Battery Jazz

Battery Jazz

From the point of view of the European classical music, the jazz battery can look like a simple producing noise device, then, this is, in certain way, its function there: the kettledrums of Tchaikovsky, Beethoven or Wagner are a noise in the sense that they produce a fortissimo effect. In the jazz, the baterista does not use its instrument as an effect, but it creates with him the space in which the music has place.

In the first times of the jazz they did not exist alone of battery, as bateristas of marked individuality either. In fact, we know trumpeters, clarinettists and saxophonists of this epoch, but scarcely we have news of notable bateristas: the work of the battery in this period beat was consisting of marking simply, a work merely functionally, and not artistically; really little by little it begun being considered that the individuality of every baterista might be used like expression element, marking the difference between a few bands and others, and it was then when the battery began to come out of its simple metronome role for posicionarse like a plenary meeting instrument right

The first bateristas of jazz worthy of mention were Baby Dodds (that worked with King Oliver and with Hot Seven of Louis Armstrong) and Zutty Singleton, both of New Orleans. Curiously, the white bateristas were-Tony Spargo (Original Dixieland Jazz Band) and Ben Pollack (New Orleans Rhythm Kings) – those who initiated the tendency to mark the weak times (two and four), a tendency that would be becoming strong later to turn into standard

Three main bateristas of the style of Chicago, very different from the style developed by the white bateristas, were George Wetling, Dave Tough and Gene Krupa. Jo Jones liberated definitely the battery of its role of simple metronome, while Chick Webb, humpback and almost a dwarf, turned into one of the most important and respected bateristas and leaders of band of the age of the swing, giving place to the emergence of “Big Sid” Catlett and Cozy Cole.
The baterista Max Roach.
Kenny Clarke was the creator of the modern style in the jazz battery: a musician with finished occupational training that is usually able to touch other instruments, read music and up to doing arrangements. Max Roach perfected Clarke’s style: it was the first baterista in executing perceptible melodic lines in its instrument, extending its field to the ambiences of the harmony and the melody; also it was the first one in demonstrating that the swing might take place in compases different to /; the first one in forming entire groups of bateristas; and the first one in being capable of amalgamating irregular measurements like / and / in its ejecuciones.

The contributions of Clarke and Roach turned the drummer into an instrument capable of executing melodies, leaving its function exclusively rhythmic. This way, the instrument was covering the same way that earlier there had taken other elements of the rhythmic section as the trombonist (that became emancipated melodicamente with Kid Ory and Jimmy Harrison), the piano (that did the proper thing with Earl Hines, the guitar (that acquired fame of the hand of Charlie Christian or of the double bass, which conviertio in an instrument soloist with Jimmy Blanton.
Art Blakey before its battery in France.
Art Blakey, was one of the bateristas first in investigating the African roots of the jazz, being the first one in carrying recordings out with entire groups of Afro-Cuban percusionistas, while Joe Morello jumped to the reputation in the quartet of Dave Brubeck over its experiments with the metric unusual ones, being replaced by Alan Dawson, a teacher of Berklee School of Music, most known about all the schools of jazz of world Of Blakey and Roach were proceeding the main bateristas of the age of the hard bop, like Art Taylor, Louis Hayes, Dannie Richmond, Pete La Roca, Roy Haynes, Albert Heath and, although it came much further from the limits of this genre, Elvin Jones.

Between the independent bateristas that developed a modern style of the swing emphasize Buddy Rich, Louie Bellson, Denzil Best, Don Lamond, Tiny Kahn, Gus Johnson, J. C. Heard, Osie Johnson, Shadow Wilson, Oliver Jackson, Grady Tate, Mel Lewis, Sonny Payne, Sam Woodyard or Rufus Jones, that they all depart from the figure of Dave Tough. On the western coast a diverse style developed to that of the musicians of New York: Shelly Manne was the prototype of melodic baterista, while Boy Hamilton, charter member of the quartet of Gerry Mulligan represented a style more cool before Tony Williams passed to the jazz fusion. reached fame first with Jackie McLean, and later with Thousands Davis. Billy Higgins, Ed Blackwell and Charles Moffett there were three important bateristas that arise from the band of free jazz of Ornette Coleman, the first exponents of a style of which Sunny Murray would be the maximum representative and that is provided also with names like Milford Graves, Beaver Harris, Barry Altschul, Raschied Ali or Andrew Cyrille.

The arrival of the jazz merger at the beginning of the decade of returned in certain form the battery to its beginning: the emphasis on the big drum and the need to mark the first time of the compass with clarity there were aspects to recapture for a new generation of bateristas between which they stood out already mentioned Tony Williams, in addition to Alphounse Mouzon, Billy Cobham, Steve Gadd, Peter Erskine, Harvey Mason, Lenny White, Jack DeJohnette, Gerry Brown, Steve Jordan, Leon “Ndugu” Chancler, Eric Gravatt, John Guerin, Dan Gottlieb, David Moss and Terry Bozzio. In the ambience of the jazz merger and the jazz rock Europeans emphasized Jon Hiseman, Robert Wyatt, John Marshall, Bill Bruford, Simone Phillips, Phil Collins or Ginger Baker, of Cream. In the stage free it is necessary to indicate the North Americans Phillip Wilson, Don Moye, Steve McCall, Pheeroan akLaff, Thurman Barker, Bobby Battle, Warren Smith, Stanley Crouch and Ronald Shannon Jackson; to the Swiss Pierre Favre, Peter Giger and Challenge Weber; to the Dutch Han Bennink; to the Finn Edward Vesala; to the Englishman Tony Oxley; to the Germans Paul Lovens, Detlef Schönenberg and Günter Sömmer; and the Japanese Masahijo Togashi, Shota Koyama and Takeo Moriyama
The baterista Brian Blade touching in a concert.
Between the most important bateristas of the contemporary mainstream that arose from ends of the decade of from now on we can quote Billy Hart, Stu Martin, Narada Michael Walden, Victor Lewis, Eddie Gladden, Ben Riley, Clifford Jarvis, Al Foster, Peter Donald, Adam Nussbaum, Peter Apflebaum, Don Alias, Eddie Moore, Alvin Queen, Woody Theus, Ronald Steen, Freddie Waits, Horacee Arnold, Wilbur Campbell, Ed Soph, Mickey Rocker, Leroy Williams, Bruce Ditmas, Frank Butler, Jake Hanna, Jeff Hamilton, Paul Motian, Joe LaBarbera, Elliot Zigmund, Michael Di Pasqua, the Norwegian Jon Christensen, the South African Makaya Ntshoko or the Pole Janusz Stefanski.

Finally, between the young people bateristas of jazz and other related genres that arose from from ends of the decade of it is necessary to indicate Brian Blade, Terry Lyne Carrington, Jeff “Tain” Watts, Omar Hakim, Simon Phillips, Dave Weckl, Dennis Chambers.

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