Challenge Question Answer: Jared's Second Question

In the same chapter, Nettl examines the myths surrounding Beethoven and Mozart, and what they suggest about the values of Western classical music. Do the same with a specific musical tradition of your choosing - consider the mythology surrounding one or more of its prominent members, and what this mythology suggests about the values inherent in the tradition.

If I were to choose a "Bach, Mozart, and Beethoven" of Jazz music, three names come to mind. Louis Armstrong, Charlie Parker, and Miles Davis are three innovative, creative, and virtuosic players that have shaped the way jazz musicians compose and perform. These three musicians were creative in their improvisation, innovative in their methods, and virtuosic in their playing. Each of these big players brought something new to the way jazz musicians write tunes and improvise. Armstrong began embellishing prewritten melodies, playing within the confines of the scale. Charlie Parker played around the chord changes of a tune - he created his own melody based off of the chord changes of the written melody. Miles Davis began playing like Charlie Parker, but soon established a style of his own - one that is most commonly described as 'cool'. His low-register, sparse, dramatic and reflective improvisations contrast greatly with the fast runs and stream of eighth notes in bop solos from Parker and Coltrane. The mythology, bordering on legend, of these three players suggests that jazz musicians and listeners tend to value creativity, innovation, and technical virtuosity while improvising.

Louis Armstrong’s improvisations began as embellishments. His added notes accentuated chord tones with arpeggios and melodic runs and leaps, but his improvisations were always variations of the prewritten melody. He is also described as a virtuoso, able to play technically demanding passages. To jazz musicians who followed, he is the first great improviser and will always be considered a ‘father’ of jazz music.

Charlie Parker redefined jazz by creating a new improvisation technique - he considered extensions a part of the chord he was soloing over, and would incorporate these notes (as well as many chromaticisms). His drug addiction also contributed to his mythology. Because of it, he died young - he was only 34 years old (but the coroner thought he was 60 because of the abuse he put himself through). Because his full potential was not reached, listeners believed he could have continued his innovation and virtuosity. Dying in his prime greatly contributes to his standing as a jazz legend.

Miles Davis took a step back from Bebop. Not back in the sense that he returned to dixieland or a previous sound, but in the sense that he played fewer notes and sparser solos than the beboppers of his day. His mid-career solos were introspective, melodic, boisterous yet reserved. The range of emotion with which he played is remarkable. He was also willing to experiment in different genres. In the 80’s his playing gravitated towards electronic music. His persistent creativity in style and innovation in composition is well respected. Moreover, his attitude - turning his back to the audience while soloing, for instance - also contributes to his jazz legend.

The popular players today tend to be either extremely creative in performance, or quite virtuosic. For instance, the group Medeski, Martin and Wood combine sounds and techniques that draw from multiple genres - a lot of free jazz, classic jazz, rock, neo-classical, minimalist, etc. They are, however, considered a 'jazz' group by most. Their creativity spans multiple genres (and their virtuosic technique, although not as lauded as most, is of incredible quality). Yet this group is wildly popular among jazz fans and musicians, due to their creative mixing of genres. Other popular players, such as Wynton Marsalis, play in a more traditional style, but are held to a high esteem by performers and fans alike because of their virtuosity.

Players and listeners of jazz music show great deference to Armstrong, Parker and Davis because of inherent values of the tradition. Improvisational creativity, compositional innovation and technical virtuosity are just three of these values.