Jazz bands

The term “Acide Jazz” or «acid jazz» is freely used with reference to rather wide range of music. Though an acide jazz is not quite competent to carry to jazz styles which developed from the general tree of jazz traditions, but it cannot and be ignored absolutely at analysis of genre variety of jazz music. Having arisen in 1987 on the British dancing scene, the acide jazz as musical, mainly tool style was generated on base funk, with additives of the selected classical jazz tracks, hip-hopa, soul and Latin groove. Actually this style is one of versions of the jazz revival inspired in this case by not so much performances of live veterans, how many old records of a jazz of the end 1960 and early jazz funk the beginnings 1970. In due course, after end of a stage of formation from this musical mosaic, it is made improvisation that was the basic subject of dispute on has disappeared, whether is the acide jazz actually a jazz.
Such musicians concern number of known representatives of an acide jazz, as Jamiroquai, Incognito, Brand New Heavies, Groove Collective, Guru, James Taylor. Some experts consider that trio Medeski, Martin and Wood, positioned today as representatives of modern avant-gardism, began the career with an acide jazz.

In parallel with occurrence bebop, in the environment of a jazz the new genre-progressive a jazz develops, or is simple progressive. The aspiration to depart from the fallen asleep cliche big-bendov and the out-of-date, jammed receptions so-called becomes the basic difference of this genre, entered into 1920 Polom Uajtmenom. Unlike bebopers, creators progressive did not aspire to radical refusal of the jazz traditions which have developed for that time. They aspired to updating and improvement swings phrases-models more likely, entering into composition practice last achievements European simfonizm in the field of a tonality and harmony.
The greatest contribution to development of concepts «progressive» was brought by the pianist and conductor Sten Kenton. From its first works actually the progressive jazz of the beginning 1940 also originates. On sounding the music executed by its first orchestra was close to Rakhmaninov, and compositions bore lines of late romanticism. However on a genre it was closest to simfojazz.

The executors grasped by movement of a kul-jazz in 1950th years many worked in sound departments of Los Angeles. Substantially under influence nonets these Majlza Devisa which were based in Los Angeles executors developed that is known now as «West Coast Jazz», or a jazz of the Western coast. As well as the cool Jazz, the Jazz of the Western coast was much softer, than furious bebop which preceded it. The majority of products of a jazz of the Western coast has been written out in large details. The kontrapunktnye lines often used in these compositions, seemed parts sparrowed in a jazz of the European influence. However in this music there was a lot of space and for long linear solo improvisations. Though West Coast Jazz it was executed mainly in sound departments, such clubs as “Beacon” on Ermoza a scourge and “Hejg” in Los Angeles often represented its main masters in which number were trumpeter Shorti Rogers, saxophonists of Art Pepper and Bud Shenk, drummer Shelley Menn and clarinettist Jimmy Dzhjuffri.

High heat and impact bebop have started to be weakened with development of a cool jazz. Since the end 1940 and in the early fifties years musicians have started to develop less furious, more smooth approach to the improvisation, simulated on an image of light, dry game of the tenor saxophonist of Leicester Young which it applied in a swing. The released and is homogeneous-flat sound leaning on emotional «cooling» became result. Trumpeter Majlz Devis who was one of the first executors who “has cooled” it, became the greatest innovator of this genre. It nonet, the written down album «the Birth of cool» in 1949-1950 was an embodiment of lyricism and restraint of a kul-jazz. Other known musicians of kul-jazz school are trumpeter Chit Bejker, pianists George Shiring, John Lewis, Dejv Brubek and Lenni Tristano, Milt Jackson and saxophonists of Sten Getts, Whether Konits, Zut Sims and Pol Desmond. Arrangers also have brought the considerable contribution to kul-jazz movement, especially Ted Dameron, Claude Tornhill, Bill Evans and a baritone-saxophonist of Dzherri Malligen. Their structures have concentrated on tool colouring and slowness of movement, on the fallen asleep harmony which created open space illusion. The discord also played some role in their music, but differing thus softened, muffled character. The kul-jazz format left space for big on structure of ensembles during this period became more habitual, than in early bebop. Some arrangers experimented the changed instrumentation, including cone-shaped copper wind instruments, for example a French horn and a tuba.

During an epoch of Great depression and the dry law, the jazz scene of Kansas City has turned to original Mecca modern sounds of the end 1920 and 1930. For the style prospering in Kansas City pathetic plays with the blues colouring, executed as big-bendami, and small swings the ensembles showing very vigorous solo are characteristic, executed for visitors of vegetable marrows with is underground on sale alcohol. In these vegetable marrows style of the great Kaunta Bejsi beginning to Kansas-city in an orchestra of Uoltera Pejdzha and subsequently at Benn Moutena also has taken shape. Both these of an orchestra were typical representatives of style Kansas-city the original form of the blues which has received the name «a city blues» and generated in game of the above-named orchestras became which basis. The jazz scene Kansas-city differed also the whole galaxy of outstanding masters of a vocal blues recognised “king” among which was the long-term soloist of an orchestra of Kaunta Bejsi, the well-known blues singer Jimmy Rashing. Well-known altsax Charlie Parker who was born in Kansas City, on arrival to New York widely used characteristic blues “counters” studied by it in orchestras Kansas-city and made subsequently one of the starting moments in experiments boppers in 1940.

Many big-bendy showed the improvisators-soloists who lead up spectators to the condition close to a hysteria during well untwisted «battles of orchestras». Though popularity big-bendov after the Second World War has considerably decreased, orchestras led by Bejsi, Ellingtonom, Vudi Herman, Stenom Kentonom, Harrys Jamess and many other things often went on tour and wrote down plates within several next decades. Their music gradually changed under the influence of new currents. Such groups as ensembles led by Boyd Rajbernom, San Ra, Oliverom Nelson, Charles Mingusom, Tedom Johns-Melom Lewis investigated new concepts of harmony, instrumentations and improvisations to freedom. Today big-bendy are the standard in a jazz education. Repertuarnye orchestras of type of the Jazz Orchestra of the Lincoln-centre, Carnegie Holl, Dzhaz Smitsonian Masteruork Orkestra’s Jazz orchestra and the Chicago Jazz Ensemble regularly play original big-bendovskih compositions. In 2008 in Russian there was George Sajmona’s initial book «Big orchestras of an epoch of a swing», being inherently almost full encyclopaedia of all big-bands of the Golden Age from the beginning of 20th years of the XX-th century for 60th years.

The classical, developed form big-bendov is known in a jazz from the beginning 1920. This form has kept the urgency up to the end 1940. The musicians who have arrived in the majority big-bendov as a rule almost at teenage age, played quite certain parties, or learnt on rehearsals, or under notes. Careful together with large sections of copper and wooden wind instruments deduced rich jazz harmonies and created sensationally loud sounding which has become known as «sounds big-benda» («the big band sound»). Big-bend became popular music of time, having achieved fame peak in the mid-thirties. This music became a source of general hobby swings dances. Heads of the well-known jazz bands of Djuk Ellington, Benn Goodman, Kaunt Bejsi, Arti of Show, Chik Uebb, Glenn Miller, Tommi Dorsi, Jimmy Lansford, Charlie Barnet have composed or have arranged and have written down original charts of melodies which sounded not only by radio, but also everywhere in dance halls on plates.

Though the history of a jazz also has begun in New Orleans with XX-th century approach, but this music has endured the present launch in the early twenties, when trumpeter Lui Armstrong has left New Orleans to create new revolutionary music in Chicago. Begun soon after that migration нNew Orleans jazz masters to New York has marked the tendency of constant movement of jazz musicians from the South on the North. Chicago has apprehended music of New Orleans and has made its hot, having lifted its heat not only effort of the well-known ensembles of Armstrong Gorjachaja Pjatyorka and the Hot Seven, but also and others, including such masters as Eddi Kondon and Jimmy MakPartland, whose brigade from Austin High School has helped revival of New Orleansky school. To number of others well-known men, moved apart horizons of classical jazz style of New Orleans, it is possible to carry pianist Arta Hodesa, drummer Barrett Dimsa and clarinettist Benn Gudmana. Armstrong and Gudman which have got over finally to New York, have created there original critical weight which has helped this city to turn to the present jazz capital of the world. And while Chicago remained in the first quarter of the XX-th century basically the centre of sound record, New York along with it has turned and to the main concert platform of a jazz, having such legendary clubs, as Minton Plejhaus, Kotton Klab, Sava and Vilidzh Vendzhuard, and also such arenas, as Carnegie Holl.