简单生活: 2007

Chieli Minucci---My Girl Sunday.mp3

History

1890s-1910s
Main article: Ragtime
African American music traditions had already been a part of mainstream popular music in the United States for generations, going back to the 19th century minstrel show tunes and the melodies of Stephen Foster. Public dance halls, clubs, and tea rooms opened in the cities. Black dances inspired by African dance moves, like the shimmy, turkey trot, buzzard lope, chicken scratch, monkey glide, and the bunny hug eventually were adopted by a white public. The cake walk, developed by slaves as a send-up of formal dress balls, became popular. White audiences saw these dances in vaudeville shows. The popular dance music of the time were blues-ragtime styles. Tin Pan Alley composers like Irving Berlin incorporated ragtime influences into their compositions. Bandleader Buddy Bolden's performances in New Orleans parades and dances are an early example of jazz-style improvisation.

Rhythms brought from a musical heritage in Africa were incorporated into Cakewalks, Coon Songs and the music of "Jig Bands" which eventually evolved into Ragtime, c.1895 (timeline). One of the early Ragtime compositions was published by Ben Harney. The music, vitalized by the opposing rhythms common to African dance, was vibrant, enthusiastic and often extemporaneous. Early Ragtime music was in the format of marches, waltzes and other traditional song forms but the consistent characteristic was syncopation. Syncopated notes and rhythms became so popular with the public that sheet music publishers included the word "syncopated" in advertising. In 1899, a classically trained young pianist from Missouri named Scott Joplin published the first of many Ragtime compositions that would come to shape the music of a nation.

Dixieland/New Orleans Jazz
Main article: Dixieland
A number of regional styles contributed to the development of jazz. In the New Orleans, Louisiana area an early style of jazz called "Dixieland" developed. New Orleans had long been a regional music center. In addition to the slave population, New Orleans also had North America's largest community of free people of color. The New Orleans style used more intricate rhythmic improvisation than ragtime, and incorporated "blues" style elements including "bent" and "blue" notes, and using the European instruments in novel ways.

Key figures in the development of the new style were trumpeter Buddy Bolden and his band, who arranged blues tunes for brass instruments and improvised; Freddie Keppard, a Creole who was influenced by Bolden; Joe Oliver, whose style was bluesier than Bolden's; Kid Ory, a trombonist who refined the style; and Papa Jack Laine, who led a multi-ethnic band. In 1891 in Charleston, South Carolina, Reverend Daniel J. Jenkins, an African-American minister, established the Jenkins Orphanage, which included a variety of orphanage bands. The orphanage bands were trained to perform popular and religious music, and members such as William "Cat" Anderson, Gus Aiken, and Jabbo Smith went on to play with jazz bandleaders like Duke Ellington, Lionel Hampton and Count Basie.

In the northeastern United States, a "hot" style of playing ragtime developed, characterized by rollicking rhythms, without the bluesy influence of the southern styles. The music had collective improvised solos, around a melodic structure, that ideally built to a climax, supported by a rhythm section of drums, bass, banjo or guitar. The solo piano version of the northeast style was typified by Eubie Blake. "Stride" piano playing, in which the right hand plays the melody, while the left hand provides the rhythm and bassline, was developed by James P. Johnson. Johnson influenced later pianists like Fats Waller and Willie Smith. Recordings spread the "Hot" new sound across the country. James Reese Europe was a prominent orchestra leader. Tim Brymn performed with a northeastern "hot" style.

In Chicago in the early 1910s, saxophones vigorously "ragged" a melody over a dance band rhythm section, blending New Orleans styles and creating a new "Chicago Jazz" sound. Chicago was the breeding ground for many young, inventive players. Characterized by harmonic, inovative arrangements and a high technical ability of the players, Chicago Style Jazz significantly furthered the improvised music of its day. Contributions from dynamic players like Benny Goodman, Bud Freeman and Eddie Condon along with the creative grooves of Gene Krupa, helped to pioneer Jazz music from its infancy and inspire those who followed. Along the Mississippi from Memphis, Tennessee to St. Louis, Missouri, the "Father of the Blues," W.C. Handy popularized a less improvisation-based approach, in which improvisation was limited to short "fills" between phrases.

The King & Carter Jazzing Orchestra photographed in Houston, Texas, January 1921.With Prohibition, the constitutional amendment that forbade the sale of alcoholic beverages, speakeasies emerged as nightlife settings, and many early jazz artists played in them. The invention of the phonograph record and the rise of popularity in radio helped the proliferation of jazz as well. Radio stations helped to popularize Jazz, which became associated with sophistication and decadence that helped to earn the era the nickname of the "Jazz Age." In the early 1920s, popular music was still a mixture of things: current dance songs, novelty songs, and show tunes.

Paul Whiteman and his orchestra in 1929. Paul Whiteman was a popular orchestra leaderPaul Whiteman, the self-proclaimed "King of Jazz," was a popular bandleader of the 1920s who hired Bix Beiderbecke and other white jazz musicians and combined jazz with elaborate orchestrations. Whiteman commissioned Gershwin's Rhapsody in Blue, which was debuted by Whiteman's Orchestra. Ted Lewis was another popular bandleader. Some of the other bandleaders included: Harry Reser, Leo Reisman, Abe Lyman, Nat Shilkret, George Olsen, Ben Bernie, Bob Haring, Ben Selvin, Earl Burtnett, Gus Arnheim, Rudy Vallee, Jean Goldkette, Isham Jones, Roger Wolfe Kahn, Sam Lanin, Vincent Lopez, Ben Pollack and Fred Waring.

The 1930s belonged to Swing. While the solo became more important in jazz, popular bands became larger in size. During that classic era, most of the Jazz groups were Big Bands. The Big bands such as Benny Goodman's Orchestra were highly jazz oriented, while others (such as Glenn Miller's) left less space for improvisation. Key figures in developing the big jazz band were arrangers and bandleaders Fletcher Henderson, Don Redman, Kyle Kenchington, and Duke Ellington. Swing was also dance music, which served as its immediate connection to the people. Although it was a collective sound, swing also offered individual musicians a chance to improvise melodic, thematic solos which could at times be very complex.

Over time, social strictures regarding racial segregation began to relax, and white bandleaders began to recruit black musicians. In the mid-1930s, Benny Goodman hired pianist Teddy Wilson, vibraphonist Lionel Hampton, and guitarist Charlie Christian to join small groups. During this period, swing and big band music were popular. The influence of Louis Armstrong can be seen in bandleaders like Cab Calloway, trumpeter Dizzy Gillespie, and vocalists like Bing Crosby, who were influenced by Armstrong's style of improvising. The style further spread to vocalists such as Ella Fitzgerald and Billie Holiday; later, Frank Sinatra and Sarah Vaughan, among others, would jump on the scat bandwagon.

An early 1940s style known as "jumping the blues" or jump music used small combos, up-tempo music, and blues chord progressions. Jump blues drew on boogie-woogie from the 1930s, with the rhythm section playing "eight to the bar," (eight beats per measure instead of four). Big Joe Turner became a boogie-woogie star in the 1940s, and then in the 1950s was an early rock and roll musician. (Also see saxophonist Louis Jordan). The mid 1990's saw a revival of Swing music fueled by the retro trends in dance.

Kansas City Jazz

Memorial to Charlie Parker at the American Jazz Museum at 18th and Highland in Kansas CityMain article: Kansas City Jazz
Kansas City Jazz in the 1930s marked the transition from big bands to the bebop influence of the 1940s. During the Depression and Prohibition eras, the Kansas City Jazz scene thrived as a mecca for the modern sounds of late 1920s and 30s. Characterized by soulful and bluesy stylings of Big Band and small ensemble Swing, arrangements often showcased highly energetic solos played to "speakeasy" audiences. Alto sax pioneer Charlie Parker hailed from Kansas City.Tom Pendergast encouraged the development of night clubs featuring musical improvisation. In 1936, the Kansas city era waned when producer John H. Hammond began sending Kansas City acts to New York City.

European Jazz
Outside of the United States the beginnings of a distinctly European jazz started emerging. At first this came mostly in France with the Quintette du Hot Club de France being among the first non-US bands of significance to jazz history. The playing of Django Reinhardt in particular would be important to the rise of gypsy jazz, which is one of the earliest genres to start outside the US.

Originated by Belgian guitarist Django Reinhardt, Gypsy Jazz is an unlikely mix of 1930s American swing, French dance hall "musette" and the folk strains of Eastern Europe. Also known as Jazz Manouche, it has a languid, seductive feel characterized by quirky cadences and driving rhythms. The main instruments are steel stringed guitar (particularly those of the Selmer Maccaferri line), violin, and upright bass. Solos pass from one player to another as the other guitars assume the rhythm. While primarily a nostalgic style set in European bars and small venues, Gypsy Jazz is appreciated world wide, and continues to thrive and grow in the music of artists such as Biréli Lagrène.

Bebop
In the mid-1940s with bebop performers such as saxophonist Charlie "Yardbird" Parker, pianist Bud Powell and trumpeter John Birks "Dizzy" Gillespie helped to shift jazz from danceable pop music to more challenging "musician's music." Differing greatly from Swing, Bebop divorced itself early-on from dance music, establishing itself as art form but lessening its potential commercial value. Other bop musicians included pianist Thelonious Monk, drummer Kenny "Klook-Mop" Clarke, trumpeters Clifford Brown and Fats Navarro, saxophonists Wardell Gray and Sonny Stitt, bassist Ray Brown, drummer Max Roach, and vocalist Betty Carter.

The beboppers borrowed from the innovations of key earlier musicians – in particular, Coleman Hawkins, Lester Young and Art Tatum – and carried their ideas several steps further, introducing new forms of chromaticism and dissonance into jazz. Where many earlier styles of jazz improvisation kept close to the basic key and melodic line of the piece, bebop soloists engaged in a more abstracted form of chord-based improvisation. This often involved the use of "passing" (i.e. additional) chords, "substitute" chords, and altered chords which stepped outside of the basic key of the piece. Notes usually thought of as temporary dissonances in earlier jazz were used by the boppers as key melody notes – for instance, the flattened fifth (or augmented fourth) of the scale. The style of drumming shifted too, from the earlier four-to-the-bar bass-drum pulse to a more elusive and explosive style where the ride cymbal was used to keep time while the snares and bass drum were used for unpredictable accents.

These divergences from the jazz mainstream of the time initially met with a divided, sometimes hostile response among fans and fellow musicians. (Louis Armstrong, for instance, condemned bebop as "Chinese music.") But it was not long before bebop's influence was felt throughout jazz: older big-band leaders like Woody Herman (extensively) and Benny Goodman (briefly) experimented with the style, for instance. By the 1950s bebop had become an accepted part of the jazz vocabulary, and it has gradually over the years come to form the bedrock of modern jazz practice. While contemporary jazz musicians will study jazz from the 1920s and 1930s, they rarely attempt to duplicate those styles exactly (unless they are playing in a repertory band or trad jazz outfit); but all young jazz musicians are expected to learn bebop repertoire and style thoroughly.

1950s

Free jazz and avant-garde jazz
Main articles: Free jazz, Avant-garde jazz, and European free jazz

Peter Brötzmann 2006Free jazz and avant-garde jazz, are two partially overlapping subgenres that, while rooted in bebop, typically use less compositional material and allow performers more latitude. Free jazz uses implied or loose harmony and tempo, which was deemed controversial when this approach was first developed.

Early performances of these styles go back as early as the late 40s and early 50s: Lennie Tristano's Intuition and Digression (1949) and Descent into the Maelstrom (1953) are often credited as anticipations of the later free jazz movement, though they seem not to have had a direct influence on it. The bassist Charles Mingus is also frequently associated with the avant-guard in jazz, although his compositions draw off a myriad of styles and genres. The first major stirrings of what free jazz came in the 1950s, with the early work of Ornette Coleman and Cecil Taylor. In the 1960s, performers included John Coltrane, Archie Shepp, Albert Ayler, Sun Ra, Makanda Ken McIntyre, Pharoah Sanders, Sam Rivers, Don Pullen, Dewey Redman and others. Peter Brötzmann, Ken Vandermark, William Parker, Derek Bailey and Evan Parker are leading contemporary free jazz musicians, and musicians such as Coleman, Taylor and Sanders continue to play in this style. Keith Jarrett has been prominent in defending free jazz from criticism by traditionalists in recent years.

Vocalese
The art of composing a lyric and singing it in the same manner as the recorded instrumental solos. Coined by Jazz critic Leonard Feather, Vocalese reached its highest point from 1957-62. Performers may solo or sing in ensemble, supported by small group or orchestra. Bop in nature, Vocalese rarely ventured into other Jazz styles and never brought commercial success to its performers until recent years. Among those known for writing and performing vocalese lyric are Eddie Jefferson and Jon Hendricks.

Mainstream
After the end of the Big Band era, as these large ensembles broke into smaller groups, Swing music continued to be played. Some of Swing's finest players could be heard at their best in jam sessions of the 1950s where chordal improvisation now would take significance over melodic embellishment. Re-emerging as a loose Jazz style in the late '70s and '80s, Mainstream Jazz picked up influences from Cool jazz, Classical jazz and Hard bop. The terms Modern Mainstream or Post-bop are used for almost any Jazz style that cannot be closely associated with historical styles of Jazz music.

Cool Jazz
Evolving directly from Bop in the late 1940s and 1950s, Cool jazz's smoothed-out mixture of Bop and Swing tones were again harmonic and dynamics were now softened. The ensemble arrangement had regained importance. Cool became nationwide by the end of the 1950s, with significant contributions from East Coast musicians and composers.

Hard Bop
An extension of Bebop that was somewhat interrupted by the Cool sounds of West Coast Jazz, Hard Bop melodies tend to be more "soulful" than Bebop, borrowing at times from Rhythm & Blues and even Gospel themes. The rhythm section is sophisticated and more diverse than the Bop of the 1940s. Pianist Horace Silver is known for his Hard Bop innovations.

1960s

Latin jazz
Main article: Latin jazz
Latin jazz has two main varieties: Afro-Cuban and Brazilian jazz. Afro-Cuban jazz was played in the U.S. directly after the bebop period, while Brazilian jazz became more popular in the 1960s and 1970s.

Afro-Cuban jazz began as a movement in the mid-'50s. Notable bebop musicians such as Dizzy Gillespie and Billy Taylor started Afro-Cuban bands at that time. Gillespie's work was mostly with big bands of this genre. The music was influenced by such Cuban and Puerto Rican musicians as Xavier Cugat, Tito Puente, Mario Bauza, Chano Pozo, and much later, Arturo Sandoval.

Brazilian jazz is synonymous with bossa nova, a Brazilian popular style which is derived from samba with influences from jazz as well as other 20th-century classical and popular music. Bossa is generally moderately paced, played around 120 beats per minute with straight, rather than swing, eighth notes, and difficult polyrhythms. A blend of West Coast Cool, European classical harmonies and Brazilian samba rhythms, Bossa Nova or more correctly "Brazilian Jazz," reached the United States in 1962. The subtle but hypnotic acoustic guitar rhythms accent simple melodies sung in either (or both) Portuguese or English. Pioneered by Brazilians' João Gilberto and Antônio Carlos Jobim, this alternative to the 60's Hard Bop and Free Jazz styles, gained popular exposure by West Coast players like guitarist Charlie Byrd & saxophonist Stan Getz.

The best-known bossa nova compositions have become jazz standards. The related term jazz-samba essentially describes an adaptation of bossa nova compositions to the jazz idiom by American performers such as Stan Getz and Charlie Byrd, and usually played at 120 beats per minute or faster. Samba itself is actually not jazz but, being derived from older Afro-Brazilian music, it shares some common characteristics.

Modal
Main article: Modal jazz
As smaller ensemble soloists became increasingly hungry for new improvisational directives, some players sought to venture beyond Western adaptation of major and minor scales. Drawing from medieval church modes, which used altered intervals between common tones, players found new inspiration. Soloists could now free themselves from the restrictions of dominant keys and shift the tonal centers to form new harmonics within their playing. This became especially useful with pianists and guitarists, as well as trumpet and sax players. Pianist Bill Evans is noted for his Modal approach.

Soul Jazz
Derived from hard bop, soul jazz was one of the most popular jazz styles of the 1960s, in terms of record sales. Improvising to chord progressions as with Bop, the soloist strives to create an exciting performance. The ensemble of musicians concentrate on a rhythmic "groove" centered around a strong bassline. Horace Silver had a large influence on the soul jazz style, with his songs that used funky and often Gospel-based piano vamps. Soul jazz ensembles usually gave a prominent role to the Hammond organ, and some groups, such as 1960s organ trios, were centered around the Hammond's sound.

1970s
The stylistic diversity of jazz has shown no sign of diminishing, absorbing influences from such disparate sources as world music, avant garde classical music, and a range of rock and pop musics. Beginning in the 1970s with such artists as Keith Jarrett, Paul Bley, the Pat Metheny Group, Jan Garbarek, Ralph Towner, and Eberhard Weber, the ECM record label established a new chamber-music aesthetic, featuring mainly acoustic instruments, and incorporating elements of world music and folk music. This is sometimes referred to as "European" or "Nordic" jazz, despite some of the leading players being American.

Jazz fusion
Main article: Jazz fusion

Bitches Brew is an influential record in the history of jazz fusion.In the late 1960s and early 1970s the hybrid form of jazz-rock fusion was developed. Although jazz purists protested the blend of jazz and rock, some of jazz' significant innovators crossed over from the contemporary hardbop scene into fusion. Jazz fusion music often uses mixed meters, odd time signatures, syncopation, and complex chords and harmonies, and fusion includes a number of electric instruments, such as the electric guitar, electric bass, electric piano, and synthesizer keyboards.

Notable performers of the jazz and fusion scene included Miles Davis, keyboardists Chick Corea and Herbie Hancock, drummer Tony Williams, guitarists Larry Coryell and John McLaughlin, Frank Zappa, Al Di Meola, jazz violinist Jean-Luc Ponty, Sun Ra, Narada Michael Walden, Wayne Shorter, and bassist-composer Jaco Pastorius.

Miles Davis recorded the fusion albums In a Silent Way and Bitches Brew in 1968 and 1969. Chick Corea performed and recorded with his Return to Forever band. Ex- Miles Davis drummer Tony Williams had a band called Lifetime with Larry Young and John McLaughlin which later featured Jack Bruce. A second version of the group featured Allan Holdsworth on guitar. Herbie Hancock lead a funk-infused band called the Headhunters. Guitarist Larry Coryell had a band called the Eleventh House, and John McLaughlin played with the Mahavishnu Orchestra. Joe Zawinul and Wayne Shorter joined forces to launch Weather Report which was the longest lasting Fusion Group and perhaps the most successful. UK band Soft Machine influenced the development of fusion in the UK.

1980s
In the 1980s, the jazz community shrunk dramatically and split. A mainly older audience retained an interest in traditional and "straight-ahead" jazz styles. Wynton Marsalis strove to create music within what he believed was the tradition, creating extensions of small and large forms initially pioneered by such artists as Louis Armstrong and Duke Ellington. Marsalis's work has influenced a wide range of musicians who have been dubbed the "Young Lions"; but it also attracted much criticism from musicians, critics and fans who found his definition of jazz too narrow, or who found his own recreations of earlier styles unconvincing.

Smooth jazz
Main article: Smooth jazz
In the late 1970s and early 1980s, jazz fusion gradually turned into a lighter commercial form called pop fusion or "smooth jazz" (see paragraph below). Although pop fusion and smooth jazz were commercially successful and garnered significant radio airplay, this lighter form of fusion moved away from the style's original innovations. But into the 1990s and 2000s, some fusion bands and performers such as Tribal Tech have continued to develop and innovate within the genre.

Smooth jazz solos were actually very stylized. For instance, the saxophone improvisations by Kenny G were considered "light fusion." His music became popular. Musicians gave this music the name "fuzak" (cf. muzak) because it was a soft, pleasant fusion of jazz and rock. By the late 1990s smooth jazz became very popular and was receiving a lot of radio exposure. Some of the most famous saxophonists of this style were Grover Washington, Jr., Kenny G and Najee and many imitators. Kenny G’s music and smooth jazz in general defined a large segment of jazz during the 1980s and 1990s. Not only is smooth jazz played on the radio and in jazz clubs, it is also played in airports, banks, offices, auditoriums and arenas (Gridley).

Acid Jazz and Nu Jazz
Styles as acid jazz which contains elements of 1970s disco, acid swing which combines 1940s style big-band sounds with faster, more aggressive rock-influenced drums and electric guitar, and nu jazz which combines elements of jazz and modern forms of electronic dance music.

Exponents of the "acid jazz" style which was initially UK-based included the Brand New Heavies, Jamiroquai, James Taylor Quartet, Young Disciples, Incognito and Corduroy. This was a natural outgrowth of the Rare Groove scene in the UK that had begun as an alternative to the prevalent Acid House parties of the 1980s. Halfway between the driving beat of house music and the Soul Jazz and Funk related sounds of Rare Groove was Acid Jazz. In the United States, acid jazz groups included the Groove Collective, Soulive, and Solsonics. In a more pop or smooth jazz context, jazz enjoyed a resurgence in the 1980s with such bands as Pigbag, Matt Bianco and Curiosity Killed the Cat achieving chart hits in Britain. Improvisation is also largely absent, giving argument whether the term "Jazz" can truly apply.

Funk-based improvisation
Jean-Paul Bourelly and M-Base argue that rhythm is the key for further progress in the music; they believe that the rhythmic innovations of James Brown and other Funk pioneers can provide an effective rhythmic base for spontaneous composition. These musicians playing over a funk groove and extend the rhythmic ideas in a way analogous to what had been done with harmony in previous decades, an approach M-Base calls Rhythmic Harmony.

Jazz rap
Main article: Jazz rap
The late 80s saw a development of a fusion between jazz and hip-hop, called Jazz rap. Though some claim the proto-hip hop, jazzy poet Gil Scott-Heron the beginning of jazz rap, the genre arose in 1988 with the release of the debut singles by Gang Starr ("Words I Manifest," which samples Charlie Parker) and Stetsasonic ("Talkin' All That Jazz," which samples Lonnie Liston Smith). One year later, Gang Starr's debut LP, No More Mr. Nice Guy and their work on the soundtrack to Mo' Better Blues, and De La Soul's debut 3 Feet High and Rising have proven remarkably influential in the genre's development. De La Soul's cohorts in the Native Tongues Posse also released important jazzy albums, including the Jungle Brothers' debut Straight Out the Jungle (1988) and A Tribe Called Quest's debut, People's Instinctive Travels and the Paths of Rhythm (1990). Guru continued the jazz rap trend with the critically acclaimed Jazzmatazz series beginning in 1993, in which modern day jazz musicians were brought into the studio.

1990s

Electronica
With the rise in popularity of various forms of electronic music during the late 1980s and 1990s, some artists have attempted a fusion of jazz with more of the experimental leanings of electronica (particularly IDM and Drum and bass) with various degrees of success. This has been variously dubbed "future jazz," "jazz-house," "nu jazz," or "Junglebop." It is often not considered to be jazz because although it is influenced by jazz, improvisation is largely absent.
The more experimental and improvisational end of the spectrum includes Scandinavian artists such as pianist Bugge Wesseltoft, trumpeter Nils Petter Molvær (both of whom began their careers on the ECM record label), the trio Wibutee, and Django Bates, all of whom have gained respect as instrumentalists in more traditional jazz circles.

The Cinematic Orchestra from the UK and Julien Lourau from France have also received praise in this area. Toward the more pop or pure dance music end of the spectrum of nu jazz are such proponents as St Germain and Jazzanova, who incorporate some live jazz playing with more metronomic house beats. Aphex Twin, Björk, Amon Tobin, Squarepusher and Portishead are also notable as avant-garde electronica artists.

2000s
In the 2000s, "jazz" hit the pop charts and blended with contemporary Urban music through the work of neo-soul artists like Norah Jones and Amy Winehouse and the jazz advocacy of performers who are also music educators (such as Jools Holland, Courtney Pine and Peter Cincotti). A debate has arisen as to whether the music of these performers can be called jazz or not (see below). Also pop singer Christina Aguilera recorded a jazz-based album titled Back to Basics and released it in 2006.

Peter Bernstein and Dan Faehnle have also kept the straight ahead sound alive with their albums recorded after 2000.

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爵士乐的历史

爵士乐的根源
爵士乐来源于蓝调，一种从前居住在美国南部的非洲奴隶以及他们的后代们的民间音乐。蓝调深受西非文化和音乐传统的影响，这些奴隶也逐渐成为移居到城市的黑人音乐家。

爵士乐的真正起源是贫穷。1865年，美国内战结束，往日黑人奴隶获得了自由，但是生活依然困苦。他们多数是文盲，唯有靠自己故土培植出的音乐娱乐自己。劳动的号子和农田歌曲是在采摘棉花时候唱的，赞美诗歌和圣歌是在种族隔离的教堂里聚会时唱的，而即兴之作则是独唱歌手在一只班卓琴伴奏下吟唱的。在教堂中，黑人牧师接用英国领唱方式来解决唱歌不懂字的问题。

上世纪之交流行的音乐会标准的形式，也就是当时军乐团和舞曲乐队的音乐影响了最早的爵士乐的主流表达方式。这些音乐的乐器：铜管乐器，簧管乐器和鼓成为了爵士乐的基本乐器

二十世纪早期
在二十世早期时，爵士乐在纽奥良慢慢地孕育出来，而早期的爵士乐大多数牵涉到性爱。更确切来说，早期的爵士乐本来就是一种低下阶层的音乐，而当时在妓院中都有一些乐手在演奏，娱乐之余也做生意，所以性爱与爵士乐从最初就秤不离砣。纽奥良独自创造着爵士乐──类似的音乐在南部的广阔乡村与诸如巴尔的摩、圣路易斯这样的城市里处处可见。爵士乐这名字，其实也是性爱，比格．Ｏ．朗将在性爱中短暂的高潮称为Jass。于是首批乐队中的原创迪西兰德‘Jazz’乐队就把自己的名字拼案成了这模样。一些调皮鬼把海报上写的Jass把J涂掉了，Jass就变了ass（‘屁股’之意），乐队将名字的拼写改为‘Jazz’。此外，我们还可以说是‘James’这个名字的缩写；法语方言中，有一个动词‘爵瑟’，是聊天的意思；各种各样的非洲词汇。任君选择。Jazz就这样在纽奥良中发展起来。

初期的爵士乐乐器，有来自军乐铜管乐队的短号、活瓣长号和鼓，有家住城里的那些受教育、家境殷实的混血克奥尔人带来的单簧管和贝斯(bass)，还有流浪的吟游歌人和蓝调歌手们手中的的吉他。但凡缺乏精致的地方，乐队一律用音量和激情予以补偿。所有爵士乐手都在酒吧与妓院里、在斯多利城里开创自己的事业，演奏者适宜新月城这样的大都会的狂暴喧骚的音乐。许多人所共知的作品都由这一地区的地名而得名──其中最为知名的有巴辛街蓝调和堪纳尔街蓝调，此外还有许多诸如此类的音乐家。在1917年以前，一些公认的爵士乐就已然成型了。而早期的爵士乐并没有录音纪录。

1917年时爵士乐最终录制了第一张唱片，与此同时美国加入了世界大战。不过这唱片并非在纽奥良录制，而是在纽约；而乐队的五位成员都是些小伙儿，但他们都是白人，把面涂黑了便充当黑人。而许多唱片公司当时打算为这种新兴的音乐录制唱片。但这些公司都远在北部城市里，而乐手却多集中于南部。炙手可及的一位──短号手弗莱迪．凯帕德（Freddie Keppard）在芝加哥和纽约的原创克莱奥尔乐队工作──偏偏又唯恐有人剽窃他的技巧，拒绝了录音，白白错过了成为进入史册第一人的机会。 {z$g{

在战后，爵士乐由纽奥良的基地迁别处。而有两个说法，一是因为纽奥良当时是美国的军事基地，而士兵每天喝得烂醉如泥，政府便把所有酒吧，妓院禁止营业。而另一说法则为当时南方落后，而北方城市较宏大，而且财势雄厚，北方俱乐部也比南方好，故爵士乐手也随之搬家了。早期的爵士乐曲，已知是集体演奏的，由短号带领，单簧管穿插其间，长号标志重音，再由吉他、贝斯和鼓控制节奏。

摇摆大乐团(Big band swing)
摇摆乐时期三十年代爵士乐又迈入另外一个新局面，那就是摇摆乐的诞生，而大乐团（Big Band）的兴盛又对摇摆乐产生了举足轻重的影响。摇摆乐和以往最为不同的地方在于节奏的改变，它将原来纽奥尔良爵士乐中的二拍子节奏变为更为平滑流畅的四拍节奏，同时乐手们也发展出使用简短的旋律模式，称之为Riff（参阅词汇解释篇），而为了促长这种演奏方式，乐团因而被分成各种不同的乐器组，每一组都有自己的Riff，同时更提供了乐手演奏较长独奏的机会。在大乐团发展中有两位非常重要的入物，那就是Duke Ellington与Fletcher Henderson。Duke Ellington在二十年代和他的乐团在纽约的绵花田俱乐部表演，并持续领导他的乐团直到他去世为止。他一生创作与演奏出很多脍炙人口的曲子。他们两位都是大乐团音乐的代表性人物，而遵循Ellington与Henderson风格的乐团领导人则包括了Jimmie Lunceford、Chick Webb与Cad Calloway等人。于此同时，在堪萨斯市的Count Basie也发展出不同风格的大乐团爵士乐。不论他们之间的乐风如何不同，但基本上他们的音乐都有一共同特性，那就是乐曲虽然大都经过精心的编排，但却给与乐手或多或少的空间去发挥即兴独奏，也因此在这些乐团中往往培育出很多非常优秀甚至乐风前进的乐手，如Henderson乐团中的萨克斯风手Coleman Hawkins与Basie乐团中的萨克斯风手Lester Young等。在最后我们必须提到摇摆乐另一个重要人物Benny Goodman，他本身不但是位技巧精湛的单簧管手，他所领导的大乐团或是以三人到六人为编制小乐团，不论在艺术或商业上都获得极大的成功，也对后来的爵士乐音乐产生相当大的影响。

咆勃乐(Bebop)
包勃爵士乐随著第二次世界大战的爆发，大乐团摇摆乐也跟著没落，而使得爵士乐又有了一次重大的变革，那就是包勃（Bop）爵士乐的诞生。这种包勃爵士乐起源于纽约，一群音乐家认为大乐团摇摆乐大都过于墨守成规，没有足够空间让人即兴演奏，且在和声与节奏上过于单调，加上Coleman Hawkins、Charlie Christian与Lester Young等前辈们新的声音与观念吸引他们，在聆听与革新之下，他们打破传统，开始演奏称之为包勃的爵士乐。基本上包勃音乐都是以三到六人编制的小乐团演奏，其最大特色在于使用大量崭新与不和谐的和弦，节奏复杂，连续不断的华丽装饰即兴独奏，以便寻求音乐上更大的自由发展。包勃音乐的首要推动者就是萨克斯风手Charlie Parker与小喇叭手

酷派爵士
凉派爵士乐与西海岸爵士乐在包勃爵士乐兴盛的时候，一种衍生自包勃爵士乐的乐风产生了，这就是凉派爵士乐（Cool Jazz）。这种音乐起始于四十年代末与五十年代早期，它结合了包勃爵士乐的技术层面与其本身独特的音色：很少的泛音及颤音，并将之柔顺化以避免和原来风格一样有棱有角。这方面的代表人物无疑是小喇叭手Miles Davis。这种凉派爵士乐影响了很多的乐团与乐手，尤其是西海岸的乐手，因此它又称之为西海岸爵士乐（West Coast Jazz），乐手如次中音萨克斯风手Zoom Sims及Stan Getz、低音萨克斯风手Gerry Mulligan都是这种乐风的主导人物，而这种以凉派爵士乐为基楚的音乐持续兴盛到五十年代。同时，在五十年代，钢琴手Dave Brubeck与中音萨克斯风手Paul Desmond也以融合了古典与凉派爵士乐风的音乐而大受欢迎。

硬式咆勃(Hardbop)
硬包勃爵士乐当西岸兴起凉派爵士乐的时候，东海岸却继续延伸并扩张包勃爵士乐，且形成较包勃爵士乐更热烈与强劲的硬包勃爵士乐（Hard Bop），硬包勃爵士乐除了更强调独奏外，节奏乐手与管乐搭档也相互亲密搭配负责独奏，鼓手更突然成为主要的推动者。在这次的风潮中，鼓手Art Blakey成为主要的角色，其他像萨克斯风手Sonny Rollins、Jackie McLean、Johnny Griffin、小喇叭手Clifford Brown、Lee Morgan等，均以他们杰出的才华赋予这种音乐真正的方向与型态。

后咆勃(Postbop)

自由爵士(Free jazz)

融合爵士(Fusion)
　　融合爵士乐六十年代末期，爵士乐经历了一次危机，年轻的听众喜爱灵魂乐与摇滚乐，老一辈的乐迷则不再迷恋于那些大多数抽象且感情不足的现代爵士乐，爵士乐手意识到如果想挽回听众的心，他们势必要在爵士乐中吸取一些流行音乐的要素，而灵魂乐与摇滚乐就成为他们这种概念最佳来源，首先Miles Davis在爵士乐中使用了摇滚乐的电子乐器，并且获得热烈的回响，其中1969年的专辑“Bitches Brew”为最成熟的作品，其结合了灵魂乐的节奏、电子乐器与毫不妥协的不和谐爵士乐而成。从此，融合（Fusion）爵士乐这个名词就渐渐为人所接受。毫无疑问地，那些曾参加过Miles Davis乐团的乐手们后来在1970年代都曾灌录过很多成功的唱片，这些乐手包括Herbie Hancock、Wayne Shorter、Zoe Zawinul（他们共同组织了Weather Report乐团）、吉他手John McLaughlin、钢琴手Chick Corea和他的Return To Forever等，他们领导自己的乐团演奏各具特色的融合爵士乐，而在七十年代主宰了整个爵士乐的风潮。

当代爵士(Contemporary jazz)

爵士乐的类型
Funky Jazz 意为于普通的jazz中加入hip hop的元素

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