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Tuba a Jazz (Interpretace, Komparace)

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Tuba a Jazz (Interpretace, Komparace) JANÁČKOVA AKADEMIE MÚZICKÝCH UMĚNÍ V BRNĚ Hudební fakulta Katedra Dechových nástrojů Studijní obor TUBA Tuba a Jazz (interpretace, komparace) Bakalářská práce Autor práce: Alexandr Kunert, DiS. Vedoucí práce: Mgr.art. Pavel Bureš Oponent práce: MgA. Jan Dalecký Brno 2018 5 Bibliografický záznam KUNERT, Alexandr. Tuba a Jazz (interpretace, komparace) [Tuba and Jazz (interpretation, comparation)] Brno: Janáčkova akademie múzických umění v Brně, Hudební Fakulta, Katedra dechových nástrojů, 2018. 30 str. Vedoucí Bakalářské práce Mgr.art. Pavel Bureš Anotace Diplomová práce „Tuba a Jazz“ se zaměřuje na americké tubisty z období neworleanského jazzu a cool jazzu - o jejich působení v kapelách a projektech. Dále zpracovává interpretační analýzu vybraných nahrávek a srovnává interprety samotné. Annotation The diploma thesis "Tuba and Jazz" focuses on American tuba players of the New Orleans jazz and cool jazz period - about their acting in bands and projects. This thesis also processes an interpretative analysis of selected recordings and compares performers themselves. Klíčová slova Jazz, tuba, nahrávka, interpretace, sólo, improvizace, neworleánský jazz, figura Keywords Jazz, Tuba, Recording, Interpretation, Solo, Rendition, New Orleans Jazz, Musical Figure 6 Prohlášení: Prohlašuji, že jsem předkládanou práci zpracoval samostatně a použil jen uvedené prameny a literaturu. Současně dávám svolení k tomu, aby tato diplomová práce byla umístěna v Knihovně JAMU a používána ke studijním účelům. V Brně dne: 11.5. 2018 Alexandr Kunert 7 Poděkování: Děkuji Mgr.art. Pavlovi Burešovi za konzultace, trpělivost a rady při zpracovávání této práce. Dále děkuji MgA. Janu Daleckému za poskytnutí informačních zdrojů a nahrávek. V neposlední řadě děkuji také mému kamarádovi Petru Sičovi z Okresní knihovny v Olomouci za poskytnutí řady mnohdy těžko dostupných audio materiálů. 8 Obsah Úvod 10 1. Éra dixielandu – neworleánský jazz 11 1.1. Cyrus St. Clair (1890-1955) 11 1.2. Vincent Joseph Tortoriello (1902-1986) 12 1.3. Andy Kirk (1898-1992) 14 1.4. Ralph Escudero (1898-1970) 15 2. New Orleans Revival 16 2.1. John Kirby (1908-1952) 16 2.2. Dick Lammi (1909-1969) – New Orleans Revival 17 3. Cool jazz (Bebop, Hardbop, Postbop) 18 3.1. George Sylvester Callender (1916-1992) 18 3.2. Tuba Band Milese Davise 19 3.3. John William Barber (1920-2007) 20 3.4. Don Butterfield (1923-2006) 22 3.5. Raymond Allen Draper (1940-1982) 23 3.6. Howard Lewis Johnson (*1941) 25 3.6.1. Gravity 25 3.7. James Self (*1943) 26 3.7.1. „Fluba“ Jima Selfa 27 3.8. Bob Stewart (*1945) 27 4. Jug Bands 29 Závěr 30 Použité informační zdroje: 31 Seznam příloh 32 Příloha č. 1: Jug Bands – přehled dochovaných nahrávek 323 Příloha č. 2: Obrazové přílohy 334 9 Úvod Tuba se začlenila do nonartificiální hudby – v tomto případě jazzové – již na svém počátku. V prvním desetiletí minulého století se v Jižní Americe, zejména v New Orleans, začal formovat hudební styl afroamerické komunity - Jazz, který hojně využíval žesťových nástrojů. V éře raného jazzu, tedy již od zmíněných 10. let sehrála tuba významnou roli. Do původních pouličních a pochodových kapel začaly pozvolna pronikat progresivnější melodické i harmonické prvky a daly tak živnou půdu pro vznik prvních jazzbandů. Tuba, a v té době možná častěji využívaný suzafon (vzhledem k praktickému využití), se tedy staly prvními nástroji vedoucí basovou linku. Dá se tedy říct, že tuba byla v éře dixielandu jediným basovým nástrojem. Kontrabas se „infiltroval“ do raného jazzu o něco později, přesněji řečeno, začal se využívat až ve „statických“ kapelách. Dvacátá a třicátá léta se nesla v duchu obrovského rozmachu a popularity jazzové hudby. Kluby, bary, tančírny – zde všude zněl jazz. Vznikaly nové jazzbandy, pochodové kapely byly na ústupu, mnozí tubisté se začali zajímat o hru na kontrabas a využívali jej v praxi. Ve 20. letech se na jazzové scéně objevila první zvučná jména tubistů jako např.: Cyrus St. Clair, Ralph Escudero, nebo Joe Tarto. V tomto údobí však nelze opomenout značně sílící popularitu kontrabasu, který tubu ve vedení basového partu v průběhu 30. let téměř vytěsnil. S příchodem raného swingu a během 40. let, kdy swingová éra eskalovala, došlo k výrazným změnám ve vedení basu, což mělo významný vliv i na jazzové tubisty v nastávající dekádě. Na začátku 50. let se pozvolna tuba vrací na jazzovou scénu. Začíná se objevovat v novátorských projektech a ve zcela nové pozici jako součást nástrojové melodické sekce, ba dokonce i jako nástroj sólový. Později, v 70. letech se objevily první projekty výhradně tub tenorových basových a kontrabasových s doprovodnou rytmickou sekcí. Prvním iniciátorem se stal Howard Lewis Johnson se svými formacemi Tuba Libre nebo Substructure – později pod novým jménem Gravity. Zde se tuba začala plnohodnotně prezentovat jako nástroj sekční i sólový, využívající všech interpretačních i improvizačních schopností jednotlivých hráčů. V této práci bych se zaměřil na tubisty jednotlivých etap jazzu, jejich výrazová specifika a technickou úroveň. Dále dle vybraných, potažmo dostupných nahrávek zpracuji interpretační analýzu, kde se projeví můj osobní názor na zkoumané interprety. 10 1. Éra dixielandu – neworleánský jazz 1.1. Cyrus St. Clair (1890-1955) Zvučné jméno mezi tubisty 20. let. Narodil se v Cabridge a pocházel z muzikantského prostředí. Otec a strýc byli také tubisti. Jeho renomé se zapsalo do dějin jazzu především díky jeho spolupráci s nahrávací společností pianisty Clarence Williamse, kde se realizoval na velkém množství nahrávek v rozmezí let 1927-37. V dětských letech začal hrát na trubku a až později, vzhledem k fyzické náročnosti, vyměnil trubku za tubu. Poté, co odešel do New Yorku kolem roku 1925, pracoval St. Clair s trombonistou a kapelníkem Wilburem DeParis, dále s Cotton Pickers Bobbyho Lee a kapelou Charlieho Johnsona Paradies Ten (v roce 1926). Na několika projektech spolupracoval také se zpěvačkou Bessie Smith, která byla taktéž členkou kapely Clarence Williamse. Na konci 30. let začala být tuba na ústupu a postupně byla nahrazována kontrabasem, na který později Cyrus St. Clair také hrál1. V době největší slávy neworleanského jazzu interpretovali tubisté výhradně na kontrabasovou tubu, nebo suzafon. Na nahrávce stompu Candy Lips2 s kapelou Clarence Williamse je zřejmé, že Cyrus St. Clair byl rytmicky přesným hráčem. Basová linka je vedená jednoduchým způsobem, bez obsáhlejších basových průchodů. Za povšimnutí stojí změna vedení linky v průběhu písně, kde začátek je interpretován typicky staccatově a v repríze tématu vede linku Clair mezi portamentem a tenutem, což v té době nebylo tak zcela běžné. V bluesové písni Close Fit Blues3 je z dostupné nahrávky znát Clairova velmi dobrá tónová kvalita. Tón je znělý, ozev přesvědčivý a nasazování přesné. V krátké sólové figuře ke konci skladby zní tuba velmi výrazně. Ve skladbě Log Cabin Blues4se objeví krátké tubové sólo hrané společně s pianem v oktávách. Zde dotváří Clair atmosféru dobově typickým vibratem, což opět nebylo v rámci dobové interpretace tuby zcela běžné. Na nahrávce stompu Cushion Foot Stomp5 z roku 1927 se Clair ukáže krátkým sólem, které zakončí bravurně rychlou melodickou figurou. Z posuzovaných 1 YANOW, Scott. Cyrus St. Clair Biography [online]. Copyright ©2018 All Music [cit. 10.05.2018]. Dostupné z: https://www.allmusic.com/artist/cyrus-st-clair-mn0000788970/biography 2 Clarence Williams. Great Original Performances 1927 To 1934 [zvukový záznam na CD]. Records, BBC CD 721. 3 Clarence Williams. Great Original Performances 1927 To 1934. BBC Records, BBC CD 721. 4 Clarence Williams. Great Original Performances 1927 To 1934. BBC Records, BBC CD 721. 5 Clarence Williams & Jug & Washboard Bands: Whoop It Up! Volume I: 1927-1929. Document Records, JPCD-1531-2. 11 nahrávek můžeme ocenit Clairovu improvizační nápaditost a na tehdejší dobu nespornou interpretační úroveň. Cyrus St. Clair a jeho pokřivená tuba… Ani tento tubista nebyl výjimkou v tom, že používal kontrabasovou tubu. Jeho nástroj byl ovšem tak trochu raritou mezi ostatními tubami. Konstrukčně byl totožný s běžnou tubou, jen korpus měl vyústění do vertikální pozice – stejně jako suzafon. Jednalo se tedy o suzafon-tubu. Praktický účel, domnívám se, spočíval v přímém vyzařování zvuku směrem dopředu. Konstruktéři zřejmě logicky uvažovali ve prospěch tubistovy snahy. Všechny ostatní žesťové nástroje hrály v horizontální poloze, což samozřejmě šířilo zvuk přímo do obecenstva nebo směrem k nahrávacímu aparátu. Tubista byl vzhledem k poloze ozvučníku jaksi „znevýhodněn“ vůči ostatním žesťům. To jen okrajově ke specifické konstrukci tuby, kterou později využívali např. Ralph Escudero, Dick Lammi, Red Callender nebo Billy Barber. 1.2. Vincent Joseph Tortoriello (1902-1986) Jako dvanáctiletý začal „Joe Tarto“ hrou na trombon, ale brzy poté vyměnil trombon za tubu. V 80. letech s humorem označili někteří sběratelé alb Joe Tarta jako „Tuba Titan“. Ačkoli byl Tarto zjevně méně známým hudebníkem, v řadě nahrávek na kterých se objevil ve dvacátých letech spoluhráči rozpoznali jeho talent. Joe Tarto hrál v armádním bandu na tubu během 1. světové války. Následně, když byl na frontě zraněn, propustili ho ze služeb armády - v roce 1919. Na podzim roku 1920 se Joe Tarto začal naplno realizovat jako hudebník. Spolupracoval s Cliffem Edwardem, působil v bandu Paula Spechta (1922-24), dále potom v orchestru Sama Lanina a Vincenta Lopeze. Působil v zábavních programech na Brodwayi a aranžoval pro slavný orchestr Fletchera Hendersonai Chicka Webba. Kolem 20. let Tarto nahrával s různými osobnostmi,
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