In which country did jazz originate? History of music: jazz. New Orleans School period

Jazz is the music of the soul, and there is still an endless amount of debate about the history of this musical direction. Many believe that jazz originated in New Orleans, while others believe that jazz was first performed in Africa, citing complex rhythms and all kinds of dancing, stomping and clapping. But I challenge you to get to know lively, vibrant, ever-changing jazz a little better.

The origin of jazz is due to numerous reasons. Its beginning was extraordinary, dynamic, and to some extent miraculous events contributed to this. At the turn of the 19th and 20th centuries, the formation of jazz music took place; it became the brainchild of the cultures of Europe and Africa, a kind of fusion of forms and trends of two continents.

It is generally accepted that the birth of jazz began in one way or another with the import of slaves from Africa to the territory of the New World. People who were brought to one place most often did not understand each other and, as necessary, a unification of many cultures took place, including this due to the merging of musical cultures. This is how jazz was born.

The south of America is considered the epicenter of the development of jazz culture, and to be more precise, it is New Orleans. Subsequently, the rhythmic melodies of jazz smoothly flow into another capital of music, which is located in the north - Chicago. There, night performances were in particular demand; incredible arrangements gave special spice to the performers, but the most important rule of jazz has always been improvisation. An outstanding representative of that time was the inimitable Louis Armstrong.

Period 1900-1917 In New Orleans, the jazz movement is actively developing, and the concept of a “New Orleans” musician, as well as the era of the 20s, comes into use. The 20th century is commonly called the “jazz era.” Now that we have found out where and how jazz appeared, it is worth understanding the distinctive features of this musical direction. First of all, jazz is based on a specific polyrhythm, which relies on syncopated rhythms. Syncopation is a shift of emphasis from a strong beat to a weak one, that is, a deliberate violation of the rhythmic accent.

The main difference between jazz and other movements is rhythm, or rather its arbitrary execution. It is this freedom that gives musicians the feeling of free and relaxed performance. In professional circles this is called swing. Everything is supported by a bright and colorful musical range and, of course, you should never forget about the main feature - improvisation. All this, combined with talent and desire, results in a sensual and rhythmic composition called jazz.

The further development of jazz is no less interesting than its origins. Subsequently, new directions appeared: swing (1930s), bebop (1940s), cool jazz, hard pop, soul jazz and jazz-funk (1940s-1960s). In the era of swing, collective improvisation faded into the background; only a soloist could afford such luxury; the rest of the musicians had to adhere to the prepared musical composition. In the 1930s There was a frantic growth of such groups, which later became known as big bands. The most prominent representatives of this period are considered to be Duke Ellington, Benny Goodman, and Glen Miller.

Ten years later, a revolution in the history of jazz occurs again. Small groups, predominantly consisting of black performers, where absolutely all participants could afford to improvise, were coming back into fashion. The stars of the turning point were Charlie Parker and Dizzy Gillespie. The musicians sought to return jazz to its former lightness and ease, and to move as far away from commercialism as possible. Big band leaders who were simply tired of loud performances and large halls who just wanted to enjoy the music came to small orchestras.

Music 1940-1960s has undergone a colossal change. Jazz was divided into two groups. One was adjacent to classical performance; cool jazz is famous for its restraint and melancholy. The main representatives are Chet Baker, Dave Brubeck, Miles Davis. But the second group developed the ideas of bebop, where the main ones were bright and aggressive rhythms, explosive soloing and, of course, improvisation. In this style, the top of the pedestal was taken by John Coltrane, Sonny Rollins and Art Blakey.

The final point in the development of jazz was 1950, when jazz merged with other styles of music. Subsequently, new forms appeared, and jazz developed in the USSR and the CIS. Prominent Russian representatives were Valentin Parnakh, who created the first orchestra in the country, Oleg Lundstrem, Konstantin Orbelyan and Alexander Varlamov. Now, in the modern world, there is also an intensive development of jazz, musicians are implementing new forms, trying, combining and achieving success.

Now you know a little more about music, and specifically about jazz. Jazz is not music for everyone, but even if you are not the biggest fan of this genre, it’s definitely worth listening to in order to plunge into history. Happy listening.

Victoria Lyzhova

Jazz was born in New Orleans. Most histories of jazz begin with a similar phrase, usually with the obligatory clarification that similar music developed in many cities of the American South - Memphis, St. Louis, Dallas, Kansas City.

The musical origins of jazz, both African American and European, are numerous and too long to list, but it is impossible not to mention its two main African American predecessors.

You can listen to jazz songs

Ragtime and blues

Approximately two decades at the turn of the 19th and 20th centuries saw the brief heyday of ragtime, which was the first type of popular music. Ragtime was performed primarily on the piano. The word itself translates as “ragged rhythm,” and this genre received its name because of the syncopated rhythm. The author of the most popular plays was Scott Joplin, nicknamed the “King of Ragtime.”

Example: Scott Joplin – Maple Leaf Rag

Another equally important predecessor of jazz was the blues. If ragtime gave jazz its energetic, syncopated rhythm, blues gave it a voice. And in the literal sense, since blues is a vocal genre, but primarily in a figurative sense, since blues is characterized by the use of blurred notes that are absent in the European sound system (both major and minor) - blues notes, as well as a colloquially shouted and rhythmically free manner execution.

Example: Blind Lemon Jefferson - Black Snake Moan

The birth of jazz

Subsequently, African-American jazz musicians transferred this style to instrumental music, and wind instruments began to imitate the human voice, its intonations and even articulations. So-called “dirty” sounds appeared in jazz. Every sound should have a peppery quality. A jazz musician creates music not only with the help of different notes, i.e. sounds of different heights, but also with the help of different timbres and even noises.

Jelly Roll Morton - Sidewalk Blues

Scott Joplin lived in Missouri and the first known published blues was called the "Dallas Blues." However, the first jazz style was called "New Orleans Jazz".

Cornetist Charles "Buddy" Bolden combined ragtime and blues, playing by ear and improvising, and his innovation influenced many of the more famous New Orleans musicians who later took the new music across the country, most notably in Chicago, New York, Los Angeles: Joe "King" Oliver, Bunk Johnson, Jelly Roll Morton, Kid Ory and, of course, the King of Jazz, Louis Armstrong. This is how jazz took over America.

However, this music did not immediately receive its historical name. At first it was called simply hot music (hot), then the word jass appeared and only then jazz. The first jazz record was recorded by a quintet of white performers, the Original Dixieland Jass Band, in 1917.

Example: Original Dixieland Jass Band - Livery Stable Blues

The Swing Era - Dance Fever

Jazz emerged and spread as dance music. Gradually, dance fever spread throughout America. Dance halls and orchestras multiplied. The era of big bands, or swing, began, lasting about a decade and a half from the mid-20s to the end of the 30s. Never before or since has jazz been so popular.
A special role in the creation of swing belongs to two musicians - Fletcher Henderson and Louis Armstrong. Armstrong influenced a huge number of musicians, teaching them rhythmic freedom and variety. Henderson created the format of a jazz orchestra with its later division into a saxophone section and a wind section with a roll call between them.

Fletcher Henderson - Down South Camp Meeting

The new composition has become widespread. There were about 300 big bands in the country. The leaders of the most popular of them were Benny Goodman, Duke Ellington, Count Basie, Chick Webb, Jimmy Lunsford, Tommy Dorsey, Glenn Miller, Woody Herman. The orchestras' repertoire includes popular melodies that are called jazz standards, or sometimes called jazz classics. The most popular standard in the history of jazz, Body and Soul, was first recorded by Louis Armstrong.

From bebop to post-bop

In the 40s The era of large orchestras ended quite abruptly, primarily for commercial reasons. Musicians began to experiment with small compositions, thanks to which a new jazz style was born - bebop, or simply bop, which meant a whole revolution in jazz. This was music intended not for dancing, but for listening, not for a wide audience, but for a narrower circle of jazz lovers. In a word, jazz ceased to be music for the entertainment of the public, but became a form of self-expression for musicians.

The pioneers of the new style were pianist Thelonious Monk, trumpeter Dizzy Gillespie, saxophonist Charlie Parker, pianist Bud Powell, trumpeter Miles Davis and others.

Groovin High - Charlie Parker, Dizzy Gillespie

Bop laid the foundations for modern jazz, which is still predominantly the music of small bands. Finally, bop sharpened jazz's constant desire to search for something new. An outstanding musician aimed at constant innovation was Miles Davis and many of his partners and the talents he discovered, who later became famous jazz performers and jazz stars: John Coltrane, Bill Evans, Herbie Hancock, Wayne Shorter, Chick Corea, John McLaughlin, Wynton Marsalis.

Jazz of the 50s and 60s continues to evolve, on the one hand, remaining true to its roots, but rethinking the principles of improvisation. This is how hard bop, cool...

Miles Davis - So What

...modal jazz, free jazz, post-bop.

Herbie Hancock - Cantaloupe Island

On the other hand, jazz begins to absorb other types of music, for example, Afro-Cuban and Latin. This is how Afro-Cuban and Afro-Brazilian jazz (bossanova) appeared.

Manteca - Dizzy Gillespie

Jazz and rock = fusion

The most powerful impetus for the development of jazz was the appeal of jazz musicians to rock music, the use of its rhythms and electric instruments (electric guitar, bass guitar, keyboards, synthesizers). The pioneer here was again Miles Davis, whose initiative was picked up by Joe Zawinul (Weather Report), John McLaughlin (Mahavishnu Orchestra), Herbie Hancock (The Headhunters), Chick Corea (Return to Forever). This is how jazz-rock or fusion arose...

Mahavishnu Orchestra — Meeting Of The Spirits

and psychedelic jazz.

Milky Way - Weather Report

History of jazz and jazz standards

The history of jazz is not only about styles, movements and famous jazz performers, it is also about many beautiful melodies that live in many versions. They are easily recognized, even if they don’t remember or don’t know the names. Jazz owes its popularity and attractiveness to such wonderful composers as George Gershwin, Irving Berlin, Cole Porter, Hoggy Carmichael, Richard Rodgers, Jerome Kernb and others. Although they wrote music primarily for musicals and shows, their themes, taken up by representatives of jazz, became the best jazz compositions of the twentieth century, which were called jazz standards.

Summertime, Stardust, What Is This Thing Called Love, My Funny Valentine, All the Things You Are - these and many other themes are known to every jazz musician, as well as compositions created by the jazzmen themselves: Duke Ellington, Billy Strayhorn, Dizzy Gillespie, Thelonious Monk, Paul Desmond and many others (Caravan, Night in Tunisia, 'Round Midnight, Take Five). This is a jazz classic and a language that unites both the performers themselves and the jazz audience.

Modern jazz

Modern jazz is a pluralism of styles and genres and a constant search for new combinations at the intersections of directions and styles. And modern jazz performers often play in a variety of styles. Jazz is susceptible to influence from many types of music, from avant-garde and folk music to hip-hop and pop. It turned out to be the most flexible type of music.

The recognition of the worldwide role of jazz was the proclamation by UNESCO in 2011 of International Jazz Day, which is celebrated annually on April 30.

A small river, the source of which was in New Orleans, in just over 100 years turned into an ocean that washes the whole world. American writer Francis Scott Fitzgerald once called the 20s. the age of jazz. Now these words can be applied to the twentieth century as a whole, since jazz is the music of the twentieth century. The history of the emergence and development of jazz almost fits into the chronological framework of the last century. But, of course, it doesn't end there.

1. Louis Armstrong

2. Duke Ellington

3. Benny Goodman

4. Count Basie

5. Billie Holiday

6. Ella Fitzgerald

7. Art Tatum

8. Dizzy Gillespie

9. Charlie Parker

10. Thelonious Monk

11. Art Blakey

12. Bud Powell

14. John Coltrane

15. Bill Evans

16. Charlie Mingus

17. Ornette Coleman

18. Herbie Hancock

19. Keith Jarrett

20. Joe Zawinul

Text: Alexander Yudin

Purpose of the lesson: to introduce the features of jazz music.

Lesson objectives:

educational:

• form an idea of ​​the stages of development of jazz music;

developing:

• teach to monitor the development of musical thought based on improvisation;
• practical mastery of polyrhythms, swing;
• jazz terminology

educational:

• to interest students in the beauty of jazz music and the skill of the performers

• verbal;
• visual;
• method of intonation-style comprehension of musical works;
• meaningful analysis of musical works;

Equipment:

• music center, piano, multimedia, sound recordings, lyrics

During the classes

Jazz is the music of overcoming and victory.
Martin Luther King

At the heart of this music is something that can be felt, but cannot be explained.
L. Koller

Musical epigraph: “St. Louis Blues” (W.C. Handy) <Приложение 1 >

Teacher: Are you familiar with this musical genre?

Students: This is jazz.

Teacher: Try to define what jazz is? Light or serious music? Modern or antique? Folk or composer?

Student answers.

Teacher: The American jazz historian B. Ulanov tried to get answers to these questions from recognized musicians of this genre in 1935, and no one was able to give an exact definition. But as a result of the survey, B. Ulanov defined jazz as follows: “This is new music that has a special rhythmic and melodic character and constantly includes improvisation.”

So, we begin our journey to the beautiful, mysterious and unique country of “Jazz”.

Any musical illustration of jazz music sounds

The first settlements of British colonists appeared in North America only at the beginning of the 17th century, but the population grew rapidly. The first (English) wave of emigration was followed by others. Germans, Dutch, Swiss, and French Huguenots began to come to the future United States of America, turning the colonies into a huge “ethnic cauldron.”

When America became a refuge for those persecuted from the Old World, the music that was heard in Europe ended up with them in the New World: biblical psalms, harsh hymns of England, ancient Scottish ballads, Italian madrigals, and Spanish romances. As a result, the music that crossed the ocean was, as it were, mothballed and became an echo of old Europe. There was no novelty in it.

Slave ships, carrying “living black cargo” in their holds, also brought the innate rhythmic genius of the blacks, the treasures of African polyrhythm, the thousand-year-old art of drumming ( listening to examples of polyrhythms on percussion instruments).

Let's try and combine several simple rhythmic patterns into a single whole.

Students: repeat various rhythmic patterns in groups, later combining them.

Teacher: In addition to the rhythm, the Europeans were fascinated by the manner of singing of the Africans - the whimsicality of the solo voices, which the choir echoes: call and response. Solo improvisation merges with choral improvisation, singing - with shouts and sighs, the voices are passionate and piercing.

“Let them howl,” the white overseers condescended to the blacks’ singing.

“Let them howl,” the slave-owners-planters also condescended. - After all, slaves have nothing but shacks, palms, empty boxes, boards, cans and sticks. Let them sing and knock, it’s not dangerous.”

The great American jazzman Duke Ellington said: “Fearing the silence of black slaves, slave owners forced them to sing, wanting to prevent them from talking, and therefore conspiring on plans for revenge and rebellion.”

And unusual songs floated over the Southern States: piercing, more like commands that were supposed to make backbreaking work easier. Such songs would later be called “hollers” - “screams songs”.

<Picture 1>

<Figure 2>

Converting black slaves to Christianity, American priests did not have much difficulty convincing illiterate people that all earthly torments were sent by God, and that for this torment they would receive heavenly bliss after death. But the singing of religious psalms could not turn the newly converted Christians into humble and obedient ones. Vice versa. Religious chants seemed to explode with the passionate and infectious rhythm of the blacks. In small churches of the American South, different songs sounded: a singer or singer, improvising on biblical themes, asked God: “Where is the way out?” The soloist boldly asked questions, the choir sometimes answered for God, the parishioners filled the church with clapping hands, stamping their feet to the beat, and striking tambourines. And this hot, sharp, rhythmic music evoked a feeling of unity, an uplift of strength and spiritual ecstasy.

This is how the Negro spiritual songs “Spirituals” appeared, in which the singer spoke to God as an equal, conjuring him to come down to earth and punish the evil and cruel. Music gave people back their self-esteem.

Spirituals went beyond the church and the first concert in which this music was performed took place in 1871.

Mahelia Jackson is rightfully considered one of the best performers.

<Figure 3>

Sounds like spirituals “The Lord's Prayer” performed by M. Jackson<Приложение 2 >

Teacher: How did you feel? What is the singer telling us about? Can we classify this work as light music?

Student answers.

Teacher: Now let's listen to another piece.

Sounds performed by Louis Armstrong

< Figure 4>

Can this work be classified as a spiritual genre?

Sounds “Sometimes I Feel Like a Motherless Child” performed by Nemov E.N. (guitar)

What changed? Which performance did you like best and why?

Teacher: Do you think spirituals are jazz?

Student answers.

Teacher: Spirituals were the harbingers of new music. But its main source was the blues, confessional songs, which contained everything that made up the life and misfortune of their creators: deceived love and separation; longing for a home that is not there; hatred of slavish backbreaking work; eternal poverty, lack of money, hunger - everything could become the blues. In the 30s, the “father of the blues” William Christopher Hendy said: “The blues is our history, the answer to where we came from and what we experienced. The blues grew out of our humiliation and need, out of our hopes.”

By the beginning of the 20th century, a certain form of blues had developed:

The poetic text is three-line, in which the first line is repeated:

I became homeless - it would be better to die,
I became homeless - it would be better to die,
There is no more place in the world where I can warm my heart.

Each phrase (short melodic sentence) is 4 measures. There are 12 bars in total, which makes up the classic jazz “square”.

Louis Armstrong has one old song that is included in all the best albums: "Black and Blue". <Приложение 3 >

The name can be translated as “black and sad”.

Try to feel the mood of the music.

Student answers.

My only sin is that I am black.
What will I do? Who will help me?
I'm so humiliated
I'm so offended
And all because I'm black...

Did you pay attention to what instruments sounded?

When do you think purely European instruments could have appeared among illiterate slaves?

Student answers.

Teacher: When the Civil War ended in 1865, military band musicians returned home, and many cheap brass instruments appeared in second-hand stores. They were so cheap that even very poor people could buy them. This is how the first black brass bands appeared, in which the musicians did not know the notes, but played so skillfully that it seemed as if the instruments had become an extension of their voice.

Let's listen to another blues: “Royal Garden Blues” (C.Williams).

Pay attention to the sounding instruments and name them.

Students: trumpet, clarinet, trombone and percussion group sound: drums, double bass, rhythm - guitar, piano.

Teacher: This composition of the orchestra belongs to the earliest style of jazz, which was liked not only by blacks, but also by the “pure” white public. At that time, funny paddle steamers sailed along the Mississippi, on which small black orchestras always played. New music spread further and further, their repertoire became more interesting and varied. And now “white” orchestras began to play black music, but they really didn’t want them to be confused, and then they came up with the idea of ​​adding the word “Dixieland” to the name of the orchestra, which was supposed to mean that only white musicians played in the orchestra.

We can listen to what one of the first such orchestras sounded like: Original Dixieland Jass Band- a New Orleans jazz band that recorded the first-ever jazz record in 1917.

< Рисунок 5>

“Down in Old New Orleans” (listening to fragment)

The orchestra included: drums, trombone, cornet, clarinet, piano.

Very little time passed and orchestras began to unite musicians not by skin color, but by skill, the ability to improvise, which is an integral part of the professionalism of a jazzman.

And he predicted that new blues would appear and new singers would come: both black and white. A new movement of black music will appear - rhythm and blues.

Teacher: Now the time has come to try to perform a song that is very close in style to jazz music. Let's learn “Old piano”(music by M. Minkov, art by D. Ivanov) from the movie “We are from Jazz.” (Vocal and choral work on the song).

Teacher: We will continue our conversation about the further development of jazz in the world and in our country in the next lesson. Thank you for your work!

Literature

1.L.Markhasev. In a light genre.

2. G. Levasheva. Music and musicians.

3. V. Konen. The birth of the blues.

4. Video “History of Jazz”

Jazz is a direction in music characterized by a combination of rhythmicity and melody. A separate feature of jazz is improvisation. The musical direction gained its popularity due to its unusual sound and the combination of several completely different cultures.

The history of jazz began at the beginning of the 20th century in the USA. Traditional jazz was formed in New Orleans. Subsequently, new varieties of jazz began to emerge in many other cities. Despite all the variety of sounds of different styles, jazz music can be immediately distinguished from another genre due to its characteristic features.

Improvisation

Musical improvisation is one of the main features of jazz, which is present in all its varieties. Performers create music spontaneously, never thinking ahead or rehearsing. Playing jazz and improvising requires experience and skill in this area of ​​music-making. In addition, a jazz player must remember rhythm and tonality. The relationship between the musicians in the group is of no small importance, because the success of the resulting melody depends on understanding each other’s mood.

Improvisation in jazz allows you to create something new every time. The sound of music depends only on the inspiration of the musician at the moment of playing.

It cannot be said that if there is no improvisation in a performance, then it is no longer jazz. This type of music-making was inherited from African peoples. Since Africans had no concept of notes and rehearsal, music was passed on to each other only by memorizing its melody and theme. And each new musician could already play the same music in a new way.

Rhythm and melody

The second important feature of the jazz style is rhythm. Musicians have the opportunity to spontaneously create sound, as the constant pulsation creates the effect of liveliness, play, and excitement. Rhythm also limits improvisation, requiring sounds to be produced according to a given rhythm.

Like improvisation, rhythm came to jazz from African cultures. But it is precisely this feature that is the main characteristic of the musical movement. The first free jazz artists abandoned rhythm completely in order to be completely free to create music. Because of this, the new direction in jazz was not recognized for a long time. Rhythm is provided by percussion instruments.

Jazz inherited the melody of music from European culture. It is the combination of rhythm and improvisation with harmonious and soft music that gives jazz its unusual sound.

JAZZ. The word jazz, which appeared at the beginning of the 20th century, began to denote a type of new,

music that sounded then for the first time, as well as the orchestra that played this music

performed. What kind of music is this and how did it appear?

Jazz arose in the USA among the oppressed, disenfranchised black population,

among the descendants of black slaves who were once forcibly taken from their homeland.

At the beginning of the 17th century, the first slave ships with live animals arrived in America.

cargo. It was quickly snapped up by the rich of the American South, who became

use slave labor for heavy labor on their plantations. Torn off

from their homeland, separated from loved ones, exhausted from overwork,

black slaves found solace in music.

Blacks are amazingly musical.

Their sense of rhythm is especially subtle and sophisticated.

In rare hours of rest, the blacks sang, accompanying themselves by clapping their hands,

hitting empty boxes, cans - everything that was at hand.

In the beginning it was real African music. The one whom the slaves

brought from their homeland. But years and decades passed. In the memory of generations

Memories of the music of the country of our ancestors were erased. All that remained was spontaneous

thirst for music, thirst for movement to music, sense of rhythm, temperament. On

the ear perceived what was sounding around - the music of the whites. And they sang

mostly Christian religious hymns. And the blacks also began to sing them. But

sing in your own way, investing in them all your pain, all your passionate hope for

a better life, at least beyond the grave.

This is how Negro spiritual songs arose

spirituals.

work, about disappointed hopes.

Blues singers usually accompanied

yourself on some homemade instrument. For example, they adapted

neck and strings for an old box.

Only later were they able to buy for themselves

real guitars.

Blacks loved to play in orchestras, but even here the instruments had to be

invent yourself. The work involved combs wrapped in tissue paper, veins,

stretched on a stick with a dried pumpkin tied to it instead of a body,

washboards.

After the end of the Civil War of 1861 - 1865, the United States was dissolved

brass bands of military units. The instruments that remained from them ended up in

junk shops where they were sold for next to nothing. From there the blacks finally

were able to get real musical instruments. began to appear everywhere

black brass bands.

Coal miners, masons, carpenters, peddlers in

in their free time they gathered and played for their own pleasure. Were playing

for any occasion: holidays, weddings, picnics, funerals.

Black musicians played marches and dances. They played, imitating the manner

performances of spirituals and blues - their national vocal music. On

with their trumpets, clarinets, and trombones they reproduced the features

Negro singing, its rhythmic freedom. They didn't know the notes; musical

white schools were closed to them. Played by ear, learning from experienced

musicians, listening to their advice, adopting their techniques. Same for

composed by rumor.

As a result of the transfer of Negro vocal music and Negro rhythm to

In the instrumental sphere, a new orchestral music was born - jazz.

The main features of jazz are improvisation and freedom of rhythm,

free breathing melody.

Jazz musicians must be able to improvise

either collectively or solo against the background of a rehearsed accompaniment. What

concerns jazz rhythm (it is denoted by the word swing from the English swing

Swinging), then one of the American jazz musicians wrote about it like this:

"It's the feeling of inspired rhythm that makes musicians feel

ease and freedom of improvisation and gives the impression of unstoppable movement

the entire orchestra forward at an ever-increasing speed, although

white musicians. The names of outstanding jazz masters are known to everyone. This is Louis

Armstrong, Duke Ellington, Beni Goodman, Glen Miller. This is the singer Ella

Fitzgerald and Bessie Smith.

Jazz music influenced symphonic and operatic music. American composer

George Gershwin wrote "Rhapsody in Blue" for piano with

orchestra, used elements of jazz in his opera Porgy and Bess.

There are jazz in our country too.

The first of them arose back in the twenties. This

there was a theatrical jazz orchestra conducted by Leonid Utesov. On

For many years the composer Dunaevsky linked his creative destiny with him.

You've probably heard this orchestra too: it sounds cheerful, until now

since the successful film "Jolly Fellows".

Unlike a symphony orchestra, jazz does not have a permanent composition. Jazz

It is always an ensemble of soloists. And even if by chance the compositions of two jazz

collectives will coincide, after all, they cannot be completely identical: after all, in

In one case, the best soloist will be, for example, a trumpet player, and in another it will be