![]() ![]() These analytical arguments clarify the aesthetics of flamenco jazz and the artistic processes that these artists went through when combining musical elements from flamenco and jazz, which in some cases are described as creative misreading. This historiographical study presents a more comprehensive evaluation of flamenco jazz by discussing selected recordings using analytical tools from jazz studies. Therefore, the flamenco jazz scholarly conversation needs more objective writings from an analytical point of view. The differences in professional backgrounds, approaches, and purpose of the writings of these authors has resulted in controversy about this label. These writings encompass authors from different backgrounds: journalists, critics, and musicologists, who have approached their analysis of the recordings from different perspectives. There is a lack of agreement in the existing literature on flamenco jazz on the evaluation of these recordings and these artists’ achievements and contributions to this field. This label is entering jazz discourse, and it needs to be better understood in order to clarify its history, its identity, and its impact on recent developments in flamenco that are labeled nuevo flamenco. There are certain recordings by important artists such as Lionel Hampton, Miles Davis, John Coltrane, Pedro Iturralde, Chick Corea, and Paco de Lucía, among others, that have been associated with the label flamenco jazz. Keywords: Bebop Charlie Parker (1920-1955) Just friends (song, 1931) Just friends (arrangement, 1949) Melodic analysis. The works will makea analyze of Parker's solo in this piece, seeking to identify compositional improvisatory features and their relationships with bebop's idiomatic characteristics. Lewis, was chosen as the first of the album, possibly being one of the most emblematic of these possibilities of commercial and advertising bebop. The piece Just friends by John Klenner and Sam M. However, Charlie Parker with strings allowed both the financial gain and the advertising opportunities of bebop's musical characteristics to a wider audience than originally reached at the beginning of bebop. Parker received criticism in recording this album as a commercial product intended for the white public, contraty to the proposel of bebop that expressed the ethnic identity of the black population. Using the All-Stars as an example of modern jazz in the fifties, the frequently confusing jazz history narrative found in most textbooks can be reshaped, providing a more useful picture of the music during that decade.Īt the end of the 1940s, Charlie Parker (1920-1955) recorded a jazz album (Charlie Parker with strings, 1949) in which they would participate not only in the usual instrumental set of bebop, but also in orchestral instruments. They viewed their music as modern, just as their New York-based contemporaries did. Recent interviews with members of the All-Stars and articles appearing in both jazz and general interest periodicals during the fifties also indicate that the All-Stars were not playing in a different style. The recordings do not support the view that the All-Stars were playing an identifiable West Coast or Cool style that was different from an East Coast or Hard Bop style favored by players based in New York. The recordings contain a variety of modern or post-swing approaches to jazz improvisation, composition, and arranging similar to those found on recordings produced in New York. The band produced both live and studio recordings over a period of seven years. The Lighthouse provided a stable working environment for jazz musicians with few, if any, commercial restraints. This study examines the music produced by Howard Rumsey's Lighthouse All-Stars at The Lighthouse nightclub in Hermosa Beach, California between 19 and its relationship to music recorded by New York-based groups during the same period. However, by the mid-sixties when jazz was dominated of the Avant-garde or New Thing, this variation on modern jazz was discredited and frequently forgotten. It also appealed to many casual listeners, some as attracted to the provocative album cover art as they were to the music. During the Fifties, a musical style frequently called West Coast jazz became popular with both critics and serious jazz fans.
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