The other instruments provide the harmonicrhythmic

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Unformatted text preview: n 1973, he formed a fusion group called the Headhunters, a group that was to become one of the most commercially successful fusion groups. Various fusion efforts continued into the 1980s by musicians such as Sting, Joni Mitchell, and Pat Metheney. In addition to fusion derived primarily from incorporating rock elements, there were also fusion efforts incorporating other stylistic traditions. One of the most popular trends merged jazz idioms with Classical music characteristics. The connection between Classical music and jazz was of course not new. For example, as early as 1934, Duke Ellington had created his Ebony Rhapsody on a piece by Liszt, and later composed entire suites on the music of Grieg and Tchaikovsky. But in the 1970s, this kind of stylistic collaboration found renewed popularity. 16 Crossroads: Music of American Cultures (Barkley) Kendall Hunt Publishers, 2013 One example was Eumir Deodato, who arranged Richard Strauss’ tone poem, Also Sprach Zarathustra using jazz idioms. Another was the Frenchman Claude Bolling’s very popular Suite for Jazz Flute and Piano released in 1975. Other musicians used classical attributes rather than classical pieces themselves, such as Keith Jarrett’s use of classical composition techniques and Chuck Mangione’s integration of a large orchestra playing in a jazz style. The 1980s and 90s: Classicism, Smooth or Contemporary Jazz, and Acid Jazz During the 1980s, there appeared to be a rejection of the loud, amplified fusion efforts and the esoteric complexity of avant- garde styles in favor of a return to earlier jazz styles. One example of this renewed interest in the past was Natalie Cole’s enormously popular album Unforgettable, released in 1991, in which she sang the jazz standards made famous decades earlier by her father, Nat King Cole. On a more general basis, classicism manifested itself in a revival of swing music and bop (sometimes described as “Post Bop” or “Bop Revival”). Younger musicians, such as the trumpeter Wynton Marsalis, attempted to recapture the clean harmonies and crisp technique of prior jazz greats. This new veneration for the past also provided the means for older musicians who had been working for decades in relative obscurity to become the...
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This document was uploaded on 02/16/2014.

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