History of Jazz Fusion. Social Changes and Jazz Fusion - Essay Example

?Introduction The artistic advances and expressions which take place in different time frames occur for a specific intent. When looking at the jazz fusions of the 1960s and 1970s, it can be seen that there is a direct relationship to both the expression of artistic advancement as well as the commerce which is associated with this. The combination of both intents by the various artists is one which has created several formulas for jazz fusion and has led to different sounds as well as new commercial opportunities for musicians. The formats and the interest which is surrounding this continues to remain as a main initiative with the idea of jazz and the promotion of specific formulas which can be used for higher interest among individuals who enjoy this particular expression of music. History of Jazz Fusion The propagation of jazz in the 1960s and the 1970s was associated with changes which were occurring in music during the time. Traditionally, jazz was known as an experimental style and was based on improvisation. However, the jazz form was constructed as the foundational movement with the ability to add in extra components to this. The construction of the jazz tradition was based first on the social roots, which was inclusive of innovation and experimentation as the basis of the art. The styles and periods that were before this time began with the blues, which emerged into swing, free jazz and jazz be-bop. Each of these related to finding a diverse way of expression, moving into improvisation that would be accepted and looking at more complex ways of examining style and expression. By looking at these components, there was the ability to create a different understanding and progression of jazz and the meanings which it held in contemporary society (DeVeaux, 1991: pg. 525). The historical aspects of jazz that led to the jazz – fusion of the 1960s was also inclusive of historical associations with popular culture of the time as well as the jazz culture that was well – known. The ideal of innovation, progression and the invention of new sounds was a part of the foundational formula of jazz. However, the 1960s and 1970s began to move into these formulas not only as aspects of experimentation, but also moved into the ability to change the styles according to the sounds that were common during the time. This stayed in line with the jazz tradition and was able to tap into the cultural styles that were beginning to form in the contemporary society, such as rock and roll as well as pop. The concept of American jazz and the several branches which grew from this emerged during this time, specifically in light of the innovation and foundational ideologies of experimentation that were a part of jazz (Peretti, 1997: p. 35). Social Changes and Jazz Fusion Another aspect which was changing the way in which jazz was presented in society was from the cultural and social affiliations with music. During this time frame, jazz was known to be at a crossroads. There were traditions of jazz which were well – known to many; however, these were considered classics and often couldn’t be expressed in the same way. Repeating the same expressions in jazz through the traditional forms and the blues elements became one which didn’t work with the needs for jazz. At the same time, there was an emergence of cultural and social expressions that were based on diversity of thought as well as a changing ethnic identity within the culture. The traditions of music began to form within the culture as the main association of identity and were expanded on to reach specific groups who could best relate to these ideologies. The social movements were then a part of the jazz expressions and fusion that became a part of this time frame (Barkley, 2007: 6). The concept of creating a new sense of identity was one which jazz formed specifically because of social movements and the relationships which could be created. The Civil Rights Movement, aspects of free expression and the liberty to expand on various forms of ideals were the main concepts that began to take place with the jazz fusion. The concept was to create several languages and sounds which many could associate with while trying to overcome the sounds of classical jazz and the jazz of the past. To do this, the requirements were to go outside of the limits of the current jazz and to begin forming a different alternative to the music. The jazz fusion was able to assist with the experimentation while making a statement that jazz was experimental, moved outside of limitations and continued to work with the expectations of those that were in society in the production of different sounds (Karapetyan, 2010: 16). The Formation of New Artistic Expressions The concept of social and cultural values that were reflective of identity and experimentation led into several new leaders that were a part of jazz and which began to move into the fusion type movements for new sounds that were influencing society at the time. Leaders such as David Gillespie, Richie Powell, Clifford Brown’s Quintet, Sonny Rollins and other leaders were looking for new sounds. This began with experimentation through solos, different use of instruments and the application of moving out of traditional jazz forms to create an alternative expression. Many artists then began to move into the sounds which were a part of the environment and surrounding society, specifically because it was available musical theories which could be used for a different set of experimentation. The artists were known for their capability of not moving outside of the jazz sound; however, there was the ability to expand on this by experimenting with alternative sounds that were in society (Martin, 2010: 42). Another way in which the recordings began to change in terms of artistic expression came from the social influences which the artists had. There were several that began to collaborate with artists that were in different forms, specifically for experimentation sake and to see if new forms could emerge in terms of the expected jazz sounds that were in society. For instance, Freddie Hubbard was able to move into several collaborations with Creed Taylor to create a jazz fusion sound of the 1960s. The recording was one of the well – known of the times; however, this wasn’t the main component. The ability to fuse the different sounds and move this into a recording was considered experimental and was initially not accepted by the recording company. However, when this was accepted by the general public, it introduced the capability of moving even further into experimentation and developing the capabilities between jazz and other forms of music for a better response and to develop more music theories that were associated between various types of music (Friedman, 2010: p. 82). Building a New Music Another aspect that can be seen with the collaborations of the 1960s and 1970s comes from the development of jazz into the popular forms that are known today. The fusion of this time led to even more experiments that were among many in society and which created a specific relationship to the jazz that was among several in society. The qualities that were associated with the 1960s and 1970s jazz created a distinct definition of experimentation, fusion and the ability to experiment with sounds that were before not expected in jazz. This new emergence of jazz then opened new possibilities into a new type of jazz which continues today. This is one which continues to be based on experimentation and breaks the forms and developments from the interpretations of music theories that were used with the jazz fusion. The attempts to fuse together ideologies have then led to interpretations and expansions into the jazz formulations that are currently moving forward. Free form jazz without specific forms and sounds, new improvisations, funk and other elements of jazz forms continue to emerge with different styles that are within society (Farrington, 2007: p. 57). It is the progression of jazz from the initial experimentation that has not only allowed the form to expand in terms of the new genres and styles, but has led to the sense of commerce among various forms. There are several developments which show that there is an association with style that was strongly related to commerce, even when this wasn’t the main intent of those in society or the musicians. For example, the record companies were known to use the figure of Miles Davis for marketing and promotion, specifically for the racial aspects and the movement into fusion which he took into funk. This created two aspects to the art. One was based on the expressions of Davis and the movements which were occurring in society. However, the other was based on fusion that was used for commerce and which stimulated those in the economy. However, this approach is one that provided a new foundation for the experimentation and growth of music that was able to attract individuals to a given genre. Depending on perspective, one is able to see how the fusion moved into a new art and still created a strong sense of commerce for those interested in jazz fusion (Smith, 2010: 3). The Link to Commerce in Jazz Fusion The elements of jazz fusion and the link to commerce can be noted as a main element of the making of the genre. Even though the artistic intent, social responses to identity and the overall association with the genre was based on the form of the music, there were also links that recording companies made to the genre. The main association with this was with jazz – funk, specifically with the growing interest in the genre. The first platinum album which was created with this particular genre led to the recording companies noting that fusion could be used for experimentation, growth and development into a richer genre and form. After this occurred, the genre of funk and the association with commerce became a main interest of recording companies, with the formulated jazz funk continuing to be recognized in society. The strong association with the recording companies is what pushed the formulated genre into one based solely on commerce and the associations which one could have to create genres and markets that would remain interested in the specific format of the jazz fusion (Pond, 2005: 51). The main concept of creating jazz fusion into a form which was based on formulated concepts was the main way in which the interests of commerce began to emerge. The movement into recording companies, ability to sell records as a main source of income and the growth and development of various genres that were able to target specific markets were some of the several ways in which the concept of jazz fusion began to emerge in the world of commerce. This was linked to the artistic expression; however, the formula of jazz fusion was used specifically because it was able to naturally attract a specific segment of society and create a sense of artistic and social identity. These particular concepts were able to build a strong association with commerce as well as artistic expression, making both of them become important in the identification of specific types of music. It wasn’t until the music moved from the new experimentation of fusion and into the progression of formulated fusion for various target markets that it gained a sense of belonging to the world of commerce, as opposed to remaining an ideal of artistic expression (Coryell, Friedman, 2000: p. 23). The branches that were created in terms of artistic expression as well as commerce are one which not only is seen with the various forms of music which began to emerge. There were also associations with artistic responses that went against various record companies. For instance, several musicians would stop singing songs once they reached high levels of commerce, specifically because the feeling that it had become commercialized led to the downfall of the song. Others noted that the emergence of jazz fusion also began to relate to target markets that were set by record companies in order to grow a genre. This particular application created a sense that the commerce would need to take over the jazz fusion. However, most that were emerging into the field were able to experiment with new and latest trends while trying to create a sense of social and artistic expression with the music that they were playing. Combining these various initiatives together also created a link between the commerce and the emergence of various target markets into the popularity of a specific song. The crossroads which occurred was based on the attitudes of artists, emergence of ways to develop commerce from music and the intent of the record companies. However, this wasn’t initially the intent of composing specific types of songs and introducing them into the market (Marx, 2007: p. 4). Conclusion The concepts associated with jazz fusion range through several ideologies which were introduced in the 1960s and 1970s. This particular style of music was one which many linked to the association of commerce during this time. While there was the intent of recording artists to create a popular song and to emerge into commerce, there was also a direct association with other concepts which influenced the formulations of the song. The artistic intent, social ideologies, cultural influences and the historical progression of jazz led to the fusion movements and began to change the way in which the music emerged within society. By doing this, there was the ability to create a different understanding of the music and the relevance it had to the development of music. The music was one which was able to formulate individual and societal expressions. At the same time, there was the creation of the music with the intent of commercial purposes. These two ideologies combined to create an emergence of jazz fusion and to create a specific level of progression between the two concepts into contemporary jazz music. References Barkley, EF. 2007. Crossroads: The Multicultural Roots of America’s Popular Music. UK: Heinemann. Coryll, J. 2000. Jazz Rock Fusion: The People, The Music. New York: Hal Leonard Corporation. Deveaux, Scott. 1991. “Constructing the Jazz Tradition: Jazz Historiography.” Literature of Jazz Issue 25 (3). Farrington, H. 2007. “I Improvised Behind Him… Ahead of Time: Charles Mingus, Kenneth Patchen and Jazz / Poetry Fusion Art.” Journal of American Studies 61 (3). Friedman, J. 2010 “The Jazz Fusion of Freddie Hubbard and CTI Records: An Analysis of Collaborations Between Freddie Hubbard and Creed Taylor.” UMI 57 (1). Karapetyan, Ella. 2010. “The Language of Jazz Knows No Limits.” The Baltic Times (699). Martin, H. 2010. “Into the 1960s.” Appreciate Jazz 15 (2). Marx, Wolfgang. 2008. Genre in Popular Music. Journal of the Society for Musicology in Ireland (4). Peretti, Burton. 1997. Jazz in American Culture. New York: Routledge. Pond, Steven. 2005. At the Crossroads of Genre: Funk in Action’ Headhunters: The Making of Jazz’s First Platinum Album USA: University of Michigan Press. Smith, JA. 2010. “Sell it Black. Race and Marketing in Miles Davis’s Early Fusion Jazz.” Jazz Perspectives 82 (1). Read More