Episode Ten: A Masterpiece by Midnight
During the '60s, jazz is in trouble.
Critics divide the music into schools--Dixieland,
swing, bebop, hard bop, modal, free,
avant-garde. But most young people
are listening to rock & roll. Though
Louis Armstrong briefly outsells the
Beatles with "Hello Dolly," most jazz
musicians are desperate for work and
many head for Europe, including bebop
saxophone master Dexter Gordon.
At
home, jazz is searching for relevance.
During the Civil Rights struggle,
it becomes a voice of protest. Before
his early death, the avant-garde explorer
John Coltrane links jazz to the '60s
quest for a higher consciousness with
his devotional suite, "A Love Supreme."
And Miles Davis, after conquering
the avant-garde with a landmark quintet,
combines jazz with rock & roll by
using electric instruments to launch
a wildly popular sound called fusion.
In
the 1970s, jazz loses the exuberant
genius of Louis Armstrong and the
transcendent artistry of Duke Ellington,
and for many their passing seems to
mark the end of the music itself.
But in 1976, when Dexter Gordon returns
from Europe for a triumphant comeback,
jazz has a homecoming, too.
Over
the next two decades, a new generation
of musicians emerges, led by trumpeter
Wynton Marsalis--schooled in the music's
traditions, skilled in the arts of
improvisation, and aflame with ideas
only jazz can express. The musical
journey that began in the dance halls
and street parades of New Orleans
at the start of the 20th century continues.
As it enters its second century, jazz
is still brand-new every night, still
vibrant, still evolving, and still
swinging. ©2001
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