Professional Documents
Culture Documents
Third Stream
Schuller noted that while purists on both sides of Third Stream objected to
tainting their favorite music with the other, more strenuous objections were
typically made by jazz musicians who felt such efforts were an assault on their
traditions
Schuller writes that by designating the music as a separate, third stream, the
other two mainstreams could go about their way unaffected by the attempts at
fusion
Because Third Stream draws on classical as much as jazz it is generally required
that composers and performers be proficient in both genres
Critics have argued that Third Streamby drawing on two very different styles
dilutes the power of each in combining them
Others reject such notions, and consider Third Stream an interesting musical
development
There were very early attempts to integrate jazz and classical music in the early
1900s
Though few of these examples might be strictly classified as Third Stream, they
do demonstrate that there was widespread mutual interest and appreciation from
both the jazz and classical traditions
Third Stream is notably separate from the symphonic jazz movement of the
1920s in that it involves improvisation
Some Ragtime music drew upon classical music
Symphonic pieces such as George Gershwins 1924 Rhapsody In Blue blended
jazz and symphonic music
Some works by French composer Darius Milhaud were influenced by jazz
Igor Stravinsky drew upon jazz for several compositions, such as Ragtime, Pianorag Rag Music and The Ebony Concerto
Experimentation
Despite earlier attempts at fusing classical and jazz, it was not until the mid-tolate 50s that more serious experiments began to take place
Schuller, John Lewis, J. J. Johnson, and Bill Russo were some of the more
significant composers attempting to bridge the gap between jazz and classical
music
Jazz critic Scott Yanow suggests that the impact of Third Stream music was
blunted by the rise of free jazz in the late 1950s, which overtook Third Stream as
the leading development in jazz
The Modern Jazz Quartet was established in 1952 by Milt Jackson (vibraphone),
John Lewis (piano, musical director), Percy Heath (bass), and Kenny Clarke
(drums)
Connie Kay replaced Clarke in 1955
Through the years the quartet had performed in several jazz styles, including
bebop, cool jazz and third stream
Jackson and Lewis originally shared the role of musical director but Lewis
eventually took over the entire responsibility of this position
MJQ Style
The enigma of the MJQs music-making was that each individual member
could improvise with an exciting vibrancy but in toto the group specialized in
genteel baroque counterpoint
Focus
Focus is a jazz album recorded in 1961, featuring Stan Getz on tenor saxophone
The album is a suite which was originally commissioned by Getz from composer
and arranger Eddie Sauter
The string ensemble included members of the Beaux-Arts Quartet
The theme of the opening track, Im Late, Im Late, is nearly identical to the
opening minutes of Bla Bartks Music for Strings, Percussion and Celesta
Bartk had been an early supporter of Sauters, and Sauter intended the track as
an homage
From the album One Night / One Day by saxophonist Tom Scott
Composed by Patrick Williams
Recorded in 1986 in Los Angeles
This selection was particularly demanding because Scott had almost total freedom
to shape the pacing of his solos with the existing orchestral material, thus
requiring a complete understanding of the musical totality of the piece
Sources
History and Tradition of Jazz by Thomas E. Larson
Jazz for Dummies by Dirk Sutro
Jazz a film by Ken Burns
http://en.wikipedia.org
Discography
1. Lyricosmos by Claus Ogerman & Michael Brecker
from the album Claus Ogerman featuring Michael Brecker
GRP Records GRD-9632