97-773: Christian McBride (born May 31, 1972) is an American jazz bassist, composer and arranger. He has appeared on more than 300 recordings as a sideman , and is an eight-time Grammy Award winner. McBride has performed and recorded with a number of jazz musicians and ensembles, including Freddie Hubbard , McCoy Tyner , Herbie Hancock , Pat Metheny , Joe Henderson , Diana Krall , Roy Haynes , Chick Corea , Wynton Marsalis , Eddie Palmieri , Joshua Redman , and Ray Brown's " SuperBass " with John Clayton , as well as with pop, hip-hop, soul and classical musicians like Sting , Paul McCartney , Celine Dion , Isaac Hayes , The Roots , Queen Latifah , Kathleen Battle , Renee Fleming , Carly Simon , Bruce Hornsby , and James Brown . McBride
194-416: A guitar duet with Jim Hall (Telarc, 1999), whose work has strongly influenced Metheny's. He collaborated with Polish jazz and folk singer Anna Maria Jopek on Upojenie (Warner Poland, 2002) and Bruce Hornsby on Hot House (RCA, 2005). He has also played on albums by his older brother, Mike Metheny , a jazz trumpeter, among them Day In – Night Out (1986) and Close Enough for Love (2001). As
291-621: A "special relationship to time defined as 'swing ' ". Jazz involves "a spontaneity and vitality of musical production in which improvisation plays a role" and contains a "sonority and manner of phrasing which mirror the individuality of the performing jazz musician". A broader definition that encompasses different eras of jazz has been proposed by Travis Jackson: "it is music that includes qualities such as swing, improvising, group interaction, developing an 'individual voice', and being open to different musical possibilities". Krin Gibbard argued that "jazz
388-467: A drum made by stretching skin over a flour-barrel. Lavish festivals with African-based dances to drums were organized on Sundays at Place Congo, or Congo Square, in New Orleans until 1843. There are historical accounts of other music and dance gatherings elsewhere in the southern United States. Robert Palmer said of percussive slave music: Usually such music was associated with annual festivals, when
485-456: A form of folk music which arose in part from the work songs and field hollers of African-American slaves on plantations. These work songs were commonly structured around a repetitive call-and-response pattern, but early blues was also improvisational. Classical music performance is evaluated more by its fidelity to the musical score , with less attention given to interpretation, ornamentation, and accompaniment. The classical performer's goal
582-630: A group called SuperBass with McBride and fellow Brown protégé John Clayton . The group released two albums: SuperBass : Live at Scullers (1997) and SuperBass 2 : Live at the Blue Note (2001). McBride was a member of saxophonist Joshua Redman's Quartet in the early 1990s with pianist Brad Mehldau and drummer Brian Blade . McBride began leading his own groups in 1995 after the release of his debut album Gettin' to It ( Verve ). Saxophonist Tim Warfield , pianists Charles Craig and Joey Calderazzo , and drummers Carl Allen and Greg Hutchinson are among
679-635: A job to teach as a professor, as the school had recently introduced electric guitar as a course of study. He moved to Boston in the early 1970s to teach at the Berklee College of Music under the supervision of jazz vibraphonist Gary Burton and established a reputation as a prodigy. He appeared on Burton's studio recordings, from Ring in 1974 to Passengers in 1977. In 1974, he appeared on an album unofficially titled Jaco with pianist Paul Bley , bassist Jaco Pastorius , and drummer Bruce Ditmas on Carol Goss's Improvising Artists label—but he
776-410: A limited melodic range, sounding like a field holler, and the guitar accompaniment was slapped rather than strummed, like a small drum which responded in syncopated accents, functioning as another "voice". Handy and his band members were formally trained African-American musicians who had not grown up with the blues, yet he was able to adapt the blues to a larger band instrument format and arrange them in
873-473: A mini guitar, an acoustic sitar guitar, and the baritone guitar , which Metheny used for the recording of One Quiet Night (2003). Metheny was one of the first jazz guitarists to use the Roland GR-300 guitar synthesizer . He commented, "you have to stop thinking about it as a guitar, because it no longer is a guitar." He approaches it as if he were a horn player, and he prefers the "high trumpet" sound of
970-460: A multi- strain ragtime march with four parts that feature recurring themes and a bass line with copious seventh chords . Its structure was the basis for many other rags, and the syncopations in the right hand, especially in the transition between the first and second strain, were novel at the time. The last four measures of Scott Joplin's "Maple Leaf Rag" (1899) are shown below. African-based rhythmic patterns such as tresillo and its variants,
1067-488: A number of albums, starting with a medley of "Round Trip" and "Broadway Blues" on his debut album, Bright Size Life (1976). He worked extensively with Coleman's collaborators, such as Charlie Haden , Dewey Redman , and Billy Higgins , and he recorded the album Song X (1986) with Coleman and toured with him. Metheny made three albums on ECM with Brazilian vocalist and percussionist Naná Vasconcelos . He lived in Brazil from
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#17328907151131164-509: A pitch which he called a 'jazz ball' "because it wobbles and you simply can't do anything with it". The use of the word in a musical context was documented as early as 1915 in the Chicago Daily Tribune . Its first documented use in a musical context in New Orleans was in a November 14, 1916, Times-Picayune article about "jas bands". In an interview with National Public Radio , musician Eubie Blake offered his recollections of
1261-652: A popular music form. Handy wrote about his adopting of the blues: The primitive southern Negro, as he sang, was sure to bear down on the third and seventh tone of the scale, slurring between major and minor. Whether in the cotton field of the Delta or on the Levee up St. Louis way, it was always the same. Till then, however, I had never heard this slur used by a more sophisticated Negro, or by any white man. I tried to convey this effect ... by introducing flat thirds and sevenths (now called blue notes) into my song, although its prevailing key
1358-511: A radio show and podcast devoted to story-telling. McBride curates and advises the annual James Moody Jazz Festival . Jazz Jazz is a music genre that originated in the African-American communities of New Orleans , Louisiana , in the late 19th and early 20th centuries, with its roots in blues , ragtime , European harmony , African rhythmic rituals, spirituals , hymns , marches , vaudeville song, and dance music . Since
1455-491: A recurring pulse. Decades earlier, Metheny had appeared on Reich's album Different Trains (Nonesuch, 1987) performing Reich's composition, Electric Counterpoint . Metheny plays a custom-made 42-string Pikasso I created by Canadian luthier Linda Manzer . He plays it on "Into the Dream" and on the albums Quartet (1996), Imaginary Day (1997), Jim Hall & Pat Metheny (1999), Trio → Live (Warner Bros., 2000), and
1552-815: A triptych: We Live Here (Geffen, 1995), Quartet (Geffen, 1996), and Imaginary Day ( Warner Bros ., 1997). Moving away from the Brazilian-inspired styles which had dominated the releases of the previous ten years, these albums included experiments with hip-hop rhythms, sequenced synthetic drums, free-form improvisation on acoustic instruments, and symphonic signatures, blues, and sonata schemes. With Speaking of Now (Warner Bros., 2002), new group members were added: drummer Antonio Sánchez from Mexico City , Vietnamese-American trumpeter Cuong Vu , and bassist, vocalist, guitarist, and percussionist Richard Bona from Cameroon . On The Way Up ( Nonesuch , 2005), harmonica player Grégoire Maret from Switzerland
1649-587: A young guitarist, Metheny tried to sound like Wes Montgomery , but when he was 14 or 15, he decided it was disrespectful to imitate him. In the liner notes on the 2-disc Montgomery compilation Impressions: The Verve Jazz Sides , Metheny is quoted as saying, " Smokin' at the Half Note is the absolute greatest jazz-guitar album ever made. It is also the record that taught me how to play." Ornette Coleman's 1968 album New York Is Now! inspired Metheny to find his own direction. He has recorded Coleman's compositions on
1746-454: Is a construct" which designates "a number of musics with enough in common to be understood as part of a coherent tradition". Duke Ellington , one of jazz's most famous figures, said, "It's all music." Although jazz is considered difficult to define, in part because it contains many subgenres, improvisation is one of its defining elements. The centrality of improvisation is attributed to the influence of earlier forms of music such as blues ,
1843-663: Is a fundamental rhythmic figure heard in many different slave musics of the Caribbean, as well as the Afro-Caribbean folk dances performed in New Orleans Congo Square and Gottschalk's compositions (for example "Souvenirs From Havana" (1859)). Tresillo (shown below) is the most basic and most prevalent duple-pulse rhythmic cell in sub-Saharan African music traditions and the music of the African Diaspora . Tresillo
1940-548: Is a reminder of "an oppressive and racist society and restrictions on their artistic visions". Amiri Baraka argues that there is a "white jazz" genre that expresses whiteness . White jazz musicians appeared in the Midwest and in other areas throughout the U.S. Papa Jack Laine , who ran the Reliance band in New Orleans in the 1910s, was called "the father of white jazz". The Original Dixieland Jazz Band , whose members were white, were
2037-481: Is also fond of Buckethead 's music. He also worked with, sponsored or helped to make recordings of singer/songwriters from all over the world, such as Pedro Aznar (Argentina), Akiko Yano (Japan), David Bowie (UK), Silje Nergaard (Norway), Noa (Israel), and Anna Maria Jopek (Poland). Two of Metheny's albums, The Way Up (2005) and Orchestrion (2010), show the influence of American minimalist composer Steve Reich , with rhythmic figures structured around
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#17328907151132134-495: Is an American jazz guitarist and composer. He was the leader of the Pat Metheny Group (1977–2010) and continues to work in various small-combo, duet, and solo settings, as well as other side projects. His style incorporates elements of progressive and contemporary jazz, latin jazz , and jazz fusion . He has three gold albums and 20 Grammy Awards , and is the only person to have won Grammys in 10 categories. Metheny
2231-486: Is heard prominently in New Orleans second line music and in other forms of popular music from that city from the turn of the 20th century to present. "By and large the simpler African rhythmic patterns survived in jazz ... because they could be adapted more readily to European rhythmic conceptions," jazz historian Gunther Schuller observed. "Some survived, others were discarded as the Europeanization progressed." In
2328-437: Is to play the composition as it was written. In contrast, jazz is often characterized by the product of interaction and collaboration, placing less value on the contribution of the composer, if there is one, and more on the performer. The jazz performer interprets a tune in individual ways, never playing the same composition twice. Depending on the performer's mood, experience, and interaction with band members or audience members,
2425-620: The Atlantic slave trade had brought nearly 400,000 Africans to North America. The slaves came largely from West Africa and the greater Congo River basin and brought strong musical traditions with them. The African traditions primarily use a single-line melody and call-and-response pattern, and the rhythms have a counter-metric structure and reflect African speech patterns. An 1885 account says that they were making strange music (Creole) on an equally strange variety of 'instruments'—washboards, washtubs, jugs, boxes beaten with sticks or bones and
2522-612: The Dixieland jazz revival of the 1940s, Black musicians rejected it as being shallow nostalgia entertainment for white audiences. On the other hand, traditional jazz enthusiasts have dismissed bebop, free jazz, and jazz fusion as forms of debasement and betrayal. An alternative view is that jazz can absorb and transform diverse musical styles. By avoiding the creation of norms, jazz allows avant-garde styles to emerge. For some African Americans, jazz has drawn attention to African-American contributions to culture and history. For others, jazz
2619-445: The Pat Metheny Group later that year. With Mark Egan on bass, the lineup was set for the group's self-titled debut album, Pat Metheny Group (ECM, 1978). When Pat Metheny Group (ECM, 1978) was released, the group was a quartet comprising Metheny, Danny Gottlieb on drums, Mark Egan on bass, and Lyle Mays on piano, autoharp , and synthesizer. All but Egan had played on Metheny's album Watercolors (ECM, 1977), recorded
2716-654: The Red Hot Organization . McBride primarily plays double bass, but he is equally adept on bass guitar. He played both on the album The Philadelphia Experiment , which included keyboardist Uri Caine and hip-hop drummer Ahmir "Questlove" Thompson . Other projects have included tours and recordings with the Pat Metheny Trio , the Bruce Hornsby Trio , and Queen Latifah . Like Paul Chambers , McBride can solo by playing his bass arco style. In 2006, McBride
2813-775: The Simon and Bard Group at the time and had played in Simon-Bard in Chicago before joining Metheny. First Circle was Metheny's last album with ECM ; he had been a key artist for the European record label but left following disagreements with the label's founder, Manfred Eicher . Still Life (Talking) ( Geffen , 1987) featured new group members trumpeter Mark Ledford , vocalist David Blamires, and percussionist Armando Marçal . Aznar returned for vocals and guitar on Letter from Home (Geffen, 1989). With Metheny working on multiple projects, it
2910-549: The Speaking of Now Live and Imaginary Day Live DVDs. Metheny has used the guitar in his guest appearances on other artists' albums. He used the Pikasso on Metheny/Mehldau Quartet (Nonesuch, 2007), his second collaboration with pianist Brad Mehldau and his trio sidemen Larry Grenadier and Jeff Ballard ; the Pikasso is featured on Metheny's composition "The Sound of Water". Manzer has made many acoustic guitars for Metheny, including
3007-610: The Steppenwolf Theater Company 's production of Lyle Kessler's play Orphans . It has remained special optional music for productions of the play around the world since. Metheny ventured into experimental jazz with the quartet releases 80/81 (ECM, 1980), Song X (Geffen, 1986) with Ornette Coleman , and The Sign of Four with Derek Bailey (Knitting Factory Works, 1997). In 1997, Metheny recorded with bassist Marc Johnson on Johnson's release The Sound of Summer Running (Verve, 1998). The next year, he recorded
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3104-411: The 1920s Jazz Age , it has been recognized as a major form of musical expression in traditional and popular music . Jazz is characterized by swing and blue notes , complex chords , call and response vocals , polyrhythms and improvisation . As jazz spread around the world, it drew on national, regional, and local musical cultures, which gave rise to different styles. New Orleans jazz began in
3201-451: The 1950s, many women jazz instrumentalists were prominent, some sustaining long careers. Some of the most distinctive improvisers, composers, and bandleaders in jazz have been women. Trombonist Melba Liston is acknowledged as the first female horn player to work in major bands and to make a real impact on jazz, not only as a musician but also as a respected composer and arranger, particularly through her collaborations with Randy Weston from
3298-746: The 2010 Grammy Award for Best Jazz Instrumental Album, Individual or Group In 2011 McBride released his first big band album, The Good Feeling , for which he won the Grammy for Best Large Jazz Ensemble Performance . McBride leads five groups: Inside Straight, featuring alto/soprano saxophonist Steve Wilson , vibraphonist Warren Wolf , pianist Peter Martin and drummer Carl Allen; a trio featuring pianist Christian Sands and drummer Jerome Jennings; his 18-piece big band; an experimental group called A Christian McBride Situation with pianist/keyboardist Patrice Rushen , turntablists DJ Logic and Jahi Sundance, saxophonist Ron Blake and vocalist Alyson Williams ; and
3395-468: The 21st century, such as Latin and Afro-Cuban jazz . The origin of the word jazz has resulted in considerable research, and its history is well documented. It is believed to be related to jasm , a slang term dating back to 1860 meaning ' pep, energy ' . The earliest written record of the word is in a 1912 article in the Los Angeles Times in which a minor league baseball pitcher described
3492-487: The Beatles perform on TV. For his 12th birthday, his parents allowed him to buy a guitar, which was a Gibson ES-140 3/4. Pat Metheny's life changed after hearing the album Four & More by Miles Davis . Soon after, he was captivated by Wes Montgomery 's album Smokin' at the Half Note which was released in 1965. He cites the Beatles, Miles Davis , and Montgomery as having the biggest impact on his music. When he
3589-555: The Black middle-class. Blues is the name given to both a musical form and a music genre, which originated in African-American communities of primarily the Deep South of the United States at the end of the 19th century from their spirituals , work songs , field hollers , shouts and chants and rhymed simple narrative ballads . The African use of pentatonic scales contributed to
3686-573: The Body Electric , Columbia, 1972), and Larry Coryell and Philip Catherine made extensive use of acoustic twelve string in alternate tunings at the 1975 Montreux Jazz Festival , later releasing some of the material on their 1976 Twin House album. Metheny used a twelve-string guitar on his debut album, Bright Size Life (1976), including alternate tuning on "Sirabhorn", and on later albums ("San Lorenzo", from Pat Metheny Group and Travels ). At
3783-460: The Caribbean. African-based rhythmic patterns were retained in the United States in large part through "body rhythms" such as stomping, clapping, and patting juba dancing . In the opinion of jazz historian Ernest Borneman , what preceded New Orleans jazz before 1890 was "Afro-Latin music", similar to what was played in the Caribbean at the time. A three-stroke pattern known in Cuban music as tresillo
3880-556: The Jazz House Kids, a jazz school in their home town of Montclair, New Jersey . Each summer, they both appear at the Montclair Jazz Festival, along with student ensembles led by the instructors, professional ensembles composed of instructors, and guest acts. McBride shared the story of his first encounters with Freddie Hubbard in "The Gig" and his relationship with James Brown in "Mr. Soul On Top" on The Moth Radio Hour ,
3977-551: The New Jawn, featuring trumpeter Josh Evans, saxophonist Marcus Strickland , and drummer Nasheet Waits . In March 2016, McBride was named artistic director of the Newport Jazz Festival , succeeding the festival's founder and artistic director, George Wein . McBride hosts NPR 's radio show, Jazz Night In America. Christian is married to jazz singer and educator Melissa Walker. Walker, with contributions by McBride, leads
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4074-652: The Snowman (see above) and his own A Map of the World (Warner Bros., 1999) film soundtrack. Recent solo-billed recordings include From This Place (Nonesuch, 2020), recorded with a variety of guest artists, and the all-guitar collaboration Road to the Sun (Modern Recordings, 2021). In 2012, Metheny formed the Unity Band with Antonio Sánchez on drums, Ben Williams on bass and Chris Potter on saxophone. This quartet released
4171-658: The Starlight Roof at the famed Waldorf-Astoria Hotel . He entertained audiences with a light elegant musical style which remained popular with audiences for nearly three decades from the 1930s until the late 1950s. Jazz originated in the late-19th to early-20th century. It developed out of many forms of music, including blues , ragtime , European harmony , African rhythmic rituals, spirituals , hymns , marches , vaudeville song, and dance music . It also incorporated interpretations of American and European classical music, entwined with African and slave folk songs and
4268-584: The U.S. Female jazz performers and composers have contributed to jazz throughout its history. Although Betty Carter , Ella Fitzgerald , Adelaide Hall , Billie Holiday , Peggy Lee , Abbey Lincoln , Anita O'Day , Dinah Washington , and Ethel Waters were recognized for their vocal talent, less familiar were bandleaders, composers, and instrumentalists such as pianist Lil Hardin Armstrong , trumpeter Valaida Snow , and songwriters Irene Higginbotham and Dorothy Fields . Women began playing instruments in jazz in
4365-550: The age of 12, Metheny bought a natural finish Gibson ES-175 that he played throughout his early career, until it was retired in 1995. After his first tour of Japan in 1978, he began an association with Ibanez guitars, who have since produced a range of PM signature models. Metheny is the younger brother of jazz flugelhornist Mike Metheny . He lives in New York City with his wife, Latifa (née Azhar), and three children. Latifa has been credited for album photography. Metheny
4462-814: The album Unity Band (Nonesuch, 2012) and toured Europe and the U.S. during the latter half of the year. In 2013, as an extension of the Unity Band project, Metheny announced the formation of the Pat Metheny Unity Group, with the addition of the Italian multi-instrumentalist Giulio Carmassi . Outside the Group, Metheny has shown different sides of his musical personality. An early duo billing with Lyle Mays As Falls Wichita, So Falls Wichita Falls (ECM, 1981) includes Brazilian percussionist and vocalist Naná Vasconcelos for an elegant set noted for its atmospheric, long-form title track. In 1983, Metheny and Mays wrote music for
4559-552: The blues are undocumented, though they can be seen as the secular counterpart of the spirituals. However, as Gerhard Kubik points out, whereas the spirituals are homophonic , rural blues and early jazz "was largely based on concepts of heterophony ". During 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
4656-541: The development of blue notes in blues and jazz. As Kubik explains: Many of the rural blues of the Deep South are stylistically an extension and merger of basically two broad accompanied song-style traditions in the west central Sudanic belt: W. C. Handy became interested in folk blues of the Deep South while traveling through the Mississippi Delta. In this folk blues form, the singer would improvise freely within
4753-434: The early 1910s, combining earlier brass band marches, French quadrilles , biguine , ragtime and blues with collective polyphonic improvisation . However, jazz did not begin as a single musical tradition in New Orleans or elsewhere. In the 1930s, arranged dance-oriented swing big bands , Kansas City jazz (a hard-swinging, bluesy, improvisational style), and gypsy jazz (a style that emphasized musette waltzes) were
4850-506: The early 1920s, drawing particular recognition on piano. When male jazz musicians were drafted during World War II, many all-female bands replaced them. The International Sweethearts of Rhythm , which was founded in 1937, was a popular band that became the first all-female integrated band in the U.S. and the first to travel with the USO , touring Europe in 1945. Women were members of the big bands of Woody Herman and Gerald Wilson . Beginning in
4947-480: 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 entertainment in dances, minstrel shows , and in vaudeville , during which time many marching bands were formed. Black pianists played in bars, clubs, and brothels, as ragtime developed. Ragtime appeared as sheet music, popularized by African-American musicians such as
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#17328907151135044-556: 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 known as "Rag Time Medley". Also in 1897, the white composer William Krell published his " Mississippi Rag " as the first written piano instrumental ragtime piece, and Tom Turpin published his "Harlem Rag", the first rag published by an African-American. Classically trained pianist Scott Joplin produced his " Original Rags " in 1898 and, in 1899, had an international hit with " Maple Leaf Rag ",
5141-459: The first jazz group to record, and Bix Beiderbecke was one of the most prominent jazz soloists of the 1920s. The Chicago Style was developed by white musicians such as Eddie Condon , Bud Freeman , Jimmy McPartland , and Dave Tough . Others from Chicago such as Benny Goodman and Gene Krupa became leading members of swing during the 1930s. Many bands included both Black and white musicians. These musicians helped change attitudes toward race in
5238-415: The first written music which was rhythmically based on an African motif (1803). From the perspective of African-American music, the "habanera rhythm" (also known as "congo"), "tango-congo", or tango . can be thought of as a combination of tresillo and the backbeat . The habanera was the first of many Cuban music genres which enjoyed periods of popularity in the United States and reinforced and inspired
5335-532: The habanera rhythm and cinquillo , are heard in the ragtime compositions of Joplin and Turpin. Joplin's " Solace " (1909) is generally considered to be in the habanera genre: both of the pianist's hands play in a syncopated fashion, completely abandoning any sense of a march rhythm. Ned Sublette postulates that the tresillo/habanera rhythm "found its way into ragtime and the cakewalk," whilst Roberts suggests that "the habanera influence may have been part of what freed black music from ragtime's European bass". In
5432-424: The influences of West African culture. Its composition and style have changed many times throughout the years with each performer's personal interpretation and improvisation, which is also one of the greatest appeals of the genre. By the 18th century, slaves in the New Orleans area gathered socially at a special market, in an area which later became known as Congo Square , famous for its African dances. By 1866,
5529-518: The instrument. One of the patches that he has often used is on Roland's JV-80 "Vintage Synth" expansion card, titled "Pat's GR-300". In addition to the Roland, he uses a Synclavier controller. Metheny was an early proponent of the twelve-string guitar in jazz. During his 1975 tour with the Gary Burton "Quartet" (five people, including Metheny), he primarily played electric twelve-string guitar against
5626-404: The instruments of jazz: brass, drums, and reeds tuned in the European 12-tone scale. Small bands contained a combination of self-taught and formally educated musicians, many from the funeral procession tradition. These bands traveled in black communities in the deep south. Beginning in 1914, Louisiana Creole and African-American musicians played in vaudeville shows which carried jazz to cities in
5723-567: The late 1950s into the 1990s. Jewish Americans played a significant role in jazz. As jazz spread, it developed to encompass many different cultures, and the work of Jewish composers in Tin Pan Alley helped shape the many different sounds that jazz came to incorporate. Jewish Americans were able to thrive in Jazz because of the probationary whiteness that they were allotted at the time. George Bornstein wrote that African Americans were sympathetic to
5820-539: The late 1950s, using the mode , or musical scale, as the basis of musical structure and improvisation, as did free jazz , which explored playing without regular meter, beat and formal structures. Jazz-rock fusion appeared in the late 1960s and early 1970s, combining jazz improvisation with rock music 's rhythms, electric instruments, and highly amplified stage sound. In the early 1980s, a commercial form of jazz fusion called smooth jazz became successful, garnering significant radio airplay. Other styles and genres abound in
5917-665: The late 1980s to the early 1990s and performed with several local musicians, such as Milton Nascimento and Toninho Horta . He played with Antônio Carlos Jobim as a tribute, in a live performance in Carnegie Hall Salutes The Jazz Masters: Verve 50th Anniversary . He is also a fan of several pop music artists, especially singer/songwriters including James Taylor (after whom he named the song "James" on Offramp ); Bruce Hornsby , Cheap Trick , and Joni Mitchell , with whom he performed on her Shadows and Light ( Asylum / Elektra , 1980) live tour. Metheny
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#17328907151136014-924: The many top players he employed, such as George Brunies , Sharkey Bonano , and future members of the Original Dixieland Jass Band . During the early 1900s, jazz was mostly performed in African-American and mulatto communities due to segregation laws. Storyville brought jazz to a wider audience through tourists who visited the port city of New Orleans. Many jazz musicians from African-American communities were hired to perform in bars and brothels. These included Buddy Bolden and Jelly Roll Morton in addition to those from other communities, such as Lorenzo Tio and Alcide Nunez . Louis Armstrong started his career in Storyville and found success in Chicago. Storyville
6111-413: The melody was stated briefly at the beginning and most of the piece was improvised. Modal jazz abandoned chord progressions to allow musicians to improvise even more. In many forms of jazz, a soloist is supported by a rhythm section of one or more chordal instruments (piano, guitar), double bass, and drums. The rhythm section plays chords and rhythms that outline the composition structure and complement
6208-679: The music internationally, combining syncopation with European harmonic accompaniment. In the mid-1800s the white New Orleans composer Louis Moreau Gottschalk adapted slave rhythms and melodies from Cuba and other Caribbean islands into piano salon music. New Orleans was the main nexus between the Afro-Caribbean and African American cultures. The Black Codes outlawed drumming by slaves, which meant that African drumming traditions were not preserved in North America, unlike in Cuba, Haiti, and elsewhere in
6305-578: The music of New Orleans with the music of Cuba, Wynton Marsalis observes that tresillo is the New Orleans "clavé", a Spanish word meaning "code" or "key", as in the key to a puzzle, or mystery. Although the pattern is only half a clave , Marsalis makes the point that the single-celled figure is the guide-pattern of New Orleans music. Jelly Roll Morton called the rhythmic figure the Spanish tinge and considered it an essential ingredient of jazz. The abolition of slavery in 1865 led to new opportunities for
6402-607: The musicians who played in McBride's early groups. From 2000 to 2008, McBride led his own ensemble, the Christian McBride Band, with saxophonist Ron Blake , pianist/keyboardist Geoffrey Keezer , and drummer Terreon Gully . The band released two albums: Vertical Vision ( Warner Bros. , 2003) and Live at Tonic ( Ropeadope , 2006). In 1996, McBride contributed to the AIDS benefit album Offbeat: A Red Hot Soundtrip produced by
6499-460: The northeastern United States, a "hot" style of playing ragtime had developed, notably James Reese Europe 's symphonic Clef Club orchestra in New York City, which played a benefit concert at Carnegie Hall in 1912. 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
6596-596: The northern and western parts of the U.S. Jazz became international in 1914, when the Creole Band with cornettist Freddie Keppard performed the first ever jazz concert outside the United States, at the Pantages Playhouse Theatre in Winnipeg , Canada. In New Orleans, a white bandleader named Papa Jack Laine integrated blacks and whites in his marching band. He was known as "the father of white jazz" because of
6693-470: The performer may change melodies, harmonies, and time signatures. In early Dixieland , a.k.a. New Orleans jazz, performers took turns playing melodies and improvising countermelodies . In the swing era of the 1920s–40s, big bands relied more on arrangements which were written or learned by ear and memorized. Soloists improvised within these arrangements. In the bebop era of the 1940s, big bands gave way to small groups and minimal arrangements in which
6790-495: The period 1820–1850. Some of the earliest [Mississippi] Delta settlers came from the vicinity of New Orleans, where drumming was never actively discouraged for very long and homemade drums were used to accompany public dancing until the outbreak of the Civil War. Another influence came from the harmonic style of hymns of the church, which black slaves had learned and incorporated into their own music as spirituals . The origins of
6887-454: The perspective of other musical traditions, such as European music history or African music. But critic Joachim-Ernst Berendt argues that its terms of reference and its definition should be broader, defining jazz as a "form of art music which originated in the United States through the confrontation of the Negro with European music" and arguing that it differs from European music in that jazz has
6984-487: The plight of the Jewish American and vice versa. As disenfranchised minorities themselves, Jewish composers of popular music saw themselves as natural allies with African Americans. The Jazz Singer with Al Jolson is one example of how Jewish Americans were able to bring jazz, music that African Americans developed, into popular culture. Benny Goodman was a vital Jewish American to the progression of Jazz. Goodman
7081-459: The post-Civil War period (after 1865), African Americans were able to obtain surplus military bass drums, snare drums and fifes, and an original African-American drum and fife music emerged, featuring tresillo and related syncopated rhythmic figures. This was a drumming tradition that was distinct from its Caribbean counterparts, expressing a uniquely African-American sensibility. "The snare and bass drummers played syncopated cross-rhythms ," observed
7178-672: The pre-jazz era and contributed to the codification of jazz through the publication of some of the first jazz sheet music. The music of New Orleans , Louisiana had a profound effect on the creation of early jazz. In New Orleans, slaves could practice elements of their culture such as voodoo and playing drums. Many early jazz musicians played in the bars and brothels of the red-light district around Basin Street called Storyville . In addition to dance bands, there were marching bands which played at lavish funerals (later called jazz funerals ). The instruments used by marching bands and dance bands became
7275-537: The prominent styles. Bebop emerged in the 1940s, shifting jazz from danceable popular music toward a more challenging "musician's music" which was played at faster tempos and used more chord-based improvisation. Cool jazz developed near the end of the 1940s, introducing calmer, smoother sounds and long, linear melodic lines. The mid-1950s saw the emergence of hard bop , which introduced influences from rhythm and blues , gospel , and blues to small groups and particularly to saxophone and piano. Modal jazz developed in
7372-410: The rhythm and bassline. In Ohio and elsewhere in the mid-west the major influence was ragtime, until about 1919. Around 1912, when the four-string banjo and saxophone came in, musicians began to improvise the melody line, but the harmony and rhythm remained unchanged. A contemporary account states that blues could only be heard in jazz in the gut-bucket cabarets, which were generally looked down upon by
7469-540: The single " This Is Not America " with David Bowie . The song reached number 14 in the British Top 40 in 1985 and number 32 in the U.S. Offramp marked the first appearance of bassist Steve Rodby (replacing Egan) and a Brazilian guest artist, Nana Vasconcelos , on percussion and wordless vocals. On First Circle , Argentinian singer and multi-instrumentalist Pedro Aznar joined the group; as drummer, Paul Wertico replaced Gottlieb. Both Rodby and Wertico were members of
7566-468: The six-string work of resident guitarist Mick Goodrick . Prior to Metheny, Pat Martino had used the electric twelve-string guitar on a studio album, Desperado , and John McLaughlin had used a double-neck electric guitar with the Mahavishnu Orchestra . Ralph Towner was perhaps the first to use acoustic twelve-string guitar extensively in jazz ("The Moors", from Weather Report 's I Sing
7663-552: The slang connotations of the term, saying: "When Broadway picked it up, they called it 'J-A-Z-Z'. It wasn't called that. It was spelled 'J-A-S-S'. That was dirty, and if you knew what it was, you wouldn't say it in front of ladies." The American Dialect Society named it the Word of the 20th Century . Jazz is difficult to define because it encompasses a wide range of music spanning a period of over 100 years, from ragtime to rock -infused fusion . Attempts have been made to define jazz from
7760-444: The soloist. In avant-garde and free jazz , the separation of soloist and band is reduced, and there is license, or even a requirement, for the abandoning of chords, scales, and meters. Since the emergence of bebop, forms of jazz that are commercially oriented or influenced by popular music have been criticized. According to Bruce Johnson, there has always been a "tension between jazz as a commercial music and an art form". Regarding
7857-500: The twice-daily ferry between both cities to perform, and the habanera quickly took root in the musically fertile Crescent City. John Storm Roberts states that the musical genre habanera "reached the U.S. twenty years before the first rag was published." For the more than quarter-century in which the cakewalk , ragtime , and proto-jazz were forming and developing, the habanera was a consistent part of African-American popular music. Habaneras were widely available as sheet music and were
7954-566: The use of tresillo-based rhythms in African-American music. New Orleans native Louis Moreau Gottschalk 's piano piece "Ojos Criollos (Danse Cubaine)" (1860) was influenced by the composer's studies in Cuba: the habanera rhythm is clearly heard in the left hand. In Gottschalk's symphonic work "A Night in the Tropics" (1859), the tresillo variant cinquillo appears extensively. The figure was later used by Scott Joplin and other ragtime composers. Comparing
8051-547: The work of his experimental quartets ( see § Side projects ), Metheny further explored fringes of the avant-garde on Zero Tolerance for Silence (Geffen, 1994), a solo electric guitar outing. For the album Orchestrion ( Nonesuch , 2010) Metheny hand-crafted an array of elaborate, custom mechanical instruments which allowed him to compose and perform as a one-person orchestra. By contrast, his album Secret Story (Geffen, 1992) uses lush orchestral arrangements usually found in movie soundtracks, such as The Falcon and
8148-498: The writer Robert Palmer, speculating that "this tradition must have dated back to the latter half of the nineteenth century, and it could have not have developed in the first place if there hadn't been a reservoir of polyrhythmic sophistication in the culture it nurtured." African-American music began incorporating Afro-Cuban rhythmic motifs in the 19th century when the habanera (Cuban contradanza ) gained international popularity. Musicians from Havana and New Orleans would take
8245-545: The year before. The second group album, American Garage (ECM, 1979), reached number 1 on the Billboard jazz chart and crossed over onto the pop charts. From 1982 to 1985, the Pat Metheny Group released Offramp (ECM, 1982), a live album, Travels (ECM, 1983), First Circle (ECM, 1984), and The Falcon and the Snowman (EMI, 1985), a soundtrack album for the movie of the same name for which they collaborated on
8342-493: The year's crop was harvested and several days were set aside for celebration. As late as 1861, a traveler in North Carolina saw dancers dressed in costumes that included horned headdresses and cow tails and heard music provided by a sheepskin-covered "gumbo box", apparently a frame drum; triangles and jawbones furnished the auxiliary percussion. There are quite a few [accounts] from the southeastern states and Louisiana dating from
8439-656: Was 15, Metheny won a scholarship from Down Beat magazine to a one-week jazz camp where he was mentored by guitarist Attila Zoller , who then invited him to New York City to meet guitarist Jim Hall and bassist Ron Carter . While playing at a club in Kansas City, Metheny was approached by Bill Lee , a dean at the University of Miami , and offered a scholarship. After less than a week at college, Metheny realized that playing guitar all day during his teens had left him unprepared for classes. He admitted this to Lee, who offered him
8536-690: Was also tapped by CBS to be a producer for the tribute to Rollins on the 2011 Kennedy Center Honors broadcast. In 2008, McBride joined John McLaughlin , Chick Corea , Kenny Garrett and Vinnie Colaiuta in a jazz fusion supergroup called the Five Peace Band. They released an album in February 2009 and completed their world tour in May of that year, as Brian Blade took over for Vinnie Colaiuta as drummer in Asia and some US concerts. The album Five Peace Band Live won
8633-593: Was born in Lee's Summit , Missouri . His father Dave played trumpet, his mother Lois sang, and his maternal grandfather Delmar was a professional trumpeter. Metheny's first instrument was the trumpet, on which he was taught by his brother, Mike . Pat's brother, father, and grandfather played trios together at home. His parents were fans of Glenn Miller and swing music. They took Pat to concerts to hear Clark Terry and Doc Severinsen , but they had little respect for guitar. Pat's interest in guitar increased around 1964 when he saw
8730-835: Was born in Philadelphia on May 31, 1972. After starting on bass guitar , McBride switched to double bass . He is a graduate of the Philadelphia High School for Creative and Performing Arts, and studied at the Juilliard School . McBride was heralded as a teen prodigy when he joined saxophonist Bobby Watson 's group, Horizon, at the age of 17. From age 17 to 22, McBride played in the bands of older musicians such as Watson, Freddie Hubbard , Benny Golson , George Duke , Milt Jackson , J. J. Johnson and Hank Jones , as well as his peers such as Roy Hargrove , Benny Green , and Joshua Redman . In 1996, jazz bassist Ray Brown formed
8827-425: Was four years before the release of the next group record, a live album titled The Road to You (Geffen, 1993). This release featured live versions of tracks from the two Geffen studio albums as well as previously unreleased tunes. The group integrated new instrumentation and technologies into its work, notably Mays' use of synthesizers. Metheny and Mays have referred to the next three Pat Metheny Group releases as
8924-542: Was introduced as a new group member, while Bona contributed as a guest musician. The album consists of a single 68-minute-long piece—split into four sections—based on a three-note motif: the opening B, A ♯ , F ♯ , and its later variation F ♯ , A, B. Metheny has recorded albums under his solo artist billing regularly throughout his career. His solo acoustic guitar albums include New Chautauqua (ECM, 1979), One Quiet Night (Warner Bros., 2003), and What's It All About (Nonesuch, 2011). Building on
9021-433: Was major ... , and I carried this device into my melody as well. The publication of his " Memphis Blues " sheet music in 1912 introduced the 12-bar blues to the world (although Gunther Schuller argues that it is not really a blues, but "more like a cakewalk"). This composition, as well as his later " St. Louis Blues " and others, included the habanera rhythm, and would become jazz standards . Handy's music career began in
9118-504: Was named to the position of Creative Chair for Jazz with the Los Angeles Philharmonic , taking over from Dianne Reeves . He was signed to a two-year contract that was renewed for an additional two years. He was succeeded by Herbie Hancock in 2010. McBride performed with Sonny Rollins and Roy Haynes at Carnegie Hall on September 18, 2007, in commemoration of Rollins' 50th anniversary of his first performance there. McBride
9215-491: Was shut down by the U.S. government in 1917. Cornetist Buddy Bolden played in New Orleans from 1895 to 1906. No recordings by him exist. His band is credited with creating the big four: the first syncopated bass drum pattern to deviate from the standard on-the-beat march. As the example below shows, the second half of the big four pattern is the habanera rhythm. Pat Metheny Patrick Bruce Metheny ( / m ə ˈ θ iː n i / mə- THEE -nee ; born August 12, 1954)
9312-529: Was the leader of a racially integrated band named King of Swing. His jazz concert in the Carnegie Hall in 1938 was the first ever to be played there. The concert was described by Bruce Eder as "the single most important jazz or popular music concert in history". Shep Fields also helped to popularize "Sweet" Jazz music through his appearances and Big band remote broadcasts from such landmark venues as Chicago's Palmer House , Broadway's Paramount Theater and
9409-492: Was unaware that he was being recorded. The next year he joined Gary Burton's band with guitarist Mick Goodrick . Metheny released his debut album, Bright Size Life ( ECM , 1976), with Jaco Pastorius on bass guitar and Bob Moses on drums. His next album, Watercolors (ECM, 1977), was recorded with Eberhard Weber on bass and Danny Gottlieb on drums, and significantly marked Metheny's first outing with pianist Lyle Mays , who would become his key collaborator in forming
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