JAZZ AND CLASSICAL MUSIC: CROSSROADS

Abstract

The research is related to the identification of the effects of the academic musical cultural tradition (classical music) on jazz art. According to the chronology, the first serious attempts to find points of contact between classical music and jazz began from the time of the "swing" and associated with the name of Duke Ellington. His jazz suites, "Nutcracker" and "Per Gunt", "Spiritual concerts", allowed Ellington to be called the first jazz composer. The "communication" of the two musical forms continued in kul-jazz in the works of "Modern jazz quartet" and Dave Brubeck (which was then the term "baroque jazz" appeared). In the following stylesheets, Sten Kenton, Bill Evans, Chick Coriand stand out their achievements in this key. The relationship between classical music and jazz has never been equal. Any "intentions" about the reconciliation of various "musicians" ended, as a rule, with sharp discussions, and not in favor of jazz. Each new attempt did not lead to positive results, but only raised questions and doubts about the need for such synthesis. It seemed that all the dots would set the term – the music of the "third stream". Many jazz critics linked the future of jazz music with this direction. These include the French musicologist, avant-garde composer André Oder, who in the 1950s proved the inevitability of a combination of jazz and classical music. The active participation in this process was played by representatives of the academic school, which later became full-fledged jazz musicians (Gunther Schuler, Friedrich Gould). The "style palette" of modern jazz is striking by the variety and variegatedness. The principle of the pendulum underlying the stylistic changes signifies the abandonment of previous conquests and searches every time, by returning to a new level to the origins, as well as a generalization of past experience. Characteristically, the update comes at the expense of attracting other styles and other "music". This foundation, the proven, reliable option again becomes classical music, which is a kind of nostalgia, perhaps for lost perfection. Therefore, in the field of view of jazz musicians, acoustic projects are associated with different levels of reading classical opuses. In the foreground, of course, are representatives of European jazz, because for them the music of the European professional tradition is to some extent a matrix, everywhere that is perceived by all other cultural species. But there is an exception – the American jazz pianist Kate Jaret. His author's music and solo performances bring jazz to high-serious art (Cologne Concert, Concerts in Japan). Young jazz performers – Chris Bottie and Markus Miller – also said in this direction. Both actively turn to the works of "eternal" classics – Beethoven, Schubert, Chopin. If the representatives of the European Jazz Trio continue to follow the traditions of Jacques Luzier with his brilliant transcripts by Bach, Handel, Mozart, then the Ukrainian vocal ensemble "Man Sound" in the last album "A capellissimo" develops jazz views "into the classics" the legendary " The Swingle Singers". The processes of academicization of jazz art took place at various stages of its evolution. The conceptual attributes of the academic cultural tradition: the scale of the plan, the significant expressive resources, and the play drama of the building – stimulated the emergence of jazz musicians (John Lewis, Leni Tristano), uncharacteristic of jazz (baroque jazz) and forms (invasion, fugue) in the work of jazz musicians. Juke's jazz suites, fantasies and Dukes Ellington's "Spiritual Concerts", as well as symphonic works by representatives of the Third Stream (Gunther Schuler, Dave Brubeck), became examples of new major forms. It is noted that as a result of the interaction of cultures in the European jazz, a new stylistic alloy appeared – jazzing. Examples of experiments in the field of the combination of academic music and improvisational creativity in modern world jazz include "ECM music" and author jazz, with fruitful work of representatives of various national jazz schools, including Ukrainian (V. Solyanik, Yu. Kuzne-tsov, I. Zakus , N. Lebedeva, S. Davydov).