JA on Music Theory Print

Jai Radha Madhab

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Lyrics#

Text in brackets is alternate transliteration. The standard transliteration used here is IAST. Below is English translation.

jaya rādhā-mādhava (jaya) kuñja-bihārī#

Victory to Radha-Madhava! Victory to Kunj Bihari! (jai radha madhava jai kunja bihari (jay radha madhab jay kunj viharee))

(jaya) gopī-jana-vallabha (jaya) giri-vara-dhārī#

Victory to Gopi Vallabha! Victory to Giri-vara-dhari! (jai gopi jana vallabha jai girivaradhari (jay gopee jana vallabh jai girivaradhari))

yaśodā-nandana braja-jana-rañjana#

He is the beloved son of mother Yashoda, the delighter of the inhabitants of Vraja! (yashoda nandana vraja jana ranjana (yashoda nandan vraj jana ranjan))

Jaipongan

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Background#

In 1961, Indonesian President Sukarno prohibited rock and roll and other Western genres of music and challenged Indonesian musicians to revive the indigenous arts. The name jaipongan came from people mimicking the sounds created by some of the drums in the ensemble. Audiences were often heard shouting jaipong after specific sections of rhythmic music were played. Jaipongan made its public debut in 1974 when Gugum Gumbira and his degung and dancers first performed in public. The most widely accessible album of Jaipongan outside of Indonesia is Tonggeret by singer Idjah Hadidjah and Gugum Gumbira’s Jugala orchestra, released in 1987, and re-released as West Java: Sundanese Jaipong and other Popular Music by Nonesuch/Elektra Records.

Jaiva

Mon, 01 Jan 0001 00:00:00 +0000

Influences and particularity#

While closely associated with mbaqanga, township jive more broadly incorporates influences from mariba and kwaito, and is synonymous with none of these. To the extent that marabi influences TJ, it may be somewhat sanitised as TJ broke into the international commercial arena.

Emergence in world music circles#

The Boyoyo Boys received additional press coverage when Malcolm McLaren allegedly plagiarised their song “Puleng” and released it as the hit “Double Dutch”, capitalising on the emergence of breakdance and hip-hop. Additional momentum for world beat attention to South African music developed as a result of international attention to the demise of apartheid and Nelson Mandela’s 70th birthday concert in Wembley Stadium, London in 1988.

Jam band

Mon, 01 Jan 0001 00:00:00 +0000

Modern use and definition#

In the 1980s, the Grateful Dead’s fan base included a large core group that followed their tours from show to show. These fans (known as “Deadheads”) developed a sense of community and loyalty. In the 1990s, the band Phish began to attract this fan base. The term “jam band” was first used regarding Grateful Dead and Phish culture in the 1980s. In 1998, Dean Budnick wrote the first book devoted to the subject, entitled Jam Bands. He founded Jambands.com later that year and is often credited with coining the term. However, in his second book on the subject, 2004’s Jambands: A Complete Guide to the Players, Music & Scene, he explains that he only popularized it. Rolling Stone magazine asserted in a 2004 biography that Phish “was the living, breathing, noodling definition of the term” jam band, in that it became a “cultural phenomenon, followed across the country from summer shed to summer shed by thousands of new-generation hippies and hacky-sack enthusiasts, and spawning a new wave of bands oriented around group improvisation and super-extended grooves.” Another term for “jam band music” used in the 1990s was “Bay Rock”. It was coined by the founder of Relix magazine, Les Kippel, as a reference to the 1960s San Francisco Bay Area music scene, which included the Grateful Dead, Jefferson Airplane and Moby Grape, among many others. By the late 1990s, the types of jam bands had grown so that the term became quite broad, as exemplified by the definition written by Dean Budnick, which appeared in the program for the first annual Jammy Awards in 2000 (Budnick co-created the show with Wetlands Preserve owner Peter Shapiro). Although in 2007 the term may have been used to describe nearly any cross-genre band, festival band, or improvisational band, the term retains an affinity to Grateful Dead-like bands such as Phish.

Jangle pop

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Origins#

In the late 1970s and 1980s, prominent early jangle pop groups included Big Star, R.E.M., the dB’s, 10,000 Maniacs, and the Smiths. In the early to mid 1980s, the term “jangle pop” emerged as a label for an American post-punk movement that recalled the sounds of “jangly” acts from the 1960s. Between 1983 and 1987, the description “jangle pop” was used to describe bands like R.E.M. and Let’s Active as well as the Paisley Underground subgenre, which incorporated psychedelic influences.

Japanese hip-hop

Mon, 01 Jan 0001 00:00:00 +0000

History of hip hop in Japan#

Although rather informal and small scale, the early days of Japanese hip hop provide the history for the emergence of the cultural movement. Early hip hop was not led by corporate interests, but rather was largely ignored by large record companies and performance venues. In this respect, Japanese hip-hop offers a representation of cultural globalization, as it expanded despite criticism on the part of record companies and major media outlets. The history shows that certain kinds of cultural exchange are not initiated through cultural understanding, but instead from some interaction that can incite a desire to learn, to participate, and to contribute individuality. In Japan, this motivation to represent individuality was breakdancing, which was one of the leading edges of hip-hop at the time. The first known Japanese group to experiment with hip hop was Yellow Magic Orchestra, which created an early electro hip hop track, “Rap Phenomena”, for their 1981 album BGM. In turn, the synthpop and electro music of Yellow Magic Orchestra and Ryuichi Sakamoto, and their use of the Roland TR-808 drum machine, had a significant influence on early key American hip hop figures such as Afrika Bambaataa and Mantronix. An important spark for Japanese hip-hop occurred in 1983 when breakdancing appeared in Tokyo through film and live performances even though American hip hop records could previously be heard in Tokyo discos. According to Takagi Kan, a first generation Japanese MC, “I couldn’t tell what was with the rap and the DJing…but with the breakdancing and graffiti art, you could understand it visually. Or rather, it wasn’t understanding so much as, ‘Whoa, that’s cool’ kakkoii . With rap and DJing, I couldn’t imagine what could be cool about it.” Dancing has a visual impact that everyone can understand, when it comes to dance there is not a language barrier. Break dancing represented the foundation for the spread of Japanese hip-hop and served as a medium for globalization. The film is “the classic hip-hop flick, full of great subway shots, breakdancing, freestyle MCing and rare footage of one of the godfathers of hip-hop, Grandmaster Flash, pulling off an awesome scratch-mix set on a pair of ancient turntables.” The popularity of the film led to many of the artists involved in it to make a trip to Japan to promote the film and they even performed in some of the department stores while they were there. The rise of DJs represented a significant development for the Japanese hip hop scene. Before 1985, there weren’t very many DJs on the radio, but with the increase in the number that year, it led to the opening of the first all hip hop club in 1986. But despite the fact that DJing gained popularity rapidly, it was initially thought that rapping wasn’t going to have the same cache as it would be hard to rap in Japanese.

Japanese jazz

Mon, 01 Jan 0001 00:00:00 +0000

History#

Jazz became popular in Japan in the 1920s, following visits by bands from America and the Philippines, where American popular music had been introduced by the occupying forces. The Hatano Jazz Band is sometimes described as the first Japanese jazz band, although they were primarily a dance band. The band, which was created in 1912 by graduates from Tokyo Music School, absorbed and performed American dance music after traveling to San Francisco, but their music did not claim to feature jazz improvisation. Local jazz practice, built around the performances of visiting Filipinos, began to emerge in the early 1920s, most notably in the prosperous entertainment districts of Osaka and Kobe. By 1924, the city of Osaka already boasted twenty dance halls, which gave many Japanese-born musicians an opportunity to play jazz professionally. Trumpeter Fumio Nanri (1910–1975) was the first of these Japanese jazz performers to gain international acclaim for his playing style. In 1929 Nanri traveled to Shanghai, where he played with American jazz pianist Teddy Weatherford, and in 1932 he toured in the United States. After his return to Japan, Nanri made several recordings with his band Hot Peppers, an American-style swing band. The “Americanness” and mass appeal of early jazz as dance music gave reason for concern among the conservative Japanese elite, and in 1927 Osaka municipal officials issued ordinances that forced the dance halls to close. A large number of young musicians switched to the jazz scene in Tokyo, where some found employment in the house jazz orchestras of the major recording companies. In 1933 Chigusa, Japan’s surviving oldest jazz cafe, or Jazu kissa, opened in Yokohama. Since then, jazz coffeehouses have provided a popular alternative to the dance hall, offering the latest jazz records (while occasionally also hosting live performances) to an attentively listening audience. In the 1930s, popular song composers Ryoichi Hattori and Koichi Sugii tried to overcome jazz music’s controversial qualities by creating a distinctively Japanese kind of jazz music. They reworked ancient Japanese folk or theatre songs with a jazz touch, and in addition wrote new jazz songs that had Japanese thematic content and often closely resembled well-known traditional melodies. Hattori’s songs, however, flirted with controversy, most notably in his 1940 , which he wrote for Tadaharu Nakano’s Rhythm Boys. Satirizing the shortages of food and material then widespread in Japan, the song drew the ire of government censors and was quickly banned. The controversy was among the factors that led to the Rhythm Boys’ breakup in 1941. During World War II, jazz was considered “enemy music” and banned in Japan. However, by then the genre had become far too popular for a complete ban to be successful. Jazz-like songs, sometimes of a strongly patriotic type, continued to be performed, though these songs were usually referred to as “light music.” Despite the state mandated destruction of jazz records, many did not comply, and hid their records until the aftermath of the war. By the end of the 1950s, native jazz practice again flourished in Japan, and in the following decades an active free jazz scene reached its full growth. Critic Teruto Soejima considered 1969 as a pivotal year for Japanese free jazz, with musicians such as drummer Masahiko Togashi, guitarist Masayuki Takayanagi, pianists Yosuke Yamashita and Masahiko Satoh, saxophonist Kaoru Abe, bassist Motoharu Yoshizawa, and trumpeter Itaru Oki playing a major role. Other Japanese jazz artists who acquired international reputations include Sadao Watanabe (the former soloist of Akiyoshi’s Cozy Quartet), Ryo Kawasaki, Teruo Nakamura, Toru “Tiger” Okoshi and Makoto Ozone. Most of these musicians have toured extensively in the United States and some have moved there permanently for a career in jazz performance or education.

Japanese metal

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1970s: Early acts#

Originally formed in 1967 as a cover band of British and American psychedelic rock titled “Yuya Uchida & the Flowers,” Japan’s Flower Travellin’ Band have been credited as one of the progenitors of heavy metal music. After changing their name, having almost a complete personnel change and moving to Canada, they produced their first album of original material in 1971. Satori, which was released a little over a year after Black Sabbath’s debut album, has been called “proto-metal” and noted as having “traces of early heavy metal.” Their previous album, Anywhere (1970), included what is believed to be the first recorded cover of a Black Sabbath song, the self-titled “Black Sabbath”. Additionally, Satori and Flower Travellin’ Band vocalist Joe Yamanaka and guitarist Hideki Ishima’s work on Kuni Kawachi’s first solo album Kirikyogen (1970) have been credited as “honing the formidable and ominous sound that would become the essence of doom metal.” Japanese heavy metal bands started emerging in the late 1970s, pioneered by Bow Wow (1975), 44 Magnum (1977) and Earthshaker (1978). In 1977, Bow Wow supported Aerosmith and Kiss on their Japanese tours. They performed at both the Montreux Jazz Festival in Switzerland and the Reading Festival in England in 1982. After some member changes resulted in a more commercial sound, they changed their name to Vow Wow and relocated to England. Although formed by schoolmates in 1977, Lazy saw a rift between their managers/producers, who wanted to create a pop rock idol band, and the musicians themselves who slowly took control and moved the band to the hard rock and heavy metal they always desired to play by their final album Earth Ark in 1980.

Japanese reggae

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Japanese rock

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1960s: Western music adaptation#

Rockabilly had a brief surge in popularity in Japan during the late 1950s. Suppressed by authorities, elements of it nevertheless managed to reach the mainstream through singers such as Kyu Sakamoto. In the 1960s, many Japanese rock bands were influenced by Western rock musicians such as the Beatles, Bob Dylan, and the Rolling Stones, along with other Appalachian folk music, psychedelic rock, mod and similar genres: a phenomenon that was called Group Sounds (G.S.). John Lennon of the Beatles later became one of the most popular Western musicians in Japan. By the late 1960s, Group Sounds bands such as The Tempters, the Tigers, the Golden Cups, the Ox, the Village Singers, the Carnabeats, the Mops, the Jaguars, the Wild Ones and the Spiders had big hits. After the boom of Group Sounds, there were several folk singer-songwriters. They were influenced by Bob Dylan and American folk music. The Tigers were the most popular Group Sounds band in the era. Later, some of the members of the Tigers, the Tempters, and the Spiders formed the first Japanese supergroup, Pyg. 70s “New Rock” group such as the Power House, the Blues Creation, Murasaki, Condition Green, and Bow Wow released rock albums. After seeing a show by then-upcoming artist Jimi Hendrix during a visit to Europe, Yuya Uchida returned home and formed Yuya Uchida & the Flowers in November 1967 in order to introduce a similar sound to Japan.

Japanese ska

Mon, 01 Jan 0001 00:00:00 +0000

Artists#

Having been formed in the 1980s and enjoying international success (including extensive touring in the United States and Europe), the group Tokyo Ska Paradise Orchestra is arguably the original and best-known Japanese ska ensemble. 175R, Beat Crusaders, The Boom, Kemuri, Kojima, Lisa, Mongol800, Tsu Shi Ma Mi Re, Shaka Labbits, Gelugugu, Potshot, Yum!Yum!Orange, Yukihiro Takahashi, Ska Ska Club, Kasutera and Oreskaband are other Japanese artists that have performed ska (though not all exclusively). Japan has had a proliferation of album-making ska bands. Besides those mentioned elsewhere in this article, one source lists the Clippers, Coke Head Hipsters, the Drops, Duck Missile, Fruity, Gelugugu, La Ppisch, Life Bal, Mustang AKA, Nicotine, Oi-Skall Mates, Piala, Rude Bones, Shoulder Hopper, Scafull King, Skatroits, Sprocket Wheel, Dallax, The Rollings, Step by Step, Sk@ymate’s, Skapontas, Tropical Gorilla, midnightPumpkin, SPYZZ, and Young Punch.

Japanoise

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History#

On May 8, 1960, six young Japanese musicians, including Takehisa Kosugi and Yasunao Tone, formed the Group Ongaku with two tape recordings of noise music: Automatism and Object. These recordings made use of a mixture of traditional musical instruments along with a vacuum cleaner, a radio, an oil drum, a doll, and a set of dishes. Moreover, the speed of the tape recording was manipulated, further distorting the sounds being recorded. In the late 1970s and early 1980s, Merzbow took Lou Reed’s album Metal Machine Music as a point of departure and further abstracted the noise aesthetic by freeing the sound from guitar based feedback alone, a development that is thought to have heralded noise music as a genre. According to Paul Hegarty (2007), “In many ways it only makes sense to talk of noise music since the advent of various types of noise produced in Japanese music, and in terms of quantity this is really to do with the 1990s onwards … . With the vast growth of Japanese noise, finally, noise music becomes a genre”.

Jarana yucateca

Mon, 01 Jan 0001 00:00:00 +0000

The Jarana Dance is Performed in Mérida, Valladolid and Elsewhere Throughout the State of Yucatán#

Jarana performers can be seen performing in Parque Francisco Cantón Rosado in Valladolid, Yucatán, Mexico quite often. Jarana is the name of the dance originally performed during " https://latamliving.com/best-cities-mexico/#vaqueria-jarana " celebration but is seen performed throughout the year in various central parks or zócalos throughout the Yucatán including Mérida, Yucatán’s capital.

A Fusion of Spanish and Maya Culture and Music#

The vaquería occurred when the Spanish conquistador cattle farmers called upon the local Maya to count and brand the cattle on the hacienda. The Spanish allowed the Yucatecas to celebrate for all the hard work that was required and joined in on the vaquería celebration.

Jarigan

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Javanese poetry

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Sekar ageng#

The most sacred are the sekar ageng (Low Javanese: tembang gedhé; “great songs”). These were traditionally held to be the most ancient of the forms, but Jaap Kunst believed that the indigenous forms represented an older tradition. The ancient forms of these, known as kakawin, use meters from Indian poetry, specifying the number of syllables in each line, their vowel length, and the location of caesurae. Exactly how this ancient form sounded when sung is hard to know, as the modern form has been influenced by gamelan structures. It may have resembled modern Indian or Balinese chant. The modern form of sekar ageng are always in stanzas of four lines, and the number of syllables in each (lampah) is fixed and divided into parts (pedhotan) by caesurae. (Vowel length is no longer distinguished.) These indications are ordinarily indicated with the form; for example, sekar ageng Bongsa patra, lampah 17, pedhotan 4,6,7. According to Padmasasustra, there are 44 types of sekar ageng used in Surakarta. A sekar ageng is sometimes used as a type of buka (song introduction) known as a bawa. It is sung solo, or may be supported by the gendér. Only the first line is used in the introduction, and the rest may follow in the actual gendhing. Martopangrawit believes that this began only in the late 19th century, at the time of Paku Buwana IX (r. 1861-93).

Jazz

Mon, 01 Jan 0001 00:00:00 +0000

Etymology and definition#

The origin of the word jazz has resulted in considerable research, and its history is well documented. It is believed to be related to jasm, a slang term dating back to 1860 meaning . The earliest written record of the word is in a 1912 article in the Los Angeles Times in which a minor league baseball pitcher described a pitch which he called a ‘jazz ball’ “because it wobbles and you simply can’t do anything with it”. Its first documented use in a musical context in New Orleans was in a November 14, 1916, Times-Picayune article about “jas bands”. In an interview with National Public Radio, musician Eubie Blake offered his recollections of the slang connotations of the term, saying: “When Broadway picked it up, they called it ‘J-A-Z-Z’. It wasn’t called that. It was spelled ‘J-A-S-S’. That was dirty, and if you knew what it was, you wouldn’t say it in front of ladies.” The American Dialect Society named it the Word of the 20th Century. Jazz is difficult to define because it encompasses a wide range of music spanning a period of over 100 years, from ragtime to rock-infused fusion. Attempts have been made to define jazz from the perspective of other musical traditions, such as European music history or African music. But critic Joachim-Ernst Berendt argues that its terms of reference and its definition should be broader, defining jazz as a “form of art music which originated in the United States through the confrontation of the Negro with European music” and arguing that it differs from European music in that jazz has a “special relationship to time defined as ‘swing. Jazz involves “a spontaneity and vitality of musical production in which improvisation plays a role” and contains a “sonority and manner of phrasing which mirror the individuality of the performing jazz musician”. Duke Ellington, one of jazz’s most famous figures, said, “It’s all music.”

Jazz fusion

Mon, 01 Jan 0001 00:00:00 +0000

Origins#

When John Coltrane died in 1967, rock was the most popular music in America, and DownBeat magazine went so far as to declare in a headline that: “Jazz as We Know It Is Dead”. AllMusic states that “until around 1967, the worlds of jazz and rock were nearly completely separate”, although the Daevid Allen Trio which later became the Soft Machine formed in 1963, while the jazz label Verve released the influential debut album, Freak Out!, by artist and composer Frank Zappa in 1966. In 1966, he started the band the Free Spirits with Bob Moses on drums and recorded the band’s first album, Axelrod said Davis had played the album before conceiving Bitches Brew.

Jazz guitar

Mon, 01 Jan 0001 00:00:00 +0000

1900–mid-1930s#

The stringed, chord-playing rhythm can be heard in groups which included military band-style instruments such as brass, saxes, clarinets, and drums, such as early jazz groups. As the acoustic guitar became a more popular instrument in the early 20th century, guitar-makers began building louder guitars which would be useful in a wider range of settings. Nick Lucas is regarded as the grandfather of jazz guitar, with two of his guitar compositions recorded in 1922, Picking the Guitar and Teasing the Frets, being the first guitar solos ever recorded. Lucas built the foundations for jazz guitar through his development of various rhythmic, single string, and sweep picking techniques. The Gibson L5, an acoustic archtop guitar which was first produced in 1923, was an early “jazz”-style guitar which was used by early jazz guitarists such as Eddie Lang. By the 1930s, the guitar began to displace the banjo as the primary chordal rhythm instrument in jazz because the guitar could be used to voice chords of greater harmonic complexity, and it had a somewhat more muted tone that blended well with the upright bass, which, by this time, had almost completely replaced the tuba as the dominant bass instrument in jazz.

Jazz in Czechoslovakia

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Jazz Section of the Czech Musician’s Union#

The small victories that jazz won during this time, however, are not comparable to the Jazz Section of the Czech Musician’s Union that was created in 1971. Formed through an “administrative loophole,” a group of jazz musicians saw the opportunity to become part of the union, and despite jazz being seen as “trash music” for the underclasses, was accepted. The Ministry of the Interior issued a number of guidelines, most importantly that the section was limited to a membership of 3,000. For the first couple of years after its conception, the Jazz Section kept within the confines of the laws. It began the Prague Jazz Days festival, which was expected to be a yearly event. It published a bulletin that discussed the ongoing music scene. As the section grew, the heads of the section became bolder and launched a book series that discussed all popular culture at the time — from Czech art, to rock poetry, a dictionary of American rock bands, to the 1984 Nobel Prize acceptance speech by Jaroslav Seifert. The first problem or law that it transgressed was the size constraint. By the time the Section was shut down, membership had reached up to 7,000 — 4,000 more than was allowed. Membership was also breached in other ways. The bulletin and book series that the section published spread quickly from hand to hand. Škvorecký writes “If in a high school one student belonged to the Jazz Section, the books and periodicals he was allowed to buy were read by practically the whole student body and usually also by the teaching staff.” As the Section’s popularity grew and their ability to sponsor musical events became more limited, it reached beyond jazz, and even beyond music in general to literature and art. They began to publish volumes of samizdat, or communist suppressed literature. Publications that were sold only to members in cultural organizations were subject to less censorship and in this way, the Section published numerous manuscripts on “alternative culture” and escaped punishment by the government.

Jazz in India

Mon, 01 Jan 0001 00:00:00 +0000

History#

In India, jazz was probably first performed regularly in the metropoles Calcutta and Bombay in the early or middle 1920s. The era from the 1930s to the 1950s is often called as the golden age of jazz in India. It began with jazz musicians like Leon Abbey, Crickett Smith, Creighton Thompson, Ken Mac, Roy Butler, Teddy Weatherford (who recorded with Louis Armstrong), and Rudy Jackson who toured India to avoid the racial discrimination they faced in the United States. In the winter of 1935, Leon Abbey, a violinist from Minnesota brought the first 8-piece band to Bombay. In the 1930s, India’s freedom struggle against the British had reached a crucial stage. Bombay was a rising metropolis. There was also a great sense of political freedom, which was being transmitted into the arts. The ballrooms of five-star hotels and in the nightclubs of major Indian cities were jazz centres. As nationalism swept the country, these venues became the refuge of the European and Indian elite, the aristocrats, the moneyed and the public servants. During this period, musicians such as Chic Chocolate, Frank Fernand, Micky Correa, Rudy Cotton, Hal and Henry Green, Josic Menzie, Pamela McCarthy, and Chris Perry were at the forefront of the burgeoning jazz scene in Bombay, the nerve center of which was at the Taj Mahal hotel ballroom, which became the node of essential transmission of cultural messages between East and West. These musicians often played at five-star hotels, but they were regulars at the second level, at the Ambassador Starlight Roof Gardens, the Bristol Grill, the Dadar Catholic Institute, the Greens Hotel, the Ritz Roof Garden, the West End Hotel Roof Garden and the YMCA. Many of these musicians were Goans, because Goans learnt western music under Portuguese rule. Most of the Goan jazz musicians also worked in the Bollywood film industry and were responsible for the introduction of genres like jazz and swing to Hindi film music. Although jazz in India began as an entertainment for the elite, it made its way to the working class and into Hindi films. Frank Fernand and Anthony Gonsalves not only infused the sound of western music into Bollywood, but were also filled with India’s new-found nationalism and developed an authentic foundation to link the world of jazz with that of Indian classical music. The jazz fraternity was also a melting pot of people of different communities because there were Goans, Anglo-Indians and people from other communities like Rudy Cotton who was a Parsi.

Jazz in Mexico

Mon, 01 Jan 0001 00:00:00 +0000

History of jazz in Mexico#

From 1900 - 1960 the jazz phenomenon occurring in the U.S. transcended onto Mexico as well. This was able to happen due to the Afrodiasporic network that shaped jazz and took it through the Gulf of Mexico to lower North America. Around the 1920’s economic prosperity in Mexico made Mexico City, a desirable spot for Afro-Antillean migrants who brought the presence of Afro-Antillean Music. Early recordings of jazz in Mexico can be traced back to the late 1920s. Throughout the 1940’s Hispanic musicians learned to compose, and translate jazz learned in the United States, and they would bring it back to Mexico to start their own jazz groups. During the 1980’s is where the decline of jazz in Mexico can be observed. This decline can also be attributed to the shift audiences had from being interested in the big orchestra format to small group structures called “combos”. But in the 1990’s, although there is a further lack of support, this decade produced the most recording in the jazz genre in Mexico.

Jazz of Birmingham

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Early jazz#

Jazz has been popular in Birmingham since the 1920s, an era when interest in the music within England was otherwise largely confined to London. The Birmingham Palais was one of the pioneering venues of British jazz and opened in Ladywood in 1920, hosting early touring bands from the United States such as the Frisco Jazz Band in 1920, Benny Peyton’s Jazz Kings in 1921, the Paramount Six and the Southern Rag-a-Jazz Orchestra in 1922, and Bill Shenkman’s Buffalo Orchestra in 1923. The Palais also maintained its own resident bands that combined notable visiting American musicians such as Sidney Bechet and Emile Christian with emerging local musicians who would go on to establish the native British jazz tradition, such as Bill Harty, Billy Jones, Jack Raine, and Jack Payne.

Jazz piano

Mon, 01 Jan 0001 00:00:00 +0000

Beginning#

A new style known as “stride” or “Harlem stride” emerged during the 1920s, predominantly in New York, United States. James P. Johnson was a prominent proponent. The left hand was used to establish rhythm while the right hand improvised melodies.

Learning jazz piano#

Mastering the various chord voicings—simple to advanced—is the first building block of learning jazz piano. Jazz piano technique uses all the chords found in Western art music, such as major, minor, augmented, diminished, seventh, diminished seventh, sixth, minor seventh, major seventh, suspended fourth, and so on. A second key skill is learning to play with a swing rhythm and “feel”. In jazz, the roots are usually omitted from keyboard voicings, as this task is left to the double bass player. Jazz pianists also make extensive use of chord “extensions”, such as adding the ninth, eleventh or thirteenth scale degree to the chord. In some cases, these extensions may be “altered” i.e. sharpened or flattened, as in the case of a “sharp 11” chord. The next step is learning to improvise melodic lines using scales and chord tones. This ability is perfected after long experience, including much practice, which internalizes the physical skills of playing and the technical elements of harmony, and it requires a great natural ’ear’ for extemporaneous music-making. When jazz pianists improvise, they use the scales, modes, and arpeggios associated with the chords in a tune’s chord progression. The approach to improvising has changed since the earliest eras of jazz piano. During the swing era, many soloists improvised “by ear” by embellishing the melody with ornaments and passing notes. However, during the bebop era, the rapid tempo and complicated chord progressions made it increasingly harder to play “by ear.” Along with other improvisers, such as saxes and guitar players, bebop-era jazz pianists began to improvise over the chord changes using scales (whole tone scale, chromatic scale, etc.) and arpeggios.

Jazz poetry

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Aesthetics#

In his book Digitopia Blues – Race, Technology and the American Voice, poet and saxophonist John Sobol argues that jazz was a transformative vehicle for African-American self-empowerment whose dominant characteristic and purpose was a search for mastery of a language of power, undertaken by a historically enslaved oral people denied access to words of power. Sobol believes that poets who have felt constrained by the hegemony of the literate tradition have grasped an essential kinship with jazz as a realm of masterful oral power and have sought to mimic or recreate jazz modalities in their poetry, thus earning the description ‘jazz poetry’.

Jazz rap

Mon, 01 Jan 0001 00:00:00 +0000

History#

In 1989, Gang Starr released the debut single “Words I Manifest”, sampling Dizzy Gillespie’s 1952 “Night in Tunisia”, and Stetsasonic released “Talkin’ All That Jazz”, sampling Lonnie Liston Smith. Gang Starr’s debut LP, No More Mr. Nice Guy (Wild Pitch, 1989), and their track “Jazz Thing” (CBS, 1990) for the soundtrack of Mo’ Better Blues, further popularized the jazz rap style. In 1992, Eric B & Rakim used wood bass on “Don’t Sweat the Technique”. Digable Planets’ 1993 release Reachin’ (A New Refutation of Time and Space) was a hit jazz rap record. It sampled the likes of Don Cherry, Sonny Rollins, Art Blakey, Herbie Mann, Herbie Hancock, Grant Green, and Rahsaan Roland Kirk. Additionally, it spawned the hit single “Rebirth of Slick (Cool Like Dat)”. In 1993, Us3 released Hand on the Torch on Blue Note Records. All samples were from the Blue Note catalogue. The single “Cantaloop” was Blue Note’s first gold record. Post-WWII swing and modern jazz had fused with the introduction of Black appeal radio, which attracted a younger audience through its reliance on jive idioms, rhyming, and cadence-laden rap verses. Dizzy Gillespie had pointed to The Jives of Dr. Hepcat and rhyming D.J. Daddy-O Daylie as key to popularizing modern jazz. The rise of Top-40 radio on the strength of the rapping DJs in this period of radio’s rebirth among black youth led to the wider use of language and syntax popularizing rap. Muhammad Ali’s phrasing to the press in the early part of his career was born of listening to black radio of the 1950s, which was often white radio announcers speaking slang “jive” and imitating black announcers while withholding the fact on air of their backgrounds. Pioneering DJs Al Benson, Nat D., and Jack the Rapper all used rhyming, the dozens, and jive talk to pepper their broadcasts and were widely copied by white DJs like John Richbourg, Gene Nobles, and Bill Allen during the 1950s, whose influence on James Brown and other godfathers of rap was formative. Bebop was the backing track that modern jazz credits with being the foundation of black appeal, radio is based on.

Jazz standard

Mon, 01 Jan 0001 00:00:00 +0000

Before 1920#

From its conception at the change of the twentieth century, jazz was music intended for dancing. This influenced the choice of material played by early jazz groups: King Oliver’s Creole Jazz Band, New Orleans Rhythm Kings and others included a large number of Tin Pan Alley popular songs in their repertoire, and record companies often used their power to dictate which songs were to be recorded by their artists. Certain songs were pushed by recording executives and therefore quickly achieved standard status; this started with the first jazz recordings in 1916, with That Funny Jas Band from Dixieland (1916) by Collins and Harlan for Thomas A. Edison, Inc. on Blue Amberol in December 1916 and in 1917, when the Original Dixieland Jass Band recorded “Darktown Strutters’ Ball” and “Indiana”. The first record with “Jass” on the label, The Original Dixieland One-Step was issue 18255 by Victor Talking Machine Company in 1917. Originally simply called “jazz”, the music of early jazz bands is today often referred to as “Dixieland” or “New Orleans jazz”, to distinguish it from more recent subgenres. The origins of jazz are in the musical traditions of early twentieth-century New Orleans, including brass band music, the blues, ragtime and spirituals, and some of the most popular early standards come from these influences. Ragtime songs “Twelfth Street Rag” and “Tiger Rag” have become popular numbers for jazz artists, as have blues tunes “St. Louis Blues” and “St. James Infirmary”. Tin Pan Alley songwriters contributed several songs to the jazz standard repertoire, including “Indiana” and “After You’ve Gone”. Others, such as “Some of These Days” and “Darktown Strutters’ Ball”, were introduced by vaudeville performers. The most often recorded standards of this period are W. C. Handy’s “St. Louis Blues”, Turner Layton and Henry Creamer’s “After You’ve Gone” and James Hanley and Ballard MacDonald’s “Indiana”.

Jazz trombone

Mon, 01 Jan 0001 00:00:00 +0000

Traditional jazz trombone#

Trombone first saw use in the jazz world with its entrance into traditional jazz where it played along with the chord changes, often connecting the seven to third or third to root resolutions of cadences, allowing the other musicians of the group to improvise along with it. In a standard dixie group, the players marched through the streets or were hauled around, playing in an open trailer. The trombone having a slide instead of valves or strings or holes for playing had difficult positioning themselves, and tended to sit in the back of the trailer, gaining the name “Tailgate Trombone”. This style of playing included many trombone specific techniques such as growling, scoops, falls, and slides. These factors provided traditional jazz with its well known, almost “dirty” feel. The most famous tailgate trombonist was Edward “Kid” Ory. Even though the trombone was finally featured in jazz at this point, it was not until the swing era of jazz that the trombone actually stepped into the spotlight.

Jazz-funk

Mon, 01 Jan 0001 00:00:00 +0000

History#

Jazz-funk generally exhibits a simple structure based around one or two riffs, and a harmonic structure that allows musicians to improvise. Modern jazz funk music was influenced by Herbie Hancock. The Mizell Brothers were producers for many jazz and soul artists. Examples of early jazz funk albums include Miles Davis’ On the Corner (1972) and Jimmy Smith’s Root Down (1972). The Last Poets, Gil Scott-Heron, Lightnin’ Rod, T.S. Monk, Pleasure, Boogaloo Joe Jones, Lenny White, Don Blackman, Monk Higgins, Wilbur Bascomb, the Blackbyrds, Donald Byrd and Les DeMerle and Michael Henderson released jazz funk albums. Jazz funk musicians used electric instruments, such as the Rhodes Piano or electric guitar, bass guitar, organ, particularly in jazz fusion. Herbie Hancock played ARP Odyssey synthesizer and clavinet on album Head Hunters (1973). may have helped jazz find a larger audience. By contrast, pop audiences found it “too jazzy” and, therefore, too complex. Some mainstream artists in jazz used specialist producers to commercial success. Larry and Fonce Mizell produced jazz-funk artists such as Johnny “Hammond” Smith, Gary Bartz, Roger Glenn, the Blackbyrds, and Donald Byrd.

JA on Music Theory Print

Jai Radha Madhab

Lyrics#

jaya rādhā-mādhava (jaya) kuñja-bihārī#

(jaya) gopī-jana-vallabha (jaya) giri-vara-dhārī#

yaśodā-nandana braja-jana-rañjana#

Jaipongan

Background#

Jaiva

Influences and particularity#

Emergence in world music circles#

Jam band

Modern use and definition#

Jangle pop

Origins#

Japanese hip-hop

History of hip hop in Japan#

Japanese jazz

History#

Japanese metal

1970s: Early acts#

Japanese reggae

See also#

Japanese rock

1960s: Western music adaptation#

Japanese ska

Artists#

Japanoise

History#

Jarana yucateca

The Jarana Dance is Performed in Mérida, Valladolid and Elsewhere Throughout the State of Yucatán#

A Fusion of Spanish and Maya Culture and Music#

Jarigan

Javanese poetry

Sekar ageng#

Jazz

Etymology and definition#

Jazz fusion

Origins#

Jazz guitar

1900–mid-1930s#

Jazz in Czechoslovakia

Jazz Section of the Czech Musician’s Union#

Jazz in India

History#

Jazz in Mexico

History of jazz in Mexico#

Jazz of Birmingham

Early jazz#

Jazz piano

Beginning#

Learning jazz piano#

Jazz poetry

Aesthetics#

Jazz rap

History#

Jazz standard

Before 1920#

Jazz trombone

Traditional jazz trombone#

Jazz-funk

History#