But if you dig in deeper you find that Bud’s harmony was different from Ravel and Debussy. I’m not saying it was only Bud Powell that caused jazz musicians to pick up on these harmonies because they were also in the music of Ravel and Debussy as well as other classical composers dating way back before Jazz music and there’s no doubt that that music influenced Bud Powell, McCoy and Bill Evans. Bill Evans also used this harmony later on as well as McCoy Tyner, Trane and pretty much everyone after that. Bird was using polytonality in his solos but it was not the triadic harmony of Bud Powell. Bud was the pioneer of that sound who used it in a very unique way in a small group setting. Some people call them slash chords, Jaki Byard called them poly-chords. This harmony became the earth that most “modern” jazz of today, including fusion and beyond, grew out of. He was the first to use polytonal triadic harmony in his compositions which means placing one key over another. Also all his incredible intros, interludes and endings. I rest my case on Bud Powell’s compositions “Glass Enclosure” and to a lesser degree “Un Poco Loco”.
#SUITE POPULAIRE BRESILIENNE ODD SUSTAIN NOTES HOW TO#
If it weren't for Bird there might not have been a Bud Powell - BUT - I’m going to throw this out here - While Charlie Parker was the father of Be Bop and cast a net so wide that people are still trying to figure out how to play like him, Bud Powell is actually the father of modern jazz harmony to this day. He was one of the very few people that completely changed not only the language but the rhythm of this music. Bird was a genius and everyone knows that. Both Bird and Monk, and Dizzy for that matter, deserve all the accolades they get no doubt. Monk came up with the harmonies that became the earth that Be Bop grew out of but Bud Powell on the other hand seems to be less talked about and less revered. Bird is always placed at the top when talking about innovators and Thelonious Monk has been dubbed the high priest of be bop and for good reason. It’s been a source of frustration to me that Bud Powell is never given proper respect in terms of the importance of his role in the harmonic development of this music. Here’s something I’ve been thinking about. ( Gate of Dreams uses electric bass, wah-wah guitar, Latin percussion and guitar solo by George Benson.) And that is one reason critics generally have not known where to put him - and particularly given the influence of jazz, and even pop idioms, in his work. And so to emulate it and follow its precepts was a way of declaring "I was never a Nazi!" The grip of serialism on European and American classical music became, in the postwar years, unbreakable, and accessibly tonal new music was considered second-class, if it was considered at all. In postwar Germany, as the late Henry Pleasants (who lived there), pointed out, it became the fashion, indeed the imperative, to embrace Arnold Schoenberg because the latter was Jewish, and his music was anathema to the Nazis.
For even our speech is tonal, and so is the music of all nature, including the songs of birds. After nearly a century of serialism (or atonalism, if you prefer) and an unrelenting attempt to convert the concert public to its acceptance, it is gradually dawning on a good many people that it just doesn't work. This brings us to something Claus and I both believe. After he retired from the commercial record business, The problem is that he knows too much, if there is such a thing as too much knowledge, about all kinds of music, and uses it throughout his idiosyncratic approach to composition. But in this sense, their unawareness of his prodigious career in popular music and jazz illustrates precisely that very insularity of the classical world against which Claus has always instinctively rebelled. Had they looked in The New Grove Dictionary of Jazz, published earlier that year, they'd have discovered a paragraph on him. and he does not appear in any musical reference book I have been able to find." That is because they lived in that separate world of "classical" music. " In the USA, the critic for American Record Guide was equally baffled, writing, "All that I can learn. Telephone calls and a search of Grove revealed no more. The critic for Gramophone in London wrote: "The composer was born in 1930, and his Tagore Lieder were written in 1975, and that is all we are told. When in 1988, a group of his classical songs, Tagore Lieder, after poems by Rabindranth Tagore, sung by mezzo soprano Brigitte Fassbaender, was released in a CD that also included songs by Mahler and Berg, "classical music" critics on both sides of the Atlantic consulted their reference books to learn more about him.
0 kommentar(er)
