Postmodernism
Postmodernism |
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Postmodernism refers to the combining of other styles to create something new. This can take the form of a pastiche or more of a blending of the component styles.
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A Jazz Improvisation Almanac Unit: Jazz Styles Chapter: Modern Jazz |
This is a preview of the educational program A Jazz Improvisation Almanac which is under development for the Outside Shore Music Online School. Feel free to browse this preview and learn what you can from it. For a more completed product, though, check out the original freely browsable jazz textbook, A Jazz Improvisation Primer. Characterization of PostmodernismThe term "postmodernism" has been applied to movements in many of the fine and performing arts. It implies a conscious awareness and study of styles of other eras and cultures, and it involves a juxtaposition or integration of these styles in order to form new works of art. 
One way of realizing this concept in music is to create suites that move from style to style during the course of performance rather than taking on any particular style of their own. It is the way the various components are selected, connected, and interpreted that determines the perceived style of the piece, but any such combination can be considered postmodern. Composers and performers in this type of postmodernism are often associated with extended works that cover the spectrum of jazz influences. They treat the history of the music as a palette from which they can draw to create different textures for each composition. Other musicians form a single synthesis of specific styles that they then explore throughout their careers. This may be considered postmodern as well. As with restructuralism, there is considerable variety in approaches to postmodernism in jazz. There are several distinct schools that have emerged and are worthy of special mention. The Association for the Advancement of Creative MusiciansThe characterization of postmodernism given above is similar to the description of the motto of the AACM given in the section on restructuralism, and indeed much of the music of AACM musicians is postmodern in nature. The restructuralist devices they use are often just part of a broader strategy. Here is an excerpt from postmodern composition by AACM founder Muhal Richard Abrams: 
Sun RaOne of the more enigmatic figures in jazz was the pianist and keyboard player Sun Ra, who led a large ensemble he called his Arkestra. Sun Ra had been an arranger for the swing era band of Fletcher Henderson, and the music of the Arkestra reflected this influence, but Ra's own piano style was more reminiscent of Thelonious Monk and other more modern pianists, and many of his arrangements for the Arkestra were unlike anything heard until then. Ra pioneered the use of electric keyboard instruments in jazz, often using them to achieve deliberately "spacey" textures (Sun Ra claimed to be from the planet Saturn). Many of the Arkestra performances involved hypnotic chants as well as expressionistic solos by members such as saxophonist John Gilmore. Here is an example of one of their performances:
FusionsThe fusion of modern jazz techniques with other forms of music has been an important source of postmodernism in jazz. While jazz-rock fusion in general is discussed in the next chapter, certain types of fusion seem more appropriate to discuss here. David Murray is an example of a musician who creates syntheses of other styles of jazz and world musics. He combines an expressionistic voice reminiscent of Albert Ayler, stylings similar to the swing tenor saxophonists like Ben Webster, rhythm and blues music, and African influences. A similar synthesis was achieved by pianist Don Pullen, who combines clusters normally associated with Cecil Taylor with techniques taken from the soul jazz organists, as well as elements of African and Brazilian music. Here is an example from a recording Murray and Pullen did together (with Pullen on organ):
Ornette Coleman and some his cohorts such as guitarist James "Blood" Ulmer and drummer Ronald Shannon Jackson developed a combination of freebop and funk that Ulmer calls "no wave music". This style is also referred to as "harmolodic funk", although a precise definition of harmolodics is something that no one seems to be able to give. The essence of it seems to be that melody, harmony, and rhythm are treated as equals in the music, and any instrument can take on any role at any time. Here is an example of this music:
Similar sounds are sometimes used by members of what is called the downtown (New York City) improvising scene. The musicians in this circle draw from various aspects of rock - particularly what may be termed "alternative" or "indie" rock - as well as freebop and other jazz styles. Their compositions are sometimes restructuralist in nature as well, basing their improvisations on structures other than chord progressions. Musicians like saxophonist John Zorn combine these elements into suites that move from style to style with breathtaking rapidity. Warning - the following example is rather loud:
Another type of fusion is achieved by a collective known as M-BASE (Macro Basic Array of Structured Extemporizations). These musicians draw from elements that include bebop, freebop, funk, hip-hop, elements borrowed from Africa, and some fairly unique harmonic and melodic ideas. Here is an example that features saxophonist Steve Coleman, the de facto "leader" of this school:
Neoclassicism
Another form of postmodernism is known as neoclassicism. Actually, some critics use these terms as if they were opposites, but the distinction is subtle at best. Both are based on the idea of using elements of other styles to form one's own style. In neoclassicism there is perceived to be less emphasis on creating new styles, and more on recreation and exploration of the styles from which one draws. When playing in an older style, a neoclassicist may seek to create a convincing example of that style, whereas another postmodernist might merely use elements of older styles in order to create something new. I am not convinced the distinction is always that clear, however. The foremost neoclassicist is trumpet player Wynton Marsalis, who has experimented with the post bop approaches pioneered by Miles Davis' second quintet, the bebop of Thelonious Monk, the swing of Duke Ellington, and the New Orleans style of Louis Armstrong. At times he simply plays in those respective styles, but at other times, he creates suites that are more truly postmodern. Here is an example of his music:
The Modern MainstreamAs I mentioned in the heading to this chapter, it is probably safe to say that most jazz being played today has its roots in hard bop and bop. To a limited extent, freebop has entered the mainstream as well. Most jazz musicians today also are familiar with some Latin styles such as bossa nova and mambo, and since those born after 1950 grew up in the rock era, most are comfortable with that music too. As a result, the dominant style of the day, to the extent one can be identified, is a synthesis of all these influences. For lack of a better term, the jazz of today is sometimes referred to as the modern mainstream. This actually represents quite a wide variety of music, as different musicians may emphasize different influences at different times, so I hesitate to try to identify the modern mainstream by a single example. Instead, while this is still insufficient, I will at least provide two examples: one instrumental, and one vocal, since vocal jazz is especially prominent on jazz radio but has admittedly not been well represented in this program. First, here is drummer Ralph Peterson, leading a quintet that includes Ternce Blanchard on trumpet and Geri Allen on piano:
Next, here is singer Kellye Gray, singing and doing her impression of a muted trumpet:
Musicians
There are many musicians who have played modern and often innovative music that draws from the entire history of jazz. These include:
Saxophone
Clarinet
Trumpet
Trombone
Vocals
Guitar
Piano
Bass
Drums
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Postmodernism |
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