By Emmett G. Price III
"Attempts at a concise - even a coherent - definition of jazz have invariably failed." --Max Harrison (1980)1
As the twenty-first century continues to unfold, there is no question to the vibrance, significance and worth of this country's most prized art form - Jazz. To some Jazz is social commentary, to others it is an amalgam of political statements fused within the constant interplay between harmony, rhythm and melody. Some utilize Jazz for economic gain while others refer to Jazz as their religion. Some consider Jazz an epic story detailing the trials, tribulations, failures and successes of those who have lived within this country (and abroad) within the last century. Others refer to Jazz as a story of bitter truths, discrimination, racism, unequal accesses to resources, and the like. Regardless of the underlying motives, Jazz is a medium of expression, which can and will continue to be used for these and other roles.
The multi-functional role of Jazz is no surprise to the aficionado, as every new day welcomes a revived effort to redefine this timeless art form. From the first attempts to define Jazz to present modifications of this same discussion, these definitions continue to be ambiguous, too exclusive, too inclusive or all of the above.2 Jazz is and continues to be a myriad of ideas without a definitive identity, except that it is a cultural extension of the African Diaspora developed by Blacks in the United States. Constant attempts to categorize, neatly archive and meticulously partition the various forms of Jazz cause great difficulty to one who gets caught between this weeks and last weeks definitions and examples of the art form.
Further attempts to fit Jazz neatly into a 5x10 compartment aim to construct Jazz as a homogenous entity that is subjectively exclusive and simultaneously inclusive based on individual cases of entitlement. The proposition of Jazz as a homogenous style of performance/ presentation is a misnomer and a major cause for the constant struggle to define our beloved Jazz. As a living art form that portrays, captures and comments on everyday life of everyday people, jazz changes, as the society that births it changes. Jazz in itself encapsulates the past, present and future simultaneously. 3
Continual developments in technique and performance have suggested a reoccurring pattern that presents a change in Jazz via ten-year cycles. These cycles are not exact in the years of the popularity of the suggested forms, but do suggest the ever growing and ever developing nature of Jazz. This paradigm becomes visible not only trough the work of various musicians who continue to grow, mature and change (as artists) but also through the eye of an ever-mutating society (relative to social, political, economic and cultural development).
An extremely brief (not all-inclusive) summary of historical trends in Jazz would suggest the following major forms and periods of each decade:
- .... - 1920 The Formative Years: Ragtime/ Early New Orleans Jazz/ Dixieland
- 1920 - 1930 The Jazz Age: Big Band
- 1930 - 1940 The Swing Era: Big Band
- 1940 - 1950 Bebop & Modern Jazz
- 1950 - 1960 Hard Bop/ Cool Jazz/ Third Stream Jazz
- 1960 - 1970 Free Jazz/ Hard Bop
- 1970 - 1980 Jazz-Rock Fusion/ Hard Bop
- 1980 - 1990 Acid Jazz/ Contemporary Jazz/ Hard Bop
- 1990 - 2000 Urban-Contemporary (Smooth) Jazz/ Hard Bop/ Latin Jazz
"Beyond 2000"
The advent of the new millennium has introduced a wealth of improved technology. Jazz at the present is in the process of a subtle face-lift (which of course remains consistent with the proposed ten-year paradigm). These innovations take place and affect each stage of Jazz, from the learning process and performance of the art form, to the production, distribution and consumption.
The days of transcribing licks, riffs, head arrangements and solos off of vinyl have subsided. Even the usage of multi-speed cassette players has given way to the dominance of the portable CD player, which can capture and replay selected segments repetitively. The portable CD player is also less expensive than the multi-speed cassette player and easily accessible. However, these technological advances have all been superseded by the advent of various computer software applications that allow for the written transcription to be produced by the mere input of sonic material. Perhaps to the traditionalist, this is by no means equivalent to the former processes of transcription due to the subtraction of the timeless hours of thought, inherent in the actual process of transcribing. Yet, these new applications are quick and accessible (a common reoccurring theme within the United States at present). The new innovations of MP3 provide yet another facet on this ability for quick and accessible transcriptions, as participants will soon be able to recall an MP3 file and request an instrument specific transcription of a selected segment or entire section of a song.
The historic usage of numerous texts by Jamey Abersold and David Baker may soon be replaced with online versions of web simulcasts that will transmit musical lessons and perhaps even take requests online for the lesson of the day.4 Various software already replace the "play-along" soundtracks, adding (with the mere click of a button) the ability to transpose keys, change accompaniment style and 'comping patterns, and in some cases the ability to request the performance style of one of a myriad of Jazz Masters.
The performance of Jazz has also been accentuated by the advent of technology with various versions of electronic keyboards and modules, electronic connectors and modules for reed and brass instruments, electronic trap sets and new improved models of guitar and bass instruments. Other devices have also been constructed for instruments not formerly prominent in Jazz, which have been previously burdened by acoustic limitations.
The production of Jazz has made great strides in recent years and continues on a rapid rate of increase. New methods of recording utilizing revolutionary forms of technology are now available for use in homes and private studios. This fact alone, in addition to the advent of commercial CD-burners has increased the ability for those without enormous record contracts or contracts at all to produce a professional sounding product. From technology used in mixing boards to various external connectors and enhancers, the technology is now available for the lay person in both external hardware and computer (recording and editing) software. New designs of recording studios are further enhanced by the ongoing developments in microphones, sound reinforcement and creative usage of space, all assisting in the new sound of Jazz.
The many online distributors who allow twenty-four hour access and convenience to the jazz consumer have also revolutionized the distribution and consumption levels of Jazz. The ability to order product online and to have product arrive at a designated place at a designated time is a drastic change from the hours and hours of perusing record store bins for the latest or the greatest of any of hundreds of artists. Now the selection process is aided with the help of online search engines providing quick and accessible shopping. The availability of the distribution sites also makes room in the market for artists without major recording label contracts. The emergence of the MP3 has also allowed for additional capabilities not only in online usage and downloading but also for compact storage and easy, convenient access. 5
Perhaps at the time of the reading of this text, all of the aforementioned innovations will be outdated. Nevertheless, with these current developments (and other unmentioned), Jazz will continue to evolve and become more difficult to define. Jazz will avail itself as one of the most heterogeneous art forms, unable to be sectioned and segmented into neat and clean portions. Jazz, the living art form will continue to touch the lives of all that come in contact with its alluring and addictive grasp.
Notes:
1 Opening line of the definition of "jazz" in the New Grove Dictionary of Music and Musicians (1980). A newer definition in the current edition (2001) written by Mark Tucker begins, "The term conveys different though related meaningsÃÂÃÂÃÂÃÂ
." This newer definition still retains the initial idea suggested by Harrison.
2 For extended research or to review various attempts to define Jazz, use these recent texts as a point of departure: John Edward Hasse, Jazz: The First Century (New York: William Morrow, 2000); John Szwed, Jazz 101: A Complete Guide to Learning and Loving Jazz (Hyperion Press, 2000); Bill Kirchner (editor), The Oxford Companion to Jazz (New York: Oxford University Press, 2000); Ted Gioia, The History of Jazz (New York: Oxford University Press, 1997); and Geoffrey C. Ward & Ken Burns, Jazz: A History of America's Music (New York: Alfred A. Knopf, 2000).
3 Many jazz scholars and historians have proposed this idea of Jazz's simultaneous existence in the past, present and future. A present example of this discourse can be found throughout Graham Lock's BLUTOPIA: Visions of the Future and Revisions of the Past in the Work of Sun Ra, Duke Ellington and Anthony Braxton. (Durham: Duke University Press, 1999).
4 Aebersold and Baker have served as the leaders of jazz pedagogy and are the authors of a wealth of Jazz-related and instrumental teaching aids. A quick peruse of http://www.jazzbooks.com will reveal the significance of both of these living legends.
5 Notice the exclusion of the controversial Napster. All technology is not advantageous.
