Tarihi da Ci gaban Jazz a Matsayin Nau'in Kiɗa
Jazz yana ɗaya daga cikin nau'ikan kiɗa mafi tasiri a tarihin zamani. Ya fi salon kiɗa kawai, amma harshe ne na al'adu da aka haifa daga haɗuwar al'adun Afirka, Turai, da Amurka a ƙarshen ƙarni na 19 da farkon ƙarni na 20. Jazz, wanda aka siffanta shi da salon gyara, salon juyawa, da 'yancin faɗar albarkacin baki, ya rikide zuwa wata babbar laima da ta ƙunshi nau'ikan waƙoƙi da yawa. Wannan labarin yana bincika tarihi da ci gaban jazz, tun daga tushensa har zuwa sauye-sauyensa zuwa kiɗan duniya.
Tushen Tarihi: Haɗuwar Al'adun Afirka da Turai
Tarihin jazz yana da alaƙa ta musamman da tarihin 'yan Afirka waɗanda aka tilasta musu zuwa Amurka ta hanyar cinikin bayi. Al'adun kiɗan Afirka - kamar tsare-tsare masu rikitarwa, kira da amsawa, da amfani da kiɗa a matsayin wani ɓangare na rayuwar zamantakewa da ta ruhaniya - sun haɗu da abubuwan kiɗan Turai, gami da jituwar sautin, kayan kida na makada, da nau'ikan kayan kida.
A Amurka, wannan haɗuwa ta haifar da nau'ikan waƙoƙin jazz daban-daban, kamar waƙoƙin ruhaniya, waƙoƙin aiki, musamman waƙoƙin blues. Waƙoƙin blues sun zama tushen motsin rai na jazz: bayyanar baƙin ciki, juriya, da kuma barkwanci da ba'a a fuskar rayuwa. Tsarin waƙoƙin blues mai sanduna 12, "bayanan shuɗi" (bayanan da aka rage da gangan), da salon muryar bayyana ra'ayi sun zama abubuwan da daga baya suka shiga cikin salon jazz da yawa.
Bayan blues, ragtime kuma ya taka muhimmiyar rawa a farkon lokacin jazz. Ragtime—tare da ƙaƙƙarfan salonsa mai daidaitawa kuma galibi ana buga shi a piano—ya wakilci ɓangaren "rubutu" da kuma tsarin waƙa, yayin da jazz ba da daɗewa ba ya zama sananne a matsayin kiɗan da ke bunƙasa ta hanyar haɓakawa.
New Orleans: Wurin Haihuwar Jazz na Zamani
Masana tarihin kiɗa da yawa sun yarda cewa New Orleans, Louisiana, ita ce "ɗakin gwaje-gwaje" inda aka haifi jazz na zamani. Wannan birni mai tashar jiragen ruwa a farkon ƙarni na 20 ya kasance wani wuri mai cike da al'adu: al'ummomin Faransa, Sifaniyanci, Afirka, Caribbean, da Creole. A New Orleans, kiɗa yana nan a faretin, jana'iza, bukukuwan titi, da kulab. Ƙungiyoyin tagulla sun yi jerin gwano da waƙoƙin Turai masu shahara, amma tare da ƙara haɗakar waƙoƙi da kuma ƙarfin hali na haɓakawa.
Ɗaya daga cikin abubuwan da suka fi muhimmanci a farkon jazz na New Orleans shine ƙirƙirar waƙoƙin gama gari: ƙaho ko ƙaho yana riƙe da waƙar jagora, clarinet yana ƙawata da jimloli masu sauri, kuma trombone yana ba da ƙananan sauti da zamewa, yayin da banjo, tuba, da ganguna ke kiyaye sautin. Babban mutum a wannan zamanin shine Louis Armstrong, wanda ya canza salon jazz daga salon gama gari zuwa salon kawai, yana sanya mutum a tsakiyar magana.
Shekarun 1920: Zamanin Jazz, Rikodi, da Rarrabawa
Sau da yawa ana kiran shekarun 1920 zamanin Jazz. Ci gaban fasahar rikodi da rediyo ya ba wa jazz damar yaɗuwa cikin sauri fiye da New Orleans. Mawaka da yawa sun ƙaura zuwa Chicago da New York, suna neman damar samun aiki a kulab da masana'antar nishaɗi. Chicago ta zama muhimmiyar cibiyar jazz ta farko, yayin da New York ta ɓullo zuwa cibiyar kirkire-kirkire da ke rungumar nau'ikan salo daban-daban.
A wannan lokacin, jazz yana da alaƙa da sauyin zamantakewa: Haramcin da aka yi a Amurka ya haifar da speakeasies (sandunan da ba bisa ƙa'ida ba) waɗanda suka zama wuraren kiwon kiɗan jazz. Jazz ya zama alamar zamani, 'yanci, da rayuwar dare. Duk da haka, wannan zamanin kuma an san shi da rikicin launin fata: kirkire-kirkire da yawa sun fito ne daga mawakan baƙar fata, amma masana'antar nishaɗi galibi tana ba wa mawakan fararen fata dandamali da riba mai yawa. Duk da haka, jazz ya kasance wani yanayi mai rikitarwa da kuma yanayi mai ƙarfi na al'adu.
1930s: Swing da Nasarar Manyan Makada
A farkon shekarun 1930, rikicin tattalin arziki da buƙatar nishaɗin jama'a sun haifar da haihuwar swing. Jazz ya zama sanannen kiɗan rawa, wanda manyan ƙungiyoyin mawaka ke yi tare da tsare-tsare masu tsari. Abubuwan da Swing ya fi shahara su ne waƙoƙin swing, sassan kayan kida (misali, saxophone, trombone, ƙaho), da kuma sararin waƙoƙin solo masu ban sha'awa a cikin shirin.
Manyan jaruman da ke cikin waƙar sun haɗa da Duke Ellington, wanda ya ɗauki salon waƙar jazz zuwa babban matakin tsara waƙoƙi da kuma tsara waƙoƙi; Count Basie, tare da ƙarfinsa da kuma isasshen sarari don yin waƙoƙin kwaikwayo; da kuma Benny Goodman, wanda ya shahara da salon waƙar swing ga masu sauraro da yawa. Swing ya zama lokacin da jazz ya zama babban salon waƙar da aka fi sani, ana buga ta a ɗakunan rawa da kuma watsa shirye-shirye a duk faɗin ƙasar.
1940s: Bebop da Juyin Juya Halin Fasaha
Lokacin da aka fara ɗaukar swing a matsayin abin da ya fi na kasuwanci kuma aka haɗa shi da buƙatun rawa, bebop ya bayyana a shekarun 1940. Bebop ya kasance mai kirkire-kirkire: saurin sauri, haɗakar sauti mai rikitarwa, waƙoƙi masu juyawa, da kuma ƙwarewa sosai wajen ƙirƙira waƙoƙi. Jazz ya canza daga kiɗa zuwa rawa zuwa kiɗa don sauraro mai zurfi.
Manyan sunayen Bebop sun haɗa da Charlie Parker (alto saxophone), Dizzy Gillespie (ƙaho), Thelonious Monk (piano), da Bud Powell (piano). Bebop ya kuma ƙarfafa asalin jazz a matsayin kiɗan fasaha kuma ya share fagen bincike mai zurfi na jituwa da sautuka.
1950s–1960s: Cool Jazz, Hard Bop, Modal, da Free Jazz
Bayan bebop, jazz ya samo asali ta hanyoyi daban-daban. Jazz mai sanyi ya fito da yanayinsa mai natsuwa, jimloli masu tsayi, da kuma yanayin "sanyi" ko santsi, wanda galibi ana danganta shi da mawaƙa kamar Miles Davis a wani lokaci ko wani, da kuma Dave Brubeck. Hard bop, a gefe guda, ya bayyana a matsayin ci gaba mai "ƙarfi" na bebop, wanda ke farfaɗo da abubuwan blues da gospel. Art Blakey da Horace Silver sun shahara a wannan nau'in.
A ƙarshen shekarun 1950, waƙar jazz ta Modal ta sami babban ci gaba, musamman tare da kundin waƙoƙin Miles Davis mai suna Kind of Blue (1959). Maimakon saurin ci gaban bebop, waƙar jazz ta Modal ta yi amfani da hanyoyi (sikelin) a matsayin tsari, wanda ke ba da damar ƙarin bincike mai daɗi da yanayi.
A halin yanzu, jazz kyauta a shekarun 1960 ya ƙarfafa 'yanci mai tsauri: an wargaza tsarin gargajiya da siffofi masu jituwa, kuma haɓakawa ya zama mafi 'yanci da bayyana ra'ayi. Ornette Coleman da John Coltrane (a cikin matakansu) sun zama manyan mutane. Sau da yawa ana fahimtar jazz kyauta ba kawai a matsayin gwaji na kiɗa ba, har ma a matsayin bayyanar zamantakewa da siyasa na zamanin haƙƙin ɗan adam na Amurka.
1970s: Jazz Fusion da Aure da Rock
A shekarun 1970, jazz ya sake samun wani sauyi ta hanyar haɗakar waƙoƙi, haɗakar waƙoƙin jazz da rock, funk, da fasahar lantarki. Kayan kida kamar gitar lantarki, synthesizers, da basses na lantarki sun zama ruwan dare gama gari. Ƙarfin waƙoƙin Funk da kuma samar da waƙoƙin studio na zamani sun ba shi sabon dandano. Miles Davis ya sake taka muhimmiyar rawa tare da ayyukan da suka nuna canjin sauti zuwa sauti na lantarki, wanda daga baya ya yi tasiri ga ƙungiyoyin haɗa waƙoƙi da yawa.
Fusion ta faɗaɗa masu sauraro don jazz, amma kuma ta haifar da muhawara game da "sahihancinsa." Duk da haka, kamar yadda yake a lokutan baya, wannan muhawarar ta nuna cewa jazz koyaushe yana canzawa kuma ya ƙi a takaita shi ga ma'anar da ba ta da ma'ana.
Shekarun 1980 zuwa Yanzu: Al'ada, Gwaji, da Jazz na Duniya
Tun daga shekarun 1980, an sake samun sha'awar salon gargajiya (wanda galibi ake kira neotraditional ko neo-bop), tare da binciken zamani da ya haɗa da hip-hop, kiɗan lantarki, da al'adun kiɗan duniya. Jazz ba ya zama na Amurka kaɗai ba; ya zama harshen duniya. An gudanar da bukukuwan Jazz a ƙasashe da yawa, kuma mawaƙa daga Turai, Asiya, Afirka, har ma da Latin Amurka sun haɓaka jazz tare da asalin yankin.
A Indonesia, jazz ya bunƙasa a matsayin wani ɓangare na kiɗan birane da bukukuwa. Mawaka da yawa suna haɗa jazz da pop, funk, ko abubuwan gargajiya. Wannan ya yi daidai da ainihin jazz: tattaunawa mai ci gaba tsakanin tushen tarihi da kerawa na zamani.
Kammalawa
Tarihin jazz tarihi ne na canji, haɗuwa da al'adu, da kuma 'yancin faɗar albarkacin baki. Daga New Orleans zuwa ga matakin duniya, jazz koyaushe yana tasowa: daga blues da ragtime, zuwa ga swing mai ban sha'awa, zuwa bebop mai juyin juya hali, zuwa gaurayawa da nau'ikan zamani, na nau'ikan daban-daban. Duk da canjin da yake yi akai-akai, abu ɗaya ya rage a zuciyar jazz: haɓakawa a matsayin nau'in tattaunawar kiɗa - ba tare da wata matsala ba, mai haɗari, da kuma ɗan adam mai zurfi. Jazz ba kawai nau'in wasa ba ne; hanya ce ta sauraron duniya: buɗewa, mai ƙarfi, kuma koyaushe a shirye don gano sabbin damammaki.
