Keep in mind that I do not want to write an accurate history of jazz. There are lots of authors out there, who’ve done a better job on that issue than I’ll ever do, like the contributors on wikipedia did: History of Jazz . I’m also not preaching (or trying to preach) some kind of truth. It’s just my temporary view on this interesting theme.

As I dig into my personal record case, I find a very helpful series of Jazz records to explain what I mean. For the lovers, it’s the Jazz Spectrum, released on Metro Records.

As you listen to Slim Gaillaird – Opera in Vout (recorded for Metro in 1946) then you feel that back in the days, Jazz was a way to laugh your stress off. It’s a live recording, and you can hear that he jokes around with his public while playing his pieces. The technical skills weren’t the highest goods and in one way or another I feel like he’s some kind of a comedian who plays with language combined with sound (the sound is also part of the humour!). Hans Teeuwen, known for his humoristic abilities and love for jazz has also made use of this technique, together with his friend Smeenk, during their performance at the finals of ‘Camaretten’.

I’d like to continue with Bob Scobey’s Band – On revival Day (recorded for Metro in 1956) a Dixieland classic in original occupation. The structure of the song is quite similar to pop and the solo’s aren’t as prominent and technical as in bebop or cool. Although, when this was recorded, pop was just a little kid. But I think Dixie has a quite big influence as it comes to structure in pop. If you listen to Jimi Hendrix’ Purple Haze, you have more or less the same structure (intro – verse – chorus – solo,…). Only difference, Jimi’s solos are way more prominent, haha.

More sophisticated it gets when you get overwhelmed by Lionel Hampton Big Orchestra – Flying Home (recorded for metro in 1955). You still hear the original structure but the tracks get longer, the band bigger (Big Band, you know ;) ) and the solo’s more exclusive. You can hear a really strong piece of arranging in this piece, what is required to make the eighteen(!) musicians sound good together. And how did it influence modern day music? Not simple, they’ve been a great source of inspiration for a lot of music, but I’d like to refer to Rumble Jungle Orchestra’s Funky Ali (unreleased) who use the force of a Big Band to cross over to other ‘genres’. I want to point out the typical funk break, what has a similarity like the up-tempo swing rhythm, I guess.

Speaking about Jungle, take a listen to Ella Fitzgerald – Clap Hands Here Comes Charlie (recorded for Metro, 1962). Although the music is quite complex, ‘the beat’ gets more minimal, the tempo goes faster (we’re evolving towards bop), and the singing is also of a very high standard, what reminds me (it may sounds strange) of Roni Size’s – Brown Paper Bag. Singing/rapping over a quite interesting instrumental. On this tracks, the raps are also more or less basic (instead of some complex Hip-Hop rhymes). The way I see it, Jazz has created some possibilities.

Still floating on the Jungle vibe, I’d like to focus on the groove, making use of Lionel Hampton’s Jazz Gigants – Plaid (recorded for Metro in 1955). The singing is gone (but not forever ;) ), but the tracks where coming to very complicated and technical structures, in a looser setting than the Big Band. Improvisation lifts of and you almost only hear solo’s and a chorus. The drummer plays a smooth groove, the other musicians weave their contributions over it. To me, it sounds very much like a trip, and makes me think of instrumental electronics, like Printempo’s Subways are for Sleeping, in that track it aren’t the ‘solo’s’ (however) I refer to, but, you know, the groove.

And then I’d like to make a switch to Jimmy Smith – Got my Mojo working (recorded for Metro, undated). What’s notable for this work, is that the band is smaller. There’s only one soloist, who defines the whole piece. The other musicians are some kind of servants, who play the groove, for Smith to shine. This reminds me off rap, where the rapper shows his skill, supported by the beat. Put on The Herbaliser (ft. What What) – New + Improved and I guess you’ll hear what I mean.

For another example in this category I want to show you Wes Montgommery – Bumpin’ on Sunset (recorded for Metro, undated). You also have the relative little band, which’s serving Montgommery in order to express his technical skill. The difference with Smith is that he cooperates more with his band, hear able in the details. Here you definitely a strong link with Turntablism, where the turntablist takes the spotlights and the beat is even more minimalistic as what we’ve seen with Fitzgerald. Compare this with Rob Swift’s – Itchy Vibes and Drums and search for the audible details. It are those details who finish the track and make it work.

And as we progress, we come closer to the end (man, how can I predict that?), but I’m not finished yet. But for these last one’s I’d like to leave the Metro series alone and place the needle on Art Ensemble Of Chicago – Old Time Religion (from the Souljazz Records compilation ‘Freedom, Rhythm and Sound’ in 2009). I’m also referring to Hip-Hop here, but not in a musical way. It must be said that this way of asking attention for a serious problem, didn’t disappear with the civil rights movement. Theoretically the segregation has ended, but if you listen to Oh No’s – Every Section you’ll hear that it’s only theoretically. (note: for more on this issue, check out Louis Theroux’ documentary about Philladelphia via Google Video’s)

And now for something completely different. This tune: The Modern Jazz Quartet – Bag’s Groove (recorded for Atlantic in 1975) is quite similar to what Hampton did, but the combination of instruments is different. You hear that there’s more and more experiment in the sound and swing (it’s not a pure groove, however, check the bass solo). That’s where Ray Manzarek (organist of The Doors) wanted to go. Check out The Doors – Riders on the Storm and listen to there jazz influenced way of making music.

The last sentence above, explains where I want to go. As last record I’ve chosen Milkshake Banana – Sweet ‘n Sour (recorded for Jazz Hoeilaart Festival at Harry’s Fonoplatencentrale 1979). We lost the swing as ingredient for Jazz music, it shows to me that crossing over is reality, not an utopia. I want to compare this with another jazz track, Tied and Tickled Trio – Revolution, embracing dub music into their tracks. I think that the connection is clear and I also want to tell you that this track is one of my personal influences to go dare the borders of music (as if there are borders J )…

Now, I don’t know if you agree with my text, but to conclude, what I was trying to tell, is that Jazz isn’t a genre to me, it’s a way of looking to music. This information is far from complete; the text is just a start to reflect on music. There are tons and tons of other stuff out there and I forgot to mention so many things.

But, I hope you liked it, if you have an opposing view, contributions, etcetera, please let me know, cause thinking about and listening to isn’t a one mans job.

(Oh boy, Oh boy!)

Ward

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