Jazz Legacies: Expressions of Jazz's Mainstream - Assignment Example

Jazz Legacies: Expressions of Jazzs Mainstream Clifford Brown (1930-1956) Clifford Brown is one of the most renowned jazzartistes, known for making recordings that exhibited intensely practical solos. Despite recording music in the forties and fifties, his music has been constantly regarded as mainstream. This is because Brown worked with Sonny Rollins, an artist who previously established a developed vocalist style. This style managed to get a decent influence on the development of Brown’s musical career.

Brown’s bebop harmonious fashion progressed stylistically and rapidly into the second age group (DeVeaux 2). The penetration this style made into this age group has remained a significant aspect of Brown’s music up to date (DeVeaux 3). The developed and stylistic statement of bebop was initially settled by Gillespie and Parker’s music in the late forties and early fifties. The following age group of jazz musicians who practiced the bebop style was led by Brown. Clifford had the potential of popularizing his vocalist style through several years of modal and calm concentration on the blend of music.

This forms another reason for the mainstream categorization placed in Brown’s music. The conventional bebop sound would calm a bit and shortly mix with the long lasting style embraced by the youths and second generation (DeVeaux 2). Wynton Marsalis The main reason for the acceptance of jazz music composed by Wynton Marsalis is the controversial protest for jazz music to be regarded as classic music. Marsalis has productively put effort for a position in the customary monopoly of Western Europe.

Nevertheless, his pursuit of making jazz music justifiable has led him to separate and determine the jazz styles to be considered mainstream (DeVeaux 4). Jazz styles were removed from the mainstream media because of Marsalis’ definition of jazz music and styles. According to Marsalis, jazz music should focus on soloist styles that are understood in authenticity. In the process, Marsalis was simply demonstrating another perspective of his own restructuring of the jazz heritage. As out interest in jazz moves from stylistic periods, we are inclined to reminisce and discover new heroes amongst those who pave the way for the present jazz artistes.

The legitimization of Marsalis’ fusion jazz claimed a new audience and proved popular enough to be considered mainstream (DeVeaux 9). Works citedDeVeaux, Scott. Constructing the Jazz tradition: Jazz historiography. Black American Literature Forum, Vol. 25, No. 3, autumn, 1991