Charlie Parker began playing the alto saxophone from the age of 11. Gradually, his music lessons so captivated him that at the age of 15 he finally abandoned school and started performing with a youth band, playing at parties and clubs. At that time, musicians could entertain the public night after night, receiving for their work a little more than a dollar. But such practice gave invaluable experience in improvisation. That’s when Charlie got his first nickname Yardbird (Yardbird), which in army slang meant “recruit”, in general – a newcomer, a green bird. But this rookie persevered in pursuit of his dream, exercising 15 hours a day.

In 1938, eighteen-year-old Parker joined the band of jazz pianist Jay McShann (Jay McShann), with whom he worked for several years, touring cities in the American Southwest, as well as performing in Chicago and New York. His first professional recordings as part of an ensemble also date to this time.

New York and bebop

In early 1939, Charlie Parker moved to New York City. Here’s how Billy Eckstine recalls his first appearance on stage at a New York club: “When that ragamuffin played, we all jumped to our feet. Of course, it was Parker. He had, indeed, just arrived by freight train straight from Kansas City. I don’t think he was more than 18 years old at the time; he was, however, already playing the viola like no one else.” * That’s how the “young bird” grew up to become a real Bird – at which time Charlie Parker’s nickname became his middle name – Bird.

However, it was not enough for Bird to master the instrument perfectly, performing the usual jazz arrangements. He was on a constant quest to express the music that was constantly playing in his head. Recalling that time, he said in an interview, “It was December, 1939. I was tired of the stereotypical playing techniques that were used everywhere at that time, and I often thought that the music must be something different. Sometimes I could already hear it in myself, but I didn’t yet know how to grasp and play it.

Parker was not alone in his vision of a new jazz. Young musicians who were honing their skills in the nightclubs of New York City – the dizzying trumpeter Dizzy Gillespie, the virtuoso pianist Thelonious Monk, the frenetic drummer Kenny Clarke – were searching in the same direction. Parker met Dizzy Gillespie in 1942 in Earl Hines’ orchestra, where he had left after working for McShann. This acquaintance introduced him to a circle of like-minded musicians and inspired groundbreaking work together.

New music, or modern-jazz, as progressive musicians themselves called it at the time, was born on the small stages of nightclubs in Harlem. The most famous of these were Clark Monroe’s Uptown House and Minton’s Playhouse. In those days, any musician could come to a club after work and play whatever he or she wanted, and for the most part the audience had little interest in what was happening on stage.

But gradually from these daring searches crystallized something new, in keeping with the spirit of the time – a direction that later became known as bebop. (According to one version of this word was born from the sound imitation, which expressed the most favorite interval course at that time – the descending diminished quinta.) This music with short energetic phrases, devoid of the usual melody, sharp impulsive transitions, characteristic broken rhythm was unfamiliar to the general public, difficult to perceive. Out of 20 people who heard it, 15 remained in bewilderment. However, as time went on, she won more and more fans.

In 1944, Parker with Gillespie and a group of like-minded people organized their own small ensemble, which became the first group to perform bebop. Over the next few years, Parker made a series of classic recordings with Red Norvo, with Gillespie’s quintet (Salt Peanuts and Shaff Naff), and his first solo recording (Billie’s Bounce, Now’s the Time, Koko). The new music was controversial, but it also attracted audiences.

All that remains after …

In the early 1950s came a very difficult period in the musician’s life. However, he never stopped experimenting. Charlie Parker made some excellent studio recordings with string bands. His interests at this time go beyond jazz, he begins to be interested in classical music. Here’s what he had to say about it: “The first was Stravinsky’s Firebird Suite. I heard the folk language of the streets and I was mesmerized. I just lost my head. I think Bartok will also become my favorite composer. I like all modern composers, but I also love the classics – Bach, Beethoven, etc. “* He wanted to take lessons from the composer Edgar Varèse. However, the plans were not destined to materialize.

Bird died on March 12, 1955, before thirty-five years.

The post Legends of Jazz appeared first on JZaimont.

Protest Music: “The Times They Are A-Changin’.”

Bob Dylan became known as one of the leading voices of the civil rights movement and protests against the Vietnam War. His songs such as “Blowin’ in the Wind” and “The Times They Are A-Changin'” became anthems for millions seeking change and justice. Dylan’s lyrics reflected the spirit of the times and evoked public condemnation of injustice and inequality.

Evolution of style: from folk to rock

One of the key aspects of Bob Dylan’s work is his ability to change and innovate. He began his career as a folk musician but then switched to rock music, which caused some resentment from his folk fans. However, this change of styles opened new horizons for Dylan and confirmed his status as one of the most influential musicians of his time.

The personal and the universal: Dylan’s music

Although many of Bob Dylan’s songs have a strongly political context, his music also touches on more personal and universal themes such as love, loss, death and faith. His lyrics are often considered poetic and deeply emotional, making them relevant across generations and cultures.

Bob Dylan’s Legacy

Bob Dylan’s legacy extends far beyond his own career. His music and lyrics continue to inspire musicians and activists around the world, and his impact on culture remains undeniable. Awarded the Nobel Prize for Literature in 2016, Bob Dylan continues to be one of the most important and significant voices of our time.

Conclusion

Bob Dylan is more than just a musician, he is an icon who symbolizes the power and authority of music as a means of expression, protest, and true art. His musical legacy remains relevant and important, and his voice continues to resound in the hearts of millions around the world.

The post About Bob Dylan Protest Music and Beyond appeared first on JZaimont.

He was one of the greatest, most talented and emotional black musicians the world has ever known. Genius, virtuoso, innovator – such epithets have been bestowed upon Johnson by generations of musicians around the world. His legacy is immense because, in addition to his pioneering (for his time) approach to the blues, he unknowingly laid the foundations for the development of rock ‘n’ roll and, indirectly, for many of the subsequent musical movements derived from it.

An important event in terms of Johnson’s biography were the concerts of Son House, one of the Delta’s most talented bluesmen, who lived in Robbinsonville around 1930 and whose performances Robert was able to observe. With him and his friends, including: Willie Brown Johnson began taking guitar lessons. Unfortunately, according to the recollections of people who knew him at the time, he was a terrible, untalented musician. Some blues scholars said the death of his first wife was divine punishment because he sang about “selling his soul to the devil.”

When Robert remarried in 1931, he continued to play and even began to have some success. And that marriage didn’t last long, ending in another tragedy. His second wife also died prematurely. In this context, “divine punishment” took on a completely different meaning … His further fate, or rather, attempts to reconstruct it, looks more like a story told around a campfire than the biography of an exceptional musician.

Traveling blues

Johnson began traveling. He spent some time in Martinsville, not far from where he was born. There he allegedly searched for his biological father. There he also met Isaiah “Ike” Zimmerman, who was rumored to have acquired his talent supernaturally by learning to play guitar in cemeteries after dark.

Interestingly, when Johnson left his hometown, he boasted sensational guitar skills unlike any other bluesman’s style at the time, yet deeply rooted in the roots of black music from the Delta. It was then that various dark rumors began to circulate about Johnson, fueled by his songs such as “Cross Road Blues,” “Me and the Devil Blues,” “Hell Hound On My Trail” and “Preachin’ Blues (Up Jumped The Devil).

Having acquired an unrivaled talent, Robert hit the road as he had dreamed of in his youth. He visited, among other places: New York, Chicago, St. Louise, where he played in popular blues clubs. But mostly he wandered from town to town in the Mississippi Delta or Arkansas, playing on street corners, in run-down dance halls frequented only by blacks at Saturday night dances.

Studio recordings

Ever since Johnson picked up a guitar, he dreamed of perpetual wanderlust and studio recordings. At the time, something like that elevated a black musician in the hierarchy and meant significant success, even if it was with a small label behind it.

His first studio recordings took place November 23-25, 1936, in room 414 of the Gunter Hotel in San Antonio. He recorded a total of sixteen songs and almost as many alternate versions. What was interesting was the way Robert supposedly recorded – sitting with his instrument in the corner of the room, facing the wall. Fans claimed this was a result of his shyness, but, blues music connoisseurs are certain, it was done to achieve a specific guitar sound called “corner loading.”

Subsequent recordings took place in Dallas on June 19-20, 1937, at a makeshift Vitagraph studio owned by Warner Bros. There Johnson recorded 11 songs, each twice in different versions.

The post Blues on the Devil’s strings appeared first on JZaimont.

From childhood, Louis showed an interest in music and learned to play the cornet. He began performing on the streets of New Orleans as a street musician and soon joined various groups of jazz musicians.

In 1922, Armstrong moved to Chicago and joined King Oliver’s band. Here he became known for his solo performances and influential cornet playing, leading to his nickname “Cutchin’ the Kid”.

During the 1920s, Louis Armstrong developed his own unique style of cornet playing and became one of the most popular and sought-after jazz musicians in the United States. He recorded many hits, including “West End Blues,” “Potato Head Blues,” and “Struttin’ with Some Barbecue.”

In the 1930s, Louis Armstrong began working with a solo repertoire and began appearing on radio and television. He also embarked on an acting career, appearing in several films.

During World War II, Armstrong toured Europe, performing for U.S. troops and becoming one of the symbols of the U.S. fight for freedom. His popularity continued to grow in the 1950s, and he continued to record and perform on stage.

In the 1960s, Louis Armstrong became even more famous for his recordings with singer Ella Fitzgerald and for his song “What a Wonderful World,” which became one of his most famous works.

In 1971, Louis Armstrong died at the age of 69 from complications caused by a heart attack. His death was a great loss to the world music scene.

However, Louis Armstrong’s legacy lives on to this day. He had a huge impact on the development of jazz and became a legend of the genre. His unique style, vivid improvisations and magnificent voice left an indelible mark in the history of music.

Today Louis Armstrong is not only a musician, but also a symbol of the struggle for equality and freedom. His performances in difficult times for America helped people to believe in a better future and to continue the fight for their rights.

Although Louis Armstrong passed away more than half a century ago, his music continues to resound and inspire new generations of musicians. And his name remains legendary in the world of jazz and culture in general.

The post Life and legacy of Louis Armstrong appeared first on JZaimont.