddie Kippard (1890~1933), Punch. Johnson (1889-1949), Joe Oliver (1885-1949), and the Bassoonists. Joe Oliver (1885~1938), and the late Louis Armstrong (1901~1938). Armstrong (1901~1971), clarinettist Sidney Bichette (1897~1959), and the late Louis Armstrong (1901~1971). Bichette (1897~1959), ragtime pianist Jerry. Rohr. Morton (1890~1941), all of whom carved out careers in bars and *yards in the city of Stoli, playing the kind of raucous, raucous music appropriate to a metropolis like the Crescent City. Many of the compositions known to **** were given names by places in the area, the best known of which are the Bassin Street (in downtown New Orleans) Blues and the Kennel Street Blues. some of the most recognized jazz was already in place before 1917.
The Famous Jazz Band
(The Original Dixieland Jazz Band)
1917-1920
In 1917, jazz finally recorded for itself. At the same time the U.S. entered the World War, but before celebrating the victory for the black culture born in New Orleans, two things should be corrected. One is that the record was not made in New Orleans, but in New York, and the other is that the five members of the band, though all small fires, were white. 1916 saw a crisis in jazz, as white musicians stepped into the jazz arena, plagiarizing the original styles of the black bands. Many record companies intended to record this new music, but these companies were located far away in the northern cities, while the over-the-top players were concentrated in the south. One of the most sought-after cornetists, Freddie Kephardt, was a major player in Chicago and New York. One of the most sought-after cornetists, Freddie Kepard, worked with the original Kreol bands in Chicago and New York. ---- He refused to record for fear of plagiarism, and missed his chance to be the first to make it into the history books. So, by such chance, the first band to record at the label was for a derivative white band. The original Dixieland Jazz Band was born as Johnny Stern's musician-led band. The original Dixie Rand Jazz Band began as a five-piece group led by Johnny Stern's musicians, based on the front-row vocalists established by Buddy Bolden. In March 1916, they played at Le Café on East 31st Street in Chicago and were praised by the Chicago News. Nonetheless, in June of that year, Captain Stern was cast aside and the band changed its name. The following year, a few January 7, 1917, the band held a sequentially sensational reception at the Resenweber Hotel in Malone, Massachusetts. After going to court with Columbia Records, the label finally gave up on releasing records, at which point Victor Records grabbed the band and on February 26 recorded two albums. In Lieu of Stable Blues and First Steps for the Dixie Jazz Band became the first jazz recordings in history, to great effect and financial success. In "Substitute Stable Blues," the original Dixie Land Jazz Moon Band imitated the sounds of farm animals and used many tricks to perform jazz and entertain. However, their performance was too contrived and childish compared to later music. Perhaps because they were derived from black musicians, they fell apart in a few years, but after all, it was they who introduced jazz to a wider audience, and left a glorious page in the annals of music history.
The Great Jazz Migration
(1917-1925)
In 1917, the United States entered World War I, which closed the gates of the Storied City and ended the life of many of New Orleans' music streets. However, there was still a need for musical performances in Europe, and the Jim's European Hellfighters, attached to the 369th U.S. Infantry Regiment, played a whirlwind of shows in the French cities in 1918, while the original Dixieland Jazz Band was enjoying a nine-month post-war residency at London's Highsmith House. One listener disappeared, but a wider audience came pouring in, and in 1918, cornetist Joe King, who had been a member of the band for over a decade, was able to get the band's name out of his mouth. King. King Oliver (1885-1938) moved north from New Orleans to Chicago with his entire band, and in 1922, he led a six-piece group, the Cleoli Jazz Band, which began a residency at Lincoln Gardens. He sent down south to hire a gifted young cornet player named Louis Amsterdam. Amstrong, and the two changed jazz in New Orleans. Until then, jazz had been mostly ensemble music, with only the odd harmony and detailed improvisation. And when the band had two cornet players in the front row of musicians, King. Oliver was able to experiment. He himself follows the score closely, while Armstrong is allowed to deviate from the main theme. Surprisingly, creatively decorating the score. Jazz, which had once limped along calmly, now also saw an ebb and flow. It wasn't until 1922 that Olivier recorded, and he paid a monumental tribute to jazz.
Excited Jazz
(1925-1928)
Besides the United States, jazz was at its best in France. With a long tradition of restaurant cabaret and a tolerance for foreigners, France was more receptive to this new form of music than England, and in 1932 a group of jazz fans in Paris founded Europe's first jazz club, the ---- French Passion Club, under the direction of writer and critic Gaius Ponnasset. In 1934, the club decided to form a quintet. One of the three guitarists was De Jeannego. One of the three guitarists was Dejango Reinhardt (1910~1953) and the violinist was Stéphane Glabri (1908~1953). One of the three guitarists was Dejango Reinhardt (1910-1953) and the violinist was Stéphane Glabri (1908-1977). Gregory was born in Paris to a middle-class family with classical training, while Reinhardt was born in Belgium to a gypsy family and was entirely self-taught. Whereas Gregory was gentle and relaxed, Reinhardt was stubborn and insubordinate, unpredictable but also innovative. At times, his style of playing was so romantic that it turned your stomach; but when he gave it his all, he was able to transform himself into a virtuoso performer and composer, despite the fact that his left hand had been crippled by a fire in a caravan at the age of eighteen. In an era when big bands monopolized everything, the harmony between the two leading soloists of the French Passion Club Quintet has made it a great success. ---- The quintet's most outstanding work took shape in the 1930s, when the Great War broke out in 1939, forcing the original members of the group to scatter: Grapelli uprooted himself and stayed in London, while Reinhardt and the rest of the group toured occupied Europe. After the war, Reinhardt and the other members reorganized the quintet in an attempt to perform a brand new kind of bop, and began to employ electric guitars, though their tone could never be generally the same as the guitars of old. Gleiberi fell out of favor, but was revived in the '60s, from electric violinist Kim--Ruck. Ponty to classical artist Yehudi Mannouin. Mannuin, he worked with everyone and did no appreciable damage to the music of either extreme. Like a good bottle of wine, he has matured over the years, eventually shedding his classical upbringing and letting his emotions run free.
Blues music
(1923-1933)
Like jazz, blues music was not recorded until much later, probably in 1920, so little is known about its early days. It originated around the plantation songs ---- initially with no backing vocals, and later with a single musical accompaniment like a guitar or banjo, with the instrumental melody alternating with the songwriter. At the turn of the century, the musical form evolved into a three-line, twelve-bar format. The blues pattern became a tool for jazz to use for improvisation, and so, by the 1920s, the blues was already recognized as an offshoot genre of jazz. Compared to jazz, the blues is a more rudimentary form of music, but in the hands of early players, it can be very exciting. 1923, Bessie Smith (1895~1937), the first musician to play the blues in the 1920's, was the first to play it. Bessie Smith (1895~1937) recorded "Blues for the Gray Heart," which quickly bought 750,000 copies and earned her a nine-year contract with Columbia Records. The "Queen of the Blues," with her dramatic performances, her vocal range that spanned the gamut of emotions, and the humility with which she sang and put her own spin on her songs, was certainly worthy of respect. At the height of her career, she was earning up to $2,000 a week and working with all the big jazz stars. Bessie. Where Bessie Smith was chic, Ma Rainey was always worldly. Ma Rainey always seemed so worldly. Bessie Smith was a chic place to be, and Ma Rainey always seemed so worldly. Bessie Smith often followed the TOBA route through the southern continents ---- many black towns, which is the only entertainment, recorded about a hundred songs. Her sultry demeanor, simple yet dramatic tone, somber tones, and uncanny ability to echo the listener have made her the embodiment of the blues for many.
"The blues" ---- is the state of mind, the music that explains it, the myriad musical structures used to interpret it, and the performance itself. Thinking, playing, singing, or playing the blues ---- can all be called the blues. To simplify its morning concept, however, when jazz musicians talk about the blues, they usually refer to twelve bars in groups of four, ****divided into thirds, and accompanied by chords, i.e., harmonized notes on the first, fourth, and fifth notes of the scale. Simple blues songs that employ this chordal process have a line that is four bars long, which is then repeated for four more bars, with the last four bars rhyming to echo the first two groups. There are countless other side bodies to this pattern. Unique blues music creates "blue notes" by lowering the pitch of the third, seventh, and sometimes fifth notes on the scale ---- also defines what jazz is. The sheet music written on paper is so annoying, but once you've heard a blues song in person, you'll immediately recognize the notes and songs from the cacophony.
The saxophone's entry into jazz
(1923-1959)
If the transition from cornet to trumpet was so subtle as to be unnoticeable, the contemporary clarinet's acquisition of the saxophone can be quite dramatic; the story can be traced back to a musical instrument shop in Soho, London, in 1919. At the time, a young musician from New Orleans, Sidney, Bichette happened to be traveling to Europe with a South Simcoe Pedal Pipe Xu Paradise ---- a paradise ----- playing classic light music and formal ragtime, where he found a pair of soprano saxophones. He shelled out the money for them, began learning to play them, and soon, just as Armstrong had switched to the trumpet, he switched *to* the saxophones - he gave them a musical language and a style of playing that those who came after him, if not refusing to emulate them in their entirety, at least digested and assimilated his accomplishments. Bichette was effortlessly on par with Armstrong. He was largely self-taught, and although he could not read music, he created a style for the saxophone that swept away the rigidity of ragtime and the simplicity of New Orleans jazz, replacing it with a complex, fluid and coherent style, punctuated by sharp intonation and lots of vibrato. The presence of the virtuoso Bichette fit a pressing need in the music world at the time, and had he stayed in one area for a few more years, he would have become an important jazz player between the two world wars. However, he preferred to wander, and in 1925 he accompanied Josephine, a dancer in the Parisian topical satire "Negritude". Baker impressed audiences so much that he traveled all over Europe (including Russia) with the cast for four years, after which he returned to Paris in 1949 after a long stint in New York. He died in Paris ten years later. The French honored the national hero by naming a square in Antibes, in the south of France, Place Bichette, where a jazz festival is held every year. In addition, his penchant for fighting led to his expulsion from both England and France; he was also imprisoned in France for a year in 1929 for using light weapons. Bichette was twice amnestied, so that his career was spared ---- After he worked as a tailor for a while, he played for him in 1939, George, Gershwin composed the piece "Summertime" also recorded on tape, with this song to salvage the image of the public mind, in 1949, in the accompaniment of Charlie, Parker, and other Beaupre jazz superstars in the Paris Jazz Festival, the festival, he demonstrated that his technique had not declined in the slightest. It was not until the early 1960s, when John Coltrane came to the screen, that other musicians gradually mastered the soprano saxophone technique of not Bichette, and although there is no information to verify his evaluation, he was a master in every sense of the word.