A history of jazz music by piero scaruffi

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a history of jazz music by piero scaruffi

A History of Jazz Music 1900-2000 by Piero Scaruffi

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Published 03.01.2019

BLUES STORY: A Documentary

History of Jazz Music 1900-2000

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Miles Davis's quintet featuring drummer Tony Williams, bassist Ron Carter, pianist Herbie Hancock and tenor saxophonist Wayne Shorter had pioneered a sound that was just that: "sound". When Davis fused jazz with rock rhythm and soul melody and even dissonance on Bitches Brew , Davis legitimized a new genre, "fusion jazz". All in all, this revolution paralleled the revolution that was finally picking up steam in free or pseudo-free jazz. The revolution had to do with rhythm. Since the earliest experiments with replacing the tuba with the double bass and with removing the piano from the rhythm section, the changes in the rhythm section had reverberated so wildly to create entire new genres. Several rock groups Soft Machine, Colosseum, Caravan, Nucleus, Chicago, and, above all, Frank Zappa had the same idea at the same time, except that they turned it upside down: instead of focusing on sound, rockers focused on dynamics.

Jazz music was, ultimately, the product of New Orleans' melting pot. At the turn of the century, the streets of New Orleans were awash in blues music, ragtime and the native brass-band fanfares. The latter, used both in the Mardi Gras parades and in funerals, boasted a vast repertory of styles, from military marches to "rags" not necessarily related to Scott Joplin's ragtime music. Notably missing from this mix was religious music, that played a lesser role in the birth and development of jazz music. Also missing was white popular music, that would define the "commercial" format of jazz music, but not its core technical characteristics.

4 thoughts on “A History of Jazz Music 1900-2000 by Piero Scaruffi

  1. Please choose whether or not you want other users to be able to see on your profile that this library is a favorite of yours.

  2. Kansas City was for a while the only Midwestern city to keep the pace of New York and Chicago in jazz development, de facto relieving St Louis of the role it played during the "gay nineties".

  3. Another phenomenon, radically opposite in spirit from the soloists of Chicago and to the stride pianists of New York, came to epitomized the "Harlem Renaissance" of the s more than any other.

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