Third Stream technically refers to the fusion of jazz with classical. It was a movement in jazz music for two seconds, but the implications of what it means are much, much broader and can be felt all across both classical and jazz music all throughout the century. The truth is that Third Stream can truly be the fusion of any popular idiom with the classical tradition. But for the purposes of this list, we’ll stick to jazz-influenced classical, and classical-influenced jazz.
According to Gunther Schuller - this is what third stream is not:
According to Gunther Schuller - this is what third stream is not:
- It is not jazz with strings.
- It is not jazz played on 'classical' instruments.
- It is not classical music played by jazz players.
- It is not inserting a bit of Ravel or Schoenberg between be-bop changes—nor the reverse.
- It is not jazz in fugal form.
- It is not a fugue played by jazz players.
- It is not designed to do away with jazz or classical music; it is just another option amongst many for today’s creative musicians
To this day, Scott Joplin may still be the purest example of how this works.
From the Classical Side:
Rhapsody in Blue by George Gershwin
The Creation of the World by Darius Milhaud
Ebony Concerto by Igor Stravinsky (written for Woody Herman and his orchestra)
Piano Concerto in G by Maurice Ravel
Le Jazz by Bohuslav Martinu
Jazz Symphony by George Antheil
Four Piano Blues by Aaron Copland
Johnny Strikes Up by Ernest Krenek
Jazz Suites by Dimitri Shostakovich
Derivations by Morton Gould
The Age of Anxiety by Leonard Bernstein
Conversation by Gunther Schuller
The Threepenny Opera by Kurt Weill/Berthold Brecht
From the Jazz Side:
Abstractions by Charles Mingus
Django Variants by Gunther Schuller
Sketch by John Lewis
Perceptions by Dizzy Gillespie and J.J. Johnson
Street Music by Bill Russo
Concierto de Aranjuez by Joaquin Rodrigo/Miles Davis/Gil Evans
Blue Rondo A la Turk by Dave Brubeck
Toccata and Fugue in D Minor by Johann Sebastian Bach/Jacques Loussier
Suspensionsby Jimmy Guiffre
Mood Indigo by Duke Ellington (shorter form classical influence)
Reminiscing In Tempo by Duke Ellington (longer form classical influence)
Dvorak Humoresque by Art Tatum
Interlude in B-Flat by Artie Shaw
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