 |
The early roots of jazz are deeply embedded in African culture and traditions; however, jazz is a uniquely American style. It has been said that jazz rhythm came from African musical traditions, while jazz harmony came from the European musical tradition. However, the musical elements of jazz are actually not so evenly divisible between the two continent's musical traditions. A more accurate picture would be that African slaves used European rhythmic and harmonic forms to express their own musical traditions. The slaves retained many of their traditional, formal sonic and expressive elements. In particular, these seven elements led to the development of the blues, an early cousin and forerunner to jazz:
- Call and Response (a leader sings a phrase and it is echoed by the rest of the group.)
- Repeated Refrain (similar to the refrain or chorus in a traditional church hymn.)
- Chorus Format (improvising over an entire form.)
- Harmonic Tradition of certain African tribes (it included a tonic, pre-dominant, and dominant (I-IV-V) progression, which is compatible with traditional European harmonic progressions.)
- Spirituals and Field Hollers (emotional content and communication.)
- Ring Shout (a recreational dance.)
- Riff (a short melodic phrase that is repeated over the different chords in a harmonic progression.)
All of these expressive elements from traditional African culture contributed to the development of the blues and jazz and all are characteristic of modern jazz as well.
Like all historical eras, the jazz era did not begin on a certain date; jazz developed gradually, gestating between the years of 1895 and 1917. It is difficult to make any concrete statements about early jazz, because there is a dearth of early recordings. Jazz is primarily a performer's art not a composer's, therefore without many recordings we are limited as to how accurately we can discuss the early growth of jazz.
There are five major factors which contributed to the early development of jazz:
- Minstrel Music
- The Blues
- The Introduction of New Instruments (Four-string banjo and Saxophone)
- Marching Bands and Brass Bands
- Ragtime Music (the Instrumentalization of ragtime, i.e. arranging piano rags for brass bands.)
The instrumentalization of ragtime was of great importance for the formulation of the New Orleans style. Instrumental ragtime set the model for the instrumentation of New Orleans bands and even the primary function or role of certain instruments such as the trombone.
The jazz movement came to the forefront when the Original Dixieland Jazz Band got the jazz world really moving by doing two very important things: they made recordings, and these recording were widely distributed. This increased exposure greatly boosted the popularity of jazz music, however it must be noted that the ODJB received this privilege, not because they were the best band, but because the recording companies were racially prejudiced - the ODJB was composed of all-white musicians. The ODJB was famous for implementing "Barnyard Hokum" rather extensively in their pieces - imitating animal sounds on their instruments - and for their fast tempos. However, more importantly, the ODJB did not truly improvise. Aside from the drummer, they repeated their solos verbatim on many separate performances.
King Oliver's Creole Jazz Band was an all-black band and in many respects they were better than the ODJB. For one thing, they were more faithful to the African roots and improvisational tradition of jazz. Oliver's band proved that even though jazz is largely an improvisational and spontaneous style, planning, organisation, and discipline are not at odds with jazz expression. Unfortunately, the same disciplined format that drove the band to success became the tool of its downfall. Oliver's band began to disintegrate because he kept such a strict hold on the band that he stifled individual creativity. Oliver's overly rigid procedures and his unwillingness to evolve along with the jazz idiom caused most of his better players to leave, seeking an atmosphere more conducive to new ideas. The New Orleans style that Joe "King" Oliver was trying to hang onto became outdated by 1930, and the next generation of jazz centres were springing up in Chicago and New York.
 |
|
Source: http://i-way.co.uk/~rickpayne/jazzhist.htm