Meaning of word jazz

The origin of the word jazz is one of the most sought-after word origins in modern American English. The word’s intrinsic interest – the American Dialect Society named it the Word of the Twentieth Century – has resulted in considerable research and its history is well documented. As discussed in more detail below, jazz began as a West Coast slang term around 1912, the meaning of which varied but it did not initially refer to music. Jazz came to mean jazz music in Chicago around 1915.

Etymology

Likely derivation from jasm

As with many words that began in slang, there is no definitive etymology for jazz. However, the similarity in meaning of the earliest jazz citations to jasm, a now-obsolete slang term meaning spirit, energy, vigor and dated to 1860 in the Historical Dictionary of American Slang, suggests that jasm should be considered the leading candidate for the source of jazz. A link between the two words is particularly supported by the Daily Californian’s February 18, 1916, article, which used the spelling jaz-m, although the context and other articles in the same newspaper from this period show that jazz was intended.

Jasm is thought to derive from or be a variant of slang jism or gism, which the Historical Dictionary of American Slang dates to 1842 and defines as «spirit; energy; spunk.» Jism also means semen or sperm, the meaning that predominates today, causing jism to be considered a taboo word. Deepening the nexus among these words is the fact that «spunk» is also a slang term for semen, and that «spunk», like jism/jasm, also means spirit, energy, or courage (for example: «She showed a lot of spunk.») In the 19th and early 20th centuries, however, jism could still be used in polite contexts. Jism, or its variant jizz (which, however, is not attested in the Historical Dictionary of American Slang until 1941), has also been suggested as a direct source for jazz. A direct derivation from jism is phonologically unlikely; jasm itself would be, according to this assumption, the intermediary form.

Other possible derivations

Other proposed origins include French jaser, meaning to chatter or chat, and French chasser, meaning to chase or hunt. Daniel Cassidy, a film-maker, musician, and writer, has argued for a derivation from Irish teas, which is pronounced (according to Cassidy) «jass» and means «heat» or «passion». However, Cassidy’s level of scholarship was consistently poor and the word teas would be pronounced tyass or chass, not jass. Although they cannot be ruled out absolutely, such derivations lack empirical supporting evidence and must be considered speculative at best, and highly improbable in the case of Cassidy’s work.^{[1][better source needed]}

Scoop Gleeson, who first popularized the word, wrote in an article in the Call-Bulletin on September 3, 1938, that he learned the word from sports editor William «Spike» Slattery when the two were at Boyes Springs. Gleeson said that Slattery had picked up the expression in a craps game. «Whenever one of the players rolled the dice he would shout ‘Come on, the old jazz.'» Assuming the accuracy of this noncontemporaneous recollection, the craps use of jazz appears to be a nonce-use and does not provide much information about the word’s origin.

Origins

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Earliest use: 1912

The earliest known references to jazz are in the sports pages of various West Coast newspapers covering the Pacific Coast League, a baseball minor league. The earliest example, found by New York University librarian George A. Thompson, Jr. in 2003, is from the Los Angeles Times on April 2, 1912, referring to Portland Beavers pitcher Ben Henderson:

BEN’S JAZZ CURVE.

«I got a new curve this year,» softly murmured Henderson yesterday, «and I’m goin’ to pitch one or two of them tomorrow. I call it the Jazz ball because it wobbles and you simply can’t do anything with it.»

As prize fighters who invent new punches are always the first to get their’s [sic] Ben will probably be lucky if some guy don’t [sic] hit that new Jazzer ball a mile today. It is to be hoped that some unintelligent compositor does not spell that the Jag ball. That’s what it must be at that if it wobbles.

Henderson’s jazz ball apparently was not a success, as there are no known further references to it except for a brief mention in the Times the following day. While the lack of further attestations shows that Henderson is unlikely to have played a significant role in the popularization of jazz, his early use proves that the word was in existence by 1912.

1913–1918

A more lasting influence emerged in 1913, in a series of articles by E.T. «Scoop» Gleeson in the San Francisco Bulletin, found by researchers Peter Tamony (who carried out the pioneering research in this area) and Dick Holbrook, that likely were instrumental in bringing jazz to a broader public. These initial articles were written in Boyes Springs, California, where the San Francisco Seals baseball team was in training. In the earliest reference, on March 3, 1913, jazz was used in a negative sense, to indicate that disparaging information about ball player George Clifford McCarl had turned out to be inaccurate: «McCarl has been heralded all along the line as a ‘busher,’ but now it develops that this dope is very much to the ‘jazz’.»

Three days later, on March 6, Gleeson used jazz extensively in a longer article, in which he explained the term’s meaning, which had now turned from negative to positive connotations:

Everybody has come back to the old town full of the old «jazz» and they promise to knock the fans off their feet with their playing.

What is the «jazz»? Why, it’s a little of that «old life,» the «gin-i-ker,» the «pep,» otherwise known as the enthusiasalum. A grain of «jazz» and you feel like going out and eating your way through Twin Peaks. It’s that spirit which makes ordinary ball players step around like Lajoies and Cobbs.

The article uses jazz several more times and says that the San Francisco Seals’ «members have trained on ragtime and ‘jazz’ and manager Del Howard says there’s no stopping them.» The context of the article as a whole shows that a musical meaning of jazz is not intended; rather, ragtime and «jazz» were both used as markers of ebullient spirit.

Gleeson used jazz in a number of articles in March and April 1913, and other journalists began to use the term as well. The Bulletin on April 5, 1913, published an article by Ernest J. Hopkins entitled «In Praise of ‘Jazz,’ a Futurist Word Which Has Just Joined the Language.» The article, which used the spellings jaz and jazz interchangeably, discussed the term at length and included a highly positive definition:

«JAZZ» (WE CHANGE the spelling each time so as not to offend either faction) can be defined, but it cannot be synonymized. If there were another word that exactly expressed the meaning of «jaz,» «jazz» would never have been born. A new word, like a new muscle, only comes into being when it has long been needed.

This remarkable and satisfactory-sounding word, however, means something like life, vigor, energy, effervescence of spirit, joy, pep, magnetism, verve, virility ebulliency, courage, happiness – oh, what’s the use? – JAZZ.

Jazz, in the sense of pep and enthusiasm, continued in use in California for several years before being submerged by the jazz music meaning. Amateur etymologist Barry Popik has located a number of examples from the Berkeley Daily Californian and the Daily Palo Alto, showing that jazz in this sense was collegiate slang at the University of California, Berkeley in the period 1915 to 1917 and at Stanford University in the period 1916 to 1918. President Benjamin Ide Wheeler at Berkeley apparently used jazz with such frequency that many supposed he originated the term, although the Daily Californian stated on February 18, 1916, that he denied this.

Application to music

Jazz began to be applied to music in Chicago, around 1915. The earliest known attestation, found by Yale Book of Quotations editor Fred R. Shapiro, is from the Chicago Daily Tribune on July 11, 1915:

Blues Is Jazz and Jazz Is Blues . . . The Worm had turned – turned to fox trotting. And the «blues» had done it. The «jazz» had put pep into the legs that had scrambled too long for the 5:15. . . . At the next place a young woman was keeping «Der Wacht Am Rhein» and «Tipperary Mary» apart when the interrogator entered. «What are the blues?» he asked gently. «Jazz!» The young woman’s voice rose high to drown the piano. . . . The blues are never written into music, but are interpolated by the piano player or other players. They aren’t new. They are just reborn into popularity. They started in the south half a century ago and are the interpolations of darkies originally. The trade name for them is «jazz.» . . . Thereupon «Jazz» Marion sat down and showed the bluest streak of blues ever heard beneath the blue. Or, if you like this better: «Blue» Marion sat down and jazzed the jazziest streak of jazz ever. Saxophone players since the advent of the «jazz blues» have taken to wearing «jazz collars,» neat decollate things that give the throat and windpipe full play, so that the notes that issue from the tubes may not suffer for want of blues – those wonderful blues.

Examples in Chicago sources continued over the next year, with the term beginning to extend to other cities by the end of 1916. By 1917 the term was in widespread use. The first known use in New Orleans, discovered by lexicographer Benjamin Zimmer in 2009, appeared in the New Orleans Times-Picayune on Nov. 14, 1916:^[2]

Theatrical journals have taken cognizance of the «jas bands» and at first these organizations of syncopation were credited with having originated in Chicago, but any one ever having frequented the «tango belt» of New Orleans knows that the real home of the «jas bands» is right here. However, it remains for the artisans of the stage to give formal recognition to the «jas bands» of New Orleans. The day of the «Stage Workers» annual masquerade ball, which is November 23, the stage employes of the city are going to traverse the city led by a genuine and typical «jas band.» Just where and when these bands, until this winter known only to New Orleans, originated, is a disputed question. It is claimed they are the outgrowth of the so-called «fish bands» of the lake front camps, Saturday and Sunday night affairs.
However, the fact remains that their popularity has already reached Chicago, and that New York probably will be invaded next. But, be that as it may, the fact remains the only and original are to be found here and here alone. The «boys behind the scenes» have named their parade the «Jas parade.» It’s going to be an automobile affair with the actors and actresses of the various theaters right behind the band. The ball is to be at the Washington Artillery.

It is not clear who first applied jazz to music. A leading contender is Bert Kelly, a musician and bandleader who was familiar with the California slang term from being a banjoist with Art Hickman’s orchestra. Kelly formed Bert Kelly’s Jazz Band and claimed in a letter published in Variety on October 2, 1957, that he had begun using «the Far West slangword ‘jazz,’ as a name for an original dance band» in 1914. Kelly’s claim is considered plausible but lacks contemporary verification, although the Literary Digest wrote on April 26, 1919, that «[t]he phrase ‘jazz band’ was first used by Bert Kelly in Chicago in the fall of 1915, and was unknown in New Orleans.»

Other important early claimants include the band of Tom Brown, a trombonist who fronted an early New Orleans band in Chicago in 1915 and claimed to be the first to be billed as a «Jass Band». Slightly later was the Original Dixieland Jass Band (O.D.J.B.) or, in some accounts, a predecessor band named Stein’s Dixie Jass Band), allegedly so named by Chicago cafe manager Harry James. According to a November 1937 article in Song Lyrics, «A dance-crazed couple shouted at the end of a dance, ‘Jass it up boy, give us some more jass.’ Promoter Harry James immediately grasped this word as the perfect monicker for popularizing the new craze.»

There is insufficient contemporary evidence to determine definitively the relative merits of these two claims. However, if the chronology of the Original Dixieland Jass Band is correct, it did not receive the jass name until March 3, 1916, which would be too late for it to be the originator. In a 1917 court case concerning tune copyrights, various members of what became the O.D.J.B. testified under oath that the band opened in Chicago under the name «Stein’s Dixie Jass Band». DuBose Heyward, author of Porgy, in his book Jasbo Brown and Selected Poems (1924), states that the Jazz music genre had possibly taken its name from Jazbo Brown, an «itinerant negro player along the Mississippi and later in Chicago cabarets».

Association with sex

The association of jazz with sex is early and extensive. The Historical Dictionary of American Slang (1997) cites explicit sexual meanings from 1918 and says that this was probably the original sense. However, it now seems difficult to reconcile a prior, widely recognized sexual meaning of jazz with the known word history described above. Professor Gerald Cohen of Missouri University of Science and Technology, who has done a great deal of work on the word’s history, in 2001 offered a $100 reward for any provable musical or sexual use of jazz from before 1913, an offer that still stands^{[citation needed]}.

Vet Boswell of the Boswell Sisters said she remembered when «jazz» was not a word fit to be uttered in polite company^{[citation needed]}. Ray Lopez of Tom Brown’s 1915 band recalled he and his fellow musicians assumed that the word «jass» or «jazz» was too improper to be printed in newspapers so they looked in a dictionary for similar words like «jade»; rediscovered newspaper advertisements from the era for Brown’s «Jad Band» or «Jab Band» are suggestive of confirmation of this account^{[citation needed]}.

Jazz is said to be a variation of the word «jism,» because it was originally performed by horn players to entertain johns in the whorehouses of Storyville, the notorious red-light district of New Orleans. The problem is that no bands played in the whore houses; pianists, yes, often behind a screen or curtain. Bands played in saloons and dance halls only. Contrary to popular belief/accepted wisdom, it was what was playing downstairs on a piano when one lost that last shred of innocence, not a loud group of musicians. Trombonist Clay Smith was rumored to have said, «If the truth were known about the origin of the word ‘jazz,’ it would never be mentioned in polite company.»^{[citation needed]}

False leads

Jazz has been subjected to a large number of instances of misleading and false information, coming in some instances from the most respected sources.

The Oxford English Dictionary, in Volume II of its Supplement (published in 1976) and hence in the 1989 Second Edition – still the most current printed edition of the OED – provided a 1909 citation for the use of jazz on a gramophone record of «Uncle Josh in Society.» Researcher David Shulman demonstrated in 1989 that this attestation was an error based on a later version of the recording; the 1909 recording does not use the word jazz. The editors of the Oxford English Dictionary have acknowledged that this is an error, and the revised entry of jazz in OED Online redates this quotation, adding a note pointing out the mistake. However, many secondary sources continue to show 1909 as the earliest known example of the word, based on the OED’s original entry.

The Grand Larousse Dictionnaire de la Langue Française and the earlier Über englisches Sprachgut im Französischen cite a 1908 use of jazband, a jazz orchestra, in the Paris newspaper Le Matin. This is a typographical error for 1918.

Press agent Walter Kingsley wrote in an August 5, 1917, article in the New York Sun that jaz is African in origin. He wrote that «In his studies of the creole patois and idiom in New Orleans Lafcadio Hearn reported that the word «jaz,» meaning to speed things up, to make excitement, was common among the blacks of the South, and had been adopted by the Creoles as a term to be applied to music of a rudimentary syncopated type.» However, recent searches of the works of Lafcadio Hearn failed to find any mention of the word. Lawrence Gushee argues that Kingsley’s quote from Hearn is most likely fraudulent.^[3] Kingsley also claimed that the phrase «Jaz her up» was used on occasion by plantation slaves, and that in common usage in Vaudeville «jaz her up» or «put in jaz» meant to accelerate or add low comedy, while «Jazbo» meant «hokum».^[4] The Historical Dictionary of American Slang says that Kingsley’s article was «purely an invention,» an opinion consistent with the views of other scholars.

Lord Palmerston wrote in an 1831 letter, in reference to Charles Maurice de Talleyrand-Périgord, of «old Talley jazzing and telling stories to Lieven and Esterhazy and Wessenberg.» Scholars believe that Palmerston was not using jazz in any modern sense, but was simply anglicizing French jaser in its standard meaning of chattering or chatting. No prior or subsequent examples of Palmerston’s unique loan-word exist, effectively ruling it out as a plausible point of origin for the introduction of a very different jazz many decades later.

Several sources, including Geoffrey C. Ward and Ken Burns in Jazz: A History of America’s Music (2000) and Hilton Als in the New York Review of Books on March 27, 2003, suggest that jazz derives from the jasmine perfume that prostitutes wore in the red-light district of New Orleans. This theory derives from the recollections of jazz musician Garvin Bushell (as told to Mark Tucker) in Jazz from the Beginning (1998; originally published ca. 1988). Bushell said that he heard this derivation in the circus, where he began working in 1916. It appears to be a false etymology unsupported by factual evidence.

Ward and Burns also suggest that jazz derives from jezebel, which they assert was a common nineteenth-century term for a prostitute. There is no evidence that the name Jezebel, a familiar biblical allusion, was first shortened and then altered in meaning to become a synonym for «spirit or energy.» This theory is unsourced and appears to be a false etymology.

Bandleader Art Hickman, who was also at Boyes Springs, said in interviews published in the San Francisco Examiner on October 12, 1919, and in the San Francisco Chronicle on November 9, 1919, that jazz derived from the effervescent springs at Boyes Springs. The discovery in 2003 that jazz was already in use in 1912 makes an onomatopoeic origin in 1913 implausible.

Notes

Sources

• Gerald Cohen, «Jazz Revisited: On the Origin of the Term – Draft #3,» Comments on Etymology, Vol. 35, Nos. 1–2 (Oct.–Nov. 2005).
• J.E. Lighter, ed., Historical Dictionary of American Slang, Vol. 2, H–O (1997), New York: Random House.

External links

Look up jazz in Wiktionary, the free dictionary.

• «etymologyJAZZ.htm». Retrieved 2007-10-09.<templatestyles src=»Module:Citation/CS1/styles.css»></templatestyles>

What is Jazz?[]

Jazz is a music that originated at the beginning of the 20th century in African American communities in the Southern United States from a confluence of African and European music traditions.

From its early development until the present, jazz has incorporated music from 19th and 20th century American popular music.^[1]

Its West African origins are evident in the use of blue notes, improvisation, polyrhythms, syncopation, and the swing note.^[2]

The word «jazz» (in early years also spelled «jass») began as a West Coast slang term and was first used to refer to music in Chicago in about 1915.

A Video History of the Many Forms of Jazz Music[]

Jazz is a constantly evolving art form that sprang out of the fusion of folk music traditions and concert band music in the early 20th century in the South, then evolved into a variety of different sub-genres of the music over the course of the century that turned it into a popular music listened to all over the world.

To find out more, watch the videos and read the short history of each form of jazz music. To find out more, click on the links in that sub-genre.

What is Jazz? The Definition[]

“	Man, when you got to ask what is it, you’ll never get to know.	”
—Louis Armstrong on Jazz, Time Magazine, Feb. 21, 1949

You might ask what jazz is all about. Like all music forms, there are those who do, and those that write about those who do.

Louis Armstrong’s definition is probably the most true: You have to experience jazz, to listen to it, to play it, to know what it is about.

Jazz is a freedom of expression and individuality within a musical performance or composition that draws from many American musical traditions and then blends and expands upon them becoming its own distinct genre of music because of the ability of the musicians who play it to reinvent any musical form improvisationally until it becomes unique.

Jazz has its roots in Creole, Gospel, Blues and Ragtime. It is the an African-American-rooted restyling of the European brass band concert music of the early white American composers.

What is Jazz — The Eggheads’ Discussion[]

You know that there are a lot of music history teachers and professors who make a dime or two discussing jazz from an intellectual, more removed point of view. For the more scholarly view, follow the link below.

There is more to see on this topic, so check it out by visiting Jazz for Eggheads.

Meaning of the Word «Jazz»[]

Want to settle a bet on what Jazz actually means? Check out the word meaning (etymology) by following the link below.

There is more to see on this topic, so check it out by visiting Jazz (Word Meaning).

Origins[]

File:Slave dance to banjo, 1780s.jpg

By 1808 the Atlantic slave trade had brought almost half a million Africans to the United States. The slaves largely came from West Africa and brought strong tribal musical traditions with them.^[3] Lavish festivals featuring African dances to drums were organized on Sundays at Place Congo, or Congo Square, in New Orleans until 1843, as were similar gatherings in New England and New York. African music was largely functional, for work or ritual, and included work songs and field hollers. The African tradition made use of a single-line melody and call-and-response pattern, but without the European concept of harmony. Rhythms reflected African speech patterns, and the African use of pentatonic scales led to blue notes in blues and jazz.^[4]

File:Virginia Minstrels, 1843.jpg

In the early 19th century an increasing number of black musicians learned to play European instruments, particularly the violin, which they used to parody European dance music in their own cakewalk dances. In turn, European-American minstrel show performers in blackface popularized such music internationally, combining syncopation with European harmonic accompaniment. Louis Moreau Gottschalk adapted African-American cakewalk music, South American, Caribbean and other slave melodies as piano salon music. Another influence came from black slaves who had learned the harmonic style of hymns and incorporated it into their own music as spirituals.^[5] The origins of the blues are undocumented, though they can be seen as the secular counterpart of the spirituals. Paul Oliver has drawn attention to similarities in instruments, music and social function to the griots of the West African savannah.^[6]

1890s–1910s[]

Ragtime[]

Main article: Ragtime

File:Scott Joplin 19072.jpg

The abolition of slavery led to new opportunities for the education of freed African-Americans. Although strict segregation limited employment opportunities for most blacks, many were able to find work in entertainment. Black musicians were able to provide «low-class» entertainment in dances, minstrel shows, and in vaudeville, by which many marching bands formed. Black pianists played in bars, clubs, and brothels, as ragtime developed.^[7][8]

Ragtime appeared as sheet music, popularized by African American musicians such as the entertainer Ernest Hogan, whose hit songs appeared in 1895; two years later Vess Ossman recorded a medley of these songs as a banjo solo «Rag Time Medley».^[9][10] Also in 1897, the white composer William H. Krell published his «Mississippi Rag» as the first written piano instrumental ragtime piece, and Tom Turpin published his Harlem Rag, that was the first rag published by an African-American. The classically trained pianist Scott Joplin produced his «Original Rags» in the following year, then in 1899 had an international hit with «Maple Leaf Rag«. He wrote numerous popular rags, including, «The Entertainer«, combining syncopation, banjo figurations and sometimes call-and-response, which led to the ragtime idiom being taken up by classical composers including Claude Debussy and Igor Stravinsky. Blues music was published and popularized by W. C. Handy, whose «Memphis Blues» of 1912 and «St. Louis Blues» of 1914 both became jazz standards.^[6]

New Orleans music[]

Main article: Dixieland

The music of New Orleans had a profound effect on the creation of early jazz. Many early jazz performers played in venues throughout the city; the brothels and bars of the red-light district around Basin Street, called «Storyville«.^[11] was only one of numerous neighborhoods relevant to the early days of New Orleans jazz. In addition to dance bands, numerous marching bands played at lavish funerals arranged by the African American and European American community. The instruments used in marching bands and dance bands became the basic instruments of jazz: brass and reeds tuned in the European 12-tone scale and drums. Small bands mixing self-taught and well educated African American musicians, many of whom came from the funeral-procession tradition of New Orleans, played a seminal role in the development and dissemination of early jazz, traveling throughout Black communities in the Deep South and, from around 1914 on, Afro-Creole and African American musicians playing in vaudeville shows took jazz to western and northern US cities.^[12]

File:Bolden band.gif

The cornetist Buddy Bolden led a band often mentioned as one of the prime movers of the style later to be called «jazz». He played in New Orleans around 1895–1906. No recordings remain of Bolden. Several tunes from the Bolden band repertory, including «Buddy Bolden Blues», have been recorded by many other musicians. (Bolden became mentally ill and spent his later decades in a mental institution.)

File:Jelly Roll Blues 1915.jpg

Afro-Creole pianist Jelly Roll Morton began his career in Storyville. From 1904, he toured with vaudeville shows around southern cities, also playing in Chicago and New York. His «Jelly Roll Blues«, which he composed around 1905, was published in 1915 as the first jazz arrangement in print, introducing more musicians to the New Orleans style.^[13]
In the northeastern United States, a «hot» style of playing ragtime had developed, notably James Reese Europe’s symphonic Clef Club orchestra in New York which played a benefit concert at Carnegie Hall in 1912.^[14][15] The Baltimore rag style of Eubie Blake influenced James P. Johnson’s development of «Stride» piano playing, in which the right hand plays the melody, while the left hand provides the rhythm and bassline.^[16]

The Original Dixieland Jass Band made the music’s first recordings early in 1917, and their «Livery Stable Blues» became the earliest released jazz record.^{[17][18][19][20][21][22][23]} That year numerous other bands made recordings featuring «jazz» in the title or band name, mostly ragtime or novelty records rather than jazz. In September 1917 W.C. Handy‘s Orchestra of Memphis recorded a cover version of «Livery Stable Blues.»^[24] In February 1918 James Reese Europe’s «Hellfighters» infantry band took ragtime to Europe during World War I,^[25] then on return recorded Dixieland standards including «Darktown Strutters’ Ball«.^[15]

1920s and 1930s[]

The Jazz Age[]

Prohibition in the United States (from 1920 to 1933) banned the sale of alcoholic drinks, resulting in illicit speakeasies becoming lively venues of the «Jazz Age«, an era when popular music included current dance songs, novelty songs, and show tunes. Jazz started to get a reputation as being immoral and many members of the older generations saw it as threatening the old values in culture and promoting the new decadent values of the Roaring 20s. Professor Henry Van Dyck of Princeton University wrote “…it is not music at all. It’s merely an irritation of the nerves of hearing, a sensual teasing of the strings of physical passion.”^[26]

Even the media began to denigrate jazz. The New York Times took stories and altered headlines to pick at Jazz. For instance, villagers used pots and pans in Siberia to scare off bears, and the newspaper stated that it was Jazz that scared the bears away. Another story claims that Jazz caused the death of a celebrated conductor. The actual cause of death was a fatal heart attack (natural cause).^[26]
From 1919 Kid Ory’s Original Creole Jazz Band of musicians from New Orleans played in San Francisco and Los Angeles where in 1922 they became the first black jazz band of New Orleans origin to make recordings.^[27][28] However, the main centre developing the new «Hot Jazz» was Chicago, where King Oliver joined Bill Johnson. That year also saw the first recording by Bessie Smith, the most famous of the 1920s blues singers.^[29]

File:Jazzing orchestra 1921.png

Bix Beiderbecke formed The Wolverines in 1924. Also in 1924 Louis Armstrong joined the Fletcher Henderson dance band as featured soloist for a year, then formed his virtuosic Hot Five band, also popularizing scat singing.^[30] Jelly Roll Morton recorded with the New Orleans Rhythm Kings in an early mixed-race collaboration, then in 1926 formed his Red Hot Peppers. There was a larger market for jazzy dance music played by white orchestras, such as Jean Goldkette‘s orchestra and Paul Whiteman’s orchestra. In 1924 Whiteman commissioned Gershwin’s Rhapsody in Blue, which was premièred by Whiteman’s Orchestra. Other influential large ensembles included Fletcher Henderson’s band, Duke Ellington’s band (which opened an influential residency at the Cotton Club in 1927) in New York, and Earl Hines’s Band in Chicago (who opened in The Grand Terrace Cafe there in 1928). All significantly influenced the development of big band-style swing jazz.^[31]

Swing[]

Main article: Swing music

The 1930s belonged to popular swing big bands, in which some virtuoso soloists became as famous as the band leaders. Key figures in developing the «big» jazz band included bandleaders and arrangers Count Basie, Cab Calloway, Jimmy and Tommy Dorsey, Duke Ellington, Benny Goodman, Fletcher Henderson, Earl Hines, Glenn Miller, and Artie Shaw.

File:Louis Armstrong restored.jpg

Swing was also dance music. It was broadcast on the radio ‘live’ nightly across America for many years especially by Hines and his Grand Terrace Cafe Orchestra broadcasting coast-to-coast from Chicago, well placed for ‘live’ time-zones. Although it was a collective sound, swing also offered individual musicians a chance to ‘solo’ and improvise melodic, thematic solos which could at times be very complex and ‘important’ music.
Over time, social strictures regarding racial segregation began to relax in America: white bandleaders began to recruit black musicians and black bandleaders white ones. In the mid-1930s, Benny Goodman hired pianist Teddy Wilson, vibraphonist Lionel Hampton, and guitarist Charlie Christian to join small groups. An early 1940s style known as «jumping the blues» or jump blues used small combos, uptempo music, and blues chord progressions. Jump blues drew on boogie-woogie from the 1930s. Kansas City Jazz in the 1930s as exemplified by tenor saxophonist Lester Young marked the transition from big bands to the bebop influence of the 1940s.

Beginnings of European jazz[]

Outside of the United States the beginnings of a distinct European style of jazz emerged in France with the Quintette du Hot Club de France which began in 1934. Belgian guitar virtuoso Django Reinhardt popularized gypsy jazz, a mix of 1930s American swing, French dance hall «musette» and Eastern European folk with a languid, seductive feel. The main instruments are steel stringed guitar, violin, and double bass. Solos pass from one player to another as the guitar and bass play the role of the rhythm section. Some music researchers hold that it was Philadelphia’s Eddie Lang (guitar) and Joe Venuti (violin) who pioneered the gypsy jazz form,^[32] which was brought to France after they had been heard live or on Okeh Records in the late 1920s.^[33]

1940s and 1950s[]

Dixieland revival[]

File:Louis Armstrong2.jpg

Main article: 1940s in jazz

In the late 1940s there was a revival of «Dixieland» music, harkening back to the original contrapuntal New Orleans style. This was driven in large part by record company reissues of early jazz classics by the Oliver, Morton, and Armstrong bands of the 1930s. There were two populations of musicians involved in the revival. One group consisted of players who had begun their careers playing in the traditional style, and were either returning to it, or continuing what they had been playing all along, such as Bob Crosby‘s Bobcats, Max Kaminsky, Eddie Condon, and Wild Bill Davison. Most of this group were originally Midwesterners, although there were a small number of New Orleans musicians involved. The second population of revivalists consisted of young musicians such as the Lu Watters band. By the late 1940s, Louis Armstrong’s Allstars band became a leading ensemble. Through the 1950s and 1960s, Dixieland was one of the most commercially popular jazz styles in the US, Europe, and Japan, although critics paid little attention to it.^[34]

Bebop[]

Main article: Bebop

See also: List of bebop musicians

In the early 1940s bebop performers helped to shift jazz from danceable popular music towards a more challenging «musician’s music.» Differing greatly from swing, early bebop divorced itself from dance music, establishing itself more as an art form but lessening its potential popular and commercial value. Since bebop was meant to be listened to, not danced to, it used faster tempos. Beboppers introduced new forms of chromaticism and dissonance into jazz; the dissonant tritone (or «flatted fifth») interval became the «most important interval of bebop»^[35] and players engaged in a more abstracted form of chord-based improvisation which used «passing» chords, substitute chords, and altered chords. The style of drumming shifted as well to a more elusive and explosive style, in which the ride cymbal was used to keep time, while the snare and bass drum were used for accents.

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These divergences from the jazz mainstream of the time initially met with a divided, sometimes hostile response among fans and fellow musicians, especially established swing players, who bristled at the new harmonic sounds. To hostile critics, bebop seemed to be filled with «racing, nervous phrases».^[36] Despite the initial friction, by the 1950s bebop had become an accepted part of the jazz vocabulary. The most influential bebop musicians included saxophonist Charlie Parker, pianists Bud Powell and Thelonious Monk, trumpeters Dizzy Gillespie and Clifford Brown, and drummer Max Roach.

Cool jazz[]

By the end of the 1940s, the nervous energy and tension of bebop was replaced with a tendency towards calm and smoothness, with the sounds of cool jazz, which favoured long, linear melodic lines. It emerged in New York City, as a result of the mixture of the styles of predominantly white jazz musicians and black bebop musicians, and it dominated jazz in the first half of the 1950s. The starting point were a series of singles on Capitol Records in 1949 and 1950 of a nonet led by trumpeter Miles Davis, collected and released first on a ten-inch and later a twelve-inch as the Birth of the Cool. Cool jazz recordings by Chet Baker, Dave Brubeck, Bill Evans, Gil Evans, Stan Getz and the Modern Jazz Quartet usually have a «lighter» sound which avoided the aggressive tempos and harmonic abstraction of bebop. Cool jazz later became strongly identified with the West Coast jazz scene, but also had a particular resonance in Europe, especially Scandinavia, with emergence of such major figures as baritone saxophonist Lars Gullin and pianist Bengt Hallberg. The theoretical underpinnings of cool jazz were set out by the blind Chicago pianist Lennie Tristano, and its influence stretches into such later developments as Bossa nova, modal jazz, and even free jazz. See also the list of cool jazz and West Coast musicians for further detail.
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Hard bop[]

Main article: Hard bop Hard bop is an extension of bebop (or «bop») music that incorporates influences from rhythm and blues, gospel music, and blues, especially in the saxophone and piano playing. Hard bop was developed in the mid-1950s, partly in response to the vogue for cool jazz in the early 1950s. The hard bop style coalesced in 1953 and 1954, paralleling the rise of rhythm and blues. Miles Davis’ performance of «Walkin'» the title track of his album of the same year, at the very first Newport Jazz Festival in 1954, announced the style to the jazz world. The quintet Art Blakey and the Jazz Messengers, fronted by Blakey and featuring pianist Horace Silver and trumpeter Clifford Brown, were leaders in the hard bop movement along with Davis. (See also List of Hard bop musicians)

Modal jazz[]

Main article: Modal jazz

Modal jazz is a development beginning in the later 1950s which takes the mode, or musical scale, as the basis of musical structure and improvisation. Previously, the goal of the soloist was to play a solo that fit into a given chord progression. However, with modal jazz, the soloist creates a melody using one or a small number of modes. The emphasis in this approach shifts from harmony to melody^[37]. The modal theory stems from a work by George Russell, but again Miles Davis unveiled this shift to the rest of the jazz world with Kind of Blue, an exploration of the possibilities of modal jazz and the best selling jazz album of all time. Other innovators in this style include Jackie McLean^[38], John Coltrane and Bill Evans, also present on Kind of Blue, as well as later musicians such as Herbie Hancock.

Free jazz[]

Main article: Free jazz

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Free jazz and the related form of avant-garde jazz broke through into an open space of «free tonality» in which meter, beat, and formal symmetry all disappeared, and a range of World music from India, Africa, and Arabia were melded into an intense, even religiously ecstatic or orgiastic style of playing.^[39] While loosely inspired by bebop, free jazz tunes gave players much more latitude; the loose harmony and tempo was deemed controversial when this approach was first developed. The bassist Charles Mingus is also frequently associated with the avant-garde in jazz, although his compositions draw from myriad styles and genres. The first major stirrings came in the 1950s, with the early work of Ornette Coleman and Cecil Taylor. In the 1960s, performers included John Coltrane, Archie Shepp, Sun Ra, Albert Ayler, Pharoah Sanders, and others. Free jazz quickly found a foothold in EuropeTemplate:Ndash in part because musicians such as Ayler, Taylor, Steve Lacy and Eric Dolphy spent extended periods in Europe. A distinctive European contemporary jazz (often incorporating elements of free jazz but not limited to it) flourished also because of the emergence of musicians (such as John Surman, Zbigniew Namyslowski, Albert Mangelsdorff, Kenny Wheeler and Mike Westbrook) anxious to develop new approaches reflecting their national and regional musical cultures and contexts. Keith Jarrett has been prominent in defending free jazz from criticism by traditionalists in the 1990s and 2000s.

1960s and 1970s[]

Main article: 1960s in jazz

Latin jazz[]

Main article: Latin jazz

Latin jazz combines rhythms from African and Latin American countries, often played on instruments such as conga, timbale, güiro, and claves, with jazz and classical harmonies played on typical jazz instruments (piano, double bass, etc.). There are two main varieties: Afro-Cuban jazz was played in the US right after the bebop period, while Brazilian jazz became more popular in the 1960s. Afro-Cuban jazz began as a movement in the mid-1950s as bebop musicians such as Dizzy Gillespie and Billy Taylor started Afro-Cuban bands influenced by such Cuban and Puerto Rican musicians as Xavier Cugat, Tito Puente, and Arturo Sandoval. Brazilian jazz such as bossa nova is derived from samba, with influences from jazz and other 20th century classical and popular music styles. Bossa is generally moderately paced, with melodies sung in Portuguese or English. The style was pioneered by Brazilians João Gilberto and Antônio Carlos Jobim. The related term jazz-samba describes an adaptation of bossa nova compositions to the jazz idiom by American performers such as Stan Getz and Charlie Byrd.

Bossa nova was made popular by Elizete Cardoso‘s recording of Chega de Saudade on the Canção do Amor Demais LP, composed by Vinícius de Moraes (lyrics) and Antonio Carlos Jobim (music). The initial releases by Gilberto and the 1959 film Black Orpheus brought significant popularity in Brazil and elsewhere in Latin America, which spread to North America via visiting American jazz musicians. The resulting recordings by Charlie Byrd and Stan Getz cemented its popularity and led to a worldwide boom with 1963’s Getz/Gilberto, numerous recordings by famous jazz performers such as Ella Fitzgerald (Ella Abraça Jobim) and Frank Sinatra (Francis Albert Sinatra & Antônio Carlos Jobim), and the entrenchment of the bossa nova style as a lasting influence in world music for several decades and even up to the present.

Post bop[]

Main article: Post-bop

Post-bop jazz is a form of small-combo jazz derived from earlier bop styles. The genre’s origins lie in seminal work by John Coltrane, Miles Davis, Bill Evans, Charles Mingus, Wayne Shorter and Herbie Hancock. Generally, the term post-bop is taken to mean jazz from the mid-sixties onward that assimilates influence from hard bop, modal jazz, the avant-garde, and free jazz, without necessarily being immediately identifiable as any of the above.

Much «post-bop» was recorded on Blue Note Records. Key albums include Speak No Evil by Wayne Shorter; The Real McCoy by McCoy Tyner; Maiden Voyage by Herbie Hancock; Miles Smiles by Miles Davis; and Search for the New Land by Lee Morgan (an artist not typically associated with the post-bop genre). Most post-bop artists worked in other genres as well, with a particularly strong overlap with later hard bop.

Soul jazz[]

Main article: Soul jazz

Soul jazz was a development of hard bop which incorporated strong influences from blues, gospel and rhythm and blues in music for small groups, often the organ trio, which partnered a Hammond organ player with a drummer and a tenor saxophonist. Unlike hard bop, soul jazz generally emphasized repetitive grooves and melodic hooks, and improvisations were often less complex than in other jazz styles. Horace Silver had a large influence on the soul jazz style, with songs that used funky and often gospel-based piano vamps. It often had a steadier «funk» style groove, different from the swing rhythms typical of much hard bop. Important soul jazz organists included Jimmy McGriff and Jimmy Smith and Johnny Hammond Smith, and influential tenor saxophone players included Eddie «Lockjaw» Davis and Stanley Turrentine. (See also List of soul-jazz musicians.)

Jazz fusion[]

Main article: Jazz fusion

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In the late 1960s and early 1970s the hybrid form of jazz-rock fusion was developed by combining jazz improvisation with rock rhythms, electric instruments, and the highly amplified stage sound of rock musicians such as Jimi Hendrix. All Music Guide states that «..until around 1967, the worlds of jazz and rock were nearly completely separate.» However, «…as rock became more creative and its musicianship improved, and as some in the jazz world became bored with hard bop and did not want to play strictly avant-garde music, the two different idioms began to trade ideas and occasionally combine forces.» ^[40] Miles Davis made the breakthrough into fusion in 1970s with his album Bitches Brew. Musicians who worked with Davis formed the four most influential fusion groups: Weather Report and Mahavishnu Orchestra emerged in 1971 and were soon followed by Return to Forever and The Headhunters. Although jazz purists protested the blend of jazz and rock, some of jazz’s significant innovators crossed over from the contemporary hard bop scene into fusion. Jazz fusion music often uses mixed meters, odd time signatures, syncopation, and complex chords and harmonies. In addition to using the electric instruments of rock, such as the electric guitar, electric bass, electric piano, and synthesizer keyboards, fusion also used the powerful amplification, «fuzz» pedals, wah-wah pedals, and other effects used by 1970s-era rock bands. Notable performers of jazz fusion included Miles Davis, keyboardists Joe Zawinul, Chick Corea, Herbie Hancock, vibraphonist Gary Burton, drummer Tony Williams, violinist Jean-Luc Ponty, guitarists Larry Coryell, Al Di Meola, John McLaughlin and Frank Zappa, saxophonist Wayne Shorter, and bassists Jaco Pastorius and Stanley Clarke. Jazz fusion was also popular in Japan where the band Casiopea released over thirty albums praising Jazz Fusion.

Jazz funk[]

Main article: jazz-funk

Developed by the mid-1970s, is characterized by a strong back beat (groove), electrified sounds,^[41] and often, the presence of the first electronic analog synthesizers. The integration of Funk, Soul, and R&B music and styles into jazz resulted in the creation of a genre whose spectrum is indeed quite wide and ranges from strong jazz improvisation to soul, funk or disco with jazz arrangements, jazz riffs, and jazz solos, and sometimes soul vocals.^[42]

At the jazz end of the spectrum, jazz-funk characteristics include a departure from ternary rhythm (near-triplet), i.e. the «swing», to the more danceable and unfamiliar binary rhythm, known as the «groove«. Jazz-funk also draws influences from traditional African music, Latin American rhythms, and Jamaican reggae, most notably Kingston band leader Sonny Bradshaw. A second characteristic of Jazz-funk music is the use of electric instruments, and the first use of analogue electronic instruments notably by Herbie Hancock, whose jazz-funk period saw him surrounded on stage or in the studio by several Moog synthesizers. The ARP Odyssey, ARP String Ensemble, and Hohner D6 Clavinet also became popular at the time. A third feature is the shift of proportions between composition and improvisation. Arrangements, melody, and overall writing were heavily emphasized.

Other trends[]

There was a resurgence of interest in jazz and other forms of African American cultural expression during the Black Arts Movement and Black nationalist period of the early 1970s. Musicians such as Pharoah Sanders, Hubert Laws and Wayne Shorter began using African instruments such as kalimbas, cowbells, beaded gourds and other instruments not traditional to jazz. Musicians began improvising jazz tunes on unusual instruments, such as the jazz harp (Alice Coltrane), electrically amplified and wah-wah pedaled jazz violin (Jean-Luc Ponty), and even bagpipes (Rufus Harley). Jazz continued to expand and change, influenced by other types of music, such as world music, avant garde classical music, and rock and pop music. Guitarist John McLaughlin‘s Mahavishnu Orchestra played a mix of rock and jazz infused with East Indian influences. The ECM record label began in Germany in the 1970s with artists including Keith Jarrett, Paul Bley, the Pat Metheny Group, Jan Garbarek, Ralph Towner, Kenny Wheeler, John Taylor, John Surman and Eberhard Weber, establishing a new chamber music aesthetic, featuring mainly acoustic instruments, and sometimes incorporating elements of world music and folk music.

1980s–2010s[]

Main article: 1980s in jazz

In 1987, the US House of Representatives and Senate passed a bill proposed by Democratic Representative John Conyers, Jr. to define jazz as a unique form of American music stating, among other things, «…that jazz is hereby designated as a rare and valuable national American treasure to which we should devote our attention, support and resources to make certain it is preserved, understood and promulgated.» ^[43]

Traditionalist and Experimental divide[]

In the 1980s, the jazz community shrank dramatically and split. A mainly older audience retained an interest in traditional and straight-ahead jazz styles. Wynton Marsalis strove to create music within what he believed was the tradition, creating extensions of small and large forms initially pioneered by such artists as Louis Armstrong and Duke Ellington. In the 2000s, straight-ahead jazz continues to appeal to a core group of listeners. Well-established jazz musicians, such as Dave Brubeck, Wynton Marsalis, Sonny Rollins, and Wayne Shorter continue to perform and record. In the 1990s and 2000s, a number of young musicians emerged, including US pianists Brad Mehldau, Jason Moran and Vijay Iyer, guitarist Kurt Rosenwinkel, vibraphonist Stefon Harris, trumpeters Roy Hargrove and Terence Blanchard, saxophonists Chris Potter and Joshua Redman, and bassist Christian McBride.

In the United States, several musicians and groups explored the more experimental end of the spectrum, including trumpeters Rob Mazurek and Cuong Vu, saxophonist Ken Vandermark, guitarist Nels Cline, bassist Todd Sickafoose, keyboardist Craig Taborn, drummer/percussionist John Hollenbeck, guitarist John Scofield, and the groups Medeski Martin & Wood and The Bad Plus. Outside of the US, the Swedish group E.S.T. and British groups Acoustic Ladyland, Led Bib, and Polar Bear gained popularity with their progressive takes on jazz. A number of new vocalists have achieved popularity with a mix of traditional jazz and pop/rock forms, such as Diana Krall, Norah Jones, Cassandra Wilson, Kurt Elling, and Jamie Cullum.

Smooth jazz[]

Main article: smooth jazz

In the early 1980s, a commercial form of jazz fusion called pop fusion or «smooth jazz» became successful and garnered significant radio airplay. Smooth jazz saxophonists include Grover Washington, Jr., Kenny G, Kirk Whalum, Boney James, and David Sanborn. Smooth jazz received frequent airplay with more straight-ahead jazz in «quiet storm» time slots at radio stations in urban markets across the U.S., helping to establish or bolster the careers of vocalists including Al Jarreau, Anita Baker, Chaka Khan, and Sade. In this same time period Chaka Khan released Echoes of an Era, which featured Joe Henderson, Freddie Hubbard, Chick Corea, Stanley Clarke, and Lenny White. She also released the song «And the Melody Still Lingers On (Night in Tunisia)» with Dizzy Gillespie reviving the solo break from «Night in Tunisia«.

In general, smooth jazz is downtempo (the most widely played tracks are in the 90–105 BPM range), layering a lead, melody-playing instrument (saxophones–especially soprano and tenor–are the most popular, with legato electric guitar playing a close second) over a backdrop that typically consists of programmed electronic drum rhythms, synth pads and samples^{[citation needed]}. In his Newsweek article «The Problem With Jazz Criticism»^[44] Stanley Crouch considers Miles Davis’ playing of fusion as a turning point that led to smooth jazz. In Aaron J. West’s introduction to his analysis of smooth jazz, «Caught Between Jazz and Pop» he states,

I challenge the prevalent marginalization and malignment of smooth jazz in the standard jazz narrative. Furthermore, I question the assumption that smooth jazz is an unfortunate and unwelcomed evolutionary outcome of the jazz-fusion era. Instead, I argue that smooth jazz is a long-lived musical style that merits multi-disciplinary analyses of its origins, critical dialogues, performance practice, and reception.^[45]

Acid jazz, nu jazz and jazz rap[]

Acid jazz developed in the UK over the 1980s and 1990s and influenced by jazz-funk and electronic dance music. Jazz-funk musicians such as Roy Ayers and Donald Byrd are often credited as forerunners of acid jazz.^[46] While acid jazz often contains various types of electronic composition (sometimes including sampling or live DJ cutting and scratching), it is just as likely to be played live by musicians, who often showcase jazz interpretation as part of their performance. Nu jazz is influenced by jazz harmony and melodies, there are usually no improvisational aspects. It ranges from combining live instrumentation with beats of jazz house, exemplified by St Germain, Jazzanova and Fila Brazillia, to more band-based improvised jazz with electronic elements such as that of The Cinematic Orchestra, Kobol, and the Norwegian «future jazz» style pioneered by Bugge Wesseltoft, Jaga Jazzist, Nils Petter Molvær, and others. Nu jazz can be very experimental in nature and can vary widely in sound and concept.

Jazz rap developed in the late 1980s and early 1990s, and incorporates jazz influence into hip hop. In 1988, Gang Starr released the debut single «Words I Manifest», sampling Dizzy Gillespie’s 1962 «Night in Tunisia», and Stetsasonic released «Talkin’ All That Jazz», sampling Lonnie Liston Smith. Gang Starr’s debut LP, No More Mr. Nice Guy (Wild Pitch, 1989), and their track «Jazz Thing» (CBS, 1990) for the soundtrack of Mo’ Better Blues, sampling Charlie Parker and Ramsey Lewis. Gang Starr also collaborated with Branford Marsalis and Terence Blanchard.Groups making up the collective known as the Native Tongues Posse tended towards jazzy releases; these include the Jungle Brothers‘ debut Straight Out the Jungle (Warlock, 1988) and A Tribe Called Quest‘s People’s Instinctive Travels and the Paths of Rhythm (Jive, 1990) and The Low End Theory (Jive, 1991). The Low End Theory has become one of hip hop’s most acclaimed albums, and earned praise too from jazz bassist Ron Carter, who played double bass on one track. Beginning in 1993, rapper Guru‘s Jazzmatazz series used jazz musicians during the studio recordings. Though jazz rap had achieved little mainstream success, jazz legend Miles Davis’ final album (released posthumously in 1992), Doo-Bop, was based around hip hop beats and collaborations with producer Easy Mo Bee. Davis’ ex-bandmate Herbie Hancock returned to hip hop influences in the mid-nineties, releasing the album Dis Is Da Drum in 1994.

Punk jazz and jazzcore[]

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The relaxation of orthodoxy concurrent with post-punk in London and New York City led to a new appreciation for jazz. In London, the Pop Group began to mix free jazz, along with dub reggae, into their brand of punk rock.^[47] In NYC, No Wave took direct inspiration from both free jazz and punk. Examples of this style include Lydia Lunch‘s Queen of Siam,^[48] the work of James Chance and the Contortions, who mixed Soul with free jazz and punk,^[48] Gray, and the Lounge Lizards,^[48] who were the first group to call themselves «punk jazz«.

John Zorn began to make note of the emphasis on speed and dissonance that was becoming prevalent in punk rock and incorporated this into free jazz. This began in 1986 with the album Spy vs. Spy, a collection of Ornette Coleman tunes done in the contemporary thrashcore style.^[49] The same year, Sonny Sharrock, Peter Brötzmann, Bill Laswell, and Ronald Shannon Jackson recorded the first album under the name Last Exit, a similarly aggressive blend of thrash and free jazz.^[50] These developments are the origins of jazzcore, the fusion of free jazz with hardcore punk.

In the 1990s, punk jazz and jazzcore began to reflect the increasing awareness of elements of extreme metal (particularly thrash metal and death metal) in hardcore punk. A new style of «metallic jazzcore» was developed by Iceburn, from Salt Lake City, and Candiria, from New York City, though anticipated by Naked City and Pain Killer. This tendency also takes inspiration from jazz inflections in technical death metal, such as the work of Cynic and Atheist.

See also[]

Notes[]

References[]

External links[]

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• Jazz Foundation of America
• Jazz @ the Smithsonian
• Alabama Jazz Hall of Fame website
• Red Hot Jazz.com
• Jazz at Lincoln Center website
• Jazz At Lincoln Center Hall of Fame
• American Jazz Museum website
• JAZZRADIO.com – free Internet radio covering numerous Jazz sub-genres
• The International Archives for the Jazz Organ
• Classic and Contemporary Jazz Music
• The Jazz Archive at Duke University
• Jazz Festivals in Europe
• Free 1920s Jazz Collection available for downloading at Archive.org
• A List of Jazz Lists

Обложка нот 1916 г.; варианты написания, такие как «jas», «jass» и «jasz», встречались до 1918 года.

Происхождение слова jazz — одно из самых популярных словосочетаний в современном американском английском. Интерес к этому слову — Американское диалектное общество в 2000 году назвало его Словом двадцатого века — привел к серьезным исследованиям, и лингвистическая история хорошо задокументирована. «Джаз» начался как западно-прибрежный жаргонный термин примерно в 1912 году. Значение менялось, но изначально это слово не относилось к музыке. «Джаз» стал означать «джаз музыка» в Чикаго примерно в 1915 году.

Содержание

• 1 Этимология
• 2 Использование бейсбола
• 3 Применение к музыке
• 4 Другие значения
• 5 Другие этимологические предложения
• 6 Примечания
• 7 Источники
• 8 Внешние ссылки

Этимология

Сходство слова «джаз» с «jasm», устаревшим сленговым термином, означающим дух, энергия и энергичность, датированная 1860 годом в Историческом словаре американского сленга Рэндом Хаус (1979), предполагает, что «джасм» следует рассматривать как ведущего кандидата на источник «джаза».

Связь между этими двумя словами подтверждается статьей 18 февраля 1916 года в Daily Californian, в которой использовалось написание «jaz-m», хотя контекст и другие статьи в том же Газета того периода показывает, что «джаз» был задуман.

«Джасм» происходит от сленгового термина «jism» или «gism» или является его вариантом, который в Историческом словаре американского сленга датируется 1842 годом и определяется как «дух; энергия; мужество». «Джизм» также означает «сперма» или «сперма», значение, которое преобладает сегодня, что делает «сперму» табуированным словом. В соответствии с этой этимологией джазовый композитор Юби Блейк (р. 1887), когда женщина брала интервью у Йельского проекта «Устная история американской музыки», отказался использовать слово «джаз», потому что считал его грубым. Связь между этими словами усиливается тем фактом, что «сперма» также является сленговым термином для обозначения спермы, и что «сперма» — как jism / jasm — также означает дух, энергию или храбрость (например: «Она показала много мужества. «). Однако в 19-м и начале 20-го веков «джизм» все еще использовался в вежливом контексте. «Jism» или его вариант «jizz» (который не засвидетельствован в Историческом словаре американского сленга до 1941 г.) также предлагался как прямой источник слова «джаз». Прямое происхождение от «jism» фонологически маловероятно. Согласно этому предположению, само «Jasm» было бы промежуточной формой. Сравните аналогичную взаимосвязь между сленговыми терминами «спазм» и «внезапный прилив энергии», например «спазм ».

Один источник извлекает из книги Нормана Эсбери «Французский квартал» утверждение, что в 1895 году в Новом Орлеане существовала группа под названием Razzy Dazzy Spasm Band. В этом источнике также утверждается связь с французским глаголом jaser, означающим болтать, и что слово «jass» было слышно в Новом Орлеане как означающее возбуждать или поднимать настроение.

Использование бейсбола

Упоминания о бейсболе были используется ET «Сенсация» Глисона в бюллетене Сан-Франциско. Дик Холбрук и Питер Тэмони нашли статьи, написанные в Бойс-Спрингс, Калифорния, где тренировалась бейсбольная команда Сан-Франциско Силс. В статье от 3 марта 1913 года «джаз» является синонимом чуши. Джорджа Клиффорда Маккарла называли «бушером», как в «лиге кустарников», что означает низшая лига или второй рейтинг. Но Глисон, напротив, пишет, что «этот наркотик очень похож на« джаз »». Другое использование произошло в «Все вернулись в старый город, полный старого« джаза », и они обещают сбить фанатов с ног своей игрой». «Что такое« джаз »? Это немного от« старой жизни »,« джин-и-кер »,« бодрости », иначе известного как энтузиазм». В статье говорится, что «участники тренируются на рэгтайме и джазе, и менеджер Дель Ховард говорит, что их не остановить». Контекст статьи показывает, что музыкальное значение «джаз» не имеет смысла; скорее, регтайм и «джаз» использовались как маркеры кипящего духа.

5 апреля 1913 г. в Бюллетене была опубликована статья Эрнеста Дж. Хопкинса, озаглавленная «В честь« джаза », футуристического слова, только что вошедшего в язык». В статье, где слова «джаз» и «джаз» используются как синонимы, этот термин подробно обсуждается и содержится положительное определение.

«Джаз» (мы меняем написание каждый раз, чтобы не оскорбить ни одну из фракций) может быть определено, но не может быть синонимом. Если бы существовало другое слово, точно выражающее значение слова «джаз», «джаз» никогда бы не родился. Новое слово, как новая мышца, возникает только тогда, когда оно давно было необходимо… Это замечательное и хорошо звучащее слово, однако, означает что-то вроде жизни, бодрости, энергии, бодрости духа, радости, бодрости, магнетизма., воодушевление, мужество, бодрость, отвага, счастье — о, какой толк? — Джаз.

В 2003 году The Los Angeles Times сообщила о библиотекаре из Нью-Йоркского университета, который сказал, что нашел слово «джаз», использованное в спортивной статье из New York Times от 2 апреля 1912 года. Под заголовком «Джазовая кривая Бена» «в статье цитируется бейсболист Бен Хендерсон, рассказывающий репортеру, что он назвал свой изогнутый мяч» Джазовым мячом, потому что он качается, и с ним просто ничего не поделать «.

» Джаз «в смысле бодрости духа. и энтузиазм продолжал использоваться в Калифорнии в течение нескольких лет, прежде чем был погружен в его музыкальный смысл. Барри Попик нашел примеры из Daily Californian и Daily Palo Alto, показывающие, что «джаз» был жаргонным термином в Калифорнийском университете в Беркли с 1915 по 1917 год и в Стэнфордском университете от 1916-1918 гг.

Применение к музыке

Дик Холбрук опубликовал свои открытия в журнале Storyville. Среди них был Уильям Демарест, актер, который сказал, что услышал это слово в 1908 году, когда был молодым музыкантом в Сан-Франциско, когда группе было предложено играть более энергично. Кларнетист Бад Джейкобсон сказал, что это слово использовалось в Чикаго для продвижения группы Art Arseth в кафе Arsonia в 1914 году. Фред Р. Шапиро, редактор Йельской книги цитат, обнаружил его применительно к музыке в Chicago Daily Tribune от 11 июля 1915 года.

Блюз есть джаз и джаз есть блюз… Червь превратился — превратился в фокстрот. И это сделали «блюз». «Джаз» подбодрил ноги, которые слишком долго карабкались для 5:15… В следующем месте молодая женщина держала «Der Wacht Am Rhein» и «Типперэри Мэри» отдельно, когда вошел следователь. «Что такое блюз?» — мягко спросил он. «Джаз!» Голос молодой женщины повысился, чтобы заглушить пианино… Блюз никогда не записывается в музыку, но вставляется пианистом или другими исполнителями. Они не новы. Они просто возрождают популярность. Они зародились на юге полвека назад и изначально представляют собой вставки черных. Их торговое название — «джаз»… После этого «Джаз» Мэрион села и продемонстрировала самую голубую полосу блюза, которую когда-либо слышали под синим. Или, если вам больше нравится: «Blue» Мэрион села и исполнила самую джазовую полосу джаза за всю историю. Саксофонисты с момента появления «джаз-блюза» стали носить «джазовые ошейники», аккуратные декольте, которые дают полную свободу горлу и дыхательному горлу, так что звуки, исходящие из трубок, могут не страдать из-за отсутствия блюза — те чудесный блюз.

Примеры в чикагских источниках продолжались, и к концу 1916 года термин достиг других городов. К 1917 году этот термин получил широкое распространение. Первое известное употребление в Новом Орлеане, обнаруженное лексикографом Бенджамином Циммером в 2009 году, появилось в Новом Орлеане Times-Picayune 14 ноября 1916 г.:

Театральные журналы приняли во внимание Первоначально считалось, что эти синкопальные организации возникли в Чикаго, но каждый, кто хоть раз бывал в «поясе танго» Нового Орлеана, знает, что настоящий дом «джас-бэндов» находится именно здесь. Однако мастерам сцены остается официально признать «джас-бэнды» Нового Орлеана. В день ежегодного бала-маскарада «Работники сцены», который отмечается 23 ноября, сценические работники города собираются пересечь город под предводительством настоящего и типичного «жас-бэнда». Где и когда возникли эти группы, до этой зимы известные только Новому Орлеану, остается спорным вопросом. Утверждается, что они являются порождением так называемых «рыбных банд» лагерей у озера, субботних и воскресных вечеров… Однако факт остается фактом: их популярность уже достигла Чикаго, и что Нью-Йорк, вероятно, станет вторгся следующий. Но, как бы то ни было, факт остается единственным и оригинальным, что можно найти здесь и здесь только. «Парни за кадром» назвали свой парад «парадом Джас». Это будет автомобильный роман с актерами и актрисами различных театров сразу за группой. Мяч должен быть у Вашингтонской артиллерии.

Непонятно, кто первым применил «джаз» к музыке. Главный претендент — Берт Келли, музыкант и руководитель группы, который знал этот калифорнийский сленговый термин из-за того, что играл на банджо в оркестре Арта Хикмана. Келли сформировал Jazz Band Берта Келли и заявил в письме, опубликованном в Variety 2 октября 1957 года, что он начал использовать «сленговое слово« джаз »на Дальнем Западе как название оригинальной танцевальной группы». в 1914 году. Утверждение Келли считается правдоподобным, но не имеет современной проверки, хотя в Literary Digest 26 апреля 1919 года было написано: «[t] фразу« джаз-бэнд »впервые использовал Берт Келли в Чикаго осенью 1915 г. и неизвестен в Новом Орлеане ».

Тромбонист Том Браун возглавил группу из Нового Орлеана в Чикаго в 1915 году и заявил, что его группа была первой, объявленной как «джас-группа». Чуть позже появился Original Dixieland Jass Band или, по некоторым данным, его предшественник под названием Stein’s Dixie Jass Band, якобы названный так менеджером кафе в Чикаго Гарри Джеймсом. Согласно статье в журнале Song Lyrics, опубликованной в ноябре 1937 года, «помешанная на танцах пара закричала в конце танца:« Давай, мальчик, дай нам еще джаса ». Промоутер Гарри Джеймс сразу же уловил это слово как идеальное прозвище для популяризации нового увлечения «.

Если хронология Original Dixieland Jass Band верна, то название «jass» он получил только 3 марта 1916 года, а это было бы слишком поздно для его создания. В судебном деле 1917 года относительно авторских прав на песни члены того, что впоследствии стало O.D.J.B. под присягой засвидетельствовал, что группа выступала в Чикаго под названием Stein’s Dixie Jass Band.

В томе II Дополнения (1976 г.) и, следовательно, во втором издании 1989 г., Оксфордский словарь английского языка содержал ссылку 1909 г. на использование слова «джаз» на граммофонной записи « Дядя Джош в обществе «. Исследователь Дэвид Шульман продемонстрировал в 1989 году, что это свидетельство было ошибкой, основанной на более поздней версии записи; в записи 1909 года слово «джаз» не употребляется. Редакция признала ошибку, и исправленная запись «jazz» в OED Online изменила дату этой цитаты с пометкой об ошибке. Но многие вторичные источники продолжают указывать 1909 год как самый ранний известный пример слова, основанный на оригинальной записи OED.

Grand Larousse Dictionnaire de la Langue Française и Über englisches Sprachgut im Französischen ссылаются на использование в 1908 году джазбанда, джазового оркестра, в парижской газете Le Matin. Это типографская ошибка 1918 года.

Прочие значения

В письме 1831 года лорд Пальмерстон писал о Шарле Морисе де Талейран-Перигор, о «старом Тэлли, который зажигает и рассказывает истории Ливену, Эстерхази и Вессенбергу». Ученые считают, что Пальмерстон не использовал слово «джаз» в каком-либо современном смысле, а просто англизировал французский джазер в его стандартном значении болтовни или болтовни. Никаких других примеров использования Пальмерстона не существует, что исключает его как происхождение.

Другие этимологические предложения

В статье от 5 августа 1917 г. из New York Sun Уолтер Дж. Кингсли утверждал, что «джаз» имеет африканское происхождение. «В своих исследованиях креольского наречия и идиомы в Новом Орлеане Лафкадио Хирн сообщил, что слово« джаз », означающее« ускорить процесс, вызвать волнение », было распространено среди чернокожих юга и было принято креолами как термин, применяемый к музыке рудиментарного синкопированного типа «. Но недавние поиски произведений Лафкадио Хирна не нашли ни одного упоминания этого слова. Лоуренс Гуши утверждает, что цитата Кингсли из Хирна, скорее всего, является мошенничеством.

Джеффри К. Уорд и Кен Бернс в Джазе: История музыки Америки (2000) и Хилтон Элс в New York Review of Books от 27 марта 2003 г. предполагает, что «джаз» происходит от аромата жасмина, который проститутки носили в районе красных фонарей Нового Орлеана. Эта теория основана на воспоминаниях джазового музыканта Гарвина Бушелла, рассказанных Марку Такеру в книге «Джаз с самого начала» (1988). Бушелл сказал, что он слышал этот вывод в цирке, где он начал работать в 1916 году. Похоже, это ложная этимология, не подтвержденная доказательствами. Уорд и Бернс также предположили, что слово «джаз» происходит от слова «jezebel», обозначавшего проститутку в девятнадцатом веке.

Одна история связывает джаз с первой частью слова «жасмин». Французы принесли с собой парфюмерную промышленность в Новый Орлеан, и масло жасмина было популярным ингредиентом. Добавление его в парфюм называлось «взбесить». Сильный аромат был популярен в районе красных фонарей, где работающая девушка могла подойти к потенциальному покупателю и спросить: «Ты думаешь сегодня о джазе, молодой человек?»

С. Фредерик Старр утверждает, что такое же употребление слова jezebel уходит корнями в Ветхий Завет. В Новом Орлеане термин был изменен на «jazzbelle», а сутенеры или другие мужчины стали называть «jazzbeau».

DuBose Heyward, автор «Porgy », в своей книге Jasbo Brown and «Избранные стихи» (1924), говорится, что джаз, возможно, получил свое название от Джазбо Брауна.

Кингсли утверждал, что фраза «jaz her up» использовалась рабами плантаций и что в обычном водевильном употреблении «jaz her up» или «put в jaz «означало ускорять или добавлять низкую комедию, в то время как» jazbo «означало» хокум «.

Руководитель группы Арт Хикман сказал, что» джаз «был назван в честь шипучих источников в Boyes Пружины. Он сделал заявление в San Francisco Examiner от 12 октября 1919 г. и San Francisco Chronicle от 9 ноября 1919 г.

Примечания

Источники

• Джеральд Коэн, «Возвращение к джазу: о происхождении термина — проект № 3», Комментарии по этимологии, том. 35, №№ 1-2 (октябрь – ноябрь 2005 г.)
• J.E. Lighter, ed., Исторический словарь американского сленга, Vol. 2, H – O (1997), New York: Random House.

Внешние ссылки

Найдите jazz в Wiktionary, бесплатном словаре.

• «этимологияJAZZ.htm «. Проверено 9 октября 2007 г.

The expression arose sometime during the later nineteenth century in the better brothels of New Orleans, which provided music and dancing as well as sex. The original Jazz band, according to Herbert Asbury’s The Latin Quarter (1938), was the ‘Spasm Band’ made up of seven boys, aged twelve to fifteen, who first appeared in New Orleans about 1895. They advertised themselves as the «Razzy Dazzy Spasm Band.»

In c.1900 (see Jazz Timeline) another band adopted the same billing for an appearance at the Haymarket dance hall, it is said the ‘Spasms’ loaded their pockets with rocks and dropped by to protest the infringement. This prompted the owner of the hall to repaint his advertising placards to read: «Razzy Dazzy Jazzy Band!» If the memories of Asbury’s sources were correct (he talked to two surviving members of the ‘Spasms’) this represents the word’s earliest-known appearance in print.

‘Jazz’ is not a bad word now, but almost certainly the etymology is of extremely low origin, referring to copulation before it was applied to music, dancing, and nonsense (i.e., all that Jazz). The vulgar word was in general currency in dance halls thirty years or more ago» (Clay Smith, Etude 9/24). «According to Raven I. McDavid Sr. of Greenville, S.C., the 1919 announcement of the first ‘Jazz band’ to play in Columbia, where he was then serving in the state legislature, inspired feelings of terror among the local Baptists such as what might have been aroused by a personal appearance of Yahweh. Until that time ‘Jazz’ had never been heard in the Palmetto States except as a verb meaning to copulate» (H. L. Mencken, The American Language Raven I. McDavid Jr. 1963). «She never stepped out of line once in all the years we been teamed up. I can’t sell her on jazzing the chump now» (William Lindsay Gresham, Nightmare Alley 1946).

‘Jazz’ probably comes from a Creole or perhaps African word, but exact connections have not been proven. The presumed etymology of sexual origin is quite in accord with the development of many other related words, most notably:

‘boogie-woogie’ was used in the nineteenth century by blacks in the American South to refer to secondary syphilis.

‘gig’ the musician’s engagement, probably derives immediately from the ‘gig’ that is a dance or party, but ‘gig’ and ‘gigi’ (or ‘giggy’) also are old slang terms for the vulva; the first has been dated to the seventeenth century.

‘jelly roll’ is black slang from the nineteenth century for the vulva, with various related meanings, i.e. sexual intercourse, a loving woman, a man obsessed with finding same. «What you want?» she asked softly. «Jelly roll?» (Thomas Wolfe, Look Homeward Angel 1929). The term probably derives from ‘jelly’ meaning semen: «Give her cold jelly to take up her belly, And once a day swinge her again» (John Fletcher, The Begger’s Bush 1622). Related expressions include ‘jelly bag,’ referring both to the scrotum and the female genitals; ‘jerk [one’s] jelly,’ to masturbate; and ‘jelly,’ a good-looking woman. ‘Jelly roll’ appears in many blues songs, such as «I Ain’t Gonna Give Nobody None o’ My Jelly Roll,» «Nobody in Town Can Bake a Jelly Roll Like Mine,» and «Jelly Roll Blues,» the last by Ferdinand Joseph La Menthe «Jelly Roll» Morton (1885-1941).

‘juke’ The modern ‘jukebox’ was preceded by ‘juke house’ which was a brothel to Southern blacks; the basic term coming from a Gullah word meaning disorderly or
wicked.

‘swing’ The now archaic ‘swinge’ was used for many years as a synonym for copulation (‘swive’ according to the OED’s discreet definition). Note the quote from 1622 in ‘jelly roll’ above. Or as John Dryden put it: «And that baggage, Beatrix, how I would swinge her if I could» (Enemy’s Love 1668). The oldest meaning of both ‘swinge’ and ‘swing’ deal with beating, striking and whipping (i.e., the swing of a weapon predates the back and forth swaying of a swing or the rhythmic swing of music). For reasons that are not hard to guess, the conjunction of violent and sexual senses within the same word is very common.

In a more modern sense, Swing has been used describing ‘wife-swapping’ and related activities involving one or more partners of either sex. It has been so used from about 1964 or earlier, depending on the interpretation one gives to Frank Sinatra’s 1956 record album Songs for Swinging Lovers.

English[edit]

Alternative forms[edit]

• jaz, jas, jass, jasz (all dated, used from about 1912 to about 1918)

Etymology[edit]

Unknown. First attested around 1912 in a discussion of baseball; attested in reference to music around 1915. Numerous references suggest that the term may be connected to jasm and jism.^[1]

Pronunciation[edit]

• enPR: jăz, IPA^(key): /d͡ʒæz/
• Rhymes: -æz

Noun[edit]

jazz (uncountable)

1. (music) A musical art form rooted in West African cultural and musical expression and in the African American blues tradition, with diverse influences over time, commonly characterized by blue notes, syncopation, swing, call and response, polyrhythms and improvisation.

   • 1927, Samson Raphaelson; Alfred A. Cohn, The Jazz Singer, spoken by Jakie Rabinowitz (Al Jolson):

     You dare to bring your jazz songs into my house!

   • 1946, Mezz Mezzrow; Bernard Wolfe, Really the Blues, New York: Random House, page 30:

     You all look out now, here I come, everybody step aside, I’m gonna show you where from! I’m gonna blow in this horn and make you know that jazz is the king and let it be so!

   • 1995, Mike Reiss; Al Jean, “’Round Springfield”, in The Simpsons, season 6, episode 22, spoken by Bill Cosby:

     You see, the kids, they listen to the rap music which gives them the brain damage. With their hippin’, and the hoppin’, and the bippin’, and the boppin’, so they don’t know what the jazz…is all about! You see, jazz is like the Jello Pudding Pop—no, actually, it’s more like Kodak film—no, actually, jazz is like the New Coke: it’ll be around forever, heh heh.

2. (figurative) Energy, excitement, excitability.
4. The substance or makeup of a thing; unspecified thing(s).

   Synonyms: stuff; see also Thesaurus:junk, Thesaurus:thingy

   and all that jazz

   What jazz were you referring to earlier?

   What is all this jazz lying around?

   I’m just going down to the shops and jazz.

   • 1975, Garry Marshall et al., “Richie’s Flip Side”, in Happy Days, season 2, episode 21, spoken by Richie Cunningham (Ron Howard):

     Dad, I want to be a jock. All a jock needs is some hep patter and a real gone image. Now, they just don’t teach that jazz in college.

5. (with positive terms) Something of excellent quality, the genuine article.

   That show was the jazz!

   This risotto is simply the jazz.

6. Nonsense.

   Synonyms: rubbish, wass; see also Thesaurus:nonsense

   Stop talking jazz.

7. (slang) Semen, jizz.

   • 1968, Len Harrington, In drag, page 7:

     Suddenly, Bobby oozed his jazz into Gene’s throat.

   • 1974, Peter Pepper, Meatslinger, page 141:

     […] making Glenn feel as though he could never stop shooting his jazz wildly up inside the man’s brawny body!

   • 2018, Bert Shrader, A Gay Thing Happened on the Way to the Forum:

     As he clung to the legs of his captor, he splayed his own out to the side, baring his groin and genitals to the eyes of all just as his jazz began to spurt out onto the stage.

8. A red-skinned variety of eating apple.

Derived terms[edit]

Translations[edit]

Verb[edit]

jazz (third-person singular simple present jazzes, present participle jazzing, simple past and past participle jazzed)

1. To destroy.

   You’ve gone and jazzed it now!

2. To play (jazz music).
3. To dance to the tunes of jazz music.
4. To enliven, brighten up, make more colourful or exciting; excite
5. To complicate.

   Don’t jazz it too much!

6. (intransitive, US slang, dated) To have sex for money, to prostitute oneself.

   • 1931, Faulkner, William, Sanctuary, Vintage, published 1993, page 59:

     ‘Jazzing?’ Temple whispered […]. ‘Yes, putty-face!’ the woman said. ‘How do you suppose I paid that lawyer?’

7. (intransitive) To move (around/about) in a lively or frivolous manner; to fool around. [from 20th c.]

   • 1958, Lessing, Doris, A Ripple From the Storm, HarperPerennial, published 1995, page 119:

     ‘Well, if you’re going to jazz about the way you do, I suppose you’ll need rouge at your age.’

8. To distract or pester.

   Stop jazzing me!

9. To ejaculate.

   • 1982, Arthur Winfield Knight, Kit Knight, Beat angels, page 7:

     Twenty-four black men jazzed madly as trumpets exploded her eardrums in tom-tom time. Ebony orgasm flooded her with creme.

   • 1986, Winston Leyland, Hard, page 84:

     The thrill of the rimming soon made this guy beg for me to stop before he jazzed his nuts.

   • 1988, First Hand — Volume 8, Issue 2, page 47:

     I reached around and began jacking off Marshall’s prick as I was jazzing his ass.

Synonyms[edit]

• (to destroy): annihilate, ravage; see also Thesaurus:destroy
• (to play jazz music): cook, jam; see also Thesaurus:play music
• (to enliven): invigorate, vitalise; see also Thesaurus:enliven
• (to complicate): complexify, confuscate; see also Thesaurus:complicate
• (to prostitute oneself): sell one’s body, turn tricks; see also Thesaurus:prostitute oneself
• (to pester): bother, bug; see also Thesaurus:annoy

Translations[edit]

References[edit]

[[Category:en:Apple cultivars]

Catalan[edit]

Etymology[edit]

Borrowed from English jazz.

Pronunciation[edit]

• (Balearic, Central) IPA^(key): /ˈʒas/
• (Valencian) IPA^(key): /ˈd͡ʒas/

Noun[edit]

jazz m (plural jazz)

1. jazz

Derived terms[edit]

• jazzístic

Further reading[edit]

• “jazz” in Diccionari de la llengua catalana, segona edició, Institut d’Estudis Catalans.
• “jazz”, in Gran Diccionari de la Llengua Catalana, Grup Enciclopèdia Catalana, 2023
• “jazz” in Diccionari normatiu valencià, Acadèmia Valenciana de la Llengua.

Czech[edit]

Etymology[edit]

Borrowed from English jazz.

Noun[edit]

jazz m

1. jazz

Declension[edit]

Further reading[edit]

• jazz in Příruční slovník jazyka českého, 1935–1957
• jazz in Slovník spisovného jazyka českého, 1960–1971, 1989

Danish[edit]

Etymology[edit]

Borrowed from English jazz.

Noun[edit]

jazz m (definite singular jazzen)

1. (uncountable) jazz (form of music)

Derived terms[edit]

Dutch[edit]

Etymology[edit]

Borrowed from English jazz.

Pronunciation[edit]

• IPA^(key): /dʒɛz/
• Hyphenation: jazz

Noun[edit]

jazz m (uncountable)

1. jazz

Derived terms[edit]

Finnish[edit]

Etymology[edit]

Borrowed from English jazz.

Pronunciation[edit]

• IPA^(key): /ˈjɑts/, [ˈjɑts̠]
• Rhymes: -ɑts
• Syllabification^(key): jazz

Noun[edit]

jazz

1. jazz (style of music)

Declension[edit]

Inflection of jazz (Kotus type 5/risti, no gradation)
nominative	jazz	jazzit
genitive	jazzin	jazzien
partitive	jazzia	jazzeja
illative	jazziin	jazzeihin
	singular	plural
nominative	jazz	jazzit
accusative	nom.	jazz	jazzit
gen.	jazzin
genitive	jazzin	jazzien
partitive	jazzia	jazzeja
inessive	jazzissa	jazzeissa
elative	jazzista	jazzeista
illative	jazziin	jazzeihin
adessive	jazzilla	jazzeilla
ablative	jazzilta	jazzeilta
allative	jazzille	jazzeille
essive	jazzina	jazzeina
translative	jazziksi	jazzeiksi
instructive	—	jazzein
abessive	jazzitta	jazzeitta
comitative	See the possessive forms below.

Possessive forms of jazz (type risti)

first-person singular possessor singular plural nominative jazzini jazzini accusative nom. jazzini jazzini gen. jazzini genitive jazzini jazzieni partitive jazziani jazzejani inessive jazzissani jazzeissani elative jazzistani jazzeistani illative jazziini jazzeihini adessive jazzillani jazzeillani ablative jazziltani jazzeiltani allative jazzilleni jazzeilleni essive jazzinani jazzeinani translative jazzikseni jazzeikseni instructive — — abessive jazzittani jazzeittani comitative — jazzeineni second-person singular possessor singular plural nominative jazzisi jazzisi accusative nom. jazzisi jazzisi gen. jazzisi genitive jazzisi jazziesi partitive jazziasi jazzejasi inessive jazzissasi jazzeissasi elative jazzistasi jazzeistasi illative jazziisi jazzeihisi adessive jazzillasi jazzeillasi ablative jazziltasi jazzeiltasi allative jazzillesi jazzeillesi essive jazzinasi jazzeinasi translative jazziksesi jazzeiksesi instructive — — abessive jazzittasi jazzeittasi comitative — jazzeinesi first-person plural possessor singular plural nominative jazzimme jazzimme accusative nom. jazzimme jazzimme gen. jazzimme genitive jazzimme jazziemme partitive jazziamme jazzejamme inessive jazzissamme jazzeissamme elative jazzistamme jazzeistamme illative jazziimme jazzeihimme adessive jazzillamme jazzeillamme ablative jazziltamme jazzeiltamme allative jazzillemme jazzeillemme essive jazzinamme jazzeinamme translative jazziksemme jazzeiksemme instructive — — abessive jazzittamme jazzeittamme comitative — jazzeinemme second-person plural possessor singular plural nominative jazzinne jazzinne accusative nom. jazzinne jazzinne gen. jazzinne genitive jazzinne jazzienne partitive jazzianne jazzejanne inessive jazzissanne jazzeissanne elative jazzistanne jazzeistanne illative jazziinne jazzeihinne adessive jazzillanne jazzeillanne ablative jazziltanne jazzeiltanne allative jazzillenne jazzeillenne essive jazzinanne jazzeinanne translative jazziksenne jazzeiksenne instructive — — abessive jazzittanne jazzeittanne comitative — jazzeinenne third-person possessor singular plural nominative jazzinsa jazzinsa accusative nom. jazzinsa jazzinsa gen. jazzinsa genitive jazzinsa jazziensa partitive jazziaan jazziansa jazzejaan jazzejansa inessive jazzissaan jazzissansa jazzeissaan jazzeissansa elative jazzistaan jazzistansa jazzeistaan jazzeistansa illative jazziinsa jazzeihinsa adessive jazzillaan jazzillansa jazzeillaan jazzeillansa ablative jazziltaan jazziltansa jazzeiltaan jazzeiltansa allative jazzilleen jazzillensa jazzeilleen jazzeillensa essive jazzinaan jazzinansa jazzeinaan jazzeinansa translative jazzikseen jazziksensa jazzeikseen jazzeiksensa instructive — — abessive jazzittaan jazzittansa jazzeittaan jazzeittansa comitative — jazzeineen jazzeinensa

Synonyms[edit]

• jatsi

French[edit]

Etymology[edit]

Borrowed from English jazz. The compound jazband is attested in a 1918 copy of Le Matin.

Pronunciation[edit]

• IPA^(key): /dʒaz/, /dʒɑz/

Noun[edit]

jazz m (uncountable)

1. (music) jazz (music style)

Derived terms[edit]

• jazz
• jazzifier
• jazzman

Further reading[edit]

• “jazz”, in Trésor de la langue française informatisé [Digitized Treasury of the French Language], 2012.

Italian[edit]

Etymology[edit]

Borrowed from English jazz.

Pronunciation[edit]

• IPA^(key): /ˈd͡ʒɛt͡s/^*, /ˈd͡ʒaz/, /ˈd͡ʒɛz/^[1]
• Rhymes: -ɛts, -az, -ɛz

Noun[edit]

jazz m (uncountable)

1. (music) jazz

Adjective[edit]

jazz (invariable)

1. (relational) jazz

   Synonym: jazzistico

Derived terms[edit]

• jazzista
• jazzistico

References[edit]

Further reading[edit]

• jazz in Treccani.it – Vocabolario Treccani on line, Istituto dell’Enciclopedia Italiana

Norwegian Bokmål[edit]

Alternative forms[edit]

• jass

Etymology[edit]

Borrowed from English jazz.

Noun[edit]

jazz m (definite singular jazzen)

1. (uncountable) jazz (form of music)

Norwegian Nynorsk[edit]

Alternative forms[edit]

• jass

Etymology[edit]

Borrowed from English jazz.

Noun[edit]

jazz m (definite singular jazzen)

1. (uncountable) jazz (form of music)

Polish[edit]

Alternative forms[edit]

• dżez

Etymology[edit]

Unadapted borrowing from English jazz.

Pronunciation[edit]

• IPA^(key): /d͡ʐɛs/
• Rhymes: -ɛs
• Syllabification: jazz
• Homophone: dżez

Noun[edit]

jazz m inan

1. jazz
2. (slang) marijuana

   • 2011, Firma; (lyrics and music), “JaraMy”, in Nasza broń to nasza pasja, performed by Firma, track 20:

     Śmiech, relaks i spokój w każdym machu / rozpoznam kozaka po wyglądzie i zapachu / śpię po tym jak dziecko i śmieje się do łez / mniej szkodliwe to niż wóda, zalegalizujcie jazz!

     Laughter, relaxation, and peace with every toke / I can tell a badass by the way he looks / it makes me sleep like a baby and I laugh til I cry / it’s less harmful than vodka, legalize hash!

   Synonyms: see Thesaurus:marihuana

Declension[edit]

Derived terms[edit]

Further reading[edit]

• jazz in Wielki słownik języka polskiego, Instytut Języka Polskiego PAN
• jazz in Polish dictionaries at PWN

Portuguese[edit]

Etymology[edit]

Unadapted borrowing from English jazz.

Pronunciation[edit]

• (Brazil) IPA^(key): /ˈd͡ʒɛs/

Noun[edit]

jazz m (uncountable)

1. (music) jazz (music genre)

Quotations[edit]

For quotations using this term, see Citations:jazz.

Romanian[edit]

Etymology[edit]

From English jazz or French jazz.

Noun[edit]

jazz n (uncountable)

1. (music) jazz (music style)

Declension[edit]

Spanish[edit]

Etymology[edit]

Unadapted borrowing from English jazz.

Pronunciation[edit]

• Rhymes: -as

Noun[edit]

jazz m (uncountable)

1. jazz

Derived terms[edit]

Further reading[edit]

• “jazz”, in Diccionario de la lengua española, Vigésima tercera edición, Real Academia Española, 2014

Swedish[edit]

Noun[edit]

jazz c

1. (music) jazz

Declension[edit]

Declension of jazz
	Uncountable
Indefinite	Definite
Nominative	jazz	jazzen	—	—
Genitive	jazzs	jazzens	—	—

Derived terms[edit]

• jazztobak (“cannabis”)

References[edit]

• jazz in Svensk ordbok (SO)
• jazz in Svenska Akademiens ordlista (SAOL)
• jazz in Svenska Akademiens ordbok (SAOB)