Vývojové Fáze Milese Davise

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Vývojové Fáze Milese Davise JANÁČKOVA AKADEMIE MÚZICKÝCH UMĚNÍ V BRNĚ Hudební fakulta Katedra jazzové interpretace Hra na trubku Vývojové fáze Milese Davise Bakalářská práce Autor práce: Petr Harmáček, DiS. Vedoucí práce: Mgr. Jan Přibil, DiS. Oponent práce: Mgr. Juraj Bartoš Brno 2014 Bibliografický záznam HARMÁČEK, Petr. Vývojové fáze Milese Davise. Brno: Janáčkova akademie múzických umění v Brně, Hudební fakulta, Katedra jazzové interpretace, 2014. 33 s. Vedoucí diplomové práce Mgr. Jan Přibil, DiS. Anotace Bakalářská práce na téma Vývojové fáze Milese Davise pojednává o jednotlivých hudebních obdobích, kterými Miles Davis prošel, byl jimi ovlivněn, založil je a inspiroval jimi celý hudební svět. V jednotlivých kapitolách jsou popsána nejvýznamnější období a rozebrány jeho nejznámější sóla a skladby, které byly zaznamenány na hudebních nosičích. Annotation Bachelor thesis on the development phase of Miles Davis discusses the various musical periods, which Miles Davis passed, was influenced by them, is founded and inspired by them throughout the music world. The individual chapters are described and analyzed the most important period of his most famous solos and songs that have been recorded on audio media. Klíčová slova Miles Davis, jazz, bebop, cool jazz, hard bop, kvintet, modální jazz, fusion, jazz – rock, funk, blues Keywords Miles Davis, jazz, bebop, cool jazz, hardbop, quintet, modal jazz, fusion, jazz – rock, funk, blues Prohlášení Prohlašuji, že jsem předkládanou práci zpracoval samostatně a použil jen uvedené prameny a literaturu. V Brně, dne 15. dubna 2014 Petr Harmáček Poděkování Na tomto místě bych rád poděkoval svému vedoucímu práce Mgr. Janu Přibilovi DiS., MgA. Janu Daleckému, také hostujícímu profesorovi Mgr. Juraji Bartošovi a v neposlední řadě své rodině za podporu. Obsah PŘEDMLUVA ...................................................................................................................................... 1 ÚVOD .................................................................................................................................................... 2 1. ŽIVOT A HUDEBNÍ ZAČÁTKY ................................................................................................... 3 2. NEW YORK A BEBOP ................................................................................................................... 5 2.1 ROZBOR SÓLA VE SKLADB Ě AU PRIVAVE ........................................................................ 6 3. COOL JAZZOVÉ OBDOBÍ ........................................................................................................... 7 3.1. ROZBOR SÓLA A SKLADBY MOVE ..................................................................................... 8 4. OBDOBÍ HARDBOPU .................................................................................................................. 10 4.1 ROZBOR SÓLA VE SKLADB Ě WALKIN´ ............................................................................ 11 5. PRVNÍ VELKÝ KVINTET A SEXTET ...................................................................................... 13 5.1 MODÁLNÍ JAZZ ...................................................................................................................... 14 5.2 KIND OF BLUE ........................................................................................................................ 15 5.2.1. ROZBOR SKLADBY A SÓLA SO WHAT .......................................................................... 15 5.3 ZÁV ĚRE ČNÉ FORMOVÁNÍ KVINTETA .............................................................................. 16 6. NAHRÁVÁNÍ A SPOLUPRÁCE S GILEM EVANSEM .......................................................... 17 6.1. DÍLO PORGY AND BESS ....................................................................................................... 17 6.1.1. ROZBOR SÓLA A SKLADBY SUMMERTIME ................................................................. 18 6.1.2. ROZBOR SÓLA A SKLADBY GONE ............................................................................... 19 7. DRUHÝ VELKÝ KVINTET ......................................................................................................... 21 7.1. ROZBOR SÓLA A SKLADBY FREEDOM JAZZ DANCE ................................................... 22 8. ELEKTRICKÉ OBDOBÍ .............................................................................................................. 24 8.1. ROZBOR SÓLA A SKLADBY MAIYSHA ............................................................................ 26 9. POSLEDNÍ FÁZE .......................................................................................................................... 27 9.1. ROZBOR SÓLA A SKLADBY TUTU .................................................................................... 28 ZÁV ĚR ................................................................................................................................................ 29 POUŽITÉ INFORMA ČNÍ ZDROJE ............................................................................................... 30 SEZNAM ILUSTRACÍ ..................................................................................................................... 33 PŘEDMLUVA Miles Davis byl a stále je pro většinu lidí v hudebním světě symbolem génia. Jeho odkazy v jednotlivých dílech, která vytvořil, jsou velmi bohaté a nadčasové. Důvodem k výběru tohoto tématu bylo získání přehledu o jeho základních hudebních etapách. Pro mnoho jazzových hráčů symbolizuje, jak lze v hudbě pokračovat, nezastavit se a jít dál. Více než 20 let po smrti jsou poslední jeho skladby stále aktuální, čerpají z nich i populární interpreti dnešní doby a velmi se z jeho odkazu stále učí. Mně osobně velice inspiruje každá jeho etapa. Ať už se zabývám jeho raným obdobím bebopu nebo poslední fází spojenou s elektrickou hudbou, stylizovanou do dnešních aktuálních stylů jako funk, hip hop, r´n´b a populární hudby. Miles Davis není ikona, kterou zná pouze hudební svět, ale i značně velká laická veřejnost. To, že se jako trumpetista stal tak velkou legendou si už samo od sebe zaslouží obdiv, neboť je na světě velmi málo jazzových hráčů, o kterých se toto dá říct. 1 ÚVOD Jak už jsem naznačil, myslím si, že tato práce mě i čtenářům přinese přehled o celoživotní hudební činnosti Milese Davise. Konkrétně touto prací chci poukázat na to, že lze za jeden hudební život stihnout mnoho hudby. V této práci o tom máme jasný důkaz. Dalším cílem je pokusit se zmapovat jednotlivé fáze, i když je velmi těžké je ohraničit, protože Davisovo hudební provázaní mezi nimi je velmi hluboké. K tomuto také patří jeho improvizovaná sóla. Na většinu uvedených v této práci jsem použil vlastní transkripce. V práci jsem použil dvě metody, a sice historiografickou a analytickou s chronologickým pořadím etap. Dále jednotlivé souvislosti a jeho okolí mají rovněž velký význam. Ovlivnil spoustu trumpetistů, jako Tom Harrell, Roy Hargrove, Freddie Hubbard, Lee Morgan, Wynton Marsalis atd., ale také nespočetně moc hráčů i na jiné nástroje tím, že buď s ním hráli, nebo ho jen poslouchali a následovali jeho hudbu. Hudbou žil, miloval ji, formoval a směroval. Zkrátka jeho odkaz v hudbě je obrovský a silný. 2 1. ŽIVOT A HUDEBNÍ ZAČÁTKY Miles Dewey Davis se narodil 26. května 1926, v bohaté afro – americké rodině ve městě Alton, ve státě Illionis v USA. Jeho otec, Miles Henry Davis, byl zubař a měl ve společnosti dobré postavení, díky kterému dokázal rodinu finančně zajistit. Jeho matka, Cleota Henry Davis pocházela z hudební rodiny. Sama hrála na housle a klavír. Miles byl nejmladší ze tří sourozenců. V roce 1927 se rodina přestěhovala do East St Louis, Illinois . Rodina také vlastnila ranč v Arkansasu nedaleko města Pine Bluff, odkud pocházel otec a dědeček. V této době a na těchto místech se Miles setkával s gospelovou hudbou, kterou pravidelně slyšel v kostele při černošských mších. Matka Cleota vedla malého Milese k hudbě. Sama byla bluesová pianistka a chtěla, aby hrál na piano. Ovšem jeho hudební studium začalo trubkou. Když mu bylo 13, otec mu koupil trubku a zajistil lekce s místním trumpetistou Elwoodem Buchananem. Později se Miles svěřil, že otec chtěl „namíchnout“ jeho matku, která neměla ráda zvuk trubky. V té době používali trumpetisté k tónu vibrato, byla to móda. To ovšem Buchanan odmítal. Chtěl po něm jasný rovný a čistý tón. Dokonce jej za použití vibrata fyzicky trestal. To jej v podstatě poznamenalo na celý život, kdy zásadně dbal na originalitu svého zvuku. Chtěl mít kulatý středový zvuk, jako zpěváci. Dokonce tvrdil, že pokud jej neslyší tak, jak chce, nedokáže nic zahrát. Dalším raným vlivem bylo setkání s trumpetistou Clarkem Terrym v St Louis. Okolo svých šestnácti let byl členem asociace hudební společnosti a hrál profesionálně v místním Elks klubu. V 17 strávil rok v Blues Devils Eddieho Randela a během tohoto času se ho snažil Sonny Stitt přemluvit k angažmá v kapele u Tinyho Brandshawa. V té době zrovna v jeho městě koncertoval, ale matka byla proti. Chtěla, aby Miles dostudoval poslední rok střední školy. V roce 1944 navštívila East St. Louis kapela Billyho Ecksteina se svými členy Dizzym Gillespiem a Charliem Parkerem. Při absenci Buddyho Andersona, pravidelného hráče kapely, způsobené nemocí, dostal touto kapelou možnost na krátký čas vystupovat. Tento okamžik mu zůstal vždy ve vzpomínkách. Ve své autobiografii Davis pravil: „ Tak teda poslouchejte. To nejparádnější vzrůšo v celým mým životě, a to myslím oblečenej, jsem zažil, když jsem někdy v roce 1944 slyšel v St. Louis, slyšel
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