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Ii. the swing era

In the 1930s, New York City became the center of jazz activity, as it has remained to the present day. In addition, partly because of the huge demand for dance music (the country was in the midst of the Depression and dance—along with movies—provided escape from the dismal realities of daily life) and the sizeable venues into which jazz musicians were booked, jazz bands became larger, often with entire sections of reed and brass instruments. In addition, the saxophone—considered largely a joke instrument in the 1920s—emerged as the jazz instrument par excellence (perhaps because of its versatility and similarity to the human voice). This was the era of the jazz big band, and of groups such as those led by Duke Ellington, Benny Goodman, and Count Basie. It was also the heyday of the jazz arranger, who took on the responsibility of laying out specific parts for members of the band (often in notation) as well as incorporating improvisation, for collective music-making was no longer feasible in a group of 15 or more musicians. Many of the era’s greatest soloists—saxophonists Coleman Hawkins, Lester Young, Johnny Hodges and Ben Webster, clarinetists Goodman and Artie Shaw, trumpeters Roy Eldridge, Red Allen and Cootie Williams (as well as Armstrong, of course)—played with these big bands. Big band jazz swept the nation, becoming the most popular type of dance music on the scene, and resulting in the creation of thousands of records. In addition, radio, which had begun to have an impact on American culture in the 1920s, exploded into one of the country’s most important media.

Iii. bebop

Largely because of financial hardships brought on by World War II, the popularity and economic feasibility of big band jazz began to wane in the 1940s. But a host of young musicians had already begun experimenting with new approaches to the music, whether out of boredom, a sense that African American musicians were being exploited in big bands, or simply the natural tendency of creative minds to evolve. These developments went largely undocumented, as they often took place in late-night, informal jam sessions. In addition, in the early 1940s the Musician’s Union called for a ban on all recordings (in protest over the fact that musicians were not being recompensed for the airplay of their records), so the brewing sea change in jazz went largely unrecorded. Yet, by 1945 trumpeter Dizzy Gillespie and alto saxophonist Charlie “Bird” Parker, along with pianists Thelonious Monk and Bud Powell and drummers Max Roach and Kenny Clarke, had essentially redefined jazz. Though their music, which became known as “bebop,” remained firmly rooted in past jazz traditions, they promoted a return to small-ensemble music, and greatly expanded jazz’s harmonic, rhythmic and melodic possibilities. They also seemed to suggest that jazz be taken more seriously as an art form, rather than dance music (though Gillespie once commented, when a listener complained that he couldn’t dance to bebop, “YOU can’t dance to it!”). This music of 1940s created the foundation for nearly all modern jazz, and saw an important separation between the music and social dancing. In addition, the popularity of jazz began to be supplanted by the emerging idioms of R'n'B and R'n'R.

Iv. the avant-garde

Jazz musicians continued to explore the terrain opened up by Parker and Gillespie and others during the 1950s. Some created music even farther distant from the popular and accessible music of the 1930s, while others tried to counteract what they saw as the more “cerebral” aspects of bebop by playing music more deeply rooted in the blues and gospel. In 1959, a group led by saxophonist and composer Ornette Coleman (which had been playing to small and largely hostile audiences on the West Coast) took their inventive styles to New York. Coleman’s music often did away entirely with usual ideas of improvising on a melody or chord progression. The work of Coleman and his compatriots is often referred to as “Free Jazz” (the name of an album Coleman recorded in 1960) but the idiom was not quite as loose as the name suggests, with often a tonal center or motive providing an important organizing principle, and close dialogue between the various musicians a crucial feature of the music’s overall effect. Nevertheless, Coleman’s music, which also revolutionized the roles of the various instruments in the ensemble, was highly controversial, as was his own edgy, often harsh instrumental tone and idiosyncratic technique, which some saw as evidence of poor musical training. Some musicians rejected the new styles entirely, while others—most notably, perhaps, saxophonist John Coltrane—were strongly influenced by them. Even trumpeter Miles Davis, though reportedly not a fan of avant-garde jazz, seems to have incorporated some of its traits in the work of his famous 1960s quintet, which featured saxophonist Wayne Shorter, bassist Ron Carter, drummer Tony Williams, and pianist Herbie Hancock.

V. fusion and jazz-rock

In 1969 Miles Davis made the highly controversial move of including electric instruments on his In A Silent Way and Bitches Brew albums, adding as well rhythmic structures aligned with rock and soul. Many accused Davis of “selling out”—of trying to pander to popular music tastes of the time—but though Davis was certainly interested in expanding his dwindling audience, he also heard fascinating possibilities in the work of Sly and the Family Stone, James Brown, and Jimi Hendrix. Many alumni from Miles’s “electric” groups went on to form fusion bands of their own—keyboardist Chick Corea with Return to Forever, Wayne Shorter and keyboardist Joe Zawinul with Weather Report, guitarist John McLaughlin with The Mahavishnu Orchestra, and Herbie Hancock with a group that produced the hugely popular Headhunters album in 1973. Though many critics complained that their music “wasn’t jazz,” it did maintain improvisation and connections with the blues that had always been a part of the jazz tradition.

Vi. the 1980s and beyond

The last three decades have seen the extension of many of jazz history’s streams, as well as the promotion of jazz as an art worthy of academic discourse. In the 1980s, New Orleans-born Wynton Marsalis, himself an alumnus of drummer Art Blakey’s Jazz Messengers, emerged as one of the most important spokespersons for the music. Though widely criticized by many as musically conservative, he has done much for the promotion of jazz worldwide, especially in his role as director of Lincoln Center’s jazz program. As it always has, the art of jazz continues to evolve and reflect changing political and economic climates, as well as absorbing other music that emerges in the now-digital age.

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Source:  OpenStax, Music appreciation: its language, history and culture. OpenStax CNX. Jun 03, 2015 Download for free at https://legacy.cnx.org/content/col11803/1.1
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