Jazz for aficionados

O10

I did not want this subject to come to this but since you insist.

I am a student of history. I read books. Yes there are bad authors and good authors. Good authors always have a notes section which reveal their sources for each chapter.

I am a member of a few history forums and a couple of military history forums. To start a thread on these forums you would do wise to have self knowledge backed up by legitimate sources to answer the feedback. If you answer with opinions and no reliable sources the forum members will eat you alive.

There are 3 types of sources

1. Primary

2. Secondary

3. Tertiary

Your source is YOUR OPINION.

You would not last a month on these forums.

This is not that type of forum yet you insist on treating it as such.

You are the OP of this forum which started out as a jazz aficionado forum yet you have drifted into the realm of a historical forum with claims of historical "facts".

You have continuously claimed that scholarly historian authors have "re written" their own opinionated versions as fact yet you give no sources for your own "opinionated comments/diatribe" to back up your claims.

You over stepped the boundaries of your own thread when you asked members to site sources of their opinions when you have yet to do so yourself. If you want a war then go to a jazz history forum, if there is one, that has a thread about "African influences in the western hemisphere".

With all due respect you should cease your rhetoric and start posting jazz music and not "jazz revisionism"

Just ran across an oldie. A Concord CD Tour De Force. Scott Hamilton, Al Cohn, et al. Live in Japan. Nice. 

Late night with Kenny Dorham. Art Blakey called him the "un crowned king" of the trumpet. Here are 4 songs from 4 different albums. Each one shows Mr. Dorham's unique trumpet playing 

https://www.youtube.com/watch?v=TDETNk20Vkc&t=307s

https://www.youtube.com/watch?v=Fqgc4c-UP2I

https://www.youtube.com/watch?v=sUz-6CZXWO4

https://www.youtube.com/watch?v=pMJpjbIXYzU

This may be of interest to anyone wanting to understand a little more about what “African influences in the Western Hemisphere” means.  Apology for the length.

For better or for worse, depending on one’s way of thinking, a look at “musical theory” is inevitable if one wants “proof”. One could get much more deeply into the theory and analysis of it all but for the purposes of this post a more general overview is more appropriate, I think. I have posted similar comments with examples several times previously. The resistance to this idea and the concepts involved always seem to be, at least in part, due to a reluctance to accept that, yes, there is “musical theory” involved which explains the concepts; and, what to me is a mistaken idea that looking at and trying to understand a bit of the theory somehow diminishes the raw emotional involvement with music which is ultimately what matters most to all of us as listeners and aficionados. As I have tried to suggest previously, understanding a bit of the theory only serves to enhance, not diminish, the listening experience. It makes one a better listener. Personally, the reason that I feel that to accept, or at least consider the idea of this influence is so important even if it is not understood in theoretical terms is that it is one of the most beautiful aspects of this great music and its history. The traditions of a culture are about as beautiful as it gets and deserving of respect as concerns the arts.

So, how did African music influence music in the Western Hemisphere? It goes without saying that none of this is my idea or theory...duh! A big part of the frustration when trying to discuss this stuff here is that any simple Google search of the subject will yield countless references to and links to far more comprehensive studies of the subject. At a time in history when “globalism” is an idea that, one way or another, has become a part of our consciousness it should be particularly easy to understand the most basic aspect of this “influence”: that when a people settles (willingly or not) in another country or continent they bring with them their unique culture (music, food, dress, language, etc.) which then inevitably becomes, to one degree or another, part of a mix of their culture, other “imported” cultures and the native culture of the new land. In the USA, a country often described as “a country of immigrants” this is particularly relevant.

There are some primary ways that African musical tradition became part of this mix and keep in mind that what makes these musical concepts relevant is the simple idea that they were concepts that were NOT found in the traditions of the other musical cultures that were part of the mix. They are found only in the native African musical tradition. So, if these concepts can suddenly be identified in this new cultural mix (Jazz), where does one suppose they came from?

“If it walks like a duck, swims like a duck and quacks like a duck..........”

Rhythm:

Syncopation. Emphasis on the “off beats”.

Take a simple 1,2,3,4/1,2,3,4/1,2,3,4 repeated rhythm. In European music the overwhelming majority of the time the stressed beats are 1 and 3. In African musical tradition the stressed beats are often 2 and 4. Where else do we find music that stresses beats 2 and 4? You guessed it, American Jazz. Ever notice how hard it is for some Caucasians (particularly older generation) to clap their hands or snap their fingers on 2 and 4 when listening to music? It’s practically engrained in the DNA; and further “proves” the point.

Classic Jazz hi-hat rhythm: chin-KA-chin-Ka/ chin-Ka-chin-Ka, etc..........IOW, emphasis on 2 and 4.

Cross rhythms:

All those cool and hip things that a great Jazz drummer like Art Blakey does on the kit....cross rhythms: playing in different time signatures at the same time. The left hand may be playing four beats to the measure while the right hand may be playing six beats to the measure. This is a very simplistic example and the playing of a great drummer gets far more intricate than that. A concept found in African drumming; not in European music.

Swing feel:

One of the unique things about Jazz is that underlying most rhythmic grooves is a “triplet feel”; the sense that each beat has three temporal subdivisions. This places the third division of each beat closer to the following primary downbeat than in Western tradition in which there is an evenly divided (more “square”) feeling of subdivision. A concept common in African musical tradition and completely foreign to European musical tradition.

Call and response:

One instrument makes a musical statement and another “answers” with another statement. Very common musical technique common in Jazz and found in African musical tradition. Not common in Western tradition.

“Blue” notes:

What is it that gives much Jazz that “bluesy” feeling? Blue notes. Used for expressive purposes, in a typical eight note musical scale it is the lowering in pitch of the 3rd, 5th or the 7th notes of the scale; and not necessarily always all three. Unexpected to the Western ear which “expects” those notes of the scale higher in pitch. Again, a concept foreign to European musical tradition.

This is a very rudimentary and simplistic attempt at explaining some basic concepts. For anyone interested in digging deeper, I assure you there would be no difficulty in finding much to read.

“......it IS a duck”

Regards to all.