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Závěrečné Práce JANÁČKOVA AKADEMIE MÚZICKÝCH UMĚNÍ V BRNĚ Hudební fakulta Katedra dechových nástrojů Hra na lesní roh Užití lesního rohu v jazzu Bakalářská práce Autor práce: Eva Tesaříková Vedoucí práce: MgA. Jan Dalecký Oponent práce: MgA. Vilém Spílka Brno 2014 Bibliografický záznam TESAŘÍKOVÁ, Eva. Užití lesního rohu v jazzu [Usage of French horn in jazz]. Brno: Janáčkova akademie múzických umění v Brně, Hudební Fakulta, Katedra dechových nástrojů, 2014. 42. s. Vedoucí diplomové práce MgA. Jan Dalecký. Anotace Bakalářská práce „Užití lesního rohu v jazzu“ pojednává o možnostech využití tohoto původně pro jazz netradičního nástroje právě v jazzové hudbě. Mapuje vývoj, ve kterém se lesní roh stal z především orchestrálního nástroje součástí prvních big bandů, poté dokonce vedoucím hlasem menších ansámblů, a nakonec i sólovým jazzovým nástrojem. Práce zmiňuje především jednotlivé jazzové hráče na lesní roh, kteří k tomuto vývoji přispěli a jejich konkrétní přínos jazzové hudbě. Annotation Thesis „Usage of French horn in jazz” deals with possibilities of this for jazz unusual instrument in jazz music. It conducts a survey of development of French horn which is mainly orchestral instrument, but became a part of some big bands and the instrument which is able to play jazz as leader of some small bands or even solo jazz instrument. The thesis mentions mainly jazz horn players who contributed to this development and the differences in their approach to jazz. Klíčová slova Lesní roh, jazz, John Graas, Julius Watkins, David Amram, Gunther Shuller, Tom Bacon, Tom Varner, Willie Ruff, Arkady Shilkloper, John Clark, Mark Taylor, Vincent Chancey Keywords French horn, jazz, John Graas, Julius Watkins, David Amram, Gunther Shuller, Tom Bacon, Tom Varner, Willie Ruff, Arkady Shilkloper, John Clark, Mark Taylor, Vincent Chancey Prohlášení Prohlašuji, že jsem předkládanou práci zpracovala samostatně a použila jen uvedené informační zdroje. V Brně, dne 30. 7. 2014 Eva Tesaříková Poděkování Ráda bych zde poděkovala vedoucímu bakalářské práce MgA. Janu Daleckému za užitečné rady, připomínky, poskytnutí většiny poslechového materiálu a zprostředkování interwiev s Jaromírem Hniličkou, kterému také děkuji za poskytnutý rozhovor. Dále patří můj dík MgA. Milanu Krajňákovi za poskytnuté informace ke kapitole o českém jazzu. Obsah PŘEDMLUVA ...................................................................................................................................... 1 ÚVOD .................................................................................................................................................... 2 1 ZAČÁTKY V UŽÍVÁNÍ LESNÍHO ROHU V JAZZU .......................................................... 4 1.1 JUNIOR COLLINS ....................................................................................................................... 4 1.2 SANDY SIEGELSTEIN ................................................................................................................. 4 1.3 JOHN GRAAS ............................................................................................................................. 5 2 UPLATNĚNÍ LESNÍHO ROHU V BEBOPU.......................................................................... 6 2.1 JULIUS WATKINS ...................................................................................................................... 6 2.1.1 Diskografie: Watkins jako leader ................................................................................... 7 2.1.2 Diskografie: Watkins jako spoluhráč ............................................................................. 8 2.1.3 Zhodnocení Watkinsova přínosu .................................................................................... 9 2.2 DAVID AMRAM ....................................................................................................................... 10 3 TŘETÍ PROUD......................................................................................................................... 12 3.1 GUNTHER SCHULLER .............................................................................................................. 12 3.2 TOM BACON ........................................................................................................................... 13 3.3 TOM VARNER ......................................................................................................................... 14 3.4 WILLIE RUFF .......................................................................................................................... 15 3.5 RICK TODD ............................................................................................................................. 16 3.6 ADAM UNSWORTH .................................................................................................................. 17 4 HORNISTÉ A MODERNÍ JAZZOVÉ SMĚRY.................................................................... 19 4.1 ARKADY SHIKLOPER .............................................................................................................. 19 4.1.1 Diskografie Arcady Shilklopera: .................................................................................. 20 4.1.2 Zhodnocení Shilkloperova přínosu ............................................................................... 21 4.2 GIOVANNI HOFFER ................................................................................................................. 22 4.3 CLAUDIO PONTIGGIA .............................................................................................................. 22 4.4 VINCENT CHANCEY ................................................................................................................ 23 4.5 KEN WILEY ............................................................................................................................ 24 4.6 MARTIN MAYES ..................................................................................................................... 24 4.7 MARK TAYLOR ....................................................................................................................... 25 4.8 JOHN CLARK ........................................................................................................................... 26 4.9 BARRY TUCKWELL ................................................................................................................. 27 4.10 SHARON FREEMAN ............................................................................................................. 28 4.11 STEPHANIE FAUBER ........................................................................................................... 28 5 VYUŽITÍ LESNÍHO ROHU V BIG BANDECH .................................................................. 29 5.1 DIZZY GILLESPIE A JEHO BIG BAND ........................................................................................ 29 5.2 JIMMY SMITH A LALO SCHIFRIN ............................................................................................. 30 5.3 MEL LEWIS JAZZ ORCHESTRA ................................................................................................ 32 5.4 VIENNA ART ORCHESTRA....................................................................................................... 32 6 UPLATNĚNÍ LESNÍHO ROHU V ČESKÉM JAZZU: ....................................................... 34 6.1 BIG BAND GUSTAVA BROMA ................................................................................................. 34 6.1.1 Jan Kulíšek ................................................................................................................... 35 6.2 RUDI MAZAČ .......................................................................................................................... 35 6.3 HORNFON ............................................................................................................................... 36 7 MELOFON ............................................................................................................................... 37 7.1 ORCHESTR STANA KENTONA .................................................................................................. 37 POUŽITÉ INFORMAČNÍ ZDROJE ............................................................................................... 41 Předmluva Pro svou bakalářskou práci jsem si vybrala téma, které je spojením mých dvou vášní: lesního rohu a jazzu. Jako hornistku, která interpretuje především klasickou hudbu a k jazzu se dostane pouze výjimečně, mě téma vždy zajímalo. Chci se dopátrat toho, jak je možné stát se jazzovým hráčem na lesní roh, jaké je třeba mít pro tuto činnost schopnosti, a zda je spojení horny a jazzu něčím, co je na začátku 21. století perspektivní a aktuální, případně v jaké míře. Především však chci zkoumat zařazení lesního rohu do jazzové historie a analyzovat přínos úspěšných hráčů k tomuto vývoji a dnešní situaci. 1 Úvod Při výběru tématu bakalářské práce jsem kladla důraz na to, aby téma bylo nějakým způsobem nové, obohacující a možná také trochu „mimo vyjeté koleje“, kdy spousta hráčů na lesní roh píše rozbory klasických hornových koncertů. Rozhodla jsem se tak pro téma „Užití lesního rohu v jazzu“, které je pro mě příjemnou výzvou ve snaze o zmapování situace tohoto původně orchestrálního nástroje v jazzové hudbě. Mou hlavní snahou tedy bude vytvoření uceleného přehledu zásadních milníků ve vývoji jazzového lesního rohu a hráčů na něj. V úvodní kapitole bych chtěla především
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