History And Diversity Of Jazz

Running head: HISTORY AND DIVERSITY OF JAZZ 1

History and Diversity of Jazz

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History and Diversity of Jazz

Jazz music is a product of cultural collaboration and a universal language of freedom and

toleration, rich in artistic heritage. Though Jazz music is an early twentieth-century black music

innovation, certain jazz characteristics, have their roots in the earlier musical traditions. In the

twentieth century, black music did not hold a monopoly to these practices; the appropriation,

improvisation, call and response, and the reinvention of elements of the art music. Back then,

before the civil rights act, black and white jazz musicians were breaking the social norm to share

and learn from each other. In the 1930s Benny Goodman, a popular band leader added black

musicians to his big band which had only white musicians, a revolutionary step of diversity, in the

music industry (Cooke, n.d.). Jazz possesses a culture that thrives, which was as a result of

diversity. Indeed Jazz is a true American success story of diversity. The study, therefore, focuses

on the history and the diversity of Jazz music.

History of Jazz Music

Jazz was as a result of the coming together of African musical tradition and European

musical tradition. African music was very advanced rhythmically while European music featured

advanced harmonic and melodic elements. African music also had unique properties that European

culture did not have. By combining the African and the European elements, new music was born.

Through this fusion, jazz adopted and absorbed characteristics from the music of other

cultures, hence acquiring one of its significant trait, acculturation. Because of this trait, jazz has

been innovative and has created distinct sub-styles since its original music in the early 1900s. It

has featured all kinds of European, Cuban, and Brazilian music, marching music, Broadway, blues,

Gospel, country, Indian and Arabic music. In the1960s and 1970s jazz borrowed from its own

offspring; rock and roll to create jazz-rock fusion, a brilliant display of acculturation (Cooke, n.d.).

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It is, perhaps, from this culture of borrowing from any music, has led to individual jazz

musicians to not only accept and embrace diversity but also to proactively seek it out. Just like the

black jazz musicians in the 1940s and 1950s looked to Stravinsky, Debussy, and Dvorak, this trend

still continues to present.

Reasons for Diversity

Diversity in jazz music makes the musicians feel better, which is, their primary motivation

to seek out diversity is. It enhances their ability to differentiate themselves, express themselves,

and find a unique voice. Achieving a unique voice is the vanguard of jazz accomplishment which

is no easy task (Giddins and DeVeaux, 2009). One has to blend many influences and find a unique

personal combination.

Jazz musicians are expected to find their own unique style, consistently find new depths,

avoid repetition and reinvent themselves frequently. It is extremely difficult to find the required

new depths, which creates the need for musicians to combine emotion, knowledge, experience,

technique, spirit, and risk taking (Whyton & Gebhardt, 2015). Diversity influences more varieties

of techniques. The wider the range of techniques you have, the more you can vary your expression

and continually get different.

Diversity in Jazz Music

Jazz musicians are part of the diverse culture. They seek influence from other cultures by

learning songs, listening to records, seeking to hear and learn from a wide range of fellow

musicians, as well as reading about musicians from other cultures (Giddins and DeVeaux, 2009).

Dough Little, a Minneapolis-based saxophonist, gives two examples of proactively seeking

diversity. He spent time in Cuba studying Cuban music and finding new ideas from it. He states

that Cuban and Latin music challenge you rhythmically. The rhythm provides interest and

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excitement. Little also learned from a blues singer, Big Walter Smith, whom he spent time with,

playing. The blues is about the feel and the sound. Unlike jazz, playing a lot of notes in blues is

inappropriate (Cooke, n.d.). Thus, Little’s approach, his sound, and his musicianship have been

shaped by the influence of Walter and the blues.

European classical music has been an important source of harmonic, melodic and

instrumentation ideas. The classical technique has also been influential in that virtuosity is often

associated with the great jazz improvisers (Giddins and DeVeaux, 2009). Some of the early

innovators trained in Europe and came back with their ideas. As the new music developed,

musicians continued to look across the Atlantic. Today, classical music still provides an extensive

source of ideas.

The Jazz musicians study, emulate, and incorporate techniques and sensibilities from other

cultures and combine that with their individuality, strengths, and culture. They approach learning

with open ears (Cooke, 2013). Without this approach, Jazz music would have stagnated eight

decades ago. It's due to diversity; the music is blessed with a thriving and an evolving force. Jazz

music remains uniquely American yet in it; you can find cultures from all over the world (Cooke,

n.d.).

Conclusion

For almost a 100 years Jazz led black to white, Western to Eastern, American to European

cerebral to visceral. In jazz, learning from and working with people of different cultures is a core

value (Giddins and DeVeaux, 2009). Diversity in Jazz music has been practiced for nearly a

hundred years. It has impacted and promoted the development of the music and provided the music

with an innovative vigor. It has benefited not only many jazz musicians but also the listeners. Since

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the issue of diversity is now evident on business cases, perhaps it is time for the corporate world

to look what they can learn from the jazz diversity model.

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References

Cooke, M. The chronicle of jazz.

Giddins, G. & DeVeaux, S. (2009). Jazz. New York: W.W. Norton.

Cooke, M. (2013). The chronicle of jazz. New York: Oxford University Press.

Whyton, T., & Gebhardt, N. (2015). The cultural politics of jazz collectives. New York: Routledge,

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