Imaginary folklore
The concept of imaginary folklore , which was first coined by Béla Bartók , was transferred to contemporary jazz by the musician initiative ARFI - Association à la Recherche d'un Folklore Imaginaire from Lyon . With her concept of an “imaginary folklore”, she led European jazz to new possibilities for improvising structures and harmonies that sound familiar and are vaguely reminiscent of folk songs and old dances.
“Improvisation is the tradition of a playful organization of sounds,” says ARFI programmatically, “playing an instrument; play with the instrument; playing with the memory of sounds produced in the moment before; play with other musicians; in a complex connection with the listener, the viewer; play with the voice and the instrument; create emotional connections; create a new folklore. "."
Various ways to such an imaginary folklore can be created with the means of jazz: Either improvisation is carried out using rhythmically concise patterns and ostinati (as practiced by Louis Sclavis , for example ) or using vocal, far-reaching melodies (as with Patrick Vollat or, in part, with Maurice Merle ). Partly the rhythmic structure (for example with the Lyons Marvelous Band ) is bound and concrete in a quasi-folkloristic way, essentially swing-free. Despite its complex structure, the resulting music is often melodically catchy and rhythmically skilfully packed and lively.
In the post-modern age , the concept was able to internationalize. On the one hand, new sources of inspiration could be tapped within the framework of world music : In addition to the imaginatively invented quasi-folklore, there were African influences as well as folkloric elements from the Balkans or Brittany, baroque quotes from composers such as Rameau and Ellington's timbres. On the other hand, players outside the south of France have also taken up the concept. Gianluigi Trovesi and Battista Lena from Italy , Norbert Stein or Michael Riessler from Germany , musicians around Mauri Antero Numminen from Finland , Mihály Dresch from Hungary and Broadlahn or Wolfgang Puschnig from Austria , Ornette Coleman with a brass band and the Alpine folk music merges. It is essential that the folklore of all possible regions becomes the starting point for jazz musicians: real regions, but also regions that only exist in the mind (with a folklore that is not real). In this respect, it becomes clear how questionable and deceptively familiar the homeland that this music gives is at the same time.
Individual evidence
- ↑ See Jean-François Boukobza: Bartok et le folklore imaginaire. Cite de la musique-Les Editions, 2005
- ↑ Christophe Monnet: Jazz et musique improvisée: Le numérique à l'épreuve du corps : ( Memento of the original of November 24, 2006 in the Internet Archive ) Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. (PDF; 361 kB). Lyon 2002, p. 33f.
- ↑ cit. after Ekkehard Jost: Europe's jazz. 1960-1980 . Frankfurt am Main 1987, p. 428
- ↑ cf. Program of the 10th Darmstädter Jazzforum ( page no longer available , search in web archives ) Info: The link was automatically marked as defective. Please check the link according to the instructions and then remove this notice.
