Jazz Misconceptions: What Makes a Piece Truly Jazz?

Calling every piece of music jazz has become a common practice, especially when the piece in question is labeled as such. However, is a piece of music truly jazz just because it's labeled as such by the artist or the audience? Let's explore the reality behind what makes a piece of music jazz and dispel some common misconceptions.

When a Pop Song is Jazz

The title track of Rhapsody in Blue, composed by George Gershwin, is often mislabeled as jazz. While the piece certainly has elements that resonate with the jazz genre, it is more accurately described as jazz-inflected late-Romantic music. Gershwin's work explores the evolving sound of American music by blending classical and jazz elements, but it falls outside the strict definition of jazz.

From Non-Jazz to Jazz

A more interesting scenario occurs when jazz musicians take a non-jazz piece and transform it into a jazz classic. Perhaps the most famous example is "My Favorite Things" by Richard Rodgers and Oscar Hammerstein II, adapted by the jazz great John Coltrane. Coltrane's version is a masterclass in jazz interpretation, showcasing the genre's improvisational and expressive qualities while staying true to the original melody. This transformation underscores how jazz musicians can infuse new life into seemingly unrelated pieces.

Jazz Fusion and Smooth Jazz

Often, artists who are capable of playing straight-ahead jazz opt for fusion or smooth jazz to cater to a broader audience. These genres, while they incorporate jazz elements, often lack the rawness and improvisational nature that define traditional jazz. Well-known artists like Herbie Mann, Herbie Hancock, and Grover Washington Jr. migrated towards these styles, choosing to cater to a larger market rather than pursue a purist jazz career. Smooth jazz, with its smooth, mellow sound, is often played by artists like Kenny G and Hubert Laws, who can seamlessly transition to a jazz groove but don't necessarily fit the strict criteria of playing 'straight ahead' jazz.

Rock and Pop Artists in Jazz

Many rock and pop artists incorporate jazz elements into their music but aren't strictly jazz artists. Joni Mitchell, Steely Dan, and Ricky Lee Jones, among others, have used jazz techniques and instrumentation in their work. Even the Grateful Dead found inspiration in jazz, blending elements of the genre with their unique rock sound. These artists may incorporate jazz-style solos or use jazz chord progressions, but their primary identity remains within the rock or pop genres.

The Emergence of Smooth Jazz

Smooth jazz, often labeled as watered-down or commercialized jazz, has gained a significant following. Artists such as Kenny G, Chris Botti, and Bony James are renowned for their smooth, melodic style, which often lacks the improvisational and harmonic complexity of traditional jazz. These musicians, while technically proficient, rarely deviate from the smooth jazz formula, making it difficult to determine how well they could perform straight-ahead jazz. Some smooth jazz artists, like Grover Washington Jr., began in jazz circles but shifted their focus to appeal to a wider, more commercial audience.

The Cliché of the Word 'Jazz'

The term 'jazz' has become somewhat clichéd, often used to describe music that lacks true jazz credentials. In some cases, artists who play or consider themselves 'smooth jazz' are not truly playing jazz. Their work is more often instrumental and focused on creating a soothing, mellow sound. Artists such as Kenny G, Bony James, Chris Botti, Grover Washington Jr., and Candy Dulfer exemplify this category, with many of them capable of playing straight-ahead jazz, but they rarely do so in their performances and recordings.

Dixieland and the Misconception of Jazz

Another common misconception is that Dixieland, a style of music characterized by ensemble playing with a strong emphasis on improvisation, is jazz. In fact, Dixieland is a rebranding and revival of what was known as Traditional Jazz or Trad. Jazz, which emerged in the late-1920s with artists such as Louis Armstrong and His Hot-Fives and Sevens. While these early recordings are considered some of the most important in the history of recorded music and set the foundation for jazz, Louis Armstrong's pop records of the late-1920s are far from the genre's essence. Dixieland, which arrived several decades later, is often associated with mediocre white performers, playing at town fairs and similar venues.

Conclusion

The line between what is and isn't jazz can often be blurred, and it's important to understand the distinctions within the genre. While some pop songs and rock albums may incorporate jazz elements, they don't necessarily qualify as jazz without genuine improvisation and complexity. Witnessing a non-jazz composition transformed into a jazz masterpiece or a rock artist infusing jazz into their music can be both profound and enlightening. Understanding these nuances can help music enthusiasts and learners appreciate the true essence of jazz, free from the maze of misconceptions.