The contemporary jazz

The contemporary jazz and the post-jazz
John Zorn.

Bill Frisell.

Maria Schneider.
From middle of the decade of the city of New York was experiencing a “new wave” of musical creativity, both in the world of the rock and in the world of the jazz and the music of avant-garde. The revolution of New York was born of diverse roots, and the racial question was one of them: the white musicians were leading the movement, and the black musicians had been isolated from fact so much from the scene of the music rock as from the classic one. The jazz had crossed previously with other black music – the blues, the funk, the soul, but till then it had not done it with styles like the rock or the classical music of avant-garde, traditionally dominated by white musicians. The revolution of New York changed the order of cosas.

Between the first musicians in catalizar all this series of elements the saxophonist John Zorn was; the guitarist Elliott Sharp, whose compositions are an example of synthesis of disharmony, repetition and improvisation; Eugene Chadbourne, who was integrating elements of the jazz of avant-garde with the white music of rural origin; the guitarist Henry Kaiser; the violoncelista Tom Cora; the Irish guitarist Christy Doran; the Jewish baterista Joey Baron; and many other musicians of the same generation.

The revolution of New York allowed to feel so much in the type of material in which the musicians were embarking as in the type of skills that they were using to improvise, gathering all kinds influences and fusing them without conceptual limitations. This way, the saxophonist Ned Rothenberg settled between the first line of the new generations of improvisators. Other musicians, like the trombonista Jim Staley, or Tom Varner, a virtuoso of the French horn, were located between the most original of its generation. Much more well-known, the guitarist Bill Frisell assimilated in its work influences of the jazz and of the rock, but also of the folk, of the music of the marching bands or even of the ecclesiastic music. Soloists like the cellist Hank Roberts, or Mike Shrieve (ex-baterista of Santana) they put also its of integration capacity in the first line.

Big Bands of the age of the post-jazz

The second half of the decade of knew a revival of the music for big bands, a tendency that had originated in the previous decade, in the musicians’ work like the bassist Saheb Sarbib or the cornetista Butch Morris. The teclista Wayne Horvitz developed its idea of the “progressive jazz of camera”, while the veteran multinstrumentista Marty Ehrlich was gathering the influence of the traditional jazz, the improvisation, the light music and the avant-garde classical music, and the American Maria Schneider, pupil of Gil Evans, resuscitated the style of its teacher in diverse albumes for band

The new scenes of Chicago and New York
Dave Douglas.
During the decade of the city of Chicago turned into a focus of musical creativity where there arose figures of interest as the pianist Myra Melford, who had made debut. The saxophonist Ken Vandermark offered Big Head Heddie in honor to Thelonious Monk and to the guru of the funk George Clinton, before embarking in a singular career on which it would experiment with different formats and approaches. The cellist Fred Lonberg-Holm, ward of Anthony Braxton joined the new wave of creative improvisators, while the saxophonist / clarinettist Scott Rosenberg, another pupil of Braxton, expanded the vocabulary of the jazz with a certain polyphonic lawlessness, already at the beginning of the century XXI.

Before finishing last decade of the XXth century, there appeared in the scene of New York a new generation of young musicians who found in the improvisation the key element of its music: the harpist Zeena Parkins, the flautist Robert Dick, the trumpeter Toshinori Kondo, or the guitarist Alan Licht. Others, like the pianist Uri Caine or the trumpeter Dave Douglas, explored the relation between the hard bop, the free jazz and the classical music.

The jazz in the XXIst century
The trombonista Craig Harris
At the end of the XXth century the legacy of the free jazz was very visible between the black community of musicians of jazz, particularly in the scene of New York, where they were emphasizing names like the saxophonist David Ware, the irreverent trombonista Craig Harris, or the pianist Matthew Shipp, who was flirting with the hip hop. The clarinettist of classic formation Don Byron had done its appearance in the scene of New York at the beginning of the decade of, as the saxophonist Roy Nathanson or the trombonista Curtis Fowlkes, both ex-members of Jazz Passengers. Finally, the group B Sharp Jazz Quartet inserted its work between the hard bop and the free jazz

Beyond the borders of New York, they kept on appearing in the last years of last century a series of artists, who already would develop the thickness of its work – in which they were re-preparing the concepts established by generations of previous jazz players of multiple and creative ways – in the new century. For example, the bassist Michael Formanek had made debut in, and the Argentinian Guillermo Gregorio or the Canadian Paul Plimley, they had already edited discs in the middle of the same decade. The Yugoslav Stevan Tickmayer for his part, coled The Science Group, an attempt of fusing the chamber music with the unexpected one. Other musicians emphasized from this first generation of the new century, are Greg Kelley, and the Canadian violinist Eyvind Kang, one of the most eclectic musicians of its generacion Also at the beginning of the year, there appeared the discs of musicians’ assertion as the trombonista Josh Roseman, the counterbassist Ben Allison, the saxophonist David Binney, or the pianist Jason Lindner, North American all of them. They emphasize also the works of the Frenchman Erik Truffaz and of the Israeli trumpeter Avishai Cohen.

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