The Hard Bop and Funk - Essay Example

? HARDBOP AND FUNK: REJECTION OR CONTINUATION OF STYLES by Presented to Katherine Williams HCAS of Bradford Bradford, West Yorkshire, United Kingdom (Date) Introduction Two of the most popular subgenres jazz is hard bop and funk (also known as jazz-funk). Both of these subgenres both have their own histories, and both characterized different tendencies and innovations in playing jazz music. However, even though both hard bop and funk still both classify as subgenres of jazz, there is still an ongoing debate to whether these subgenres represented a continuation of the styles that they borrowed from, or to whether they represented a major break in the style of playing jazz. This paper would attempt to answer this question by taking into consideration the historical development of hard bop and funk in relation to the overall history of jazz, as well as into the specific cultural context where these styles developed. In this case, this paper would first look into the different historical, social and cultural contexts in the development of hard bop, which was an earlier development than funk (Wynn 1994). In this part of the paper, the researcher would try to look into the different musical styles that hard bop adopted, and would describe the ways on how this style rejected or continued earlier styles. The next part of the paper would then tackle the historical, social and cultural contexts in relation with the development of funk, which appeared in the early 1970’s (allmusic.com n.d.). In this part of the paper, the researcher would try to look into the different musical influences and inspirations that led top the development of this jazz style, and would likewise describe the ways on how this style rejected or continued earlier styles. The last part of the paper would then formulate a conclusion on whether both hard bop and funk represented a major break in style, or was it merely a continuation, given the cultural and historical development of jazz music in that specific period. The Development of Hard Bop One of the main styles of jazz played in the early half of the 20th century was hard bop. According to Gridley (Wynn 1994, p. 11-12), the term “hard bop” was actually first used in the early 1950’s. Before the development of hard bop, in the early 1940’s, the most popular style of jazz that was played was bebop, also known as bop music (Berendt 1981). Simply put, bebop was known as the type of jazz that actually strived to make it more of an artful music, especially by fusing into jazz new types of chromatics and dissonance (Berendt 1981). In this case, some jazz historians actually claim that hard bop was partially inspired by bebop, or is actually an extension of it, due to the fact that this style also incorporated the dissonance styles of bop music, and that hard bop also tried to make jazz more as an artful music, rather than a popular jazz music as it was in the earlier part of the twentieth century (Wynn, 1994). However, despite these influences, hard bop also had its own characterizations. In the development of its unique style, hard bop incorporated several musical influences, which included rhythm and blues, and even gospel music (Wynn, 1994). In this case, some of the elements of rhythm and blues and gospel music were actually incorporated into jazz music, which was natural at that time (Rosenthal 1992). According to Rosenthal (1992), in the early 1940’s, rhythm and blues, along with bop, were actually two of the most dominant forces in black music. In this case, Rosenthal further argues that jazz musicians who were to develop the unique style of hard bop also grew up in a time when rhythm and blues, as well as bop music, were popular; in this case, it is natural for them to integrate these styles into the development of hard bop. In the years preceding the development of hard bop, one of the most popular musicians at that time was Tadd Dameron, and he was actually known to have worked with both bop music and rhythm and blues; this historical and cultural context would naturally result into the latter styles influencing later styles, which would include hard bop (Rosenthal 1992). Another main influence in the development of hard bop was soul jazz; however, some musicians actually consider soul jazz no different with “funky” hard bop, while some musicians actually consider soul jazz different with hard bop (Tanner, Gerow & Megill 1988). In this case, it is important to note that soul jazz, (which is characterized by a sometimes “earthy” melodic tune, and as well as the presence of repeating rhythms) actually arouse sometime in the 1950’s, making it in the same historical context with hard bop (Wynn 1994). The elements associated with soul jazz was present in gospel music played by southern black evangelical churches in the country, which is why gospel music is also considered to be a major influence on hard bop. One of the major characterizations of hard bop was a focus on playing both the piano and the saxophone (Gridley 1994). One of the earliest musical groups that made extensive use of these instruments, and is considered to be the beginning of the hard bop style was the Jazz Messengers (Carr 2006). In the appearance of the Jazz Messengers, as well as other musicians who would identify themselves as hard bop musicians, there are contentions that their music was actually a response to the styles of cool jazz (which appeared in the early 1950s), given that their instrumentation was actually seen not as a true form of innovation of jazz but merely as a plan to gain popularity (Tanner, Gerow & Megill 1988). In this case, them, the hard bop school was actually seen as a style that aimed to bring a new innovative style to jazz that made extensive use of new instrumentation (piano and saxophone) and new compositional styles (Tanner, Gerow & Megill 1988). However, there are also some contentions, such as the one forwarded by Manne, that the difference between hard bop and jazz was merely a reflection of different geographical and social contexts, with cool jazz corresponding to west coast California life, while bop signifying the high paced New York life (Tanner, Gerow & Megill 1988). According to Rosenthal (1992), the development of hard bop was actually caught into transitions: that of the decline of bop music, along with the simultaneous rise of rhythm and blues. In this case, hard bop may actually be a response to these tendencies, reflecting a style of jazz that integrates the fading moments of bop music, infusing the rising tunes of rhythm and blues, and developing a unique style along the way. Rosenthal (1992) further argues that cool jazz was not actually the music that signalled the transition from bebop to hard bop, but the rising popularity of rhythm and blues. Therefore, following this line of argument, it can be seen that hard bop, although having developed its unique style, was actually situated in a specific historical and socio-cultural context of black music in the early 20th century, where the rhythm, and blues influence of hard bop would later develop into the style of gospel music, and where the bebop influence of hard bop would be reflective of the lingering presence of this once dominant form of black pop music (Rosenthal 1992). Michael Cuscuna also gives another glimpse into the success of hard bop, wherein artists belonging to the hard bop school actually noticed that jazz must become more popularized to a wider range of audience, which is the reason why they incorporated such popular elements as bop music and rhythm and blues (Schaffer 2010). In this case, then, hard bop may have represented a break on how jazz was to be played: from a traditional blues way of playing (which is not so enticing to audiences) to a way of playing jazz that triggered universal appeal through elements of gospel and rhythm and blues (Schaffer 2010). The Development of Funk (Jazz-Funk) As compared to hard bop, funk, also known as jazz-funk, developed in a later date. According to Danielsen (2006), jazz-funk actually appeared in the early 1970s, almost two decades after the appearance of hard bop. One of the main characterizations of funk was the presence of electrified sounds (especially due to the popularization in the usage of electrical instruments) as well as a groovy sound (especially due to the presence of a strong black beat) (Rhapsody.com n.d.). This kind of jazz was also known to be one of the first subgenres of jazz that made use of electronic synthesizers in able to create an electronic sound effect (Rhapsody.com n.d.). In addition, funk was also one of the subgenres of jazz that has a very wide range of influences, which is the reason why some actually contend that the funk style of jazz is a very ambivalent style of music. Some of the major influences of funk includes funk, soul, and as well as rhythm and blues (which was already a major musical trend at that time) (allmusic.com n.d.). In fact, the integration of rhythm and blues, soul, and funk in this style actually resulted in a wide spectrum of playing jazz, ranging from improvisations in jazz arrangements and riffs to the integration of soul solos in its music (allmusic.com n.d.). However, despite this characterization, funk proved to be one of the most popular subgenres of jazz played in the 1970’s., and well into the 1980’s (allmusic.com n.d.). One of the main departures of funk from traditional jazz was its use of groove (Rhapsody.com n.d.). While traditional jazz is actually associated with a rhythm called swing, which uses a near-triplet rhythm, funk heavily uses binary rhythms (groove) which are said to be more danceable (Rhapsody.com n.d.). One of the major groups that were associated with funk was James Brown (Rhapsody.com n.d.). Another popular influence in funk was Latin Americana and African musical styles, including reggae and traditional African rhythms (allmusic.com n.d.). Since in this historical era, there was actually as revival of African music by black activist as a respect for their African roots, an as well as the rising popularity of reggae used in protest music, it is undeniable that their influences on funk is within the socio-cultural contexts of that decade. This type of music also reflected the popularity of the use of electronic instruments, which included the electric keyboard and the ever popular electric bass guitar, paving way for a groundbreaking electronic sound in jazz which was not heard before (allmusic.com n.d.). However, due to the electronic improvisations on the sound of funk, as well as on its groovy rhythm, some critics actually pointed out that funk was a kind if jazz that was just fit for the dancehalls, given that this kind of style and rhythm was never heard before in the whole history of jazz (Murph 2004). Some observers also disagreed wit this view, stating that in fact, this specific improvement on how jazz was played also made it more popular to a growing number of audience, which is why funk was also considered as a legitimate subgenre of jazz (Murph 2004). In this case, those musicians that were aligned with funk was argued to break the elitist characteristics of jazz music, making it having more appeal even to the popular masses (Murph 2004). In addition, some musical scholars also argues that the development of funk was also a symbol of the changing dimension of music, wherein new arrangements were increasingly becoming more popular to a wider audience, where new rhythms that were more danceable was an important part of commercial success, and that the increasing use of electronic instruments was a reflection on the changing times of music (Murph 2004). Given that the period of the early 1970’s was reflective of much experimentation and innovation of music, it can actually be seen that funk was a reflection of this trend on jazz (Rhapsody.com n.d.). Critics of this style also argue that because of the experimentation on rhythm, arrangement and instrumentals on funk, the music it presented to audiences often became too complex, although it must be admitted that it has made incredible commercial success (Francesconi 1981). In addition, this experimentation, as well as its wide range of influences, has made the music very ambivalent that it has broken some of the main characterizations of traditional jazz (Francesconi 1981). In addition, critics also point out to the erosion of the interaction between the performer and the audience in funk, given that this is a major characterization of earlier styles of jazz (Francesconi 1981). It is agues that focus on the innovation in notes and instrumental riffs have eroded the role of lead singers, who were the main initiators of interaction with audiences (Francesconi 1981). However, given the commercial success of funk, this claim can actually be contested. Overall, it can be seen that the development of funk can be summarized into two main trends: a major break from the traditional rhythms and melodies of the earlier styles of jazz, as well as a reflection of the newer trends affecting music at that time, including much more experimentation on arrangements and instrumental riffs, as well as the increasing role of electronic instruments and sounds. Although critics has attacked the ambivalence of this style, as well as its departure from jazz musical traditions, it cannot be denied that this style has popularized jazz to a wider audience, and that it has gained considerable success. In this case, most musicians today do not debate that funk is really a subgenre of jazz, despite these controversies. Conclusion It is true that both hard bop and funk made much innovation in their music, and created such unique styles that it brought much of a change to how jazz music was played. In the case of hard bop, this style incorporated new influences into jazz, mainly bebop, soul, and rhythm and blues, and emphasized new instruments such as the piano and the saxophone (Rosenthal 1992). Meanwhile, in the case of funk, it made radical (as argues by some critics) innovations in the way how jazz was played, from incorporating a new rhythm in groove, incorporating new musical styles such as funk and reggae, and even employing experimentations in arrangements and emphasizing electronic sounds mainly through the use of the bass guitar and the electronic piano (Francesconi 1981). However, it can be said that both of these styles have succeeded in making jazz more popular to a wider audience, and was a major player in the face of black music at that time (Rosenthal 1992; Murph 2004). From the personal analysis of the researcher, it can be said that bebop was a continuation of style. This is because of the fact that, as argues by Rosenthal (1992), hard bop actually came at a time when bebop was declining in influence, and rhythm and blues was rising. In this case, from a historical and socio-cultural context, hard bop represented the transition from bebop to rhythm and blues, representing a style of jazz that was unique, but at the same time reflective of the transition of major musical trends. In this case, the researcher also argues that funk was a rejection of style, in the context that it extensively used a new rhythm (groove), and that it reflected the major socio-cultural transition of music at that time: the integration of new arrangements and electronic sounds on music. Reference List allmusic.com n.d., Jazz-Funk, viewed January 9, 2010, . Berendt, J 1981, The Jazz Book, Lawrence Hill & Company, New York. Carr, R 2006, The Harder They Come, A Century of Jazz: A Hundred Years of the Greatest Music Ever Made, Hamlyn, London. Francesconi, R 1981, ‘Art vs. the Audience: The Paradox of Modern Jazz’, Journal of American Culture, vo.4, issue 4, pp. 70-80. Murph, J 2004, ‘Spin City: Modern DJs Look to 1970s Jazz for Beats and Inspiration’, JazzTimes, April, viewed January 9, 2010, . Rhapsody.com n.d., Jazz-Funk, viewed January 9, 2010, . Rosenthal, D 1992, Hard Bop: Jazz and Black Music 1955-1965, Oxford University Press, New York. Schaffer, D 2010, Secrets of the Blue Note Vault: Michael Cuscuna on Monk, Blakey, and the One That Got Away, viewed January 9, 2010, . Tanner, POW, Gerow, M & Megill, W 1988, Hard Bop —Funky Jazz, 6th ed., William C. Brown, College Division, Dubuque, IA. Wynn, R (ed.) 1994, All Music Guide to Jazz, Miller Freeman, San Francisco. Read More