Bulgarian jazz
The history and development of jazz in Bulgaria was significantly influenced by the cultural and political changes in the country during the 20th century, which led to the emergence of a genre blending western jazz styles with Bulgarian folk music influences.
History
Early Bulgarian jazz
After the bloody
Between the wars
In the years following the First World War there was an increased demand for entertainment, as well as a second big wave of returning emigrants from the Great Depression. Many of them decided to take up music as their profession, bringing to Bulgaria some experience and repertoire of American music. Those were years of increased industrialization and urbanization for Bulgaria, which also stimulated the growth of the entertainment industry.[3] The first big jazz formations appeared at a time when public houses flourished and silent cinema provided work for orchestras.[2] Jazz spread further with the import of notated western jazz music and records.[2] There were several active jazz orchestras, performing mostly swing music, such as “Jazz Ovcharov” and “The Optimists”.[4]
Jazz under communism
After the Second World War, as
One of the most significant Bulgarian jazz singers is Lea Ivanova. Between 1940 and 1955 she sang for various big bands including "Slavyanska beseda," "Jazz Ovcharov," and "The Optimists," singing predominantly in the style of swing. The beginning of the 1950s marks a difficult time for jazz bands and she was forced to change situation more often, gaining fame as a singer for various orchestras in the capital. 1957 marks the beginning of her 30-year-long partnership with Edi Kazasyan, who later became her husband. Singing for his orchestra, she toured Europe extensively, becoming popular outside Bulgaria. During the totalitarian regime, there was a ban on her music in Bulgaria. Because of artistic censorship she was also imprisoned and put in a labor camp. After being released she suffered a stroke and was not able to sing almost until the end of her life, though she was able to recover her ability to speak. Later in her life she received some recognition for her contributions to Bulgarian jazz.[7]
Wedding music and its influence on Bulgarian jazz
Bulgarian village weddings were traditionally accompanied by music performed by the villagers, often singing and playing along with the gypsies. After the Second World War, professional wedding bands started being employed. The folk instruments traditionally used by those orchestras were increasingly western brass and woodwind instruments, associated with jazz.[8] Professional wedding bands that blended Bulgarian folk and gypsy music with the inevitable western influences became increasingly popular in the '80s. Though not in itself strictly jazz music their music was similar with its syncretism, improvisatory character, and reiteration of old well-known melodies into something new.[9] That tradition gave rise to several influential musicians who set out to use their traditional folk instruments playing contemporary jazz that blended the western music with Balkan influences such as the unusual timbres, complex, and often asymmetrical meters, unusual for western music melodies and often passionate aggressive style of playing. Bulgarian clarinetist Ivo Papazov and his band do not deviate too much from the wedding band music style, though they are active performers at jazz festivals as well as the countryside. They have recorded several albums which have been received well internationally.[8][9] Blending jazz and folk music is only successful when the player has a good familiarity with both styles. One of the leading musicians of that style is Teodosii Spassov, whose initial interest in music was sparked by a folk music player in his native village. His unique sound in playing kaval has been compared to the sound of a flute, clarinet, and oboe. He is also the first to play the folk instrument with a symphonic orchestra and a big band.[10] Its development was encouraged by the Western interest for the characteristic folk music of regional cultures. While during the communist regime folk music influences were considered a bad direction of development, the post-communist musicians were able to discern its potential for connecting with the people on a spiritual level, calling to mind tradition and connection with symbols of nature and community.[9] In that sense Teodosii Spassov's music, as well as the other jazz musicians relying heavily on folklore instrumentation and musical elements are continuing the trend started by Milcho Leviev in the early 1960s. Teodosii Spassov has received international acclaim for his musicianship and versatility as a performer and numerous composition awards.[11]
Jazz festivals after 1989
By the end of the 1980s there was a noticeable difference in the artistic freedom that musicians could afford to have, and this was especially important for jazz music. As the recording industry in the country was fairly insignificant, the music industry was focused on concerts and festivals. Since the 1990s the development and popularity of Bulgarian jazz can be best tracked by following jazz festivals, especially since many of them have a consistent style and recurring performers from year to year.[12]
The festival "Varna Summer" was initiated in 1992 and is the oldest jazz festival created after 1989 that is still active. It was first held under the direction of Anatoli Vapirov, a classically trained jazz clarinetist, saxophonist and conductor. The music at the "Varna Summer" jazz festival is characterized by virtuosity, experimentation, and variety.[12]
One of the Haskovo jazz festival's main supporters is the jazz guitar player, Dimitar Roussev. The festival is designed to attract visitors to Haskovo, even international guests. The audience is barely enough to support the festival, however. Organizers often rely on donations from local companies. This is the reason why they rely on the same popular performers and cannot afford to include more experimental music in their program.[12] The Jazz Festival in Bansko is the most popular one, partially because the mountain town is a tourist attraction in itself. In the year 2012 there were more than 28,000 guests present.[12]
The festival "Plovdiv Jazz Evenings" is financed by the Plovdiv township. This allows the festival to feature a wide variety of Bulgarian and international performers, which has gained the event a lot of popularity for its short history.[12]
The capital of Bulgaria, Sofia, is known to have two jazz festivals. Both of them consist of individual concert events rather than being an actual festival. Both of them are relatively open to performers from styles other than jazz.[12]
See also
External links
References
- ^ Gadjev, Vladimir. "Purvite Bulgarski Orkestri v Amerika." Ek (n.d.): 13-15. Print.
- ^ a b c d Nikolov, Dimitar. "Dirigentat Na 'Titanik' Donasya Dzhaza W Bulgaria." Novinar. Novinar, 29 Nov. 2010. Web. 22 Apr. 2014. <http://novinar.bg/news/dirigentat-na-titanik-donasia-dzhaza-v-balgariia_MzQ0MDsyMg%3D%3D.html>.
- ^ a b Gadjev, Vladimir. "Plah Poluh Prez 10-te Godini." Dzhazŭt v Bŭlgarii︠a︡, Bŭlgarite v Dzhaza: Now's the Time 1911-1991. Sofii︠a︡: Istok-Zapad, 2010. 15-23. Print.
- ^ a b c d e f g h i Levy, Claire. "Diversifying the Groove: Bulgarian Folk Meets the Jazz Idiom." Journal of Interdisciplinary Music Studies 1.2 (2007): 25-42. Web. 22 Apr. 2014. <http://musicstudies.org/wp-content/uploads/2017/01/Diversifying_JIMS_071202.pdf>
- ^ a b Scott Yanow and Barry Kernfeld. "Leviev, Milcho." The New Grove Dictionary of Jazz, 2nd ed. Ed. Barry Kernfeld. Grove Music Online. Oxford Music Online. Oxford University Press. Web. 22 Apr. 2014. <http://www.oxfordmusiconline.com/subscriber/article/grove/music/J266500>.
- ^ a b Levy, Claire. Parody Rhetoric, Intertextuality and the Groovy Aesthetics in Bulgarian Jazz. Institute of Art Studies - Bulgarian Academy of Sciences, n.d. N.p.: n.p., n.d.
- ^ Rupchev, Yordan, and Nikola Ivanov. "Biography." Lea Ivanova - Primata Na Swinga. N.p., n.d. Web. 22 Apr. 2014. <http://leaivanova.dir.bg/_wm/basic/?df=12&SessionID=e0d880d2cf4307bcf4465c056c32b390>.
- ^ a b Rice, Timothy. "Music and Politics." Music in Bulgaria: Experiencing Music, Expressing Culture. New York: Oxford UP, 2004. 56-74. Print.
- ^ a b c Levy, Claire. "Folk in Opposition? Wedding Bands and the New Developments in Bulgarian Popular Music." Music and Politics III.1 (2009): n. pag. Print.
- ^ "Teodosii Spasov: Muzikata E Bozhestvena Igra, Dadena Na Choveka, Za Da Se Razviva Duhovno." Interview by Mariya Zaharieva. Bulgari June 2008: 22-27. Print.
- ^ "Biography." Theodosii Spassov - Official Web Site. N.p., 2014. Web. 22 Apr. 2014. <http://theodosiispassov.com/en/player?frameSrc=http://theodosiispassov.com/en&file=/wp-content/uploads/2010/01/02.-Four-Cats-and-One-Mooni.mp3&title=Four%20Cats%20and%20One%20Moon&player=false>.
- ^ a b c d e f Atanasova, Bogdana. Dzhazovi Festivali v Bulgaria Sled 1989 - Nai-novata Istoriya Na Bulgarskiya Dzhaz. Diss. Music Department, New Bulgarian U, 2013. N.p.: n.p., n.d. Print.