Ethno jazz

Ethno jazz, also known as world jazz, is a subgenre of jazz and world music, developed internationally in the 1950s and '60s and broadly characterized by a combination of traditional jazz and non-Western musical elements. Though occasionally equaled to or considered the successor of world music, an independent meaning of ethno jazz emerged around 1990 through the commercial success of ethnic music via globalization, which especially observed a Western focus on Asian musical interpretations. The origin of ethno jazz has widely been credited to saxophonist John Coltrane.

Notable examples of ethno jazz include the emergence of jazz through New Orleanian and Cuban exchange, Afro-Cuban jazz of the 1940s and '50s, and the Arabic influence present in some American jazz from the 1950s and '60s.

Intercultural musical exchange was well received internationally, inspiring many musicians to take on cross-cultural influences. Many of these musicians brought foreign artists as well as their musical styles back to their home countries, which resulted in a number of big jazz names hiring immigrants to perform in their ethno jazz projects.[8]

John Coltrane is generally understood to be the father of ethno jazz, having incorporated African, Middle Eastern, and Indian musical elements in many of his compositions.^[9] One of the first recognized examples of this fusion can be found in the African rhythm of his 1961 track "Dahomey Dance", which Coltrane discovered after a trip to Los Angeles earlier that year. "Amen" and "Sun Ship", recorded four years later and released posthumously on the album Sun Ship, both feature extensive improvisation on commonly used conga and bongo rhythmic patterns, as opposed to more common, chordal improvisation, with the vocal quality of Coltrane's tenor saxophone intentionally paralleling the sound of an African horn he had heard in a Kenyan recording from the late 1930s.^[10] His 1967 avant-garde track "Ogunde", named for Nigerian musician Hubert Ogunde, was recorded in the free, lyrical style of the same name, which embodied a movement to return to traditional African music uninfluenced by European elements. Coltrane's Afro-Eastern sound is best exemplified in "Africa", from the album Africa/Brass, which was created after drawing rhythmic and timbral inspiration from many African records.^[11]

Coltrane's incorporation of Indian and Middle Eastern styles in his music was more limited, but still prevalent. In 1961, he stated his intention to use the "particular sounds and scales" of India "to produce specific emotional meanings, as in [his own composition] 'India'".^[12][13] Both "Impressions" and the chords of "So What", the all-time most popular jazz track, recorded with Miles Davis, are centered on scales Coltrane invented as a mix of Indian ragas and Western scales.^[12] In another collaboration with Miles Davis, Coltrane dropped in on the recording of "Teo", where his playing sounds remarkably more "Middle Eastern" than on previous Davis records,^[14] and on the lead sheet to his own composition "All or Nothing At All", Coltrane reportedly handwrote the phrase "Arabic feeling".^[15]

One of the most popular genres of ethno jazz is Latin jazz, characterized by a combination of jazz elements with traditional Latin American music. In addition, instrumentation plays an important role. While standard jazz bands feature a rhythm section (piano, guitar, bass and drums) and winds (saxophone, trumpet or trombone), Latin music makes use of many more percussive instruments, such as timbales, congas, bongos, maracas, claves, guiros, and vibes, which were first played in a Latin setting by Tito Puente. Musicians combine these two instrumentations to create a Latin jazz sound.^[16] Cuba and Brazil were among the first countries to develop this music, and thereby some of the most influential.

The musicians known for planting the seeds of Cubop were Mario Bauzá, a Cuban trumpeter, and Frank Grillo, a Cuban maraca player who was also known as Machito. Both immigrated to the United States, where they performed Cuban music and were influenced by jazz. One of the most important collaborations was when Bauzá was working with famous jazz trumpeter Dizzy Gillespie. Bauzá introduced Dizzy to Chano Pozo and Chiquitico, conga and bongo players, respectively; together they began a big band that combined jazz and Cuban music. In 1946 they performed the first Afro-Cuban jazz concert in Carnegie Hall. The concert was a sensation because it combined Latin syncopated bass lines, percussion drumming, cross rhythms, and bebop language over a Latin feel. Some of the most famous recordings from this band were "Cuban Be", "Cuban Bop", "Algo Bueno", and "Manteca".^[17]

Brazilian jazz has its roots in samba, which comes from a combination of African dances and march rhythms from the 19th century. The samba rhythm is characterized by an emphasis on the second beat of each measure. Unlike Cuban music, this style does not have a clave pattern, resulting in a more relaxed sensation and less tension. Brazilian music was introduced to the United States around the 1930s by Hollywood, with songs like "Tico-Tico no Fubá" and "Brazil", but lost popularity over the coming years until its revival in 1962, when saxophonist Stan Getz and guitarist Charlie Byrd recorded the album Jazz Samba with Verve Records after Byrd was inspired by a trip to Brazil; the track "Desafinado" reached #1 status in the pop charts and won a Grammy for Best Solo Performance.^[17]

In the 1950s, pianist Antônio Carlos Jobim, guitarist João Gilberto, and poet Vinicius de Moraes introduced a style similar to samba called bossa nova, which translates to "new flair" or "new beat". This music is slower, text-based, melancholic, and has a mellow feeling. Bossa nova did not use the heavy percussive instruments in samba and was much softer.^[18] Gilberto's "Bim-Bom," often described as the first bossa nova song, was inspired by Brazil's post-WWII modernization movement in the 1950s. In 1958, Jobim and de Moraes recorded "Chege de Saudede," but it was Gilberto's version that launched the bossa nova movement. After the release of Jazz Samba, Stan Getz invited Gilberto to record an album together. They released Getz/Gilberto in 1964, which also featured Gilberto's wife, Astrud Gilberto, whose soft vocal style became definitive of bossa nova.^[18]

The

Jazz was introduced to Moscow by Valentin Parnakh in 1922. This event was followed by the arrest, imprisonment, and deportation of many jazz musicians throughout the Soviet Union for their Western influence, as ordered by Joseph Stalin.^[20] This only made the genre more appealing to young musicians, resulting in multiple "underground" jazz bands and orchestras, among the first of which was a handful of Azerbaijani ensembles directed from 1926 by A. Ionannesyani and Mikhail Rol'nikov.

Ethno jazz was more recently represented in the

• Folk jazz