Jazz appeared as a social expression of diversity coming together. When different races, cultures, histories and societies meet, usually one focuses on overcoming the other(s). But when this does not happen, what remains to happen is to start working together, build together, learn from each other, and share with the other, with openness, acceptance and joy. This leads to development, through embracing the cultures of the others. Sharing and accepting the cultural diversity lead to artistic creation, through the development of a new form of art, in the early nineties, New Orleans.
Although there were focused discussions upon its roots, most researchers accept that jazz was born in New Orleans, at the end of nineteenth century and it developed there until 1920. The specificities of this musical style represent the mirrored image of the social changes that characterized the entire world at that time, more specifically to United States of America and focused on New Orleans. In the beginning of the nineties the First World War occurred (during 1914 - 1918), which had a global impact upon world’s economies, politics, and societies. This has caused severe changes upon communities. In particular, New Orleans was the cultural point of congruence between North America, South America and Europe. People from South or from other nearby regions of New Orleans were relocating, because they remained without jobs, after the process of mechanization. Once reached to New Orleans, White and Black people engaged in the singing process, as this was highly requested by the wealthy business men. Because of the melting of the various cultures that interacted, a new form of music was created during that time, which mixed the rhythm and expression of Africanism and the European harmony.
Because the Africans brought to America as slaves were not cultural blank, they strived to maintain their roots , expressions of their tribal lifestyle, transmitting the free spirit, the naturalness, the running bare – footed with the wild animals, hunting and following traditions, participating to incantation or witchcraft ceremonies. Schuller even considers that jazz is a continuation of the “indigenous African musical tradition”, because it reveals its musico – sociological aspects. The Afro touch can be sensed in any piece of jazz song, containing the jumpy rhythms, unstoppable, beat, because “jazz is restless. It won’t stay put and it never will” as JJ Johnson expresses.
Later on, the Africanism and the feeling of belonging to this culture have been expressed through other specificity: the blue feeling that was transmitted through this type of music was considered a particularity of Blacks, considering their sad experiences lived during the slavery period. As such, jazz is considered a form of communication of the African – Americans, regarding their sorrows, their values or their history in relation to the context of their existence on the American continent.
Jazz is, in fact, a language, a story told through piano, saxophone, drums, trumpet and an inner passion is transmitted through these instruments, their vibrations, the incandescence of the rhythm and the irregularity of the notes, tones and timbre makes it so special and reflects the storyteller’s inner feelings.
The European background is also a significant aspect that should be discussed upon when reflecting upon the roots of what is known as jazz. As Schuller observes, the language is carried through rhythm in the African world, as it expresses every action that Africans develop and even the words they utter carry specific intensities of the rhythm. However, when exercising new forms of music, the African music, based on verbal activity, met the instrumental music free of verbal functions, specific to Europeans.
Jazz was a creation of Blacks, Whites and creoles, gathered in New Orleans for experiencing the syncopations of ragtime and blues tones, placed on rhythmic melodic devises. This receipt stayed at the basis of the jazz compositions in its early ages .
Buddy Bolden, Bunk Johnson, Joe “King” Oliver, Mutt Carey were the founders of the new musical current in New Orleans, and they were all African enrooted. This situation has changed in the beginning of the 1990s, as Creole and White musicians mingled in this new music style, transferring their specificities and integrating within this music style. As such, Creoles Sidney Bechet, Jelly Roll Morton, Kid Ory or Freddie Keppard, as well as White musicians such as Papa Jack Laine, Emmet Harfy, Sharky Bonano or Nick LaRocca imprinted their style into the New Orleans new music style from the beginning of the 20th century .
Music was emerging at the end of the nineteenth century and the beginning of the twentieth century in the New Orleans of that time, as the dancehalls, saloons and parks concerts were very popular, creating a social trend, making the request for musical bands very hgh. For this high request, there existed an impressive offer, varied in style and musical approaches, so that musicians were free and even encouraged to explore different musical variations, learning from different artists and blending their different types of music together. This is how the large diversity of New Orleans influenced the music style from the end of the 19th century and the beginning of the 20th century.
Improvisation was the main word and the basic principle in the new formed music. Buddy Bolden, considered by many the pioneer of this music genre, would take one original note and add two or three notes to it. Its music had a Mississippi Delta feeling, which had become one important source of inspiration for the New Orleans musicians.
The cultural crossroad point facilitated the mélange between instruments specific to all the cultures that contributed to the formation of the jazz, with a prevailing contribution of the African – related sound. This authentic African sound was completed by a complex mix of European music, with influences from French, Spanish or English music. The European sound brought the religiosity with it, through the Protestant sound or the psalms .
The note – to – note level with melodic accents, showing syncopated movements, which was specific to the African music was combined with the level of meter and phrase and harmonic flow, sectional structure and tonality of European influence.
Reflecting on the diversity of cultures, mingled together for forming a unique sensorial phenomenon, Rogers observes that jazz had Negro origins, but it was influenced by the American environment and by the dance forms, which have always existed in the world, in the Spanish fandango, in the Brazilian maxixe, in the Indian war dance, in the carmagnole dance of French Revolution and so on (in Locke 665). Therefore, jazz is the translation of dance in sound.
Bibliography
Alkyer, Frank & Enright, Ed. DownBeat: The Great Jazz Interviews – A 75th Anniversary. Hal Leonard. 2009.
Gioia, Ted. The History of Jazz, New York: Oxford. 2011.
Locke, A. Harlem, Mecca of the New Negro. Boston: Albert Charles Boni. 1925.
Martin, Henri and Waters, Keith. Essential Jazz. The First 100 Years. Boston: Cengage Learning. 2009.
Peretti, B., W. The Creaion of Jazz: Music, Race, ad Culture in Urban America. Illinois: University of Illinois. 1994.
Orgen, Kathy, J. The Jazz Revolution: Twenties America and the Meaning of Jazz. New York: Oxford University Press, Inc. 1989.
Schuller, Gunther. The History of Jazz: Its Roots and Musical Development. Early Jazz. Melbourne: Oxford University Press. 1968.
