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Vplyv Diela Woodyho Shawa Na Novú Generáciu Trubkárov

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Vplyv Diela Woodyho Shawa Na Novú Generáciu Trubkárov JANÁČKOVA AKADEMIE MÚZICKÝCH UMĚNÍ V BRNĚ Hudební fakulta Jazzová interpretace Hra na trubku Vplyv diela Woodyho Shawa na novú generáciu trubkárov Diplomová práce Autor práce: BcA. Lukáš Oravec Vedoucí práce: Mgr. Juraj Bartoš Oponent práce: Mgr. Jan Přibil Brno 2016 Bibliografický záznam ORAVEC, Lukáš. Vplyv diela Woodyho Shawa na novú generáciu trúbkárov [The influence of Woody Shaw's work on new generations of trumpet players]. Brno: Janáčkova akademie múzických umění v Brně, Hudební Fakulta, Jazzová interpretace, rok. 2016 s.[xx] Vedoucí diplomové práce Mgr. Juraj Bartoš. Anotace Diplomová práca „Vplyv diela Woodyho Shawa na novú generáciu trubkárov“ pojednáva o živote a diele amerického trubkára Woodyho Shawa a o vplyve jeho diela na novú generáciu trubkárov. V prvej časti práce sa zameriavam na jeho život, detstvo, štúdium a ranné projekty, v ktorých pôsobil ako sideman. Druhá časť sa sústredí na autorskú tvorbu ako lídra, analýzu jeho sól a jeho životných a hudobných vplyvov. Tretia časť pojednáva o vplyve jeho diela z pohľadu novej generácie jazzových trumpetistov. Annotation Diploma thesis; “The influence of Woody Shaw’s work on new generations of trumpet players” deals with the life and work of the American trumpet player Woody Shaw and his influence on other trumpet players. Part one of this thesis summarizes his life, childhood, study, and early projects as a sideman. The second part focuses on his own work as a leader, analysis of his solos, and his life and musical influences. The third part covers the greatest of the new generation of jazz trumpet players; who were distinctly influenced by the work of Woody Shaw. Klíčová slova Woody Shaw, Jazz 70. a 80. rokov, Americký trubkár, Jarmo Hoogendijk, Jerome Ziering, Eric Dolphy, Jazz Messengers, Horace Silver, Pentatoniky Keywords Woody Shaw, Jazz of 70s and 80s, American trumpeter, Jarmo Hoogendijk, Jerome Ziering, Eric Dolphy, Jazz Messengers, Horace Silver, Pentatonics Prohlášení Prehlasujem, že som predkladanú prácu spracoval samostatne a použil len uvedené pramene a literatúru. v Brne, dňa 14.9. 2016 Lukáš Oravec Poďakovanie Na tomto mieste by som rád poďakoval vedúcemu mojej práce magistrovi Jurajovi Bartošovi za konzultácie a čas. Ďakujem nižšie menovaným trubkárom za poskytnutie rozhovorov. Jorge Vistel, Jarmo Hoogendijk, Piotr Wojtasik a Wallace Roney. Obsah ÚVOD ......................................................................................................................................1 1. ŽIVOT WOODYHO HERMANNA SHAWA II ........................................................2 1.1 DETSTVO ...............................................................................................................2 1.2 ŠTÚDIUM U JEROMEHO ZIERINGA ..........................................................................3 1.3 NEWARK ARTS HIGH SCHOOL ...............................................................................4 1.4 STRETNUTIE S ERICOM DOLPHYM .........................................................................5 1.5 EURÓPA .................................................................................................................7 1.6 HORACE SILVER ....................................................................................................9 1.7 JAZZ MESSENGERS .............................................................................................. 10 2. WOODY SHAW LÍDROM ........................................................................................ 12 2.1 WOODY SHAW LÍDROM V 60. ROKOCH ................................................................ 12 2.2 WOODY SHAW LÍDROM V 70. ROKOCH ................................................................ 13 2.3 WOODY SHAW LÍDROM V 80. ROKOCH ................................................................ 26 2.4 WOODY SHAW UMIERA ....................................................................................... 34 3. VPLYV DIELA WOODYHO SHAWA NA NOVÚ GNERÁCIU ........................... 38 POUŽITÉ INFORMAČNÉ ZDROJE ................................................................................ 48 Úvod Amerického trubkára Woodyho Shawa považujem za jednu z najdôležitejších osobností spomedzi jazzových trubkárov 20. storočia. Nenarodil sa do generácie, ktorá stála pri zrode samotného jazzu, bluesu, swingu, či bebopu. V období, keď začal študovať, sa v Amerike formoval už hardbop a jazzová avantgarda. Woody Shaw ukázal cestu poznania samého seba ako muzikantskej osobnosti. Ukázal cestu poznania hudby a ukázal aj iný pohľad na jazzový „language“. Nebol by som sám, keby som tvrdil, že Woody Shaw bol jedným z posledných inovátorov modernej hry na trúbku. V práci pojednávam o výrazne vplyvnom trubkárovi, ktorý významne inšpiroval a motivoval svojich súčasníkov a nasledovníkov. Trubkárov, ktorý si zvolili podobnú cestu bádaním po nových výrazových prostriedkoch. Vybral som si túto tému, lebo mi je ako jazzovému trubkárovi veľmi blízka. Sám som jeho veľkým obdivovateľom a jeho dielo ma neraz inšpirovalo či kompozične alebo interpretačne. "V zlate, alebo v inom drahom kove, je jedna ingrediencia, ktorá ho činí drahým. Odoberiete tú ingredienciu a stane sa z neho normálny kov. Woody Shaw bol tou vzácnou vecou."1 Valery Ponomarev 1 GOLDSHER, A. Hard bop academy: the sidemen of Art Blakey and the Jazz Messengers, Milwaukee, 2002, str. 30. Vlastný preklad. 1 1. Život Woodyho Hermanna Shawa II 1.1 Detstvo V predvečer Vianoc, 24. decembra roku 1944, sa narodil Woody Hermann Shaw junior. Pre svojich rodičov bol asi najväčším vianočným darom, aký si mohli priať. Stalo sa tak v mestečku Laurinburg, ležiacom pri južnej hranici severnej Karolíny. Jeho matka Rosalie Pegues spolu s otcom Woody Shaw seniorom pracovali v továrni. Keď mal Woody junior jeden rok presťahovali sa s rodinou do o poznanie väčšieho mesta Newark v štáte New Jersey, kde vyrastal. Jeho otec svojho syna pomenoval jednak podľa seba, ale aj podľa známeho kapelníka, klarinetistu Woodyho Hermana. Otec sa angažoval vo veľmi populárnom afroamerickom gospelovom súbore, známom ako the Diamond Jubilee Singers. Woody junior často počúval skúšky gospelovej kapely svojho otca s nemým úžasom a otvorenými ústami. Gospelová spevácka skupina skúšavala práve u nich v dome a malý Woody ich počúval do neskorých nočných hodín. Obaja rodičia študovali na súkromnej strednej škole, Laurinburgskom Inštitúte, kde študoval aj samotný Dizzy Gillespie. Jeho matka dokonca pochádzala z rovnakého mesta ako Dizzy. K samotnej hre na nástroj sa Woody junior dostal zo žiarlivosti k svojmu bratancovi, ktorý ich rodinu spolu s rodičmi navštevoval každé Vianoce a hrával im na klavír klasické diela od Fréderica Chopina či Wolfganga Mozarta. Mal asi deväť rokov, keď sa rozhodol, že aj on chce niečo predviesť na nejaký hudobný nástroj. Jeho voľba bola krídlovka. Presnejšie starší typ krídlovky, ktorý sa používal v minulosti v armádnych súboroch. Mala len jeden piest a pre chromatické hranie bolo potrebné používať ladiaci cug. Toto obmedzenie bolo samozrejme dôvodom, pre ktorý v jedenástich prešiel na trúbku. Vyrastal v nábožensky založenom prostredí plnom hudby a tanca. Často doma znela latinskoamerická hudba. Zväčša v podaní bubeníka a perkusionistu Tito Puenteho. Z jazzu to bola napríklad platňa Lestera Younga s trubkárom Howardom McGheem. Samozrejme medzi jeho prvé idoly patril Louis Armstrong, Harry James či trúbkár Ray Anthony, známi z orchestru Glenna Millera. Matka mu taktiež kúpila výberovku, na ktorej hral kalrinetista Benny Goodman, trombónista J.C. Higginbotham, saxofonista Glen Gray, či Casa Loma Orchestra. Vtedy spoznal aj nahrávku „Night in Tunisia“, ktorá ho očarila. Hral na 2 nej Dizzy Gillespie a hral veci, ktoré na tú dobu patrili medzi nehrateľné. Zneli veľmi moderne. Mal jedenásť a práve Dizzy v ňom utvrdil rozhodnutie, že sa chce stať jazzovým trubkárom. Samozrejme tých nahrávok prichádzalo nespočetné množstvo. Trumpetisti Shorty Rogers, Pete Candoli, rôzni umelci ako Sarah Vaughan. Dôležitú rolu vo formovaní jeho predstavy o zvuku trúbky mala nahrávka „Cherokee“ bubeníka Maxa Roacha a trubkára Clifforda Browna, ktorá ho ohúrila krásnym tmavým zvukom Browna. Chcel sa mu vo zvuku podobať. 1.2 Štúdium u Jeromeho Zieringa Woody v interview z roku 1978 spomína, že trumpeta nebola jeho prvou voľbou. Keď dostali na výber, ktorý nástroj chcú hrať v školskej kapele na 18. avenue vybral si husle. Bolo však neskoro. Pozícia na husle už bola obsadená. Ďalšou voľbou bol saxofón alebo trombón. O ten však mali záujem všetci a na neho vyšla nakoniec len trúbka. Nebol spokojný, že má hrať nástroj s tak surovým plechovým zvukom. Sťažoval sa učiteľovi, že všetky deti sa dostali ku hre na nástroje, ktoré chceli. Učiteľ mu povedal, aby bol trpezlivý. Mal z neho a trúbky dobrý pocit a uistil Woodyho, že si ju zamiluje. Netrvalo to dlho a došlo na slová jeho učiteľa. Woody vo svojom osude pociťoval mystickosť. Zásadným zlomom na nižšej strednej škole bolo stretnutie s trumpetistom Jeromeom Zieringom. Bol to trumpetista na veľmi vysokej úrovni. Svedomitý učiteľ, ktorý mal veľký záujem o študentov. Hral podobne ako Harry James. Všimol si jeho talent a vzal ho pod svoje ochranné krídla. Tak trochu z Woodyho chcel mať klasického trubkára a snažil sa ho viesť k výbornému čítaniu nôt, aby bol konkurencie schopný v orchestroch plných bielych trubkárov. Neskôr, ako sa ukázalo, mal záujem vypracovať Woodyho až na stoličku v new yorkskej filharmónii. Woody v jednom rozhovore pre Downbeat2 spomína: „Povedal som mu, že moji rodičia si nemôžu dovoliť platiť
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