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Džeza mūzikā pastāv vesels novirziens, kas tiek apzīmēts ar nosaukumu - TREŠAIS STRĀVOJUMS jeb Third Stream. Pamatā šim stilam ir 20. gadsimta 50-to gadu beigu un 60-to gadu sākuma džeza mūziķu meklējumi un inovācijas, lai papildināt tobrīd esošo bebop un cool. Galvenā iezīme ir džeza mūzikas un klasiskās mūzikas sajaukums. Šī ir sarežģīta mūzika - tamdēļ tik interesanta un paceļ ierastās džeza mūzikas un improvizācijas lietas jaunā, interesantā līmenī. Izrādās, ka komponisti, kas sāka komponēt šajā stilā tajos laikos, biji ietekmējušies no Arnold Schoenberg un Igor Stravinsky. Var veidot atsevišķu sēriju par katru no komponistiem, kuri vairāk ir pievērsušies šai lietai. Varu šobrīd pieminēt tos, kuri mani tiešām uzrunā: George Russell un Don Ellis. Vēl klausos Gunther Schuller... šeit neliels ieskats, bet noteikti būs par katru jāraksta atsevišķi!
https://www.youtube.com/watch?v=esducA0zd5k
https://www.youtube.com/watch?v=QcIph0O_tnw&feature=related
https://www.youtube.com/watch?v=MAk_GBSX9iw
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raksti, ir interesanti, pagaidām
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raksti droši
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The Third Stream, that infelicitously named combination of the two pre-existing streams of classical music and jazz, was long ago discredited in the world of jazz criticism for its rarefied academic tendencies. To judge a Third Stream work by Gunther Schuller or Ran Blake with the same standards one uses to assess an Art Blakey or Sonny Rollins performance is clearly to stack the deck against it from the start. Yet precisely some such approach seems implicit in so many dismissals of Third Stream writings, pieces that, we are told, fail because of their "cold intellectualism," their "cerebral character," their lack of "solid swing," etc. Yet even Mozart and Bach would rate poorly if their work were to be evaluated by the standards of hard bop. Like all hybrid musks-fusion, bossa nova, Afro-Cuban, even jazz itself-Third Stream is both more and less than its constituent parts and must be so treated. Early jazz, a hybrid of African and European elements, might well have been seen as a failure if it had been evaluated by the standards of either of these "streams"-an African griot and a nineteenth-century classical composer might have been equally unimpressed with the music of King Oliver or Jelly Roll Morton, whose works succeed unabashedly when evaluted as what they are, namely, jazz. Third Stream music, comparably, is a hybrid music lacking a corresponding critical tradition. Without such a perspective, any critical assessment of these works must approach them gingerly, careful not to apply blindly the various jazz pieties that have little bearing on such compositions.
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![[3]_str[A]vojums](http://ico.oho.lv/96/968433.jpg)
[3]_str[A]vojums