Hits Jazz Standard

Paul Goguen once said that art is either plagiarism or revolution. That is certainly true of music. From pop to jazz to classical music, there’s a long history of borrowing, lifting, and stealing from other composers, along with other ways of building on their artistic contributions. Here I try to put some order in the complex picture that emerges from such a history, with an eye to the criteria—if any—that underlie the complex ways in which we compare, identify, and categorize musical works.

In the second half of the 20th century Gunter Schuller coined the term Third Stream to define a new aesthetic somewhere between jazz and contemporary classical music, since the beginning of the 21st century is taking root with force in the current landscape of the Valencian jazz.
In 1949, Lennie Tristano Crosscurents disk gives a constant flow of Third Stream discography kick off during the decades of the 1950s and 1960s. That same year constitute the first antecedents of the Third Stream in "Mediterranean corridor of the Jazz" with the publication of Federico Mompou “Temps de Blues” in Barcelona, and the first edition of the score of the “Concierto de Aranjuez” by Joaquín Rodrigo in Valencia. Obviously we are talking about two classical composers, but we are going to show in the present communiqué, that these two works have been fundamental for the emergence of the Third Stream in Valencia via Barcelona, both as in exporting our musics "nationalists" in the territory of the jazz, becoming what might be called as "new standards" of the "Mediterranean corridor of Jazz".
In essence we can consider third stream as key what could be termed global jazz, inevitably this music spread the world, in the prelude to the age of communication, has been covering is specific characteristics of the different cultures of the world, today we can say that the jazz is not a purely American heritage.