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The Roots of Jazz Heritage

Discover the rich heritage of jazz, blending African rhythms, European influences, and African American traditions. Explore the origins of call-and-response, trading fours, and the influence of spirituals in the development of this renowned musical genre.

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The Roots of Jazz Heritage

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  1. Jazz Heritages • Jazz did not develop from any one musical culture • Emphasis on rhythm came from Africa • Religion was important in African cultures • African religions were oriented towards rituals • Rituals involved dancing • Call and response • Traced to African tribal traditions • Leader shouted cry and group responded • Everyone participated • Trading fours - instrumentalists improvise over alternating groups of four bars or measures • *youtube examples=Call and Response / Trading Fours

  2. European influences • Diatonic and chromatic scales • Harmony in strictly from European school • Forms are very symmetrical (balanced proportions), Africans were not concerned with symmetry of form • Jazz was a blend of cultures

  3. African Americans • Latin slaves were allowed to play drums sing and dance when they were not working • Protestants wanted to convert slaves and considered this “pagan” (exposed them to western church music) Congo Square - • New Orleans • Slaves were allowed to dance, sing and play once a week • Began around 1817 • Cross between French, Spanish, and African rhythms

  4. Creoles • Mix between African and French or Spanish ancestry • Segregation movement caused Creoles to join the ranks of African Americans • Before this the Creoles had the same rights and privileges of whites • 1894 - Code 111 (read page 25) • This cause the conservatory trained Creoles to play music with the African Americans • African Americans contributed spontaneous oral traditions and rhythms • Creoles contributed harmony and form

  5. Field hollers • Slaves weren’t allowed to talk while working • Singing was permitted • Slaves established communication with field hollers • Whites couldn’t understand

  6. Work songs • Sung without accompaniment • Associated with monotonous physical tasks • Include grunts and groans emphasis on rhythm and meter (Listening Journal) *Axe cutting song – Julie Ann Johnson by Huddie Ledbetter (our example does have simple guitar accompaniment)

  7. SPIRITUALS • Jazz expression can be traced to the early American Church • White Spiritual tradition mixes in the African American traditions • Hymns are sometimes improvised melodic versions of scripture • Call & Response (preacher to congregation) • Style is similar to Western Church (Monks, Gregorian Chant) • Rhythm & Melodic singing style is of African Tradition. • The mix results in a free time flow and new harmonies. • LISTENING JOURNAL • Dry Bone – Rev. J.M. Gates

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