In the seventies, jazz entered a neo classical phase. From Archie Shepp to Martial Solal, the rereading of yesterday's repertoire became common practise. At the same time, with Lee Konitz, Dexter Gordon or Art Pepper, a young public rediscovered the figures of free jazz. Increasingly numerous references to classical music drew from a wide range of sources.
|The radiant figures of Gil Evans (above, 1987, just before his death) leaves one hoping that jazz has a future other than the commercial.|
Generally speaking, in the United States as in the rest of the world, young musicians claimed an encyclopedic culture in which classical, rock and world music went side by side. From jazz, musicians retained an impressive ability to absorb and appropriate outside elements.
Born at the start of the century, jazz must now take stock. are its newest incarnations indications of an art running out of breath or the sign of an expanding tradition? Those who ask this question ignore the fact that, around the world, different types of music outside the mainstream have been inspired by jazz: they constitute fanfare for the century that is nearing its end.
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Its imagery pervades the movies, as the film industry exploits the stereotype of the jazz genius.
its impact is felt in rock and roll. In other words, the image and the legend of jazz still have power, even while today's improvised music tends to detach itself from it.