Jazz. Body and soul PDF

This page uses frames but your browser does not support them. Jump to navigation Jump to search For a music streaming service, see Groove Music. Funk music such as the type performed by groups like Parliament Funkadelic uses catchy electric bass lines and drum patterns to create a propulsive, emphatic rhythmic “feel” that is jazz. Body and soul PDF referred to as a “groove”.

Författare: Bob Willoughby.

West Coast, anni ’50: un’epoca di giovinezza, esuberanza e cambiamento. Mai ciò fu più evidente che nella musica che si diffondeva dalla scena jazz californiana.Prima di diventare famoso come cronista delle star di Hollywood, il fotografo Bob Willoughby aveva realizzato una stupefacente serie dedicata a questi musicisti fondamentali della scena jazz. Mentre lavorava di notte nella camera oscura allestita nel suo garage per evitare le infiltrazioni di luce, con la radio a tutto volume, Willoughby ascoltava tutti i grandi dell’era d’oro del jazz. Se sentiva una trasmissione live da un locale nelle vicinanze, lasciava tutto e si precipitava, fotocamera alla mano, per immortalare l’evento. Willoughby apprezzava enormemente il jazz, sia per gli aspetti tecnici sia per l’entusiasmo che comunicava durante le performance. Possedeva la magistrale capacità di comprendere il carattere dell’artista, e riusciva a comunicarlo anche nelle peggiori condizioni di illuminazione degli studi di registrazione e del palcoscenico.In Jazz: Body and Soul troverete immagini impareggiabili degli artisti più famosi dell’epoca — Miles Davis, Louis Armstrong, Chet Baker, Gerry Mulligan, Billie Holiday — e fotografie inedite di performance ispirate come della tensione del backstage, accompagnate dalle meomorie personali di Willoughby. Una visione di prima mano di come fosse trovarsi là, essere parte di ciò che il figlio di Dave Brubeck, Darius, definì: “l’inizio dell’al di là.”

In music, groove is the sense of propulsive rhythmic “feel” or sense of “swing”. In jazz, it can be felt as a persistently repeated pattern. Characteristic rock groove: “bass drum on beats 1 and 3 and snare drum on beats 2 and 4 of the measureadd eighth notes on the hi-hat”. From a broader ethnomusicological perspective, groove has been described as “an unspecifiable but ordered sense of something that is sustained in a distinctive, regular and attractive way, working to draw the listener in. Like the term “swing”, which is used to describe a cohesive rhythmic “feel” in a jazz context, the concept of “groove” can be hard to define. Marc Sabatella’s article Establishing The Groove argues that “groove is a completely subjective thing. He claims that “one person may think a given drummer has a great feel, while another person may think the same drummer sounds too stiff, and another may think he is too loose.

In a musical context, general dictionaries define a groove as “a pronounced, enjoyable rhythm” or the act of “creat, danc to, or enjoy rhythmic music”. When the musical slang phrase “Being in the groove” is applied to a group of improvisers, this has been called “an advanced level of development for any improvisational music group”, which is “equivalent to Bohm and Jaworski’s descriptions of an evoked field”, which systems dynamics scholars claim are “forces of unseen connection that directly influence our experience and behaviour”. Turry and Aigen cite Feld’s definition of groove as “an intuitive sense of style as process, a perception of a cycle in motion, a form or organizing pattern being revealed, a recurrent clustering of elements through time”. The “groove” has been cited as an example of sensory-motor coupling between neural systems. Sensory-motor coupling is the coupling or integration of the sensory system and motor system. The “groove” is also associated with funk performers, such as James Brown’s drummers Clyde Stubblefield and Jabo Starks, and with soul music. A concept similar to “groove” or “swing” is also used in other African-American genres such as hip hop.

Flow is as elemental to hip hop as the concept of swing is to jazz”. In some more traditional styles of jazz, the musicians often use the word “swing” to describe the sense of rhythmic cohesion of a skilled group. However, since the 1950s, musicians from the organ trio and latin jazz subgenres have also used the term “groove”. Jazz flute player Herbie Mann talks a lot about “the groove. In Jamaican reggae, dancehall, and dub music, the creole term “riddim” is used to describe the rhythm patterns created by the drum pattern or a prominent bassline.