A few days ago, with friends, we tried to remember as many people as possible, who, in our opinion, changed the course of history. Well, if we expand this topic, we can highlight 10 key aspects in different areas human activities that have influenced the life, worldview or just the taste of all mankind. Today I would like to highlight10 jazz standardswhich, in my opinion, are the basispopular jazz music . jazz standardsare jazz melodies or themes that were once written by someone, and which are so catchy that all jazz musicians and almost all people know them. Not bad musicians, as, for example, Wikipedia writes, know them for a couple of hundred pieces, which, by the way, I doubt very much.
Most likely, many know the collected by me jazz compositions, but each standard has its own history, which not everyone knows.
So number one:
1. Autumnleaves
Originally, in 1945, it was a French song " Les Feuilles mortes(literally "Dead Leaves") with music Joseph Kosma and poems of the poet Jacques Prevert). Yves Montand (with Irene Joachim) presented "Les Feuilles mortes" in 1946 in the film Les Portes de la Nuit. In 1947 American composerJohnny Mercer wrote the English lyrics for this song, and Joe Stafford was one of the first to perform new version compositions. Autumn leaves became a jazz and pop standard in both languages, as well as an instrumental version.
The video below features an improvised version of this theme by one of the best jazz improvisers and composers (and one of my favorites) of our time. Keith Jarrett. Notice how he howls and dances in a funny way during his solo. His playing has a special charm and is immediately distinguished and identified by ear thanks to the microphone backing of his peculiar “mooing”.
2. Let it snow!Let it snow!Let it snow!
The song is also known as "Let It Snow". Authorship belongs to the lyrics Sammy Cahn and composer Jule Styne in 1945. Interestingly, it was written in July 1945 in Hollywood during one of the hottest days of the summer.
What is even more interesting is that, I think, almost everyone on our blue ball plowing the Universe knows it, even the one who has lived in the desert all his life. Personally, I always sing this song when it snows or rains ( Let it rain! You can still Let it fog!)
3. I've got you under my skin
Not everyone knows this composition, which was covered by all jazz vocalists, if not on stage, then certainly in the shower for sure. Authorship belongs Cole Porter and it was written in 1936. On the presented video (as well as on the previous one), it is performed by my favorite musician Jamie Callam (JamieCullum). After this song there will be a small bonus - another song performed by Jamie - High and Dry (Radiohead). This is one of my favorite songs.
4. Fly me to the moon
And this topic is one of those that is most convenient to swing to, even for me, a person who is far from swinging. Wrote a masterpiece Bart Howard in 1954.
5. take five
If a musician wants to test his musical flair on a non-standard rhythm, takefive- it's the best jazz composition to experiment with. The time signature of 5 quarters clearly shows that the song deserves attention. By the way, there are a lot of songs that start as a famous standard, but I came up with his "first time" precisely Paul Desmond, and was first presented by the quartet of the great Dave Brubeck (The Dave Brubeck Quartet) in album "Time Out" in 1959
6. The entertainer
Well, everyone knows it. The composition was written by the founder of the ragtime style Scott JoplinScott Joplin over 110 years ago (in 1902). It is a ragtime classic. This jazz composition regained its international fame during « ragtime revival" in the 1970s when it was used as theme song for the movie" The Sting" who won an Oscar.
7. Singingintherain
"Singing in the rain" - a song on verses Arthur Freed and music Nakio Herb Brown (Nacio Herb Brown), written in 1929, gained fame after the film of the same name. After watching the video, I always start to rejoice!
8. summer time
When people talk about jazz, then they often mean exactly “ summer time". Written work George Gershwin in 1935 for an opera "Porgy and Bess". Text authors: DuBos Hayward and Ira Gershwin(brother of George). Saying what is the basis for writing an aria Gershwin took Ukrainian lullaby "Oh, sleep around vikon", which he heard in New York performed by the Ukrainian National Choir conducted by Alexandra Kosice. We give heat there too!
9. feelinggood
"feeling good" (also known as " Feelin' good") is a song written by English singer-songwriters Anthony Newley and Leslie Bricusse in 1965. Since then, the composition has been recorded by many artists, including the outstanding Nina Simone.
10. helloDolly
Well, where are we without Armstrong! But what is interesting - the author of the music and words of the famous song, not Armstrong the person who set foot on Mars first Jerry German (Herman) (Jerry Herman). The song was very popular in 1964 when it was played on the radio as often as it is played today. Lady Gaga. But we all love Louis Armstrong made it what we know it today.
Soon I will prepare 25 best jazz compositions, including jazz standards in the original and their modern adaptations.
Jazz is a special music, whose fans cannot be confused with anyone else. Incendiary rhythms, sparkling turns, interesting texts and talented performers. Hundreds, thousands and even millions of people all over the world like to listen to such music online. Our site will allow you to do this without registration. You can download your favorite songs for free and enjoy them at home, in the car and anywhere else.
The history of the emergence of jazz music
For the first time the word "jazz" appeared at the beginning of the last century in the United States. At the origins of the style were African Americans. Black people are so musical and sensitive to rhythm, it's no wonder they are the "creators" of so many musical styles and directions. Once upon a time free concert such music was given by street singers. Today, it has become a treasure of epochs.
The jazz song was originally 100% African American. Over time, notes of the “white” population began to be traced in it, which at that time was guided by religious hymns. Gradually, orchestras were replaced by modern musical instruments, opportunities for the development of jazz music has become much greater. From marches and dances, the musicians switched to instrumental.
The main feature of jazz is freedom and constant improvisation. The rhythm is also unique. He is not subject to existing clichés. What is right is what the musician feels. That is what he conveys to his audience.
We have quality jazz music in our collection. You can download your favorite mp3 without registration. It's simple, convenient and fast!
At present, good jazz music has won sincere fans all over the world. For example, the names of artists such as Louis Armstrong or Frank Sinatra are known even to those who are far from this genre. Despite the differences in culture and mentality, age and occupation, people from different countries like to listen to online jazz compositions. Moreover, our compatriots strive to download foreign jazz for free and even learn songs on foreign language. All this confirms the strength, quality and semantic content of the compositions.
History reference
Jazz emerged at the turn of the 19th and 20th centuries. This is a kind of synthesis, a mixture of African and European cultures. The result was so interesting and unexpected that it quickly began to spread not only in the United States, but also on other continents. On the initial stage foreign jazz combined a very intricate rhythm, creative improvisation and a certain harmony. Subsequently, the direction developed thanks to the talent of the musicians, their mastery of new techniques, instruments and rhythmic patterns. Today, everyone can download their favorite jazz collection for free, listen to interesting news and discover a lot of new things. On our music portal you will find quality music. For the convenience of searching and saving time for users, it is structured by performers, alphabetically and other criteria, which makes it easier to work with our site. Download only the best, do it easily and completely free of charge! In our large music collection there is foreign jazz for connoisseurs and for beginners who are in search of "their" musical direction!come to last days summer for jazz in Koktebel has already become a good tradition. Over its sixteen-year history, the festival has changed its name and format, but in the last five years it has clearly strengthened its status and name.
Koktebel Jazz Party is not just a respectable jazz platform and an international forum, which brings together hundreds of musicians and guests to play and chat in the informal atmosphere of a seaside town, but also a great educational and entertaining event.
Guests of the festival receive a positive mood already upon arrival: in addition to the Crimean sun familiar these days, they are met by a new international Airport Simferopol - bright, spacious, stuffed with information boards, stands and cafes. “It looks like he flew to Greece by mistake,” a dark-skinned trumpeter said with cheerful bewilderment, getting into a minibus with a bright festival emblem. Young guys and girls in festival T-shirts move around the airport, receiving and giving commands on walkie-talkies and smartphones, forming groups to be sent to Koktebel. The car of the 16th Koktebel festival has been launched and is running at all speeds.
Two hours on the road, which in a couple of years from a broken asphalt “direction” smoothly turns into an autobahn, and now you are already in Koktebel among the usual Crimean realities. Cafes blaring with music different levels and quality. Dread-haired, hippy party-goers playing didjiridoo bong guitars. Vacationers "mattress", dragging rubber rings from the beach. Barker, offering everything - from housing by the sea to exclusive walks along it.
In the bar of the "headquarters" hotel, where the organizers and musicians are located, hot coffee is poured in liters in the morning. At one of the tables, pulling over his head sunglasses, Mikhail Ikonnikov, one of the art directors of the Koktebel Jazz Party, is tapping on the laptop keys, managing to simultaneously make the last adjustments to the program and greet all the new arrivals. And more and more come every year. The skepticism about the relative viability of the festival, which five years ago replaced the informal motley eclecticism with a strict jazz format, has dried up. Now it is easy to cross paths with the jazz audience here, with those with whom you sometimes find yourself at neighboring tables in the Moscow clubs of Alexei Kozlov and Esse. The velvet season is coming, so why not combine it with the velvet sounds of jazz?
The festival line-up was not disclosed until the last moment, there are good reasons for this, but for some it is already a familiar surprise. The Western press was a little worried, but it calmed down easily. “Starting in 2016, we do not announce the names of Western participants in advance. I understand how journalists who write about music don't like it, but believe me, it creates a lot of problems for us too. For example, Sergei (Golovnya) and I often visit various radio stations on the eve of the next festival. And instead of describing in all colors who we are bringing this time, we are forced to get off with general words. First of all, it is a concern for the public coming and coming to the Koktebel Jazz Party. Without announcing the participants, we guarantee our viewers with almost absolute certainty that stars of the first magnitude will come to Koktebel, ”explains Mikhail.
Experienced participants trust the organizers, knowing that it will not be boring.
The first day was opened by the New Orleans Rebirth Brass Band, in a certain way picking up the initiative of the Koktebel Jazz Party–2017, which began with a performance by New Orleans drummer Joe Lusty. Dixielands seem to be a priority for the head of the Rossiya Segodnya agency, Dmitry Kiselev, as written on the back of the bright blue polo of the "founding father" of the festival. Returning from distant American wanderings, last year he invited Lasty to the festival, and now his fellow countrymen. One can argue about the relevance of the "Dixieland" direction in jazz, but the groovy beginning from the Rebirth Brass Band is thought out absolutely precisely. What holiday without copper pipes and drums? Yes, and "dark-skinned" jazz is an obvious and true beginning, setting up for the positive since the "Utesov" times.
"I think that the performance of New Orleans musicians in Koktebel from now on will become another good tradition of our festival," adds Ikonnikov.
The jazz international was picked up by the Indian band Rajeev Raja Combine. There is jazz in India, and of course, it is unlike anything else - original, unexpected, equally oriented both to folk tradition, and on a purely Euro-American component. That is why "fusion" - a designation that characterizes an almost maximally free approach to the genre - in the case of the Indians, who periodically take the listener to psychedelic heights, is most appropriate here.
Saxophonist Rick Margitza, who played and recorded with Miles Davis himself, was designated as a representative of the post-bop direction in the festival program, and this was probably the first set of Koktebel Jazz Party-2018, for the perception of which it would be worth studying the primary sources. Double-bassist Silvan Romano and drummer Karl Dzhanuska took the stage with Margitsa, supported by trumpeter Andrey Lobanov and pianist Alexei Podymkin. Can "post-bop" sound on an evening beach if its main residence is the scene of small night jazz clubs? Maybe he feels very comfortable here.
And finally, Incognito is the main surprise of the first day and one of the main surprises of the whole event. One of the founders of acid jazz, whose single Parisienne Girl 38 years ago laid the foundation for acid jazz - one of the most unusual musical mixtures to the delight of the young public and to the horror of the "classical" audience.
Nobody else managed to play on one stage during the brilliant set of Incognito that evening. Still, the festival regulations do not allow this, but every evening, or rather night, on the second floor of the cafe "Karadag" provided such an opportunity.
In a crowded hall, decorated with portraits of jazz giants, impromptu jam sessions led by another art director of the Koktebel Jazz Party, Sergey Golovnya, brought together musicians from all jazz styles. Everything went so naturally that the only question that was asked to Sergey in the morning was: “Seryozha, it was very cool, but do you ever sleep!?”
Spectators of the second and third festival days could not complain about the lack of stylistic diversity either. The Chinese jazz line-up of the Sedar Band, perhaps, like the Indian one, should have seemed to many a hard-to-reach exotic, but in fact it turned out to be an absolutely lounge group that played a very harmonious quiet soundtrack for the sun setting over Koktebel.
Brilliant jazz vocalists Vanessa Rubin and Deborah Brown went out, of course, in different compositions, but each of their sets once again confirmed the triumph of gender equality in jazz music. Deborah Brown's performance as part of Sergey Golovnya's Big Band with a student of Louis Armstrong himself, trumpeter Eddie Henderson, should also be noted. Armenian pianist Vahagn Hayrapetyan brought out his line-up in classic black and white suits and presented a program, albeit as close as possible to what is called “classical jazz”, but certainly not devoid of a clear national style.
By the way, for the performance of Vanessa Rubin, the organizers had to solve a difficult task - to provide keyboardist Renato Cicco with a vintage Hammond organ, rare in these parts, and the instrument was carefully brought along the Crimean bridge and installed on the exactly appointed day.
The pianists at this festival generally brought a lot of pleasant trouble to the organizers. To conduct a "battle" of pianists (Yakov Okun - Vahagn Hayrapetyan), playing the pianos with open lids, moving the instruments around the stage took almost more time than setting up complex Internet technologies for the Koktebel-Yerevan online session last year.
Koktebel Jazz Party is a traditional jazz festival. Solid and even a little prim, favored by last year's visit of the President of Russia, not to mention the visits of civil servants of local importance, he is nevertheless inclined to change. Each next “jazz on the beach” is different from the previous ones, clearly working on mistakes and delighting with unexpected surprises.
"In general, the festival was a success. For the third year in a row, we have had no problems with last-minute cancellations and the need to urgently look for a replacement. More and more viewers are coming. Jazz lovers from Moscow and other cities began to come to the Koktebel Jazz Party. We tried a number of new products. This two pianos and a gala performance that concludes the festival.In my opinion, both are successful and will certainly remain in the program of future festivals.Now we are already working on the program for next year.I will not reveal secrets, I will only say that we are thinking about return the blues to it," Mikhail Ikonnikov shared.
In its monumentality, in an unusual and quite harmonious way, jazz improvisation and strong government support. The leaders of avant-garde jazz and representatives of some experimental trends in the genre are unlikely to perform here. The unspoken task of the Koktebel Jazz Party is to entertain and teach. And if the performance of the international team of one of the best Russian pianists Yakov Okun, during which he not only played jazz music, but also talked about it in an accessible way, is accepted as a reference, then, perhaps, this task as a whole is absolutely feasible.
Jazz is a musical direction that began in the late 19th and early 20th century in the United States. Its emergence is the result of the interweaving of two cultures: African and European. This trend will combine the spirituals (church chants) of American blacks, African folk rhythms and European harmonious melody. Its characteristic features: flexible rhythm, which is based on the principle of syncopation, the use percussion instruments, improvisation, expressive manner of performance, characterized by sound and dynamic tension, sometimes reaching ecstatic. Initially, jazz was a combination of ragtime with elements of the blues. In fact, it resulted from these two directions. A feature of the jazz style is, first of all, the individual and unique play of the virtuoso jazzman, and improvisation endows this movement with constant relevance.
After jazz itself was formed, a continuous process of its development and modification began, which led to the emergence of various directions. There are currently about thirty of them.
New Orleans (traditional) jazz.
This style usually means exactly the jazz that was performed between 1900 and 1917. It can be said that its origin coincided with the opening of Storyville (New Orleans red light district), which gained its popularity through bars and similar establishments, where musicians playing syncopated music could always find work. The street bands that had been common earlier began to be supplanted by the so-called "storyville ensembles", whose playing became more and more individual in comparison with their predecessors. These ensembles later became the founders of classical New Orleans jazz. Vivid examples of performers of this style are: Jelly Roll Morton (“His Red Hot Peppers”), Buddy Bolden (“Funky Butt”), Kid Ory. It was they who made the transition of African folk music into the first jazz forms.
Chicago jazz.
In 1917, the next important stage in the development of jazz music begins, marked by the appearance in Chicago of immigrants from New Orleans. There is a formation of new jazz orchestras, the game of which introduces new elements into early traditional jazz. This is how an independent style of the Chicago school of performance appears, which is divided into two directions: hot jazz of black musicians and dixieland of whites. The main features of this style are: individualized solo parts, change in hot inspiration (the original free ecstatic performance became more nervous, full of tension), synth (music included not only traditional elements, but also ragtime, as well as famous American hits) and changes in instrumental game (the role of instruments and performing techniques has changed). The fundamental figures of this direction ("What Wonderful World", "Moon Rivers") and ("Someday Sweetheart", "Ded Man Blues").
Swing is an orchestral style of jazz in the 1920s and 30s that arose directly from the Chicago school and was performed by big bands (, The Original Dixieland Jazz Band). It is characterized by the predominance of Western music. Separate sections of saxophones, trumpets and trombones appeared in the orchestras; the banjo is replaced by a guitar, a tuba and a sazophone - double bass. Music moves away from collective improvisation, the musicians play strictly adhering to pre-scheduled scores. A characteristic technique was the interaction of the rhythm section with melodic instruments. Representatives of this direction:, (“Creole Love Call”, “The Mooche”), Fletcher Henderson (“When Buddha Smiles”), Benny Goodman And His Orchestra,.
Bebop is a modern jazz that got its start in the 40s and was an experimental, anti-commercial direction. Unlike swing, it is a more intellectual style, with a heavy emphasis on complex improvisation and an emphasis on harmony rather than melody. The music of this style is also distinguished by a very fast pace. The brightest representatives are: Dizzy Gillespie, Thelonious Monk, Max Roach, Charlie Parker (“Night In Tunisia”, “Manteca”) and Bud Powell.
Mainstream. Includes three currents: Stride (Northeast Jazz), Kansas City Style and West Coast Jazz. Hot stride reigned in Chicago, led by such masters as Louis Armstrong, Andy Condon, Jimmy Mac Partland. Kansas City is characterized by lyrical pieces in a blues style. West Coast jazz developed in Los Angeles under the direction of, and subsequently resulted in cool jazz.
Cool Jazz (cool jazz) originated in Los Angeles in the 50s as a contrast to the dynamic and impulsive swing and bebop. The founder of this style is considered to be Lester Young. It was he who introduced a manner of sound production unusual for jazz. This style is characterized by the use symphonic instruments and emotional restraint. In this vein, such masters as Miles Davis (“Blue In Green”), Gerry Mulligan (“Walking Shoes”), Dave Brubeck (“Pick Up Sticks”), Paul Desmond left their mark.
Avante-Garde began to develop in the 60s. This avant-garde style is based on a break from the original traditional elements and is characterized by the use of new techniques and means of expression. For the musicians of this trend, self-expression, which they carried out through music, was in the first place. The performers of this trend include: Sun Ra (“Kosmos in Blue”, “Moon Dance”), Alice Coltrane (“Ptah The El Daoud”), Archie Shepp.
Progressive jazz arose in parallel with bebop in the 40s, but was distinguished by its staccato saxophone technique, the complex interweaving of polytonality with rhythmic pulsation and symphojazz elements. Stan Kenton can be called the founder of this trend. Outstanding Representatives Story by: Gil Evans and Boyd Ryburn.
Hard bop is a type of jazz that has its roots in bebop. Detroit, New York, Philadelphia - in these cities this style was born. In terms of its aggressiveness, it is very reminiscent of bebop, but blues elements still prevail in it. Character performers include Zachary Breaux (“Uptown Groove”), Art Blakey and The Jass Messengers.
Soul jazz. This term is used to refer to all Negro music. It is based on traditional blues and African American folklore. This music is characterized by ostinato bass figures and rhythmically repeated samples, due to which it has gained wide popularity among different masses of the population. Among the hits of this direction are the compositions of Ramsey Lewis “The In Crowd” and Harris-McCain “Compared To What”.
Groove (aka funk) is an offshoot of soul, only its rhythmic focus distinguishes it. Basically, the music of this direction has a major color, and in terms of structure it is clearly defined parts of each instrument. Solo performances harmoniously fit into the overall sound and are not too individualized. The performers of this style are Shirley Scott, Richard "Groove" Holmes, Gene Emmons, Leo Wright.
Free Jazz got its start in the late 50s thanks to the efforts of such innovative masters as Ornette Coleman and Cecil Taylor. His characteristic features are atonality, violation of the sequence of chords. This style is often called "free jazz", and its derivatives are loft jazz, modern creative and free funk. Musicians of this style include: Joe Harriott, Bongwater, Henri Texier (“Varech”), AMM (“Sedimantari”).
Creativity appeared due to the widespread avant-garde and experimentalism of jazz forms. It is difficult to characterize such music in certain terms, since it is too multifaceted and combines many elements of previous movements. Early adopters of this style include Lenny Tristano (“Line Up”), Gunther Schuller, Anthony Braxton, Andrew Cyril (“The Big Time Stuff”).
Fusion combined elements of almost all existing musical movements at that time. Its most active development began in the 1970s. Fusion is a systematized instrumental style characterized by complex time signatures, rhythm, lengthened compositions, and lack of vocals. This style is designed for less broad masses than soul and is its complete opposite. Larry Corell and Eleventh, Tony Williams and Lifetime ("Bobby Truck Tricks") are at the head of this movement.
Acid jazz (groove jazz or club jazz) originated in the UK in the late 80s (heyday 1990 - 1995) and combined the funk of the 70s, hip-hop and dance music of the 90s. The appearance of this style was dictated by the widespread use of jazz-funk samples. The founder is DJ Giles Peterson. Among the performers of this direction are Melvin Sparks (“Dig Dis”), RAD, Smoke City (“Flying Away”), Incognito and Brand New Heavies.
Post bop began to develop in the 50s and 60s and is similar in structure to hard bop. It is distinguished by the presence of elements of soul, funk and groove. Often, characterizing this direction, they draw a parallel with blues-rock. Hank Moblin, Horace Silver, Art Blakey (“Like Someone In Love”) and Lee Morgan (“Yesterday”), Wayne Shorter worked in this style.
Smooth jazz is a modern jazz style that originated from the fusion movement, but differs from it in its deliberately polished sound. A feature of this direction is the widespread use of power tools. Notable Artists: Michael Franks, Chris Botti, Dee Dee Bridgewater (“All Of Me”, “God Bless The Child”), Larry Carlton (“Dont Give It Up”).
Jazz manush (gypsy jazz) is a jazz direction specializing in guitar performance. It combines the guitar technique of the gypsy tribes of the manush group and swing. The founders of this direction are the brothers Ferre and. The most famous performers: Andreas Oberg, Barthalo, Angelo Debarre, Bireli Largen (“Stella By Starlight”, “Fiso Place”, “Autumn Leaves”).