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182 Part II: Jazz Greats and Great Jazz: An Evolutionary Riff � Mario Rivera, El Commandante/The Meringue Jazz (RTE) � John Santos and the Machete Ensemble, Machete (Xenophile) � Charlie Sepulveda, The New Arrival (Groovin’ High) � Omar Sosa, Sentir (Ota Records) � Trio Mundo, Rides Again (Zoho Music) � Carlos “Patato” Valdes, Ritmo Y Candela II: African Crossroads (Round World Music) � Chris Washburne, Nuyorican Nights (Jazzheads)
In This Chapter Chapter 10 Looking Ahead: The Present and Future of Jazz � Meeting traditionalist musicians � Looking at artists combining jazz and classical music � Surveying contemporary jazz forms � Taking stock of the future � Listening to jazz masters’ current work As the new millennium approached, one thing became clear: artists no longer felt bound by categories, and jazz became difficult to define. In 2005, Herbie Hancock, a beacon of creativity in hard bop, fusion, and jazzfunk, released Possibilities, a CD on which he collaborated with pop stars such as John Mayer, Santana, Paul Simon, and Sting. Is it jazz? Probably not, but Hancock’s willingness to step outside the jazz box is indicative of the increasing irrelevance of categories. Traditionalists speak of jazz as “America’s classical music,” yet, as is the case in classical music, innovation is an essential quality of jazz. In order to move forward, new jazz is not going to sound like old jazz. In a global, crosscultural society, artists find new ways of containing jazz within new musical contexts. Before you consider what the future may hold, look at the recent past. It’s too early to have a clear perspective on jazz in the nineties, but the decade produced exceptional music. In many ways, it was also a generational turning point. In the past, jazz’s living legends, like African griots (storytellers), handed down jazz’s origins and traditions through their interactions with younger musicians. But since the last edition of this book, many of those “griots” have passed away: Benny Carter (2003), Lionel Hampton (2004), Milt Hinton (2000), J.J. Johnson (2001), and Artie Shaw (2004). With the loss of the last of its original legends, jazz is headed into a new era where young players won’t have first-hand access to the genre’s original masters. As that direct connection vanishes, some traditions may fade, or revive
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Jazz FOR DUMmIES‰ by Dirk Sutro 2
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Jazz For Dummies ® , 2nd Edition P
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Publisher’s Acknowledgments We’
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Table of Contents Introduction.....
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Table of Contents Ragging the Rhyth
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Table of Contents Let’s Get Funky
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Table of Contents Guinness Jazz Fes
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Table of Contents Avant Garde Jazz
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Introduction As you begin your jour
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What You’re Not to Read I include
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Part VI: Appendixes Part VI covers
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Part I All That Jazz: A Tour of the
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In This Chapter Chapter 1 In the Be
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Chapter 1: In the Beginning: Enteri
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Meanwhile, Latin music had a signif
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Chapter 2 Altered Ears: Understandi
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Chapter 2: Altered Ears: Understand
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In This Chapter Chapter 3 The Schem
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Chapter 3: The Scheme of Things: El
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In This Chapter Chapter 4 Tools of
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Figure 4-1: A soprano sax looks lik
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Chapter 4: Tools of the Trade: The
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Figure 4-6: The bass clarinet is mo
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Strumming Along: Strings Chapter 4:
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seconds, filling the space behind a
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� Cymbals: In early jazz, one cym
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Figure 4-8: A musician plays a vibr
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Part II Jazz Greats and Great Jazz:
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Chapter 5 The Birth of an American
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Chapter 5: The Birth of an American
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Figure 5-3: Jelly Roll Morton is fa
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Chapter 6 The Golden Era of Big Ban
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Chapter 6: The Golden Era of Big Ba
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In This Chapter � Witnessing the
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Chapter 7: Bebop to Cool: The 1940s
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Surveying Influential Bebop Musicia
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Figure 7-1: Charlie Parker was nick
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Figure 7-4: Ella Fitzgerald was the
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Page 149 and 150: Chapter 7: Bebop to Cool: The 1940s
Page 159 and 160: Figure 7-5: Miles Davis played both
Page 161 and 162: In This Chapter Chapter 8 A Radical
Page 163 and 164: Figure 8-1: Classical fugues influe
Page 165 and 166: Mingus’s 1972 album Let My Childr
Page 167 and 168: Chapter 8: A Radical Departure: The
Page 171 and 172: Figure 8-5: Cecil Taylor overlapped
Page 173 and 174: Hear Dolphy’s wild leaps of imagi
Page 175 and 176: Chicago In Chicago, a group of Afri
Page 179 and 180: Although some fans and critics dism
Page 183 and 184: Chapter 9 The Perfect Hybrid: Latin
Page 185 and 186: In the ’30s, bandleaders Don Azpi
Page 187 and 188: Chapter 9: The Perfect Hybrid: Lati
Page 189 and 190: O’Farrill created “Undercurrent
Page 191 and 192: musical elements through travels to
Page 193 and 194: Gato Barbieri Born in Argentina, sa
Page 195 and 196: Mongo Santamaria For his prolific o
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Page 203 and 204: Chapter 10: Looking Ahead: The Pres
Page 207 and 208: Figure 10-1: Wynton Marsalis plays
Page 213 and 214: Other musicians Other musicians who
Page 215 and 216: Part III The Beat Goes On: Jazz App
Page 217 and 218: Chapter 11 Mass Appeal: Taking Note
Page 219 and 220: Chapter 11: Mass Appeal: Taking Not
Page 231 and 232: In This Chapter � Jazzing up your
Page 233 and 234: on together in 1959. Charles Mingus
Page 235 and 236: Chapter 12: Good Times: Jazzing Up
Page 243 and 244: Sending Your Guests Home with Fun P
Page 245 and 246: Chapter 13 Lovin’ It Live: A Jazz
Page 247 and 248: Chapter 13: Lovin’ It Live: A Jaz
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Chapter 13: Lovin’ It Live: A Jaz
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In This Chapter Chapter 14 Travelin
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Chapter 14: Traveling Jazz: Your Ti
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Part IV I Like the Way You Play: Th
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Chapter 15 Feeding the Jazz Jones:
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Chapter 15: Feeding the Jazz Jones:
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Chapter 16 So You Wanna Be in a Ban
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Chapter 16: So You Wanna Be in a Ba
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In This Chapter Chapter 17 Digital
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Chapter 17: Digital Jazz: Making Mu
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Part V The Part of Tens
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In This Chapter Chapter 18 Ten Grea
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Cool venues to check out include
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Los Angeles Considering its wealth
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As in many other cities, local radi
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Chapter 18: Ten Great Cities for Ja
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San Diego Chapter 18: Ten Great Cit
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San Francisco Bay Area Big time jaz
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Chapter 19 Ten Tips for Building an
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Chapter 19: Ten Tips for Building a
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Part VI Appendixes
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Appendix A More Than 100 Recommende
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Bebop and Hard Bop Appendix A: More
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Avant Garde Jazz and Free Jazz Begi
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Appendix B Trustworthy Jazz Labels
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� Benny Goodman, clarinetist �
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� Count Basie, bandleader and pia
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Appendix C Resources for Further Ja
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Appendix C: Resources for Further J
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The Story of Jazz (Oxford Universit
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• Numerics • 12-bar format, 32-
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lesser-known, 221-222 Lunceford, Ji
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Howard Rumsey’s Lighthouse All-St
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Fitzgerald, Ella (vocalist) as bebo
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Jazz Messengers, 134, 171 jazz musi
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multi-track recording, 292, 293 mus
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Herman, Woody, 218 improvisation, 4
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stretching words, 38 stride piano,
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BUSINESS, CAREERS & PERSONAL FINANC
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