| 词条 | 1950s in jazz |
| 释义 |
By the end of the 1940s, the nervous energy and tension of bebop was replaced with a tendency towards calm and smoothness, with the sounds of cool jazz, which favoured long, linear melodic lines. It emerged in New York City, as a result of the mixture of the styles of predominantly white swing jazz musicians and predominantly black bebop musicians, and it dominated jazz in the first half of the 1950s. The starting point were a series of singles on Capitol Records in 1949 and 1950 of a nonet led by trumpeter Miles Davis, collected and released first on a ten-inch and later a twelve-inch as the Birth of the Cool. Cool jazz recordings by Chet Baker, Dave Brubeck, Bill Evans, Gil Evans, Stan Getz and the Modern Jazz Quartet usually have a "lighter" sound which avoided the aggressive tempos and harmonic abstraction of bebop. Cool jazz later became strongly identified with the West Coast jazz scene, but also had a particular resonance in Europe, especially Scandinavia, with emergence of such major figures as baritone saxophonist Lars Gullin and pianist Bengt Hallberg. The theoretical underpinnings of cool jazz were set out by the blind Chicago pianist Lennie Tristano, and its influence stretches into such later developments as Bossa nova, modal jazz, and even free jazz. See also the list of cool jazz and West Coast musicians for further detail. Hard bop, an extension of bebop (or "bop") music that incorporates influences from rhythm and blues, gospel music, and blues, especially in the saxophone and piano playing, developed in the mid-1950s, partly in response to the vogue for cool jazz in the early 1950s. The hard bop style coalesced in 1953 and 1954, paralleling the rise of rhythm and blues. Miles Davis' performance of "Walkin'" the title track of his album of the same year, at the very first Newport Jazz Festival in 1954, announced the style to the jazz world. The quintet Art Blakey and the Jazz Messengers, fronted by Blakey and featuring pianist Horace Silver and trumpeter Clifford Brown, were leaders in the hard bop movement along with Davis. (See also List of Hard bop musicians) Modal jazz recordings, such as Miles Davis's Kind of Blue, became popular in the late 1950s. Popular modal standards include Davis's "All Blues" and "So What" (both 1959), John Coltrane's "Impressions" (1963) and Herbie Hancock's "Maiden Voyage" (1965). Later, Davis's "second great quintet", which included saxophonist Wayne Shorter and pianist Herbie Hancock, recorded a series of highly acclaimed albums in the mid-to-late 1960s. Standards from these sessions include Shorter's "Footprints" (1966) and Eddie Harris's "Freedom Jazz Dance" (1966). In Brazil, a new style of music called bossa nova evolved in the late 1950s. The free jazz movement, coming to prominence in the late 1950s, spawned very few standards. Free jazz's unorthodox structures and performance techniques are not as amenable to transcription as other jazz styles. However, "Lonely Woman" (1959) a blues by saxophonist Ornette Coleman, is perhaps the closest thing to a standard in free jazz, having been recorded by dozens of notable performers.[1] 1950s jazz standards1950–1954
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References1. ^ {{webarchive|url=https://web.archive.org/web/20101003032225/http://www.allmusic.com/cg/amg.dll?p=amg |date=2010-10-03 }} 2. ^If I Were a Bell at jazzstandards.com - retrieved on April 29, 2009 3. ^The Real Book, Volume II, p. 194 4. ^Night Train at jazzstandards.com - retrieved on February 20, 2009 5. ^The Real Book, Volume I, p. 304 6. ^Straight No Chaser at jazzstandards.com - retrieved on April 24, 2009 7. ^The Real Book, Volume I, p. 386 8. ^Lullaby of Birdland at jazzstandards.com - retrieved on April 29, 2009 9. ^The Real Book, Volume I, p. 256 10. ^My One and Only Love at jazzstandards.com - retrieved on February 20, 2009 11. ^The Real Book, Volume I, p. 288 12. ^That's All at jazzstandards.com - retrieved on February 20, 2009 13. ^The New Real Book, Volume II, p. 363 14. ^When I Fall in Love at jazzstandards.com - retrieved on April 29, 2009 15. ^The Real Book, Volume I, p. 439 16. ^Here's That Rainy Day at jazzstandards.com - retrieved on February 20, 2009 17. ^The Real Book, Volume I, p. 175 18. ^Jordu at jazzstandards.com - retrieved on February 20, 2009 19. ^The Real Book, Volume I, p. 227 20. ^The New Real Book, Volume II, p. 175 21. ^Satin Doll at jazzstandards.com - retrieved on February 20, 2009 22. ^The Real Book, Volume I, p. 349 23. ^1 2 3 4 5 6 7 8 9 Listed in New Real Book, Volume I 24. ^1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 Listed in The Real Jazz Book 25. ^Airegin at jazzstandards.com - retrieved on February 20, 2009 26. ^The Real Book, Volume I, p. 13 27. ^All of You at jazzstandards.com - retrieved on May 7, 2009 28. ^The Real Book, Volume I, p. 21 29. ^Blue Monk at jazzstandards.com - retrieved on February 20, 2009 30. ^The Real Book, Volume I, p. 52 31. ^Django at jazzstandards.com - retrieved on September 7, 2018 32. ^The Real Book, Volume I, p. 120 33. ^Doxy at jazzstandards.com - retrieved on February 20, 2009 34. ^The Real Book, Volume II, p. 111 35. ^Fly Me to the Moon (in Other Words) at jazzstandards.com - retrieved on February 20, 2009 36. ^The Real Book, Volume II, p. 135 37. ^The New Real Book, Volume II, p. 106 38. ^Joy Spring at jazzstandards.com - retrieved on April 29, 2009 39. ^The Real Book, Volume I, p. 229 40. ^Misty at jazzstandards.com - retrieved on February 20, 2009 41. ^The Real Book, Volume I, p. 277 42. ^Oleo at jazzstandards.com - retrieved on February 20, 2009 43. ^The Real Book, Volume I, p. 309 44. ^Solar at jazzstandards.com - retrieved on February 20, 2009 45. ^The Real Book, Volume I, p. 363 46. ^Au Privave at jazzstandards.com - retrieved on April 29, 2009 47. ^The Real Book, Volume I, p. 37 48. ^The Real Book, Volume I, p. 55 49. ^The New Real Book, Volume II, p. 26 50. ^Canadian Sunset at jazzstandards.com - retrieved on February 20, 2009 51. ^Con Alma at jazzstandards.com - retrieved on February 20, 2009 52. ^The Real Book, Volume I, p. 84 53. ^Nica's Dream at jazzstandards.com - retrieved on April 29, 2009 54. ^The Real Book, Volume I, p. 299 55. ^The New Real Book, Volume II, p. 255 56. ^Waltz for Debby at jazzstandards.com - retrieved on April 29, 2009 57. ^The Real Book, Volume I, p. 432 58. ^The Real Book, Volume I, p. 54 59. ^I Remember Clifford at jazzstandards.com - retrieved on February 20, 2009 60. ^The Real Book, Volume I, p. 192 61. ^Bag's Groove at jazzstandards.com - retrieved on February 20, 2009 62. ^The Real Book, Volume II, p. 30 63. ^1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 Listed in The Real Vocal Book 64. ^The Real Book, Volume I, p. 74 65. ^Milestones at jazzstandards.com - retrieved on February 20, 2009 66. ^The Real Book, Volume III, p. 277 67. ^Afro Blue at jazzstandards.com - retrieved on February 20, 2009 68. ^The Real Book, Volume I, p. 11 69. ^All Blues at jazzstandards.com - retrieved on February 20, 2009 70. ^The Real Book, Volume I, p. 18 71. ^The Best Is Yet to Come at jazzstandards.com - retrieved on February 20, 2009 72. ^Blue in Green at jazzstandards.com - retrieved on April 29, 2009 73. ^The Real Book, Volume I, p. 51 74. ^See page 20 of the Fall 1993 issue of Letter from Evans (http://www2.selu.edu/orgs/34skid/html/23.pdf) where Earl Zindars says "I know that it is [100-percent Bill's] because he wrote it over at my pad where I was staying in East Harlem, 5th floor walkup, and he stayed until 3 o'clock in the morning playing these six bars over and over." 75. ^https://www.npr.org/templates/story/story.php?storyId=92185496 35m30s - On being asked about the issue by the interviewer (Marian McPartland), Evans said "The truth is I did [write the music]... I don't want to make a federal case out of it, the music exists, and Miles is getting the royalties" 76. ^Desafinado at jazzstandards.com - retrieved on February 20, 2009 77. ^The Real Book, Volume I, p. 108 78. ^The Real Book, Volume I, p. 151 79. ^Giant Steps at jazzstandards.com - retrieved on February 20, 2009 80. ^The Real Book, Volume I, p. 157 81. ^The New Real Book, Volume II, p. 121 82. ^Goodbye Pork Pie Hat at jazzstandards.com - retrieved on April 24, 2009 83. ^A Felicidade at jazzstandards.com - retrieved on February 20, 2009 84. ^Killer Joe at jazzstandards.com - retrieved on April 29, 2009 85. ^The Real Book, Volume II, p. 229 86. ^The New Real Book, Volume II, p. 179 87. ^The Real Book, Volume I, p. 49 88. ^The Real Book, Volume I, p. 276 89. ^My Favorite Things at jazzstandards.com - retrieved on February 20, 2009 90. ^The Real Book, Volume I, p. 285 91. ^Naima at jazzstandards.com - retrieved on February 20, 2009 92. ^The Real Book, Volume I, p. 293 93. ^The New Real Book, Volume II, p. 238 94. ^The Real Book, Volume I, p. 306 95. ^Sidewinder at jazzstandards.com - retrieved on April 29, 2009 96. ^The Real Book, Volume I, p. 355 97. ^So What at jazzstandards.com - retrieved on February 20, 2009 98. ^The Real Book, Volume I, p. 364 99. ^Take Five at jazzstandards.com - retrieved on February 20, 2009 100. ^The Real Book, Volume I, p. 397 101. ^http://catalogue.bnf.fr/ark:/12148/cb38048510x 102. ^Chicago Musette - John Serry on vintagemuisic.fm 103. ^[https://www.youtube.com/channel/UCKBYJZCilTiv4cvUCDLFWJQ/videos?disable_polymer=1 Chicago Musette - John Serry et son accordéon - John Serry Sr. performing on accordion on youtube.com] 104. ^{{cite news |title=How 1959 Changed the City and the World |last=Kaplan |first=Fred |newspaper=New York Magazine |date=2009-05-31 |url=http://nymag.com/news/features/57058/index4.html |accessdate=2010-01-02 }} Bibliography
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