Embedded Files
Artistic Expression
Artistic Expression
While jazz is most often identified as an art form that is the soul of individual expression.
While jazz is most often identified as an art form that is the soul of individual expression.
New Jazz Poem.mp4Poem Writing Canvas
Poem Writing Canvas
It's something about when the ink leaves my pen…
It's like my heart spills out in letters…
It's like my soul spelled out on paper…
That brief bit of time when you stare in the mirror…
And your thoughts look back…
Cause as a man thinketh...so is he
So I've been thinking…
It's something about when your dreams escape your fears…
It's like your faith grows wings…
It's like your hopes become new…
And your vision for a future…
Is brightly painted in the colors of persistence, patience, and preparation
But it starts with self love first...
So just embrace the process even when it hurts…
Cause the best part is when…
The best version of yourself matches your reflection.
Genres of Poetry
Genres of Poetry
Freestyle
Freestyle
Freestyle is a style of improvisation with or without instrumental beats, in which lyrics are recited with no particular subject or structure. It is similar to other improvisational music, such as jazz, where a lead instrumentalist acts as an improviser with a supporting band providing a beat.
Freestyle is a style of improvisation with or without instrumental beats, in which lyrics are recited with no particular subject or structure. It is similar to other improvisational music, such as jazz, where a lead instrumentalist acts as an improviser with a supporting band providing a beat.
Spoken Word
Spoken Word
Spoken word is a poetic performance art that is word-based. It is an oral art that focuses on the aesthetics of word play such as intonation and voice inflection. It is a "catchall" term that includes any kind of poetry recited aloud, including poetry readings, poetry slams, jazz poetry, and hip hop, and can include comedy routines and prose monologues.[1] Although spoken word can include any kind of poetry read aloud, it is different from written poetry in that how it sounds is often one of the main components. Unlike written poetry, it has less to do with physical, on the page aesthetics and more to do with phonaesthetics, or the aesthetics of sound.
Spoken word is a poetic performance art that is word-based. It is an oral art that focuses on the aesthetics of word play such as intonation and voice inflection. It is a "catchall" term that includes any kind of poetry recited aloud, including poetry readings, poetry slams, jazz poetry, and hip hop, and can include comedy routines and prose monologues.[1] Although spoken word can include any kind of poetry read aloud, it is different from written poetry in that how it sounds is often one of the main components. Unlike written poetry, it has less to do with physical, on the page aesthetics and more to do with phonaesthetics, or the aesthetics of sound.
The History of Hip-Hop With Jazz Influence
The History of Hip-Hop With Jazz Influence
Back when A Tribe Called Quest’s Q-Tip was a teenager, the legend goes, his father overheard him playing some hip-hop and said it reminded him of bebop. That connection, drawn in the opening seconds of Tribe’s 1991 album The Low End Theory, at first seems a little odd. Musically, late ’80s rap and mid-’40s jazz have very little in common, the former defined by 4/4 rhythms and looped melodies, the latter by its “anything goes” approach to rhythmic structure and melodic composition. But if you look at each genre as a cultural movement, paying particular attention to the backlash each initially received, hip-hop and bebop share more parallels than you’d expect.
Back when A Tribe Called Quest’s Q-Tip was a teenager, the legend goes, his father overheard him playing some hip-hop and said it reminded him of bebop. That connection, drawn in the opening seconds of Tribe’s 1991 album The Low End Theory, at first seems a little odd. Musically, late ’80s rap and mid-’40s jazz have very little in common, the former defined by 4/4 rhythms and looped melodies, the latter by its “anything goes” approach to rhythmic structure and melodic composition. But if you look at each genre as a cultural movement, paying particular attention to the backlash each initially received, hip-hop and bebop share more parallels than you’d expect.
Both genres succeeded in infuriating the majority of the preceding generation, usually a sure sign of their cultural importance. Sure enough, jazz and hip-hop have both stood the test of time, and as is also nearly inevitable for two genres that have been around more than 20 years, commingled in extraordinary ways. Tribe’s Low End Theory kicked off a very fertile era of jazz-influenced hip-hop, with artists on both coasts coming to treat Roy Ayers and Art Blakey records with the same reverence that producers viewed James Brown and the Incredible Bongo Band’s drum breaks 10 years prior.
Both genres succeeded in infuriating the majority of the preceding generation, usually a sure sign of their cultural importance. Sure enough, jazz and hip-hop have both stood the test of time, and as is also nearly inevitable for two genres that have been around more than 20 years, commingled in extraordinary ways. Tribe’s Low End Theory kicked off a very fertile era of jazz-influenced hip-hop, with artists on both coasts coming to treat Roy Ayers and Art Blakey records with the same reverence that producers viewed James Brown and the Incredible Bongo Band’s drum breaks 10 years prior.
Twenty-five years (almost to the day) after The Low End Theory’s release, jazz rap’s heyday has come and gone, but a new era seems to be dawning in all corners of the genre. Today, there’s a weekly club night in L.A. called “The Low End Theory” that’s the epicenter of a jazz/electronic/hip-hop melting pot, jazz bands cover hip-hop tracks, and mainstream rappers regularly recruit horn players for their albums. On this cusp of an exciting era of cross-pollination, we take a look back at 10 jazz rap fusion attempts that are must-haves in your vinyl collection if you’re a fan of either hip-hop or jazz.
Twenty-five years (almost to the day) after The Low End Theory’s release, jazz rap’s heyday has come and gone, but a new era seems to be dawning in all corners of the genre. Today, there’s a weekly club night in L.A. called “The Low End Theory” that’s the epicenter of a jazz/electronic/hip-hop melting pot, jazz bands cover hip-hop tracks, and mainstream rappers regularly recruit horn players for their albums. On this cusp of an exciting era of cross-pollination, we take a look back at 10 jazz rap fusion attempts that are must-haves in your vinyl collection if you’re a fan of either hip-hop or jazz.
Best Jazz Rap Albums To Own On Vinyl
Best Jazz Rap Albums To Own On Vinyl
Q-Tip begins Tribe’s second and jazziest album by relaying that conversation with his father, and for the ensuing 45 minutes, he, Phife Dawg, and Ali Shaheed Muhammad strengthen the two genres’ connection. There are acoustic bass-driven grooves, multiple shout-outs to jazz and its pioneers, and even a guest appearance by Ron Carter, a legendary double bassist who played with everyone from Miles Davis to Gil Scott-Heron. Predecessor People’s Instinctive Travels and the Paths of Rhythm may have had the hits (“Bonita Applebum” and “Can I Kick It?”), and follow-up Midnight Marauders may be the group’s most well-rounded album, but neither is as influential to the jazz rap genre as Low End Theory.
Q-Tip begins Tribe’s second and jazziest album by relaying that conversation with his father, and for the ensuing 45 minutes, he, Phife Dawg, and Ali Shaheed Muhammad strengthen the two genres’ connection. There are acoustic bass-driven grooves, multiple shout-outs to jazz and its pioneers, and even a guest appearance by Ron Carter, a legendary double bassist who played with everyone from Miles Davis to Gil Scott-Heron. Predecessor People’s Instinctive Travels and the Paths of Rhythm may have had the hits (“Bonita Applebum” and “Can I Kick It?”), and follow-up Midnight Marauders may be the group’s most well-rounded album, but neither is as influential to the jazz rap genre as Low End Theory.
Digable Planets are best-known for one of the most popular jazz rap singles of all-time, 1992’s “Rebirth of Slick (Cool Like Dat),” but their crowning achievement is a deeper, much weirder exploration of jazz. The group’s second and final album is a full band workout with songs that regularly extend past the five-minute mark, eschew standard structure, bury vocals in the mix, and meditate upon Afrocentrism and urban culture. Blowout Comb is a dark and intoxicating epic, the furthest thing from Tribe’s easily-digestible jazz postcards. It acts as an anthropological survey of Brooklyn’s vibrant thinking man’s rap scene of the mid-’90s, with both Guru and Jeru The Damaja showing up for guest verses, and songs that touch on neighborhood barbershops, graffiti culture and NYC’s five boroughs. The group only recently reunited for a string of concerts, but in their absence, founding member Ishmael Butler has taken Blowout Comb’s approach to even spacier realms with his Shabazz Palaces project.
Digable Planets are best-known for one of the most popular jazz rap singles of all-time, 1992’s “Rebirth of Slick (Cool Like Dat),” but their crowning achievement is a deeper, much weirder exploration of jazz. The group’s second and final album is a full band workout with songs that regularly extend past the five-minute mark, eschew standard structure, bury vocals in the mix, and meditate upon Afrocentrism and urban culture. Blowout Comb is a dark and intoxicating epic, the furthest thing from Tribe’s easily-digestible jazz postcards. It acts as an anthropological survey of Brooklyn’s vibrant thinking man’s rap scene of the mid-’90s, with both Guru and Jeru The Damaja showing up for guest verses, and songs that touch on neighborhood barbershops, graffiti culture and NYC’s five boroughs. The group only recently reunited for a string of concerts, but in their absence, founding member Ishmael Butler has taken Blowout Comb’s approach to even spacier realms with his Shabazz Palaces project.
Tribe may have mimicked Blue Note’s iconic aesthetic for their “Jazz (We’ve Got)” single artwork, but U.K.-group Us3 one-upped them by becoming the first hip-hop act to sign with the label. Their 1993 debut fused live instrumentation with samples culled exclusively from the Blue Note archive, most notably on aptly named hit single “Cantaloop (Flip Fantasia),” which flipped Herbie Hancock’s “Cantaloupe Island.” As a result, Hand on the Torch’s arrangements jump off the page more than any previous jazz rap album. The rapping isn’t always up to par with Us3’s contemporaries, but the album’s flow and inclusion of a wide variety of jazz styles makes it a must-hear. Original print isn’t hard to come by, but Blue Note also just reissued a deluxe edition last year.
Tribe may have mimicked Blue Note’s iconic aesthetic for their “Jazz (We’ve Got)” single artwork, but U.K.-group Us3 one-upped them by becoming the first hip-hop act to sign with the label. Their 1993 debut fused live instrumentation with samples culled exclusively from the Blue Note archive, most notably on aptly named hit single “Cantaloop (Flip Fantasia),” which flipped Herbie Hancock’s “Cantaloupe Island.” As a result, Hand on the Torch’s arrangements jump off the page more than any previous jazz rap album. The rapping isn’t always up to par with Us3’s contemporaries, but the album’s flow and inclusion of a wide variety of jazz styles makes it a must-hear. Original print isn’t hard to come by, but Blue Note also just reissued a deluxe edition last year.
The Roots’ 1995 sophomore album is rarely cited as their best (that honor is usually reserved for the 1999 opus Things Fall Apart), but it is their most devoted to jazz. You can tell from Questlove’s herky-jerky rhythms and Scott Storch’s subtle keyboard flourishes that the group had been studying the moves of their jazz rap contemporaries, but as a well-oiled full band, they were able to bring the music back closer to its roots (no pun intended). Do You Want More?!!??! is the only album on this list with live scatting, a cappella harmonies, and drum solos, and it’s also the only jazz album I know that features beatboxing. You won’t find another group that straddles the line between rap and jazz as effortlessly as The Roots.
The Roots’ 1995 sophomore album is rarely cited as their best (that honor is usually reserved for the 1999 opus Things Fall Apart), but it is their most devoted to jazz. You can tell from Questlove’s herky-jerky rhythms and Scott Storch’s subtle keyboard flourishes that the group had been studying the moves of their jazz rap contemporaries, but as a well-oiled full band, they were able to bring the music back closer to its roots (no pun intended). Do You Want More?!!??! is the only album on this list with live scatting, a cappella harmonies, and drum solos, and it’s also the only jazz album I know that features beatboxing. You won’t find another group that straddles the line between rap and jazz as effortlessly as The Roots.
Writing Poetry Styles
Writing Poetry Styles
Visual
Visual
Acrostic
Acrostic
Final Finale
Final Finale
From what you have learned in are lessons I would like you to compose your own art expression using poetry based on its history, genres, and styles.
From what you have learned in are lessons I would like you to compose your own art expression using poetry based on its history, genres, and styles.
Farewell enjoy your summer
Farewell enjoy your summer
Submit your responses to the questions above to theresaJohnson@propelschools.org
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