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Osobnost Johna Coltrana a Jeho Vliv Na Vývoj Jazzové Hudby

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Osobnost Johna Coltrana a Jeho Vliv Na Vývoj Jazzové Hudby MASARYKOVA UNIVERZITA V BRNĚ PEDAGOGICKÁ FAKULTA Katedra hudební výchovy Osobnost Johna Coltrana a jeho vliv na vývoj jazzové hudby Diplomová práce Vypracoval: Petr Smékal Vedoucí práce: PhDr. Marek Sedláček, Ph.D. Brno 2009 Prohlašuji, že jsem diplomovou práci zpracoval samostatně a použil jen prameny uvedené v seznamu literatury. Souhlasím, aby práce byla uložena na Masarykově univerzitě v Brně v knihovně Pedagogické fakulty a zpřístupněna ke studijním účelům. V Brně dne 20. 4. 2009 ........................ podpis - 2 Děkuji především PhDr. Markovi Sedláčkovi, Ph.D. za odborné vedení této práce, za podporu a spolupráci. - 3 OBSAH: 1 ÚVOD ............................................................................................................................ 6 2 HUDEBNÍ VZDĚLÁNÍ ............................................................................................... 7 3 HUDEBNÍ VLIVY ..................................................................................................... 12 4 RANÉ OBDOBÍ .......................................................................................................... 15 4.1 HUDEBNÍ PŮSOBENÍ V LETECH 19471955 ............................................................ - 15 - 4.2 ZLOMOVÁ LÉTA 1955 - 1957 ................................................................................. - 18 - 4.3 DUCHOVNÍ PROBUZENÍ .......................................................................................... - 19 - 4.4 ZPĚT U MILESE DAVISE ......................................................................................... - 20 - 4.5 SKLADATELSKÉ ZAČÁTKY ..................................................................................... - 22 - 4.6 MODÁLNÍ OBDOBÍ ................................................................................................. - 26 - 4.7 OBŘÍ KROKY .......................................................................................................... - 28 - 4.8 SHRNUTÍ RANÉHO OBDOBÍ ..................................................................................... - 31 - 5 VRCHOLNÉ OBDOBÍ .............................................................................................. 32 5.1 FORMOVÁNÍ KVARTETU ........................................................................................ - 32 - 5.2 UVEDENÍ SOPRÁNSAXOFONU ................................................................................. - 33 - 5.3 POČÁTKY SLAVNÉHO KVARTETU ........................................................................... - 35 - 5.4 ROKY 1962 65 ..................................................................................................... - 36 - 5.5 PRŮKOPNÍK WORLD MUSIC .................................................................................... - 37 - 5.6 A LOVE SUPREME ................................................................................................. - 40 - 5.7 COLTRANOVA HUDBA A BOJ ZA OBČANSKÁ PRÁVA ............................................... - 44 - 5.8 SHRNUTÍ VRCHOLNÉHO OBDOBÍ ............................................................................ - 45 - 6 POZDNÍ OBDOBÍ ..................................................................................................... 46 6.1 AVANTGARDA ....................................................................................................... - 46 - 6.2 PŘECHODNÉ ALBUM MEDITATIONS ........................................................................ - 48 - 6.3 POSLEDNÍ HUDEBNÍ POČINY ................................................................................... - 53 - 6.4 SHRNUTÍ POZDNÍHO OBDOBÍ .................................................................................. - 55 - 7 POSLEDNÍ FÁZE ŽIVOTA ..................................................................................... 58 8 HUDEBNÍ ODKAZ JOHNA COLTRANA ............................................................. 59 - 4 8.1 INOVACE V TECHNICE HRY NA SAXOFON ............................................................... - 60 - 8.2 VLIV GIANT STEPS ................................................................................................ - 60 - 8.3 VÝZNAMNÍ SAXOFONISTÉ VYCHÁZEJÍCÍ Z ODKAZU J. COLTRANA ......................... - 62 - 8.4 DALŠÍ VLIVY ......................................................................................................... - 65 - 9 ZÁVĚR ........................................................................................................................ 67 RESUMÉ ............................................................................................................................. 68 SUMMARY ......................................................................................................................... 68 PŘÍLOHY ........................................................................................................................... 73 - 5 1 Úvod Již deset let poslouchám jazzovou hudbu, pronikám do jejích tajů a postupně odhaluji to, co pro mě bylo dříve složité a nepochopitelné. Jako saxofonista jsem přirozeně vždy poslouchal celou řadu moderních saxofonistů, jako jsou například Michael Brecker, Chris Potter nebo Kenny Garrett, a snažil se je napodobit. Pomalu jsem však přicházel na to, že pokud chce člověk porozumět hudbě moderních jazzových hráčů, musí studovat hudbu, ze které moderní hráči vycházeli. Každý hráč se učí z odkazu starší generace. Je tedy nutný návrat ke kořenům. Dlouhodobý zájem o jazzovou problematiku mě stále více utvrzuje v závěru, že jednou z nejvýznamnějších osobností, která měla enormní vliv na současné hráče, je afroamerický saxofonista a skladatel John Coltrane. Jeho vliv je evidentní i dnes, více než čtyřicet let po jeho smrti. Čím více poznávám Coltranovu hudbu, tím více spatřuji paralel mezi hudbou současných jazzových hráčů a jeho hudbou. Často slyším dva hudebníky, u kterých je Coltranův vliv zřejmý, jejich hudba je však diametrálně odlišná. Znamená to pouze fakt, že každý z nich čerpá z jiného Coltranova hudebního období. John Coltrane totiž během svého života zasáhl do několika hudebních žánrů a v každém z nich zanechal obrovský hudební odkaz pro další generace. Jeho vliv je patrný zejména ve hře některých saxofonistů, ale i mezi hráči na jiné nástroje nebo v celkovém zvuku mnohých kapel. Jazzová historie nabízí spoustu hudebních vzorů pro další generace hudebníků, osobnost Johna Coltrana však jakýmsi způsobem vystupuje z řady a zůstává stále velmi aktuální. V této práci bych tedy chtěl odhalit, v čem spočívá hudební přínos Johna Coltrana do vývoje jazzové hudby. Práce postihuje Coltranův hudební a kompoziční vývoj a - 6 všímá si hudebních inovací, o které se zasloužil. Cílem je také uvést profily nejvýznamnějších hudebníků a hudebních seskupení, kteří vycházejí z jeho odkazu. Hudba Johna Coltrana je velice revoluční. Chceme-li jeho hudbu studovat, musíme se snažit vystopovat, jaká cesta jej vedla k revolučnímu pojetí jazzu. Měli bychom se tedy zabývat jeho hudebním vzděláním a vlivy, kterými se nechal inspirovat. 2 Hudební vzdělání John Coltrane se narodil 23.září 1926 do afroamerické, amatérské hudební rodiny, která bydlela ve městě Hamlet v Severní Karolíně. Matka hrála na klavír, otec se živil jako krejčí a byl klarinetista a dědeček byl váženým kazatelem. Johnovi však předali jen elementární hudební poznatky, jako jsou základní akordy. Na základní škole začal Coltrane hrát na kornet 1, který byl hojně používaným nástrojem v dechových kapelách. Brzy však začal s hrou na klarinet. Jeho prvním učitelem byl Warren B. Steele, tehdejší kapelník několika místních chrámových sborů a člen smyčcového kvarteta. Steele učil Coltrana prstoklady a stupnice, přijal ho také do studentského orchestru. Spoluhráči z orchestru se občas scházeli v domě Coltranů, kde se odehrávaly amatérské jam sessions. Další hudební vzdělání Coltrane obdržel od klavíristky Grayce W. Yokely. Ta o Johnovi prohlásila: „Pamatuji si, že John byl velmi příjemný, malý chlapec. Byl velmi svědomité dítě. Toužil po vzdělání a projevoval se u něj velký hudební potenciál. Vždy chtěl vše přesně vědět. Byl rytmicky nadaný a dával pozor.“ 2 1 Na tento nástroj začínal i významný bebopový saxofonista Charlie Parker. 2 PORTER, L. John Coltrane: His Life and Music . Michigan: The University of Michigan Press, 1999. s. 30. (přel. P. S.) - 7 V roce 1940 Coltrana uchvátila hra tenorsaxofonisty Lestera Younga, což byl impulz k tomu, že začal hrát na saxofon. Jeho prvním nástrojem byl altsaxofon, který bývá začátečníky často upřednostňován. V témže roce byl na střední škole Williama Penna založen školní orchestr, který se skládal zejména ze členů Steelova orchestru. V orchestru Williama Penna John účinkoval až do roku 1943, kdy odmaturoval. Na škole také zpíval ve smíšeném a chlapeckém sboru. Již v této době byl Coltrane plně přesvědčen, že se chce naplno věnovat hudbě, proto denně cvičil na saxofon a velmi svědomitě studoval vše, co je s hudbou spojené. V roce 1944 začal navštěvovat hodiny saxofonu na hudební škole Leo Ornsteina. Tam dostával hodiny u vynikajícího profesora Mikea Guerry. Guerra byl především klarinetista Philadelphia Orchestra, který ve 40. letech provedl Rachmaninovy Symfonické tance (na saxofon), za což byl samotným autorem velmi chválen. Guerra byl uznávaným profesorem, u kterého studovali například hráči jako Stan Getz nebo Gerry Mulligan. Coltrane údajně trénoval klasické skladby, například Schubertovu Serenádu a etudy Klosého nebo Paula de Ville 3. Guerra, který mimo jiné vyučoval i hudební
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