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En 1959, Miles Davis, John Coltrane, Dinah Washington o Dave Brubeck grabaron grandes álbumes que se convertirían en verdaderos manifiestos artísticos
Vía: www.elnortedecastilla.es | Por DOMÉNICO CHIAPPE
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El mismo año que murieron Billie Holiday y Lester Young, grandes referencias de los primeros tiempos del jazz, se grabaron siete de los mejores vinilos de aquella música surgida en Nueva Orleans. En 1959 en las discotiendas aparecieron ‘long-play’ firmados por estrellas como Miles Davies y Dinah Washington, pero también las óperas primas de otros que serían leyendas después, como Chet Baker. No eran unos discos más. El jazz se ramificaba desde lo tradicional y el ‘be bop’ hacia movimientos como el ‘cool’, el ‘free jazz’ o el ‘hard bop’, corrientes tanto de ruptura como de revisión.
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Los músicos exploraban nuevas posibilidades y dejaban verdaderos manifiestos artísticos. El jazz de aquella época fue un fenómeno tanto musical, quizás el más importante surgido en el siglo XX, como social, en cuanto a los derechos civiles y la exploración espiritual. Ese último año de la década de los cincuenta, la industria reconocía a Ella Fitzgerald en los primeros premios Grammy de la historia, y algunos álbumes vendieron cientos de miles de copias. El movimiento había llegado a la cima pero debía mantenerse sin perder su efervescente evolución. Estos siete álbumes marcaron la ruta.
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‘Kind of Blue’ MILES DAVIS
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Cuando graba esta obra maestra, Miles Davis (1926-1991) ya es uno de los máximos exponentes del ‘be bop’, la corriente del jazz que rompió con el ‘swing’ y convirtió a los músicos de orquesta en artistas del instrumento. Pero Davis regresa a Nueva York inconforme con sus últimos trabajos, y forma un sexteto de ‘hard bop’, para explorar nuevas formas creativas. Cuenta con figuras como Coltrane, que volvía al amparo de Davis, y Evans, que compone uno de los temas. El álbum se graba en diez horas, y comienza con el cadencioso riff de «So What».
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‘Time Out’ DAVE BRUBECK
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El pianista, junto a un magistral Paul Desmond en el saxofón alto, compone un repertorio de complejo tempo y estructura, ritmo irregular inspirado en músicas populares de Europa y Asia y con drásticas variaciones en la misma pieza. Basado en las teclas y con largas frases de saxo, se trata de un meditado virtuosismo enmarcado dentro de la corriente del ‘cool jazz’. Gracias al primer gran ‘single’ del jazz, «Take Five», el disco vendió un millón de copias.
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‘Giant Steps’ JOHN COLTRANE
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Como si ‘Kind of Blue’ hubiera hechizado a Coltrane (1926-1967), dos semanas después de grabar con Davis el saxofonista entró al estudio y en dos días salió con un álbum que significó un «paso de gigante», como indica su título. En este disco se perfila lo que más tarde sería conocido como «las sábanas de sonido», y que le liberaría en la improvisación hasta desconocer los límites temporales. Con su quinto álbum, Coltrane volvía de una desintoxicación de heroína pero con un gran contrato discográfico, y se desmarcó del letargo con varios de sus mejores fraseos.
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‘Portrait in Jazz’ BILL EVANS
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Y ocho meses después de ‘Kind of Blue’, el pianista de Davis entró en el estudio y salió con un álbum que sigue influenciando hoy a los principales teclistas actuales. Un elegante trabajo de trío, junto al contrabajo de Scott LaFaro y la batería de Motian. El generoso Evans (1929-1980) rompió las reglas al compartir protagonismo por igual con sus dos músicos. Este álbum fue el primero de una larga serie donde incidiría en la exploración de estas ‘conversaciones’.
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‘Abbey Is Blue’ ABBEY LINCOLN
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Llamada a ser la sucesora de Billy Holiday pero ahora casi olvidada, Abbey Lincoln (1930-2010) lideró con su hermosa y potente voz el movimiento ‘hard bop’, que buscaba disminuir la ejecución cerebral del ‘be bop’. Con arreglos más minimalistas que orquestales, Lincoln entona como si cantara nanas a un bebé, en emocionales piezas acompañada de un trío de piano, bajo y batería, y metales donde ronda el silencio.
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‘Mingus Ah Um’ CHARLES MINGUS
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En alegre y desenfadado tono, Mingus (1922-1979) juega con las onomatopeyas y desacraliza, al menos en apariencia, la ejecución para mezclarla con un ambiente festivo y callejero. La sombra tribal que envuelve el álbum aún es vanguardia.
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‘What a Difference a Day Makes’ DINAH WASHINGTON
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En contraposición, una de las reinas del jazz graba un álbum clásico, orquestado al estilo de las ‘big band’, con la versión en inglés de la latinoamericana «Cuando vuelva a tu lado». La importancia de este álbum, que en nada innova, está en persistir en medio del ‘tsunami’ de los metales del jazz. La música arreglada y melódica, sin atrevidos solos que compitieran con su voz áspera y retadora, alzaba la cabeza. Al año siguiente, Washington (1924-1963) ganaría el Grammy con este disco.
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