HOME

TheInfoList



OR:

Jazz is a
music genre A music genre is a conventional category that identifies some pieces of music as belonging to a shared tradition or set of conventions. It is to be distinguished from ''musical form'' and musical style, although in practice these terms are some ...
that originated in the African-American communities of New Orleans, Louisiana in the late 19th and early 20th centuries, with its roots in
blues Blues is a music genre and musical form which originated in the Deep South of the United States around the 1860s. Blues incorporated spirituals, work songs, field hollers, shouts, chants, and rhymed simple narrative ballads from the Afr ...
and ragtime. Since the 1920s Jazz Age, it has been recognized as a major form of musical expression in traditional and popular music. Jazz is characterized by
swing Swing or swinging may refer to: Apparatus * Swing (seat), a hanging seat that swings back and forth * Pendulum, an object that swings * Russian swing, a swing-like circus apparatus * Sex swing, a type of harness for sexual intercourse * Swing rid ...
and blue notes, complex chords, call and response vocals, polyrhythms and
improvisation Improvisation is the activity of making or doing something not planned beforehand, using whatever can be found. Improvisation in the performing arts is a very spontaneous performance without specific or scripted preparation. The skills of impr ...
. Jazz has roots in European
harmony In music, harmony is the process by which individual sounds are joined together or composed into whole units or compositions. Often, the term harmony refers to simultaneously occurring frequencies, pitches ( tones, notes), or chords. However ...
and African rhythmic rituals. As jazz spread around the world, it drew on national, regional, and local musical cultures, which gave rise to different styles. New Orleans jazz began in the early 1910s, combining earlier brass band marches, French quadrilles,
biguine Biguine ( , ; gcf, label=Antillean Creole, bigin) is a rhythm-centric style of music that originated from Saint Pierre, Martinique in the 19th century. It fuses Bèlè and 19th-century French ballroom dance steps with African rhythms. History ...
, ragtime and blues with collective
polyphonic Polyphony ( ) is a type of musical texture consisting of two or more simultaneous lines of independent melody, as opposed to a musical texture with just one voice, monophony, or a texture with one dominant melodic voice accompanied by chords, h ...
improvisation Improvisation is the activity of making or doing something not planned beforehand, using whatever can be found. Improvisation in the performing arts is a very spontaneous performance without specific or scripted preparation. The skills of impr ...
. But jazz did not begin as a single musical tradition in New Orleans or elsewhere. In the 1930s, arranged dance-oriented
swing Swing or swinging may refer to: Apparatus * Swing (seat), a hanging seat that swings back and forth * Pendulum, an object that swings * Russian swing, a swing-like circus apparatus * Sex swing, a type of harness for sexual intercourse * Swing rid ...
big bands, Kansas City jazz (a hard-swinging, bluesy, improvisational style), and gypsy jazz (a style that emphasized musette waltzes) were the prominent styles. Bebop emerged in the 1940s, shifting jazz from danceable popular music toward a more challenging "musician's music" which was played at faster tempos and used more chord-based improvisation. Cool jazz developed near the end of the 1940s, introducing calmer, smoother sounds and long, linear melodic lines. The mid-1950s saw the emergence of hard bop, which introduced influences from rhythm and blues, gospel, and blues to small groups and particularly to saxophone and piano. Modal jazz developed in the late 1950s, using the mode, or musical scale, as the basis of musical structure and improvisation, as did free jazz, which explored playing without regular meter, beat and formal structures. Jazz-rock fusion appeared in the late 1960s and early 1970s, combining jazz improvisation with rock music's rhythms, electric instruments, and highly amplified stage sound. In the early 1980s, a commercial form of jazz fusion called smooth jazz became successful, garnering significant radio airplay. Other styles and genres abound in the 21st century, such as Latin and Afro-Cuban jazz.


Etymology and definition

The origin of the word '' jazz'' has resulted in considerable research, and its history is well documented. It is believed to be related to ''jasm'', a slang term dating back to 1860 meaning "pep, energy". The earliest written record of the word is in a 1912 article in the '' Los Angeles Times'' in which a minor league baseball pitcher described a pitch which he called a "jazz ball" "because it wobbles and you simply can't do anything with it". The use of the word in a musical context was documented as early as 1915 in the '' Chicago Daily Tribune.'' Archived at Observatoire Musical Français, Paris-Sorbonne University. Its first documented use in a musical context in New Orleans was in a November 14, 1916, '' Times-Picayune'' article about "jas bands". In an interview with National Public Radio, musician Eubie Blake offered his recollections of the slang connotations of the term, saying: "When Broadway picked it up, they called it 'J-A-Z-Z'. It wasn't called that. It was spelled 'J-A-S-S'. That was dirty, and if you knew what it was, you wouldn't say it in front of ladies." The American Dialect Society named it the Word of the 20th Century. Jazz is difficult to define because it encompasses a wide range of music spanning a period of over 100 years, from ragtime to rock-infused fusion. Attempts have been made to define jazz from the perspective of other musical traditions, such as European music history or African music. But critic Joachim-Ernst Berendt argues that its terms of reference and its definition should be broader,Joachim E. Berendt. ''The Jazz Book: From Ragtime to Fusion and Beyond''. Translated by H. and B. Bredigkeit with Dan Morgenstern. 1981. Lawrence Hill Books, p. 371. defining jazz as a "form of art music which originated in the United States through the confrontation of the Negro with European music" and arguing that it differs from European music in that jazz has a "special relationship to time defined as 'swing. Jazz involves "a spontaneity and vitality of musical production in which improvisation plays a role" and contains a "sonority and manner of phrasing which mirror the individuality of the performing jazz musician". A broader definition that encompasses different eras of jazz has been proposed by Travis Jackson: "it is music that includes qualities such as swing, improvising, group interaction, developing an 'individual voice', and being open to different musical possibilities". Krin Gibbard argued that "jazz is a construct" which designates "a number of musics with enough in common to be understood as part of a coherent tradition".
Duke Ellington Edward Kennedy "Duke" Ellington (April 29, 1899 – May 24, 1974) was an American jazz pianist, composer, and leader of his eponymous jazz orchestra from 1923 through the rest of his life. Born and raised in Washington, D.C., Ellington was based ...
, one of jazz's most famous figures, said, "It's all music."


Elements


Improvisation

Although jazz is considered difficult to define, in part because it contains many subgenres,
improvisation Improvisation is the activity of making or doing something not planned beforehand, using whatever can be found. Improvisation in the performing arts is a very spontaneous performance without specific or scripted preparation. The skills of impr ...
is one of its defining elements. The centrality of improvisation is attributed to the influence of earlier forms of music such as
blues Blues is a music genre and musical form which originated in the Deep South of the United States around the 1860s. Blues incorporated spirituals, work songs, field hollers, shouts, chants, and rhymed simple narrative ballads from the Afr ...
, a form of folk music which arose in part from the work songs and field hollers of African-American slaves on plantations. These work songs were commonly structured around a repetitive call-and-response pattern, but early blues was also improvisational.
Classical music Classical music generally refers to the art music of the Western world, considered to be distinct from Western folk music or popular music traditions. It is sometimes distinguished as Western classical music, as the term "classical music" also ...
performance is evaluated more by its fidelity to the musical score, with less attention given to interpretation, ornamentation, and accompaniment. The classical performer's goal is to play the composition as it was written. In contrast, jazz is often characterized by the product of interaction and collaboration, placing less value on the contribution of the composer, if there is one, and more on the performer. The jazz performer interprets a tune in individual ways, never playing the same composition twice. Depending on the performer's mood, experience, and interaction with band members or audience members, the performer may change melodies, harmonies, and time signatures. In early Dixieland, a.k.a. New Orleans jazz, performers took turns playing melodies and improvising countermelodies. In the
swing Swing or swinging may refer to: Apparatus * Swing (seat), a hanging seat that swings back and forth * Pendulum, an object that swings * Russian swing, a swing-like circus apparatus * Sex swing, a type of harness for sexual intercourse * Swing rid ...
era of the 1920s–'40s,
big bands A big band or jazz orchestra is a type of musical ensemble of jazz music that usually consists of ten or more musicians with four sections: saxophones, trumpets, trombones, and a rhythm section. Big bands originated during the early 1910s and ...
relied more on arrangements which were written or learned by ear and memorized. Soloists improvised within these arrangements. In the bebop era of the 1940s, big bands gave way to small groups and minimal arrangements in which the melody was stated briefly at the beginning and most of the piece was improvised. Modal jazz abandoned chord progressions to allow musicians to improvise even more. In many forms of jazz, a soloist is supported by a
rhythm section A rhythm section is a group of musicians within a music ensemble or band that provides the underlying rhythm, harmony and pulse of the accompaniment, providing a rhythmic and harmonic reference and "beat" for the rest of the band. The rhythm sec ...
of one or more chordal instruments (piano, guitar), double bass, and drums. The rhythm section plays chords and rhythms that outline the composition structure and complement the soloist. In avant-garde and free jazz, the separation of soloist and band is reduced, and there is license, or even a requirement, for the abandoning of chords, scales, and meters.


Traditionalism

Since the emergence of bebop, forms of jazz that are commercially oriented or influenced by popular music have been criticized. According to Bruce Johnson, there has always been a "tension between jazz as a commercial music and an art form". Regarding the Dixieland jazz revival of the 1940s, black musicians rejected it as being shallow nostalgia entertainment for white audiences.Baraka, Amiri (1999). ''Blues People: Negro Music in White America''. Harper Perennial. .Davis, Miles & Troupe, Quincy (1990). Miles: The Autobiography. Simon & Schuster. . On the other hand, traditional jazz enthusiasts have dismissed bebop, free jazz, and jazz fusion as forms of debasement and betrayal. An alternative view is that jazz can absorb and transform diverse musical styles. by Andrew Gilbert, '' Metro Times'', December 23, 1998. By avoiding the creation of norms, jazz allows avant-garde styles to emerge.


Diversity in jazz


Jazz and race

For some African Americans, jazz has drawn attention to African-American contributions to culture and history. For others, jazz is a reminder of "an oppressive and racist society and restrictions on their artistic visions".
Amiri Baraka Amiri Baraka (born Everett Leroy Jones; October 7, 1934 – January 9, 2014), previously known as LeRoi Jones and Imamu Amear Baraka, was an American writer of poetry, drama, fiction, essays and music criticism. He was the author of numerous bo ...
argues that there is a "white jazz" genre that expresses whiteness. White jazz musicians appeared in the midwest and in other areas throughout the U.S. Papa Jack Laine, who ran the Reliance band in New Orleans in the 1910s, was called "the father of white jazz". The Original Dixieland Jazz Band, whose members were white, were the first jazz group to record, and
Bix Beiderbecke Leon Bismark "Bix" Beiderbecke (March 10, 1903 – August 6, 1931) was an American jazz cornetist, pianist and composer. Beiderbecke was one of the most influential jazz soloists of the 1920s, a cornet player noted for an inventive lyrical app ...
was one of the most prominent jazz soloists of the 1920s. The Chicago Style was developed by white musicians such as
Eddie Condon Albert Edwin Condon (November 16, 1905 – August 4, 1973) was an American jazz banjoist, guitarist, and bandleader. A leading figure in Chicago jazz, he also played piano and sang. Early years Condon was born in Goodland, Indiana, the son of J ...
, Bud Freeman, Jimmy McPartland, and Dave Tough. Others from Chicago such as
Benny Goodman Benjamin David Goodman (May 30, 1909 – June 13, 1986) was an American clarinetist and bandleader known as the "King of Swing". From 1936 until the mid-1940s, Goodman led one of the most popular swing big bands in the United States. His co ...
and Gene Krupa became leading members of swing during the 1930s. Many bands included both black and white musicians. These musicians helped change attitudes toward race in the U.S.


Roles of women

Female jazz performers and composers have contributed to jazz throughout its history. Although
Betty Carter Betty Carter (born Lillie Mae Jones; May 16, 1929 – September 26, 1998) was an American jazz singer known for her improvisational technique, scatting and other complex musical abilities that demonstrated her vocal talent and imaginative inter ...
, Ella Fitzgerald,
Adelaide Hall Adelaide Louise Hall (20 October 1901 – 7 November 1993) was an American-born UK-based jazz singer and entertainer. Her long career spanned more than 70 years from 1921 until her death and she was a major figure in the Harlem Renaissance. Hal ...
, Billie Holiday,
Peggy Lee Norma Deloris Egstrom (May 26, 1920 – January 21, 2002), known professionally as Peggy Lee, was an American jazz and popular music singer, songwriter, composer, and actress, over a career spanning seven decades. From her beginning as a vocalis ...
, Abbey Lincoln, Anita O'Day, Dinah Washington, and Ethel Waters were recognized for their vocal talent, less familiar were bandleaders, composers, and instrumentalists such as pianist Lil Hardin Armstrong, trumpeter Valaida Snow, and songwriters Irene Higginbotham and Dorothy Fields. Women began playing instruments in jazz in the early 1920s, drawing particular recognition on piano. When male jazz musicians were drafted during World War II, many all-female bands replaced them. The International Sweethearts of Rhythm, which was founded in 1937, was a popular band that became the first all-female integrated band in the U.S. and the first to travel with the USO, touring Europe in 1945. Women were members of the big bands of Woody Herman and Gerald Wilson. Beginning in the 1950s, many women jazz instrumentalists were prominent, some sustaining long careers. Some of the most distinctive improvisers, composers, and bandleaders in jazz have been women. Trombonist Melba Liston is acknowledged as the first female horn player to work in major bands and to make a real impact on jazz, not only as a musician but also as a respected composer and arranger, particularly through her collaborations with Randy Weston from the late 1950s into the 1990s.


Jews in jazz

Jewish Americans played a significant role in jazz. As jazz spread, it developed to encompass many different cultures, and the work of Jewish composers in Tin Pan Alley helped shape the many different sounds that jazz came to incorporate. Jewish Americans were able to thrive in Jazz because of the probationary whiteness that they were allotted at the time. George Bornstein wrote that African Americans were sympathetic to the plight of the Jewish American and vice versa. As disenfranchised minorities themselves, Jewish composers of popular music saw themselves as natural allies with African Americans. '' The Jazz Singer'' with Al Jolson is one example of how Jewish Americans were able to bring jazz, music that African Americans developed, into popular culture.
Benny Goodman Benjamin David Goodman (May 30, 1909 – June 13, 1986) was an American clarinetist and bandleader known as the "King of Swing". From 1936 until the mid-1940s, Goodman led one of the most popular swing big bands in the United States. His co ...
was a vital Jewish American to the progression of Jazz. Goodman was the leader of a racially integrated band named King of Swing. His jazz concert in the
Carnegie Hall Carnegie Hall ( ) is a concert venue in Midtown Manhattan in New York City. It is at 881 Seventh Avenue (Manhattan), Seventh Avenue, occupying the east side of Seventh Avenue between West 56th Street (Manhattan), 56th and 57th Street (Manhatta ...
in 1938 was the first ever to be played there. The concert was described by Bruce Eder as "the single most important jazz or popular music concert in history".


Origins and early history

Jazz originated in the late-19th to early-20th century. It developed out of many forms of music, including
blues Blues is a music genre and musical form which originated in the Deep South of the United States around the 1860s. Blues incorporated spirituals, work songs, field hollers, shouts, chants, and rhymed simple narrative ballads from the Afr ...
, spirituals, hymns, marches, vaudeville song, ragtime, and dance music. It also incorporated interpretations of American and European classical music, entwined with African and slave folk songs and the influences of West African culture. Its composition and style have changed many times throughout the years with each performer's personal interpretation and improvisation, which is also one of the greatest appeals of the genre.


Blended African and European music sensibilities

By the 18th century, slaves in the New Orleans area gathered socially at a special market, in an area which later became known as Congo Square, famous for its African dances. By 1866, the
Atlantic slave trade The Atlantic slave trade, transatlantic slave trade, or Euro-American slave trade involved the transportation by slave traders of enslaved African people, mainly to the Americas. The slave trade regularly used the triangular trade route and i ...
had brought nearly 400,000 Africans to North America. The slaves came largely from West Africa and the greater Congo River basin and brought strong musical traditions with them. The African traditions primarily use a single-line melody and call-and-response pattern, and the rhythms have a counter-metric structure and reflect African speech patterns. An 1885 account says that they were making strange music (Creole) on an equally strange variety of 'instruments'—washboards, washtubs, jugs, boxes beaten with sticks or bones and a drum made by stretching skin over a flour-barrel. Lavish festivals with African-based dances to drums were organized on Sundays at Place Congo, or Congo Square, in New Orleans until 1843. There are historical accounts of other music and dance gatherings elsewhere in the southern United States. Robert Palmer said of percussive slave music:
Usually such music was associated with annual festivals, when the year's crop was harvested and several days were set aside for celebration. As late as 1861, a traveler in North Carolina saw dancers dressed in costumes that included horned headdresses and cow tails and heard music provided by a sheepskin-covered "gumbo box", apparently a frame drum; triangles and jawbones furnished the auxiliary percussion. There are quite a few ccountsfrom the southeastern states and Louisiana dating from the period 1820–1850. Some of the earliest ississippiDelta settlers came from the vicinity of New Orleans, where drumming was never actively discouraged for very long and homemade drums were used to accompany public dancing until the outbreak of the Civil War.
Another influence came from the harmonic style of hymns of the church, which black slaves had learned and incorporated into their own music as spirituals. The
origins of the blues Little is known about the exact origin of the music now known as the blues.Southern, p. 332 No specific year can be cited as the origin of the blues, largely because the style evolved over a long period and existed in approaching its modern form ...
are undocumented, though they can be seen as the secular counterpart of the spirituals. However, as Gerhard Kubik points out, whereas the spirituals are homophonic, rural blues and early jazz "was largely based on concepts of heterophony". During the early 19th century an increasing number of black musicians learned to play European instruments, particularly the violin, which they used to parody European dance music in their own cakewalk dances. In turn, European American minstrel show performers in
blackface Blackface is a form of theatrical makeup used predominantly by non-Black people to portray a caricature of a Black person. In the United States, the practice became common during the 19th century and contributed to the spread of racial stereo ...
popularized the music internationally, combining
syncopation In music, syncopation is a variety of rhythms played together to make a piece of music, making part or all of a tune or piece of music off-beat. More simply, syncopation is "a disturbance or interruption of the regular flow of rhythm": a "place ...
with European harmonic accompaniment. In the mid-1800s the white New Orleans composer Louis Moreau Gottschalk adapted slave rhythms and melodies from Cuba and other Caribbean islands into piano salon music. New Orleans was the main nexus between the Afro-Caribbean and African American cultures.


African rhythmic retention

The
Black Codes The Black Codes, sometimes called the Black Laws, were laws which governed the conduct of African Americans (free and freed blacks). In 1832, James Kent (jurist), James Kent wrote that "in most of the United States, there is a distinction in re ...
outlawed drumming by slaves, which meant that African drumming traditions were not preserved in North America, unlike in Cuba, Haiti, and elsewhere in the Caribbean. African-based rhythmic patterns were retained in the United States in large part through "body rhythms" such as stomping, clapping, and patting juba dancing.. In the opinion of jazz historian Ernest Borneman, what preceded New Orleans jazz before 1890 was "Afro-Latin music", similar to what was played in the Caribbean at the time. A three-stroke pattern known in Cuban music as ''tresillo'' is a fundamental rhythmic figure heard in many different slave musics of the Caribbean, as well as the
Afro-Caribbean Afro-Caribbean people or African Caribbean are Caribbean people who trace their full or partial ancestry to Sub-Saharan Africa. The majority of the modern African-Caribbeans descend from Africans taken as slaves to colonial Caribbean via the ...
folk dances performed in New Orleans Congo Square and Gottschalk's compositions (for example "Souvenirs From Havana" (1859)). Tresillo (shown below) is the most basic and most prevalent duple-pulse rhythmic cell in sub-Saharan African music traditions and the music of the
African Diaspora The African diaspora is the worldwide collection of communities descended from native Africans or people from Africa, predominantly in the Americas. The term most commonly refers to the descendants of the West and Central Africans who were e ...
. : \new RhythmicStaff Tresillo is heard prominently in New Orleans second line music and in other forms of popular music from that city from the turn of the 20th century to present. "By and large the simpler African rhythmic patterns survived in jazz ... because they could be adapted more readily to European rhythmic conceptions," jazz historian Gunther Schuller observed. "Some survived, others were discarded as the Europeanization progressed." In the post-Civil War period (after 1865), African Americans were able to obtain surplus military bass drums, snare drums and fifes, and an original African-American drum and fife music emerged, featuring tresillo and related syncopated rhythmic figures. This was a drumming tradition that was distinct from its Caribbean counterparts, expressing a uniquely African-American sensibility. "The snare and bass drummers played syncopated cross-rhythms," observed the writer Robert Palmer, speculating that "this tradition must have dated back to the latter half of the nineteenth century, and it could have not have developed in the first place if there hadn't been a reservoir of polyrhythmic sophistication in the culture it nurtured."


Afro-Cuban influence

African-American music began incorporating Afro-Cuban rhythmic motifs in the 19th century when the habanera (Cuban contradanza) gained international popularity. Musicians from Havana and New Orleans would take the twice-daily ferry between both cities to perform, and the habanera quickly took root in the musically fertile Crescent City. John Storm Roberts states that the musical genre habanera "reached the U.S. twenty years before the first rag was published." For the more than quarter-century in which the cakewalk, ragtime, and proto-jazz were forming and developing, the habanera was a consistent part of African-American popular music. Habaneras were widely available as sheet music and were the first written music which was rhythmically based on an African motif (1803). From the perspective of African-American music, the "habanera rhythm" (also known as "congo"), "tango-congo", or tango. can be thought of as a combination of tresillo and the backbeat. The habanera was the first of many Cuban music genres which enjoyed periods of popularity in the United States and reinforced and inspired the use of tresillo-based rhythms in African-American music. : \new Staff << \relative c' >> New Orleans native Louis Moreau Gottschalk's piano piece "Ojos Criollos (Danse Cubaine)" (1860) was influenced by the composer's studies in Cuba: the habanera rhythm is clearly heard in the left hand. In Gottschalk's symphonic work "A Night in the Tropics" (1859), the tresillo variant cinquillo appears extensively. The figure was later used by Scott Joplin and other ragtime composers. : \new RhythmicStaff Comparing the music of New Orleans with the music of Cuba, Wynton Marsalis observes that tresillo is the New Orleans "clavé", a Spanish word meaning "code" or "key", as in the key to a puzzle, or mystery. Although the pattern is only half a clave, Marsalis makes the point that the single-celled figure is the guide-pattern of New Orleans music. Jelly Roll Morton called the rhythmic figure the Spanish tinge and considered it an essential ingredient of jazz.Morton, Jelly Roll (1938: Library of Congress Recording) ''The Complete Recordings By Alan Lomax''.


Ragtime

The abolition of slavery in 1865 led to new opportunities for the education of freed African Americans. Although strict segregation limited employment opportunities for most blacks, many were able to find work in entertainment. Black musicians were able to provide entertainment in dances, minstrel shows, and in vaudeville, during which time many marching bands were formed. Black pianists played in bars, clubs, and brothels, as ragtime developed. Ragtime appeared as sheet music, popularized by African-American musicians such as the entertainer Ernest Hogan, whose hit songs appeared in 1895. Two years later, Vess Ossman recorded a medley of these songs as a
banjo The banjo is a stringed instrument with a thin membrane stretched over a frame or cavity to form a resonator. The membrane is typically circular, and usually made of plastic, or occasionally animal skin. Early forms of the instrument were fashi ...
solo known as "Rag Time Medley". Also in 1897, the white composer William Krell published his " Mississippi Rag" as the first written piano instrumental ragtime piece, and Tom Turpin published his "Harlem Rag", the first rag published by an African-American. Classically trained pianist
Scott Joplin Scott Joplin ( 1868 – April 1, 1917) was an American composer and pianist. Because of the fame achieved for his ragtime compositions, he was dubbed the "King of Ragtime." During his career, he wrote over 40 original ragtime pieces, one ra ...
produced his " Original Rags" in 1898 and, in 1899, had an international hit with "
Maple Leaf Rag The "Maple Leaf Rag" (copyright registered on September 18, 1899) is an early ragtime musical composition for piano composed by Scott Joplin. It was one of Joplin's early works, and became the model for ragtime compositions by subsequent compos ...
", a multi- strain ragtime march with four parts that feature recurring themes and a bass line with copious seventh chords. Its structure was the basis for many other rags, and the
syncopation In music, syncopation is a variety of rhythms played together to make a piece of music, making part or all of a tune or piece of music off-beat. More simply, syncopation is "a disturbance or interruption of the regular flow of rhythm": a "place ...
s in the right hand, especially in the transition between the first and second strain, were novel at the time. The last four measures of Scott Joplin's "Maple Leaf Rag" (1899) are shown below. : African-based rhythmic patterns such as tresillo and its variants, the habanera rhythm and cinquillo, are heard in the ragtime compositions of Joplin and Turpin. Joplin's " Solace" (1909) is generally considered to be in the habanera genre:Manuel, Peter (2009: 69). ''Creolizing Contradance in the Caribbean''. Philadelphia: Temple University Press. both of the pianist's hands play in a syncopated fashion, completely abandoning any sense of a march rhythm. Ned Sublette postulates that the tresillo/habanera rhythm "found its way into ragtime and the cakewalk," whilst Roberts suggests that "the habanera influence may have been part of what freed black music from ragtime's European bass".


Blues


African genesis

Blues is the name given to both a musical form and a music genre, which originated in African-American communities of primarily the
Deep South The Deep South or the Lower South is a cultural and geographic subregion in the Southern United States. The term was first used to describe the states most dependent on plantations and slavery prior to the American Civil War. Following the war ...
of the United States at the end of the 19th century from their spirituals, work songs, field hollers, shouts and
chant A chant (from French ', from Latin ', "to sing") is the iterative speaking or singing of words or sounds, often primarily on one or two main pitches called reciting tones. Chants may range from a simple melody involving a limited set of notes ...
s and rhymed simple narrative ballads. The African use of pentatonic scales contributed to the development of blue notes in blues and jazz. As Kubik explains:
Many of the rural blues of the Deep South are ''stylistically'' an extension and merger of basically two broad accompanied song-style traditions in the west central Sudanic belt: * A strongly Arabic/Islamic song style, as found for example among the Hausa. It is characterized by melisma, wavy intonation, pitch instabilities within a pentatonic framework, and a declamatory voice. * An ancient west central Sudanic stratum of pentatonic song composition, often associated with simple work rhythms in a regular meter, but with notable off-beat accents.


W. C. Handy: early published blues

W. C. Handy became interested in folk blues of the Deep South while traveling through the Mississippi Delta. In this folk blues form, the singer would improvise freely within a limited melodic range, sounding like a field holler, and the guitar accompaniment was slapped rather than strummed, like a small drum which responded in syncopated accents, functioning as another "voice". Handy and his band members were formally trained African-American musicians who had not grown up with the blues, yet he was able to adapt the blues to a larger band instrument format and arrange them in a popular music form. Handy wrote about his adopting of the blues:
The primitive southern Negro, as he sang, was sure to bear down on the third and seventh tone of the scale, slurring between major and minor. Whether in the cotton field of the Delta or on the Levee up St. Louis way, it was always the same. Till then, however, I had never heard this slur used by a more sophisticated Negro, or by any white man. I tried to convey this effect ... by introducing flat thirds and sevenths (now called blue notes) into my song, although its prevailing key was major ... , and I carried this device into my melody as well.Handy, Father (1941), p. 99.
The publication of his " Memphis Blues" sheet music in 1912 introduced the 12-bar blues to the world (although Gunther Schuller argues that it is not really a blues, but "more like a cakewalk"). This composition, as well as his later " St. Louis Blues" and others, included the habanera rhythm,W. C. Handy, ''Father of the Blues: An Autobiography'', edited by
Arna Bontemps Arna Wendell Bontemps ( ) (October 13, 1902 – June 4, 1973) was an American poet, novelist and librarian, and a noted member of the Harlem Renaissance. Early life Bontemps was born in Alexandria, Louisiana, into a Louisiana Creole family. His a ...
: foreword by Abbe Niles. Macmillan Company, New York; (1941), pp. 99, 100 (no ISBN in this first printing).
and would become
jazz standard Jazz standards are musical compositions that are an important part of the musical repertoire of jazz musicians, in that they are widely known, performed, and recorded by jazz musicians, and widely known by listeners. There is no definitive lis ...
s. Handy's music career began in the pre-jazz era and contributed to the codification of jazz through the publication of some of the first jazz sheet music.


New Orleans

The music of New Orleans had a profound effect on the creation of early jazz. In New Orleans, slaves could practice elements of their culture such as voodoo and playing drums. Many early jazz musicians played in the bars and brothels of the red-light district around Basin Street called Storyville. In addition to dance bands, there were marching bands which played at lavish funerals (later called jazz funerals). The instruments used by marching bands and dance bands became the instruments of jazz: brass, drums, and reeds tuned in the European 12-tone scale. Small bands contained a combination of self-taught and formally educated musicians, many from the funeral procession tradition. These bands traveled in black communities in the deep south. Beginning in 1914, Creole and African-American musicians played in vaudeville shows which carried jazz to cities in the northern and western parts of the U.S. Jazz became international in 1914, when the Creole Band with cornettist Freddie Keppard performed the first ever jazz concert outside the United States, at the Pantages Playhouse Theatre in Winnipeg, Canada. In New Orleans, a white bandleader named Papa Jack Laine integrated blacks and whites in his marching band. He was known as "the father of white jazz" because of the many top players he employed, such as George Brunies, Sharkey Bonano, and future members of the Original Dixieland Jass Band. During the early 1900s, jazz was mostly performed in African-American and
mulatto (, ) is a racial classification to refer to people of mixed African and European ancestry. Its use is considered outdated and offensive in several languages, including English and Dutch, whereas in languages such as Spanish and Portuguese is ...
communities due to segregation laws. Storyville brought jazz to a wider audience through tourists who visited the port city of New Orleans. Many jazz musicians from African-American communities were hired to perform in bars and brothels. These included Buddy Bolden and Jelly Roll Morton in addition to those from other communities, such as Lorenzo Tio and Alcide Nunez.
Louis Armstrong Louis Daniel Armstrong (August 4, 1901 – July 6, 1971), nicknamed "Satchmo", "Satch", and "Pops", was an American trumpeter and vocalist. He was among the most influential figures in jazz. His career spanned five decades and several era ...
started his career in Storyville and found success in Chicago. Storyville was shut down by the U.S. government in 1917.


Syncopation

Cornetist Buddy Bolden played in New Orleans from 1895 to 1906. No recordings by him exist. His band is credited with creating the big four: the first syncopated bass drum pattern to deviate from the standard on-the-beat march. As the example below shows, the second half of the big four pattern is the habanera rhythm. : \new Staff << \relative c' >> Afro-Creole pianist Jelly Roll Morton began his career in Storyville. Beginning in 1904, he toured with vaudeville shows to southern cities, Chicago, and New York City. In 1905, he composed " Jelly Roll Blues", which became the first jazz arrangement in print when it was published in 1915. It introduced more musicians to the New Orleans style. Morton considered the tresillo/habanera, which he called the Spanish tinge, an essential ingredient of jazz. "Now in one of my earliest tunes, "New Orleans Blues," you can notice the Spanish tinge. In fact, if you can't manage to put tinges of Spanish in your tunes, you will never be able to get the right seasoning, I call it, for jazz." An excerpt of "New Orleans Blues" is shown below. In the excerpt, the left hand plays the tresillo rhythm, while the right hand plays variations on cinquillo. : Morton was a crucial innovator in the evolution from the early jazz form known as ragtime to jazz piano, and could perform pieces in either style; in 1938, Morton made a series of recordings for the Library of Congress in which he demonstrated the difference between the two styles. Morton's solos, however, were still close to ragtime, and were not merely improvisations over chord changes as in later jazz, but his use of the blues was of equal importance.


Swing in the early 20th century

Morton loosened ragtime's rigid rhythmic feeling, decreasing its embellishments and employing a
swing Swing or swinging may refer to: Apparatus * Swing (seat), a hanging seat that swings back and forth * Pendulum, an object that swings * Russian swing, a swing-like circus apparatus * Sex swing, a type of harness for sexual intercourse * Swing rid ...
feeling. Swing is the most important and enduring African-based rhythmic technique used in jazz. An oft quoted definition of swing by Louis Armstrong is: "if you don't feel it, you'll never know it." ''The New Harvard Dictionary of Music'' states that swing is: "An intangible rhythmic momentum in jazz...Swing defies analysis; claims to its presence may inspire arguments." The dictionary does nonetheless provide the useful description of triple subdivisions of the beat contrasted with duple subdivisions: swing superimposes six subdivisions of the beat over a basic pulse structure or four subdivisions. This aspect of swing is far more prevalent in African-American music than in Afro-Caribbean music. One aspect of swing, which is heard in more rhythmically complex Diaspora musics, places strokes in-between the triple and duple-pulse "grids". New Orleans brass bands are a lasting influence, contributing horn players to the world of professional jazz with the distinct sound of the city whilst helping black children escape poverty. The leader of New Orleans'
Camelia Brass Band The Camelia Brass Band (also in sit-down variation the Camelia Dance Orchestra) was a New Orleans-style brass band, founded by Wooden Joe Nicholas around 1917 or 1918 in New Orleans. The Camelia Brass Band was named after a steamboat, the ''S.S. C ...
, D'Jalma Ganier, taught Louis Armstrong to play trumpet; Armstrong would then popularize the New Orleans style of trumpet playing, and then expand it. Like Jelly Roll Morton, Armstrong is also credited with the abandonment of ragtime's stiffness in favor of swung notes. Armstrong, perhaps more than any other musician, codified the rhythmic technique of swing in jazz and broadened the jazz solo vocabulary. The Original Dixieland Jass Band made the music's first recordings early in 1917, and their " Livery Stable Blues" became the earliest released jazz record. That year, numerous other bands made recordings featuring "jazz" in the title or band name, but most were ragtime or novelty records rather than jazz. In February 1918 during World War I, James Reese Europe's "Hellfighters" infantry band took ragtime to Europe, then on their return recorded Dixieland standards including " Darktown Strutters' Ball".


Other regions

In the northeastern United States, a "hot" style of playing ragtime had developed, notably James Reese Europe's symphonic Clef Club orchestra in New York City, which played a benefit concert at
Carnegie Hall Carnegie Hall ( ) is a concert venue in Midtown Manhattan in New York City. It is at 881 Seventh Avenue (Manhattan), Seventh Avenue, occupying the east side of Seventh Avenue between West 56th Street (Manhattan), 56th and 57th Street (Manhatta ...
in 1912. The Baltimore rag style of Eubie Blake influenced James P. Johnson's development of stride piano playing, in which the right hand plays the melody, while the left hand provides the rhythm and bassline. In Ohio and elsewhere in the mid-west the major influence was ragtime, until about 1919. Around 1912, when the four-string banjo and saxophone came in, musicians began to improvise the melody line, but the harmony and rhythm remained unchanged. A contemporary account states that blues could only be heard in jazz in the gut-bucket cabarets, which were generally looked down upon by the Black middle-class.


The Jazz Age

From 1920 to 1933,
Prohibition in the United States In the United States from 1920 to 1933, a Constitution of the United States, nationwide constitutional law prohibition, prohibited the production, importation, transportation, and sale of alcoholic beverages. The alcohol industry was curtai ...
banned the sale of alcoholic drinks, resulting in illicit speakeasies which became lively venues of the "Jazz Age", hosting popular music, dance songs, novelty songs, and show tunes. Jazz began to get a reputation as immoral, and many members of the older generations saw it as a threat to the old cultural values by promoting the decadent values of the Roaring 20s. Henry van Dyke of Princeton University wrote, "... it is not music at all. It's merely an irritation of the nerves of hearing, a sensual teasing of the strings of physical passion." '' The New York Times'' reported that Siberian villagers used jazz to scare away bears, but the villagers had used pots and pans; another story claimed that the fatal heart attack of a celebrated conductor was caused by jazz. In 1919, Kid Ory's Original Creole Jazz Band of musicians from New Orleans began playing in San Francisco and Los Angeles, where in 1922 they became the first black jazz band of New Orleans origin to make recordings. During the same year, Bessie Smith made her first recordings. Chicago was developing "
Hot Jazz Dixieland jazz, also referred to as traditional jazz, hot jazz, or simply Dixieland, is a style of jazz based on the music that developed in New Orleans at the start of the 20th century. The 1917 recordings by the Original Dixieland Jass Band ( ...
", and King Oliver joined Bill Johnson. Bix Beiderbecke formed The Wolverines in 1924. Despite its Southern black origins, there was a larger market for jazzy dance music played by white orchestras. In 1918, Paul Whiteman and his orchestra became a hit in San Francisco. He signed a contract with
Victor The name Victor or Viktor may refer to: * Victor (name), including a list of people with the given name, mononym, or surname Arts and entertainment Film * ''Victor'' (1951 film), a French drama film * ''Victor'' (1993 film), a French shor ...
and became the top bandleader of the 1920s, giving hot jazz a white component, hiring white musicians such as
Bix Beiderbecke Leon Bismark "Bix" Beiderbecke (March 10, 1903 – August 6, 1931) was an American jazz cornetist, pianist and composer. Beiderbecke was one of the most influential jazz soloists of the 1920s, a cornet player noted for an inventive lyrical app ...
, Jimmy Dorsey, Tommy Dorsey, Frankie Trumbauer, and
Joe Venuti Giuseppe "Joe" Venuti (September 16, 1903 – August 14, 1978) was an American jazz musician and pioneer jazz violinist. Considered the father of jazz violin, he pioneered the use of string instruments in jazz along with the guitarist Eddie La ...
. In 1924, Whiteman commissioned George Gershwin's '' Rhapsody in Blue'', which was premiered by his orchestra. Jazz began to be recognized as a notable musical form. Olin Downes, reviewing the concert in ''The New York Times'', wrote, "This composition shows extraordinary talent, as it shows a young composer with aims that go far beyond those of his ilk, struggling with a form of which he is far from being master. ... In spite of all this, he has expressed himself in a significant and, on the whole, highly original form. ... His first theme ... is no mere dance-tune ... it is an idea, or several ideas, correlated and combined in varying and contrasting rhythms that immediately intrigue the listener." After Whiteman's band successfully toured Europe, huge hot jazz orchestras in theater pits caught on with other whites, including Fred Waring, Jean Goldkette, and Nathaniel Shilkret. According to Mario Dunkel, Whiteman's success was based on a "rhetoric of domestication" according to which he had elevated and rendered valuable (read "white") a previously inchoate (read "black") kind of music. Whiteman's success caused blacks to follow suit, including
Earl Hines Earl Kenneth Hines, also known as Earl "Fatha" Hines (December 28, 1903 – April 22, 1983), was an American jazz pianist and bandleader. He was one of the most influential figures in the development of jazz piano and, according to one source, " ...
(who opened in The Grand Terrace Cafe in Chicago in 1928),
Duke Ellington Edward Kennedy "Duke" Ellington (April 29, 1899 – May 24, 1974) was an American jazz pianist, composer, and leader of his eponymous jazz orchestra from 1923 through the rest of his life. Born and raised in Washington, D.C., Ellington was based ...
(who opened at the Cotton Club in Harlem in 1927),
Lionel Hampton Lionel Leo Hampton (April 20, 1908 – August 31, 2002) was an American jazz vibraphonist, pianist, percussionist, and bandleader. Hampton worked with jazz musicians from Teddy Wilson, Benny Goodman, and Buddy Rich, to Charlie Parker, Charles M ...
,
Fletcher Henderson James Fletcher Hamilton Henderson (December 18, 1897 – December 29, 1952) was an American pianist, bandleader, arranger and composer, important in the development of big band jazz and swing music. He was one of the most prolific black musi ...
, Claude Hopkins, and Don Redman, with Henderson and Redman developing the "talking to one another" formula for "hot" swing music. In 1924, Louis Armstrong joined the Fletcher Henderson dance band for a year, as featured soloist. The original New Orleans style was polyphonic, with theme variation and simultaneous collective improvisation. Armstrong was a master of his hometown style, but by the time he joined Henderson's band, he was already a trailblazer in a new phase of jazz, with its emphasis on arrangements and soloists. Armstrong's solos went well beyond the theme-improvisation concept and extemporized on chords, rather than melodies. According to Schuller, by comparison, the solos by Armstrong's bandmates (including a young Coleman Hawkins), sounded "stiff, stodgy", with "jerky rhythms and a grey undistinguished tone quality". The following example shows a short excerpt of the straight melody of "Mandy, Make Up Your Mind" by
George W. Meyer George William Meyer (January 1, 1884– August 28, 1959) was an American Tin Pan Alley songwriter. He was born in Boston, Massachusetts, in 1884. He graduated from Roxbury High School, and began working in accountancy for Boston department stor ...
and Arthur Johnston (top), compared with Armstrong's solo improvisations (below) (recorded 1924). Armstrong's solos were a significant factor in making jazz a true 20th-century language. After leaving Henderson's group, Armstrong formed his Hot Five band, where he popularized scat singing.


Swing in the 1920s and 1930s

The 1930s belonged to popular
swing Swing or swinging may refer to: Apparatus * Swing (seat), a hanging seat that swings back and forth * Pendulum, an object that swings * Russian swing, a swing-like circus apparatus * Sex swing, a type of harness for sexual intercourse * Swing rid ...
big bands, in which some virtuoso soloists became as famous as the band leaders. Key figures in developing the "big" jazz band included bandleaders and arrangers Count Basie,
Cab Calloway Cabell Calloway III (December 25, 1907 – November 18, 1994) was an American singer, songwriter, bandleader, conductor and dancer. He was associated with the Cotton Club in Harlem, where he was a regular performer and became a popular vocalist ...
,
Jimmy Jimmy may refer to: Arts and entertainment Film and television * ''Jimmy'' (2008 film), a 2008 Hindi thriller directed by Raj N. Sippy * ''Jimmy'' (1979 film), a 1979 Indian Malayalam film directed by Melattoor Ravi Varma * ''Jimmy'' (2013 f ...
and Tommy Dorsey,
Duke Ellington Edward Kennedy "Duke" Ellington (April 29, 1899 – May 24, 1974) was an American jazz pianist, composer, and leader of his eponymous jazz orchestra from 1923 through the rest of his life. Born and raised in Washington, D.C., Ellington was based ...
,
Benny Goodman Benjamin David Goodman (May 30, 1909 – June 13, 1986) was an American clarinetist and bandleader known as the "King of Swing". From 1936 until the mid-1940s, Goodman led one of the most popular swing big bands in the United States. His co ...
,
Fletcher Henderson James Fletcher Hamilton Henderson (December 18, 1897 – December 29, 1952) was an American pianist, bandleader, arranger and composer, important in the development of big band jazz and swing music. He was one of the most prolific black musi ...
,
Earl Hines Earl Kenneth Hines, also known as Earl "Fatha" Hines (December 28, 1903 – April 22, 1983), was an American jazz pianist and bandleader. He was one of the most influential figures in the development of jazz piano and, according to one source, " ...
, Harry James, Jimmie Lunceford,
Glenn Miller Alton Glen Miller (March 1, 1904 – December 15, 1944) was an American big band founder, owner, conductor, composer, arranger, trombone player and recording artist before and during World War II, when he was an officer in the United States Arm ...
and Artie Shaw. Although it was a collective sound, swing also offered individual musicians a chance to "solo" and improvise melodic, thematic solos which could at times be complex "important" music. Over time, social strictures regarding racial segregation began to relax in America: white bandleaders began to recruit black musicians and black bandleaders white ones. In the mid-1930s, Benny Goodman hired pianist Teddy Wilson, vibraphonist
Lionel Hampton Lionel Leo Hampton (April 20, 1908 – August 31, 2002) was an American jazz vibraphonist, pianist, percussionist, and bandleader. Hampton worked with jazz musicians from Teddy Wilson, Benny Goodman, and Buddy Rich, to Charlie Parker, Charles M ...
and guitarist Charlie Christian to join small groups. In the 1930s, Kansas City Jazz as exemplified by tenor saxophonist Lester Young marked the transition from big bands to the bebop influence of the 1940s. An early 1940s style known as "jumping the blues" or
jump blues Jump blues is an up-tempo style of blues, usually played by small groups and featuring horn instruments. It was popular in the 1940s and was a precursor of rhythm and blues and rock and roll. Appreciation of jump blues was renewed in the 1990s as ...
used small combos, uptempo music and blues chord progressions, drawing on boogie-woogie from the 1930s.


The influence of Duke Ellington

While swing was reaching the height of its popularity,
Duke Ellington Edward Kennedy "Duke" Ellington (April 29, 1899 – May 24, 1974) was an American jazz pianist, composer, and leader of his eponymous jazz orchestra from 1923 through the rest of his life. Born and raised in Washington, D.C., Ellington was based ...
spent the late 1920s and 1930s developing an innovative musical idiom for his orchestra. Abandoning the conventions of swing, he experimented with orchestral sounds, harmony, and
musical form In music, ''form'' refers to the structure of a musical composition or musical improvisation, performance. In his book, ''Worlds of Music'', Jeff Todd Titon suggests that a number of organizational elements may determine the formal structure of a ...
with complex compositions that still translated well for popular audiences; some of his tunes became
hits Hits or H.I.T.S. may refer to: Arts, entertainment, and media Music * ''H.I.T.S.'', 1991 album by New Kids on the Block * ''...Hits'' (Phil Collins album), 1998 * ''Hits'' (compilation series), 1984–2006; 2014 - a British compilation album se ...
, and his own popularity spanned from the United States to Europe. Ellington called his music ''American Music'', rather than ''jazz'', and liked to describe those who impressed him as "beyond category". These included many musicians from his orchestra, some of whom are considered among the best in jazz in their own right, but it was Ellington who melded them into one of the most popular jazz orchestras in the history of jazz. He often composed for the style and skills of these individuals, such as "Jeep's Blues" for Johnny Hodges, "Concerto for Cootie" for
Cootie Williams Charles Melvin "Cootie" Williams (July 10, 1911 – September 15, 1985) was an American jazz, jump blues, and rhythm and blues trumpeter. Biography Born in Mobile, Alabama, Williams began his professional career at the age of 14 with the Yo ...
(which later became " Do Nothing Till You Hear from Me" with Bob Russell's lyrics), and "The Mooche" for Tricky Sam Nanton and
Bubber Miley Bubber is a nickname and surname which may refer to: People: * Bubber or Bubba Brooks (1922-2002), American jazz tenor saxophonist * James Bubber Epps (born 1943), American politician * Clarence James Bubber Jonnard (1897-1977), American Major Leag ...
. He also recorded compositions written by his bandsmen, such as
Juan Tizol Juan Tizol Martínez (22 January 1900 – 23 April 1984) was a Puerto Rican jazz trombonist and composer. He is best known as a member of Duke Ellington's big band, and as the writer of the jazz standards " Caravan", "Pyramid", and " Perdid ...
's "
Caravan Caravan or caravans may refer to: Transport and travel *Caravan (travellers), a group of travellers journeying together **Caravanserai, a place where a caravan could stop *Camel train, a convoy using camels as pack animals *Convoy, a group of veh ...
" and " Perdido", which brought the "Spanish Tinge" to big-band jazz. Several members of the orchestra remained with him for several decades. The band reached a creative peak in the early 1940s, when Ellington and a small hand-picked group of his composers and arrangers wrote for an orchestra of distinctive voices who displayed tremendous creativity.


Beginnings of European jazz

As only a limited number of American jazz records were released in Europe, European jazz traces many of its roots to American artists such as James Reese Europe, Paul Whiteman, and Lonnie Johnson, who visited Europe during and after World War I. It was their live performances which inspired European audiences' interest in jazz, as well as the interest in all things American (and therefore exotic) which accompanied the economic and political woes of Europe during this time. The beginnings of a distinct European style of jazz began to emerge in this interwar period. British jazz began with a tour by the Original Dixieland Jazz Band in 1919. In 1926, Fred Elizalde and His Cambridge Undergraduates began broadcasting on the BBC. Thereafter jazz became an important element in many leading dance orchestras, and jazz instrumentalists became numerous. This style entered full swing in France with the Quintette du Hot Club de France, which began in 1934. Much of this French jazz was a combination of African-American jazz and the symphonic styles in which French musicians were well-trained; in this, it is easy to see the inspiration taken from Paul Whiteman since his style was also a fusion of the two. Belgian guitarist Django Reinhardt popularized gypsy jazz, a mix of 1930s American swing, French dance hall " musette", and Eastern European folk with a languid, seductive feel; the main instruments were steel stringed guitar, violin, and double bass. Solos pass from one player to another as guitar and bass form the rhythm section. Some researchers believe
Eddie Lang Eddie Lang (born Salvatore Massaro, October 25, 1902 – March 26, 1933) was an American musician who is credited as the father of jazz guitar. During the 1920s, he gave the guitar a prominence it previously lacked as a solo instrument, as p ...
and
Joe Venuti Giuseppe "Joe" Venuti (September 16, 1903 – August 14, 1978) was an American jazz musician and pioneer jazz violinist. Considered the father of jazz violin, he pioneered the use of string instruments in jazz along with the guitarist Eddie La ...
pioneered the guitar-violin partnership characteristic of the genre, which was brought to France after they had been heard live or on
Okeh Records Okeh Records () is an American record label founded by the Otto Heinemann Phonograph Corporation, a phonograph supplier established in 1916, which branched out into phonograph records in 1918. The name was spelled "OkeH" from the initials of Ott ...
in the late 1920s.


Post-war jazz

240px, The "classic quintet": Charlie Parker, Tommy Potter, Miles Davis">Tommy_Potter.html" ;"title="Charlie Parker, Tommy Potter">Charlie Parker, Tommy Potter, Miles Davis,
Dizzy Gillespie John Birks "Dizzy" Gillespie (; October 21, 1917 – January 6, 1993) was an American jazz trumpeter, bandleader, composer, educator and singer. He was a trumpet virtuoso and improviser, building on the virtuosic style of Roy Eldridge but addi ...
, and Max Roach performing at Three Deuces in New York City. Photograph by William P. Gottlieb (August 1947), Library of Congress. The outbreak of World War II marked a turning point for jazz. The swing-era jazz of the previous decade had challenged other popular music as being representative of the nation's culture, with big bands reaching the height of the style's success by the early 1940s; swing acts and big bands traveled with U.S. military overseas to Europe, where it also became popular. Stateside, however, the war presented difficulties for the big-band format: conscription shortened the number of musicians available; the military's need for shellac (commonly used for pressing gramophone records) limited record production; a shortage of rubber (also due to the war effort) discouraged bands from touring via road travel; and a demand by the musicians' union for a commercial recording ban limited music distribution between 1942 and 1944. Many of the big bands who were deprived of experienced musicians because of the war effort began to enlist young players who were below the age for conscription, as was the case with saxophonist
Stan Getz Stanley Getz (February 2, 1927 – June 6, 1991) was an American jazz saxophonist. Playing primarily the tenor saxophone, Getz was known as "The Sound" because of his warm, lyrical tone, with his prime influence being the wispy, mellow timbre of ...
's entry in a band as a teenager. This coincided with a nationwide resurgence in the Dixieland style of pre-swing jazz; performers such as clarinetist George Lewis, cornetist
Bill Davison William Edward Davison (January 5, 1906 – November 14, 1989), nicknamed "Wild Bill", was an American jazz cornetist. He emerged in the 1920s through his work playing alongside Muggsy Spanier and Frank Teschemacher in a cover band where they p ...
, and trombonist Turk Murphy were hailed by conservative jazz critics as more authentic than the big bands. Elsewhere, with the limitations on recording, small groups of young musicians developed a more uptempo, improvisational style of jazz, collaborating and experimenting with new ideas for melodic development, rhythmic language, and
harmonic substitution In music theory, chord substitution is the technique of using a chord in place of another in a progression of chords, or a chord progression. Much of the European classical repertoire and the vast majority of blues, jazz and rock music songs a ...
, during informal, late-night jam sessions hosted in small clubs and apartments. Key figures in this development were largely based in New York and included pianists Thelonious Monk and
Bud Powell Earl Rudolph "Bud" Powell (September 27, 1924 – July 31, 1966) was an American jazz pianist and composer. Along with Charlie Parker, Thelonious Monk, Kenny Clarke and Dizzy Gillespie, Powell was a leading figure in the development of modern ...
, drummers Max Roach and Kenny Clarke, saxophonist Charlie Parker, and trumpeter
Dizzy Gillespie John Birks "Dizzy" Gillespie (; October 21, 1917 – January 6, 1993) was an American jazz trumpeter, bandleader, composer, educator and singer. He was a trumpet virtuoso and improviser, building on the virtuosic style of Roy Eldridge but addi ...
. This musical development became known as bebop. Bebop and subsequent post-war jazz developments featured a wider set of notes, played in more complex patterns and at faster tempos than previous jazz. According to
Clive James Clive James (born Vivian Leopold James; 7 October 1939 – 24 November 2019) was an Australian critic, journalist, broadcaster, writer and lyricist who lived and worked in the United Kingdom from 1962 until his death in 2019. With the rise of bebop and the end of the swing era after the war, jazz lost its cachet as pop music. Vocalists of the famous big bands moved on to being marketed and performing as solo pop singers; these included
Frank Sinatra Francis Albert Sinatra (; December 12, 1915 – May 14, 1998) was an American singer and actor. Nicknamed the "Honorific nicknames in popular music, Chairman of the Board" and later called "Ol' Blue Eyes", Sinatra was one of the most popular ...
,
Peggy Lee Norma Deloris Egstrom (May 26, 1920 – January 21, 2002), known professionally as Peggy Lee, was an American jazz and popular music singer, songwriter, composer, and actress, over a career spanning seven decades. From her beginning as a vocalis ...
, Dick Haymes, and
Doris Day Doris Day (born Doris Mary Kappelhoff; April 3, 1922 – May 13, 2019) was an American actress, singer, and activist. She began her career as a big band singer in 1939, achieving commercial success in 1945 with two No. 1 recordings, " Sent ...
. Older musicians who still performed their pre-war jazz, such as Armstrong and Ellington, were gradually viewed in the mainstream as passé. Other younger performers, such as singer
Big Joe Turner Joseph Vernon "Big Joe" Turner Jr. (May 18, 1911 – November 24, 1985) was an American singer from Kansas City, Missouri. According to songwriter Doc Pomus, "Rock and roll would have never happened without him." His greatest fame was due to ...
and saxophonist
Louis Jordan Louis Thomas Jordan (July 8, 1908 – February 4, 1975) was an American saxophonist, multi-instrumentalist, songwriter and bandleader who was popular from the late 1930s to the early 1950s. Known as " the King of the Jukebox", he earned his high ...
, who were discouraged by bebop's increasing complexity, pursued more lucrative endeavors in rhythm and blues,
jump blues Jump blues is an up-tempo style of blues, usually played by small groups and featuring horn instruments. It was popular in the 1940s and was a precursor of rhythm and blues and rock and roll. Appreciation of jump blues was renewed in the 1990s as ...
, and eventually rock and roll. Some, including Gillespie, composed intricate yet danceable pieces for bebop musicians in an effort to make them more accessible, but bebop largely remained on the fringes of American audiences' purview. "The new direction of postwar jazz drew a wealth of critical acclaim, but it steadily declined in popularity as it developed a reputation as an academic genre that was largely inaccessible to mainstream audiences", Burchett said. "The quest to make jazz more relevant to popular audiences, while retaining its artistic integrity, is a constant and prevalent theme in the history of postwar jazz." During its swing period, jazz had been an uncomplicated musical scene; according to Paul Trynka, this changed in the post-war years:


Bebop

In the early 1940s, bebop-style performers began to shift jazz from danceable popular music toward a more challenging "musician's music". The most influential bebop musicians included saxophonist Charlie Parker, pianists
Bud Powell Earl Rudolph "Bud" Powell (September 27, 1924 – July 31, 1966) was an American jazz pianist and composer. Along with Charlie Parker, Thelonious Monk, Kenny Clarke and Dizzy Gillespie, Powell was a leading figure in the development of modern ...
and Thelonious Monk, trumpeters Dizzy Gillespie and
Clifford Brown Clifford Benjamin Brown (October 30, 1930 – June 26, 1956) was an American jazz trumpeter and composer. He died at the age of 25 in a car accident, leaving behind four years' worth of recordings. His compositions "Sandu", "Joy Spring", an ...
, and drummer Max Roach. Divorcing itself from dance music, bebop established itself more as an art form, thus lessening its potential popular and commercial appeal. Composer Gunther Schuller wrote: "In 1943 I heard the great Earl Hines band which had Bird in it and all those other great musicians. They were playing all the flatted fifth chords and all the modern harmonies and substitutions and Dizzy Gillespie runs in the trumpet section work. Two years later I read that that was 'bop' and the beginning of modern jazz ... but the band never made recordings." Dizzy Gillespie wrote: "People talk about the Hines band being 'the incubator of bop' and the leading exponents of that music ended up in the Hines band. But people also have the erroneous impression that the music was new. It was not. The music evolved from what went before. It was the same basic music. The difference was in how you got from here to here to here...naturally each age has got its own shit." Since bebop was meant to be listened to, not danced to, it could use faster tempos. Drumming shifted to a more elusive and explosive style, in which the ride cymbal was used to keep time while the snare and bass drum were used for accents. This led to a highly syncopated music with a linear rhythmic complexity.Floyd, Samuel A., Jr. (1995). ''The Power of Black Music: Interpreting its history from Africa to the United States''. New York: Oxford University Press. Bebop musicians employed several harmonic devices which were not previously typical in jazz, engaging in a more abstracted form of chord-based improvisation. Bebop scales are traditional scales with an added chromatic passing note; bebop also uses "passing" chords,
substitute chord In music theory, chord substitution is the technique of using a chord in place of another in a progression of chords, or a chord progression. Much of the European classical repertoire and the vast majority of blues, jazz and rock music songs a ...
s, and altered chords. New forms of
chromaticism Chromaticism is a compositional technique interspersing the primary diatonic scale, diatonic pitch (music), pitches and chord (music), chords with other pitches of the chromatic scale. In simple terms, within each octave, diatonic music uses o ...
and dissonance were introduced into jazz, and the dissonant tritone (or "flatted fifth") interval became the "most important interval of bebop" Chord progressions for bebop tunes were often taken directly from popular swing-era tunes and reused with a new and more complex melody and/or reharmonized with more complex chord progressions to form new compositions, a practice which was already well-established in earlier jazz, but came to be central to the bebop style. Bebop made use of several relatively common chord progressions, such as blues (at base, I–IV–V, but often infused with ii–V motion) and "rhythm changes" (I–VI–ii–V) – the chords to the 1930s pop standard " I Got Rhythm". Late bop also moved towards extended forms that represented a departure from pop and show tunes. The harmonic development in bebop is often traced back to a moment experienced by Charlie Parker while performing "Cherokee" at
Clark Monroe's Uptown House Clark Monroe's Uptown House, sometimes shortened to Monroe's Uptown House or simply Monroe's, was a nightclub in New York City. Along with Minton's Playhouse, it was one of the two principal jazz clubs in the early history of bebop. History Cla ...
, New York, in early 1942. "I'd been getting bored with the stereotyped changes that were being used...and I kept thinking there's bound to be something else. I could hear it sometimes. I couldn't play it...I was working over 'Cherokee,' and, as I did, I found that by using the higher intervals of a chord as a melody line and backing them with appropriately related changes, I could play the thing I'd been hearing. It came alive." Gerhard Kubik postulates that harmonic development in bebop sprang from blues and African-related tonal sensibilities rather than 20th-century Western classical music. "Auditory inclinations were the African legacy in arker'slife, reconfirmed by the experience of the blues tonal system, a sound world at odds with the Western diatonic chord categories. Bebop musicians eliminated Western-style functional harmony in their music while retaining the strong central tonality of the blues as a basis for drawing upon various African matrices." Samuel Floyd states that blues was both the bedrock and propelling force of bebop, bringing about a new harmonic conception using extended chord structures that led to unprecedented harmonic and melodic variety, a developed and even more highly syncopated, linear rhythmic complexity and a melodic angularity in which the blue note of the fifth degree was established as an important melodic-harmonic device; and reestablishment of the blues as the primary organizing and functional principle. Kubik wrote:
While for an outside observer, the harmonic innovations in bebop would appear to be inspired by experiences in Western "serious" music, from
Claude Debussy (Achille) Claude Debussy (; 22 August 1862 – 25 March 1918) was a French composer. He is sometimes seen as the first Impressionist composer, although he vigorously rejected the term. He was among the most influential composers of the ...
to
Arnold Schoenberg Arnold Schoenberg or Schönberg (, ; ; 13 September 187413 July 1951) was an Austrian-American composer, music theorist, teacher, writer, and painter. He is widely considered one of the most influential composers of the 20th century. He was as ...
, such a scheme cannot be sustained by the evidence from a cognitive approach. Claude Debussy did have some influence on jazz, for example, on Bix Beiderbecke's piano playing. And it is also true that Duke Ellington adopted and reinterpreted some harmonic devices in European contemporary music. West Coast jazz would run into such debts as would several forms of cool jazz, but bebop has hardly any such debts in the sense of direct borrowings. On the contrary, ideologically, bebop was a strong statement of rejection of any kind of eclecticism, propelled by a desire to activate something deeply buried in self. Bebop then revived tonal-harmonic ideas transmitted through the blues and reconstructed and expanded others in a basically non-Western harmonic approach. The ultimate significance of all this is that the experiments in jazz during the 1940s brought back to African-American music several structural principles and techniques rooted in African traditions.
These divergences from the jazz mainstream of the time met a divided, sometimes hostile response among fans and musicians, especially swing players who bristled at the new harmonic sounds. To hostile critics, bebop seemed filled with "racing, nervous phrases". But despite the friction, by the 1950s bebop had become an accepted part of the jazz vocabulary.


Afro-Cuban jazz (cu-bop)


Machito and Mario Bauza

The general consensus among musicians and musicologists is that the first original jazz piece to be overtly based in clave was "Tanga" (1943), composed by Cuban-born Mario Bauza and recorded by Machito and his Afro-Cubans in New York City. "Tanga" began as a spontaneous descarga (Cuban jam session), with jazz solos superimposed on top. This was the birth of Afro-Cuban jazz. The use of clave brought the African ''timeline'', or '' key pattern'', into jazz. Music organized around key patterns convey a two-celled (binary) structure, which is a complex level of African cross-rhythm. Within the context of jazz, however, harmony is the primary referent, not rhythm. The harmonic progression can begin on either side of clave, and the harmonic "one" is always understood to be "one". If the progression begins on the "three-side" of clave, it is said to be in ''3–2 clave'' (shown below). If the progression begins on the "two-side", it is in ''2–3 clave''. : \new RhythmicStaff


Dizzy Gillespie and Chano Pozo

Mario Bauzá introduced bebop innovator Dizzy Gillespie to Cuban conga drummer and composer
Chano Pozo Luciano Pozo González (January 7, 1915 – December 3, 1948), known professionally as Chano Pozo, was a Cuban jazz percussionist, singer, dancer, and composer. Despite only living to age 33, he played a major role in the founding of Latin jazz. ...
. Gillespie and Pozo's brief collaboration produced some of the most enduring Afro-Cuban jazz standards. " Manteca" (1947) is the first jazz standard to be rhythmically based on clave. According to Gillespie, Pozo composed the layered, contrapuntal guajeos (Afro-Cuban
ostinato In music, an ostinato (; derived from Italian word for ''stubborn'', compare English ''obstinate'') is a motif or phrase that persistently repeats in the same musical voice, frequently in the same pitch. Well-known ostinato-based pieces include ...
s) of the A section and the introduction, while Gillespie wrote the bridge. Gillespie recounted: "If I'd let it go like hanowanted it, it would have been strictly Afro-Cuban all the way. There wouldn't have been a bridge. I thought I was writing an eight-bar bridge, but ... I had to keep going and ended up writing a sixteen-bar bridge." The bridge gave "Manteca" a typical jazz harmonic structure, setting the piece apart from Bauza's modal "Tanga" of a few years earlier. Gillespie's collaboration with Pozo brought specific African-based rhythms into bebop. While pushing the boundaries of harmonic improvisation, ''cu-bop'' also drew from African rhythm. Jazz arrangements with a Latin A section and a swung B section, with all choruses swung during solos, became common practice with many Latin tunes of the jazz standard repertoire. This approach can be heard on pre-1980 recordings of "Manteca", "
A Night in Tunisia "A Night in Tunisia" is a musical composition written by Dizzy Gillespie around 1940–42, while Gillespie was playing with the Benny Carter band. It has become a jazz standard. It is also known as "Interlude", and with lyrics by Raymond Leveen w ...
", "Tin Tin Deo", and " On Green Dolphin Street".


African cross-rhythm

Cuban percussionist Mongo Santamaria first recorded his composition " Afro Blue" in 1959. "Afro Blue" was the first jazz standard built upon a typical African three-against-two (3:2) cross-rhythm, or hemiola. The piece begins with the bass repeatedly playing 6 cross-beats per each measure of , or 6 cross-beats per 4 main beats—6:4 (two cells of 3:2). The following example shows the original
ostinato In music, an ostinato (; derived from Italian word for ''stubborn'', compare English ''obstinate'') is a motif or phrase that persistently repeats in the same musical voice, frequently in the same pitch. Well-known ostinato-based pieces include ...
"Afro Blue" bass line. The cross noteheads indicate the main beats (not bass notes). : \new Staff << \new voice \relative c \new voice \relative c >> When John Coltrane covered "Afro Blue" in 1963, he inverted the metric hierarchy, interpreting the tune as a jazz waltz with duple cross-beats superimposed (2:3). Originally a B pentatonic blues, Coltrane expanded the harmonic structure of "Afro Blue". Perhaps the most respected Afro-cuban jazz combo of the late 1950s was vibraphonist Cal Tjader's band. Tjader had Mongo Santamaria, Armando Peraza, and Willie Bobo on his early recording dates.


Dixieland revival

In the late 1940s, there was a revival of Dixieland, harking back to the contrapuntal New Orleans style. This was driven in large part by record company reissues of jazz classics by the Oliver, Morton, and Armstrong bands of the 1930s. There were two types of musicians involved in the revival: the first group was made up of those who had begun their careers playing in the traditional style and were returning to it (or continuing what they had been playing all along), such as Bob Crosby's Bobcats, Max Kaminsky,
Eddie Condon Albert Edwin Condon (November 16, 1905 – August 4, 1973) was an American jazz banjoist, guitarist, and bandleader. A leading figure in Chicago jazz, he also played piano and sang. Early years Condon was born in Goodland, Indiana, the son of J ...
, and Wild Bill Davison. Most of these players were originally Midwesterners, although there were a small number of New Orleans musicians involved. The second group of revivalists consisted of younger musicians, such as those in the Lu Watters band, Conrad Janis, and Ward Kimball and his Firehouse Five Plus Two Jazz Band. By the late 1940s, Louis Armstrong's Allstars band became a leading ensemble. Through the 1950s and 1960s, Dixieland was one of the most commercially popular jazz styles in the US, Europe, and Japan, although critics paid little attention to it.


Hard bop

Hard bop is an extension of bebop (or "bop") music that incorporates influences from blues, rhythm and blues, and gospel, especially in saxophone and piano playing. Hard bop was developed in the mid-1950s, coalescing in 1953 and 1954; it developed partly in response to the vogue for cool jazz in the early 1950s and paralleled the rise of rhythm and blues. It has been described as "funky" and can be considered a relative of soul jazz. Some elements of the genre were simplified from their bebop roots. Miles Davis' 1954 performance of "Walkin'" at the first Newport Jazz Festival introduced the style to the jazz world. Further leaders of hard bop's development included the
Clifford Brown Clifford Benjamin Brown (October 30, 1930 – June 26, 1956) was an American jazz trumpeter and composer. He died at the age of 25 in a car accident, leaving behind four years' worth of recordings. His compositions "Sandu", "Joy Spring", an ...
/Max Roach Quintet, Art Blakey's Jazz Messengers, the Horace Silver Quintet, and trumpeters Lee Morgan and
Freddie Hubbard Frederick Dewayne Hubbard (April 7, 1938 – December 29, 2008) was an American jazz trumpeter. He played bebop, hard bop, and post-bop styles from the early 1960s onwards. His unmistakable and influential tone contributed to new perspectives fo ...
. The late 1950s to early 1960s saw hard boppers form their own bands as a new generation of blues- and bebop-influenced musicians entered the jazz world, from pianists Wynton Kelly and Tommy Flanagan to saxophonists
Joe Henderson Joe Henderson (April 24, 1937 – June 30, 2001) was an American jazz tenor saxophonist. In a career spanning more than four decades, Henderson played with many of the leading American players of his day and recorded for several prominent l ...
and
Hank Mobley Henry "Hank" Mobley (July 7, 1930 – May 30, 1986) was an American hard bop and soul jazz tenor saxophonist and composer. Mobley was described by Leonard Feather as the "middleweight champion of the tenor saxophone", a metaphor used to descr ...
. Coltrane, Johnny Griffin, Mobley, and Morgan all participated on the album '' A Blowin' Session'' (1957), considered by Al Campbell to have been one of the high points of the hard bop era. Hard bop was prevalent within jazz for about a decade spanning from 1955 to 1965, but has remained highly influential on mainstream or "straight-ahead" jazz. It went into decline in the late 1960s through the 1970s due to the emergence of other styles such as jazz fusion, but again became influential following the Young Lions Movement and the emergence of
neo-bop Neo-bop (also called neotraditionalist) refers to a style of jazz that gained popularity in the 1980s among musicians who found greater aesthetic affinity for acoustically based, swinging, melodic forms of jazz than for free jazz and jazz fusion t ...
.


Modal jazz

Modal jazz is a development which began in the later 1950s which takes the mode, or musical scale, as the basis of musical structure and improvisation. Previously, a solo was meant to fit into a given chord progression, but with modal jazz, the soloist creates a melody using one (or a small number of) modes. The emphasis is thus shifted from harmony to melody: "Historically, this caused a seismic shift among jazz musicians, away from thinking vertically (the chord), and towards a more horizontal approach (the scale)", explained pianist Mark Levine. The modal theory stems from a work by George Russell. Miles Davis introduced the concept to the greater jazz world with ''
Kind of Blue ''Kind of Blue'' is a studio album by American jazz trumpeter, composer, and bandleader Miles Davis. It was recorded on March 2 and April 22, 1959, at Columbia's 30th Street Studio in New York City, and released on August 17 of that year by Co ...
'' (1959), an exploration of the possibilities of modal jazz which would become the best selling jazz album of all time. In contrast to Davis' earlier work with hard bop and its complex chord progression and improvisation, ''Kind of Blue'' was composed as a series of modal sketches in which the musicians were given scales that defined the parameters of their improvisation and style. "I didn't write out the music for ''Kind of Blue'', but brought in sketches for what everybody was supposed to play because I wanted a lot of spontaneity," recalled Davis. The track "So What" has only two chords: D-7 and E-7. Other innovators in this style include Jackie McLean, and two of the musicians who had also played on ''Kind of Blue'': John Coltrane and Bill Evans.


Free jazz

Free jazz, and the related form of avant-garde jazz, broke through into an open space of "free tonality" in which meter, beat, and formal symmetry all disappeared, and a range of world music from India, Africa, and Arabia were melded into an intense, even religiously ecstatic or orgiastic style of playing. While loosely inspired by bebop, free jazz tunes gave players much more latitude; the loose harmony and tempo was deemed controversial when this approach was first developed. The bassist
Charles Mingus Charles Mingus Jr. (April 22, 1922 – January 5, 1979) was an American jazz upright bassist, pianist, composer, bandleader, and author. A major proponent of collective improvisation, he is considered to be one of the greatest jazz musicians and ...
is also frequently associated with the avant-garde in jazz, although his compositions draw from myriad styles and genres. The first major stirrings came in the 1950s with the early work of
Ornette Coleman Randolph Denard Ornette Coleman (March 9, 1930 – June 11, 2015) was an American jazz saxophonist, violinist, trumpeter, and composer known as a principal founder of the free jazz genre, a term derived from his 1960 album '' Free Jazz: A Colle ...
(whose 1960 album '' Free Jazz: A Collective Improvisation'' coined the term) and
Cecil Taylor Cecil Percival Taylor (March 25, 1929April 5, 2018) was an American pianist and poet. Taylor was classically trained and was one of the pioneers of free jazz. His music is characterized by an energetic, physical approach, resulting in complex ...
. In the 1960s, exponents included Albert Ayler, Gato Barbieri,
Carla Bley Carla Bley (born Lovella May Borg; May 11, 1936) is an American jazz composer, pianist, organist and bandleader. An important figure in the free jazz movement of the 1960s, she is perhaps best known for her jazz opera '' Escalator over the Hill'' ...
, Don Cherry,
Larry Coryell Larry Coryell (born Lorenz Albert Van DeLinder III; April 2, 1943 – February 19, 2017) was an American jazz guitarist. Early life Larry Coryell was born in Galveston, Texas, United States. He never knew his biological father, a musician. He w ...
, John Coltrane,
Bill Dixon William Robert “Bill” Dixon (October 5, 1925 – June 16, 2010) was an American composer, improviser, visual artist, activist, and educator. Dixon was one of the seminal figures in free jazz and late twentieth-century contemporary music. Hi ...
, Jimmy Giuffre,
Steve Lacy Steve Lacy may refer to: Music * Steve Lacy (saxophonist) (1934–2004), American jazz saxophonist and composer * Steve Lacy (singer) (born 1998), American musician Other occupations *Steve Lacy (coach) (1908–2000), American college sports coach ...
, Michael Mantler, Sun Ra, Roswell Rudd,
Pharoah Sanders Pharoah Sanders (born Ferrell Lee Sanders; October 13, 1940 – September 24, 2022) was an American jazz saxophonist. Known for his overblowing, harmonic, and multiphonic techniques on the saxophone, as well as his use of "sheets of sound", San ...
, and John Tchicai. In developing his late style, Coltrane was especially influenced by the dissonance of Ayler's trio with bassist
Gary Peacock Gary George Peacock (May 12, 1935September 4, 2020) was an American jazz double bassist. He recorded a dozen albums under his own name, and also performed and recorded with major jazz figures such as avant garde saxophonist Albert Ayler, pianist ...
and drummer
Sunny Murray James Marcellus Arthur "Sunny" Murray (September 21, 1936 – December 7, 2017) was an American musician, and was one of the pioneers of the free jazz style of drumming. Biography Murray was born in Idabel, Oklahoma, where he was raised by an ...
, a rhythm section honed with
Cecil Taylor Cecil Percival Taylor (March 25, 1929April 5, 2018) was an American pianist and poet. Taylor was classically trained and was one of the pioneers of free jazz. His music is characterized by an energetic, physical approach, resulting in complex ...
as leader. In November 1961, Coltrane played a gig at the Village Vanguard, which resulted in the classic ''Chasin' the 'Trane'', which ''DownBeat'' magazine panned as "anti-jazz". On his 1961 tour of France, he was booed, but persevered, signing with the new Impulse! Records in 1960 and turning it into "the house that Trane built", while championing many younger free jazz musicians, notably Archie Shepp, who often played with trumpeter
Bill Dixon William Robert “Bill” Dixon (October 5, 1925 – June 16, 2010) was an American composer, improviser, visual artist, activist, and educator. Dixon was one of the seminal figures in free jazz and late twentieth-century contemporary music. Hi ...
, who organized the 4-day " October Revolution in Jazz" in Manhattan in 1964, the first free jazz festival. A series of recordings with the Classic Quartet in the first half of 1965 show Coltrane's playing becoming increasingly abstract, with greater incorporation of devices like multiphonics, utilization of overtones, and playing in the altissimo register, as well as a mutated return to Coltrane's sheets of sound. In the studio, he all but abandoned his soprano to concentrate on the tenor saxophone. In addition, the quartet responded to the leader by playing with increasing freedom. The group's evolution can be traced through the recordings ''
The John Coltrane Quartet Plays '' The John Coltrane Quartet Plays'' (full title ''The John Coltrane Quartet Plays Chim Chim Cheree, Song of Praise, Nature Boy, Brazilia'') is an album by jazz musician John Coltrane, recorded in February and May 1965, shortly after the release of ...
'', '' Living Space'' and '' Transition'' (both June 1965), ''
New Thing at Newport ''New Thing at Newport'' is a 1965 live album featuring two separate sets from that year's Newport Jazz Festival by tenor saxophonists John Coltrane and Archie Shepp. It was recorded four days after the recording session for Coltrane's album '' ...
'' (July 1965), ''
Sun Ship ''Sun Ship'' is a posthumously released jazz album by tenor saxophonist John Coltrane recorded on August 26, 1965. Along with ''First Meditations'', recorded a week later, it was one of the last recording dates for Coltrane's "Classic Quartet" wit ...
'' (August 1965), and ''
First Meditations ''First Meditations (for quartet)'' is an album by John Coltrane recorded on September 2, 1965 and posthumously released in 1977. It is a quartet version of a suite Coltrane would record as ''Meditations'' two months later with an expanded group. ...
'' (September 1965). In June 1965, Coltrane and 10 other musicians recorded '' Ascension'', a 40-minute-long piece without breaks that included adventurous solos by young avant-garde musicians as well as Coltrane, and was controversial primarily for the collective improvisation sections that separated the solos. Dave Liebman later called it "the torch that lit the free jazz thing". After recording with the quartet over the next few months, Coltrane invited Pharoah Sanders to join the band in September 1965. While Coltrane used over-blowing frequently as an emotional exclamation-point, Sanders would opt to overblow his entire solo, resulting in a constant screaming and screeching in the altissimo range of the instrument.


Free jazz in Europe

Free jazz was played in Europe in part because musicians such as Ayler, Taylor,
Steve Lacy Steve Lacy may refer to: Music * Steve Lacy (saxophonist) (1934–2004), American jazz saxophonist and composer * Steve Lacy (singer) (born 1998), American musician Other occupations *Steve Lacy (coach) (1908–2000), American college sports coach ...
, and
Eric Dolphy Eric Allan Dolphy Jr. (June 20, 1928 – June 29, 1964) was an American jazz alto saxophonist, bass clarinetist and flautist. On a few occasions, he also played the clarinet and piccolo. Dolphy was one of several multi-instrumentalists to gai ...
spent extended periods of time there, and European musicians such as Michael Mantler and John Tchicai traveled to the U.S. to experience American music firsthand. European contemporary jazz was shaped by Peter Brötzmann, John Surman, Krzysztof Komeda,
Zbigniew Namysłowski Zbigniew Jacek Namysłowski (9 September 1939 – 7 February 2022) was a Polish jazz alto saxophonist, flautist, cellist, trombonist, pianist and composer. Life and career Namysłowski was born in Warsaw, Poland, on 9 September 1939. He perform ...
, Tomasz Stanko, Lars Gullin, Joe Harriott,
Albert Mangelsdorff Albert Mangelsdorff (September 5, 1928 – July 25, 2005) was a German jazz trombonist. Working mainly in free jazz, he was an innovator in multiphonics. Early life Mangelsdorff was born in Frankfurt on September 5, 1928, as the son of the book ...
, Kenny Wheeler, Graham Collier, Michael Garrick and Mike Westbrook. They were eager to develop approaches to music that reflected their heritage. Since the 1960s, creative centers of jazz in Europe have developed, such as the creative jazz scene in Amsterdam. Following the work of drummer Han Bennink and pianist Misha Mengelberg, musicians started to explore by improvising collectively until a form (melody, rhythm, a famous song) is found Jazz critic Kevin Whitehead documented the free jazz scene in Amsterdam and some of its main exponents such as the ICP (Instant Composers Pool) orchestra in his book ''New Dutch Swing''. Since the 1990s Keith Jarrett has defended free jazz from criticism. British writer Stuart Nicholson has argued European contemporary jazz has an identity different from American jazz and follows a different trajectory.


Latin jazz

Latin jazz is jazz that employs Latin American rhythms and is generally understood to have a more specific meaning than simply jazz from Latin America. A more precise term might be ''Afro-Latin jazz'', as the jazz subgenre typically employs rhythms that either have a direct analog in Africa or exhibit an African rhythmic influence beyond what is ordinarily heard in other jazz. The two main categories of Latin jazz are Afro-Cuban jazz and Brazilian jazz. In the 1960s and 1970s, many jazz musicians had only a basic understanding of Cuban and Brazilian music, and jazz compositions which used Cuban or Brazilian elements were often referred to as "Latin tunes", with no distinction between a Cuban son montuno and a Brazilian
bossa nova Bossa nova () is a style of samba developed in the late 1950s and early 1960s in Rio de Janeiro, Brazil. It is mainly characterized by a "different beat" that altered the harmonies with the introduction of unconventional chords and an innovativ ...
. Even as late as 2000, in Mark Gridley's ''Jazz Styles: History and Analysis'', a bossa nova bass line is referred to as a "Latin bass figure". It was not uncommon during the 1960s and 1970s to hear a conga playing a Cuban tumbao while the drumset and bass played a Brazilian bossa nova pattern. Many jazz standards such as "Manteca", "On Green Dolphin Street" and "Song for My Father" have a "Latin" A section and a swung B section. Typically, the band would only play an even-eighth "Latin" feel in the A section of the head and swing throughout all of the solos. Latin jazz specialists like Cal Tjader tended to be the exception. For example, on a 1959 live Tjader recording of "A Night in Tunisia", pianist Vince Guaraldi soloed through the entire form over an authentic mambo.


Afro-Cuban jazz renaissance

For most of its history, Afro-Cuban jazz had been a matter of superimposing jazz phrasing over Cuban rhythms. But by the end of the 1970s, a new generation of New York City musicians had emerged who were fluent in both salsa dance music and jazz, leading to a new level of integration of jazz and Cuban rhythms. This era of creativity and vitality is best represented by the Gonzalez brothers Jerry (congas and trumpet) and Andy (bass). During 1974–1976, they were members of one of Eddie Palmieri's most experimental salsa groups: salsa was the medium, but Palmieri was stretching the form in new ways. He incorporated parallel fourths, with McCoy Tyner-type vamps. The innovations of Palmieri, the Gonzalez brothers and others led to an Afro-Cuban jazz renaissance in New York City. This occurred in parallel with developments in Cuba The first Cuban band of this new wave was Irakere. Their "Chékere-son" (1976) introduced a style of "Cubanized" bebop-flavored horn lines that departed from the more angular guajeo-based lines which were typical of Cuban popular music and Latin jazz up until that time. It was based on Charlie Parker's composition "Billie's Bounce", jumbled together in a way that fused clave and bebop horn lines. In spite of the ambivalence of some band members towards Irakere's Afro-Cuban folkloric / jazz fusion, their experiments forever changed Cuban jazz: their innovations are still heard in the high level of harmonic and rhythmic complexity in Cuban jazz and in the jazzy and complex contemporary form of popular dance music known as timba.


Afro-Brazilian jazz

Brazilian jazz, such as
bossa nova Bossa nova () is a style of samba developed in the late 1950s and early 1960s in Rio de Janeiro, Brazil. It is mainly characterized by a "different beat" that altered the harmonies with the introduction of unconventional chords and an innovativ ...
, is derived from
samba Samba (), also known as samba urbano carioca (''urban Carioca samba'') or simply samba carioca (''Carioca samba''), is a Brazilian music genre that originated in the Afro-Brazilian communities of Rio de Janeiro in the early 20th century. Havin ...
, with influences from jazz and other 20th-century classical and popular music styles. Bossa is generally moderately paced, with melodies sung in Portuguese or English, whilst the related jazz-samba is an adaptation of street samba into jazz. The bossa nova style was pioneered by Brazilians João Gilberto and Antônio Carlos Jobim and was made popular by Elizete Cardoso's recording of " Chega de Saudade" on the '' Canção do Amor Demais'' LP. Gilberto's initial releases, and the 1959 film '' Black Orpheus'', achieved significant popularity in Latin America; this spread to North America via visiting American jazz musicians. The resulting recordings by
Charlie Byrd Charlie Lee Byrd (September 16, 1925 – December 2, 1999) was an American jazz guitarist. Byrd was best known for his association with Brazilian music, especially bossa nova. In 1962, he collaborated with Stan Getz on the album '' Jazz Samba' ...
and Stan Getz cemented bossa nova's popularity and led to a worldwide boom, with 1963's '' Getz/Gilberto'', numerous recordings by famous jazz performers such as Ella Fitzgerald and
Frank Sinatra Francis Albert Sinatra (; December 12, 1915 – May 14, 1998) was an American singer and actor. Nicknamed the "Honorific nicknames in popular music, Chairman of the Board" and later called "Ol' Blue Eyes", Sinatra was one of the most popular ...
, and the eventual entrenchment of the bossa nova style as a lasting influence in world music. Brazilian percussionists such as
Airto Moreira Airto Guimorvan Moreira (born August 5, 1941) is a Brazilian jazz drummer and percussionist. He is married to jazz singer Flora Purim, and their daughter Diana Moreira is also a singer. Coming to prominence in the late 1960s as a member of the ...
and Naná Vasconcelos also influenced jazz internationally by introducing Afro-Brazilian folkloric instruments and rhythms into a wide variety of jazz styles, thus attracting a greater audience to them. While bossa nova has been labeled as jazz by music critics, namely those from outside of Brazil, it has been rejected by many prominent bossa nova musicians such as Jobim, who once said "Bossa nova is not Brazilian jazz."


African-inspired


Rhythm

The first
jazz standard Jazz standards are musical compositions that are an important part of the musical repertoire of jazz musicians, in that they are widely known, performed, and recorded by jazz musicians, and widely known by listeners. There is no definitive lis ...
composed by a non-Latino to use an overt African cross-rhythm was Wayne Shorter's " Footprints" (1967). On the version recorded on ''Miles Smiles'' by Miles Davis, the bass switches to a tresillo figure at 2:20. "Footprints" is not, however, a Latin jazz tune: African rhythmic structures are accessed directly by
Ron Carter Ronald Levin Carter (born May 4, 1937) is an American jazz double bassist. His appearances on 2,221 recording sessions make him the most-recorded jazz bassist in history. He has won three Grammy awards, and is also a cellist who has recorded nu ...
(bass) and Tony Williams (drums) via the rhythmic sensibilities of
swing Swing or swinging may refer to: Apparatus * Swing (seat), a hanging seat that swings back and forth * Pendulum, an object that swings * Russian swing, a swing-like circus apparatus * Sex swing, a type of harness for sexual intercourse * Swing rid ...
. Throughout the piece, the four beats, whether sounded or not, are maintained as the temporal referent. The following example shows the and forms of the bass line. The slashed noteheads indicate the main beats (not bass notes), where one ordinarily taps their foot to "keep time". :


Pentatonic scales

The use of pentatonic scales was another trend associated with Africa. The use of pentatonic scales in Africa probably goes back thousands of years. McCoy Tyner perfected the use of the pentatonic scale in his solos, and also used parallel fifths and fourths, which are common harmonies in West Africa. The minor pentatonic scale is often used in blues improvisation, and like a blues scale, a minor pentatonic scale can be played over all of the chords in a blues. The following pentatonic lick was played over blues changes by
Joe Henderson Joe Henderson (April 24, 1937 – June 30, 2001) was an American jazz tenor saxophonist. In a career spanning more than four decades, Henderson played with many of the leading American players of his day and recorded for several prominent l ...
on Horace Silver's "African Queen" (1965). Jazz pianist, theorist, and educator Mark Levine refers to the scale generated by beginning on the fifth step of a pentatonic scale as the ''V pentatonic scale''. Levine points out that the V pentatonic scale works for all three chords of the standard II–V–I jazz progression. This is a very common progression, used in pieces such as Miles Davis' "Tune Up". The following example shows the V pentatonic scale over a II–V–I progression. Accordingly, John Coltrane's " Giant Steps" (1960), with its 26 chords per 16 bars, can be played using only three pentatonic scales. Coltrane studied
Nicolas Slonimsky Nicolas Slonimsky ( – December 25, 1995), born Nikolai Leonidovich Slonimskiy (russian: Никола́й Леони́дович Сло́нимский), was a Russian-born American conductor, author, pianist, composer and lexicographer. B ...
's ''Thesaurus of Scales and Melodic Patterns'', which contains material that is virtually identical to portions of "Giant Steps". The harmonic complexity of "Giant Steps" is on the level of the most advanced 20th-century art music. Superimposing the pentatonic scale over "Giant Steps" is not merely a matter of harmonic simplification, but also a sort of "Africanizing" of the piece, which provides an alternate approach for soloing. Mark Levine observes that when mixed in with more conventional "playing the changes", pentatonic scales provide "structure and a feeling of increased space".


Sacred and liturgical jazz

As noted above, jazz has incorporated from its inception aspects of African-American sacred music including spirituals and hymns. Secular jazz musicians often performed renditions of spirituals and hymns as part of their repertoire or isolated compositions such as "Come Sunday", part of "Black and Beige Suite" by
Duke Ellington Edward Kennedy "Duke" Ellington (April 29, 1899 – May 24, 1974) was an American jazz pianist, composer, and leader of his eponymous jazz orchestra from 1923 through the rest of his life. Born and raised in Washington, D.C., Ellington was based ...
. Later many other jazz artists borrowed from black
gospel music Gospel music is a traditional genre of Christian music, and a cornerstone of Christian media. The creation, performance, significance, and even the definition of gospel music varies according to culture and social context. Gospel music is com ...
. However, it was only after World War II that a few jazz musicians began to compose and perform extended works intended for religious settings and/or as religious expression. Since the 1950s, sacred and liturgical music has been performed and recorded by many prominent jazz composers and musicians. The "Abyssinian Mass" by Wynton Marsalis (Blueengine Records, 2016) is a recent example. Relatively little has been written about sacred and liturgical jazz. In a 2013 doctoral dissertation, Angelo Versace examined the development of sacred jazz in the 1950s using disciplines of musicology and history. He noted that the traditions of black gospel music and jazz were combined in the 1950s to produce a new genre, "sacred jazz". Versace maintained that the religious intent separates sacred from secular jazz. Most prominent in initiating the sacred jazz movement were pianist and composer Mary Lou Williams, known for her jazz masses in the 1950s and
Duke Ellington Edward Kennedy "Duke" Ellington (April 29, 1899 – May 24, 1974) was an American jazz pianist, composer, and leader of his eponymous jazz orchestra from 1923 through the rest of his life. Born and raised in Washington, D.C., Ellington was based ...
. Prior to his death in 1974 in response to contacts from Grace Cathedral in San Francisco,
Duke Ellington Edward Kennedy "Duke" Ellington (April 29, 1899 – May 24, 1974) was an American jazz pianist, composer, and leader of his eponymous jazz orchestra from 1923 through the rest of his life. Born and raised in Washington, D.C., Ellington was based ...
wrote three Sacred Concerts: 1965 – A Concert of Sacred Music; 1968 – Second Sacred Concert; 1973 – Third Sacred Concert. The most prominent form of sacred and liturgical jazz is the jazz mass. Although most often performed in a concert setting rather than church worship setting, this form has many examples. An eminent example of composers of the jazz mass was Mary Lou Williams. Williams converted to Catholicism in 1957, and proceeded to compose three masses in the jazz idiom. One was composed in 1968 to honor the recently assassinated Martin Luther King Jr. and the third was commissioned by a pontifical commission. It was performed once in 1975 in St Patrick's Cathedral in New York City. However the Catholic Church has not embraced jazz as appropriate for worship. In 1966 Joe Masters recorded "Jazz Mass" for Columbia Records. A jazz ensemble was joined by soloists and choir using the English text of the Roman Catholic Mass. Other examples include "Jazz Mass in Concert" by Lalo Schiffrin (Aleph Records, 1998, UPC 0651702632725) and "Jazz Mass" by Vince Guaraldi (Fantasy Records, 1965). In England, classical composer Will Todd recorded his "Jazz Missa Brevis" with a jazz ensemble, soloists and the St Martin's Voices on a 2018 Signum Records release, "Passion Music/Jazz Missa Brevis" also released as "Mass in Blue", and jazz organist James Taylor composed "The Rochester Mass" (Cherry Red Records, 2015). In 2013, Versace put forth bassist Ike Sturm and New York composer Deanna Witkowski as contemporary exemplars of sacred and liturgical jazz.


Jazz fusion

In the late 1960s and early 1970s, the hybrid form of jazz-rock fusion was developed by combining jazz improvisation with rock rhythms, electric instruments and the highly amplified stage sound of rock musicians such as
Jimi Hendrix James Marshall "Jimi" Hendrix (born Johnny Allen Hendrix; November 27, 1942September 18, 1970) was an American guitarist, singer and songwriter. Although his mainstream career spanned only four years, he is widely regarded as one of the most ...
and
Frank Zappa Frank Vincent Zappa (December 21, 1940 – December 4, 1993) was an American musician, composer, and bandleader. His work is characterized by wikt:nonconformity, nonconformity, Free improvisation, free-form improvisation, sound experimen ...
. Jazz fusion often uses mixed meters, odd time signatures, syncopation, complex chords, and harmonies. According to AllMusic:
... until around 1967, the worlds of jazz and rock were nearly completely separate. owever, ...as rock became more creative and its musicianship improved, and as some in the jazz world became bored with hard bop and did not want to play strictly
avant-garde music Avant-garde music is music that is considered to be at the forefront of innovation in its field, with the term "avant-garde" implying a critique of existing aesthetic conventions, rejection of the status quo in favor of unique or original elemen ...
, the two different idioms began to trade ideas and occasionally combine forces.


Miles Davis' new directions

In 1969, Davis fully embraced the electric instrument approach to jazz with '' In a Silent Way'', which can be considered his first fusion album. Composed of two side-long suites edited heavily by producer Teo Macero, this quiet, static album would be equally influential to the development of
ambient music Ambient music is a genre of music that emphasizes tone and atmosphere over traditional musical structure or rhythm. It may lack net composition, beat, or structured melody.The Ambient Century by Mark Prendergast, Bloomsbury, London, 2003. It u ...
. As Davis recalls:
The music I was really listening to in 1968 was
James Brown James Joseph Brown (May 3, 1933 – December 25, 2006) was an American singer, dancer, musician, record producer and bandleader. The central progenitor of funk music and a major figure of 20th century music, he is often referred to by the honor ...
, the great guitar player
Jimi Hendrix James Marshall "Jimi" Hendrix (born Johnny Allen Hendrix; November 27, 1942September 18, 1970) was an American guitarist, singer and songwriter. Although his mainstream career spanned only four years, he is widely regarded as one of the most ...
, and a new group who had just come out with a hit record, " Dance to the Music", Sly and the Family Stone ... I wanted to make it more like rock. When we recorded ''In a Silent Way'' I just threw out all the chord sheets and told everyone to play off of that.
Two contributors to ''In a Silent Way'' also joined organist Larry Young to create one of the early acclaimed fusion albums: ''Emergency!'' (1969) by The Tony Williams Lifetime.


Psychedelic-jazz


=Weather Report

= Weather Report's self-titled electronic and psychedelic '' Weather Report'' debut album caused a sensation in the jazz world on its arrival in 1971, thanks to the pedigree of the group's members (including percussionist
Airto Moreira Airto Guimorvan Moreira (born August 5, 1941) is a Brazilian jazz drummer and percussionist. He is married to jazz singer Flora Purim, and their daughter Diana Moreira is also a singer. Coming to prominence in the late 1960s as a member of the ...
), and their unorthodox approach to music. The album featured a softer sound than would be the case in later years (predominantly using acoustic bass with Shorter exclusively playing
soprano saxophone The soprano saxophone is a higher-register variety of the saxophone, a woodwind instrument invented in the 1840s. The soprano is the third-smallest member of the saxophone family, which consists (from smallest to largest) of the soprillo, sop ...
, and with no
synthesizer A synthesizer (also spelled synthesiser) is an electronic musical instrument that generates audio signals. Synthesizers typically create sounds by generating waveforms through methods including subtractive synthesis, additive synthesis and ...
s involved), but is still considered a classic of early fusion. It built on the avant-garde experiments which
Joe Zawinul Josef Erich Zawinul ( '; 7 July 1932 – 11 September 2007) was an Austrian jazz and jazz fusion keyboardist and composer. First coming to prominence with saxophonist Cannonball Adderley, Zawinul went on to play with Miles Davis and to bec ...
and Shorter had pioneered with Miles Davis on ''
Bitches Brew ''Bitches Brew'' is a studio album by American jazz trumpeter, composer, and bandleader Miles Davis. It was recorded from August 19 to 21, 1969, at Columbia's Studio B in New York City and released on March 30, 1970 by Columbia Records. It marke ...
'', including an avoidance of head-and-chorus composition in favor of continuous rhythm and movement – but took the music further. To emphasize the group's rejection of standard methodology, the album opened with the inscrutable avant-garde atmospheric piece "Milky Way", which featured by Shorter's extremely muted saxophone inducing vibrations in Zawinul's piano strings while the latter pedaled the instrument. ''
DownBeat ' (styled in all caps) is an American music magazine devoted to "jazz, blues and beyond", the last word indicating its expansion beyond the jazz realm which it covered exclusively in previous years. The publication was established in 1934 in Chi ...
'' described the album as "music beyond category", and awarded it Album of the Year in the magazine's polls that year. Weather Report's subsequent releases were creative funk-jazz works.


Jazz-rock

Although some jazz purists protested against the blend of jazz and rock, many jazz innovators crossed over from the contemporary hard bop scene into fusion. As well as the electric instruments of rock (such as electric guitar, electric bass, electric piano and synthesizer keyboards), fusion also used the powerful amplification, "fuzz" pedals, wah-wah pedals and other effects that were used by 1970s-era rock bands. Notable performers of jazz fusion included Miles Davis,
Eddie Harris Eddie Harris (October 20, 1934 – November 5, 1996) was an American jazz musician, best known for playing tenor saxophone and for introducing the electrically amplified saxophone. He was also fluent on the electric piano and organ. His best-k ...
, keyboardists
Joe Zawinul Josef Erich Zawinul ( '; 7 July 1932 – 11 September 2007) was an Austrian jazz and jazz fusion keyboardist and composer. First coming to prominence with saxophonist Cannonball Adderley, Zawinul went on to play with Miles Davis and to bec ...
,
Chick Corea Armando Anthony "Chick" Corea (June 12, 1941 – February 9, 2021) was an American jazz composer, pianist, keyboardist, bandleader, and occasional percussionist. His compositions "Spain", " 500 Miles High", "La Fiesta", "Armando's Rhumba", and ...
, and Herbie Hancock, vibraphonist Gary Burton, drummer Tony Williams (drummer), violinist Jean-Luc Ponty, guitarists
Larry Coryell Larry Coryell (born Lorenz Albert Van DeLinder III; April 2, 1943 – February 19, 2017) was an American jazz guitarist. Early life Larry Coryell was born in Galveston, Texas, United States. He never knew his biological father, a musician. He w ...
,
Al Di Meola Albert Laurence Di Meola (born July 22, 1954) is an American guitarist. Known for his works in jazz fusion and world music, he began his career as a guitarist of the group Return to Forever in 1974. Between the 1970s and 1980s, albums such as ' ...
, John McLaughlin, Ryo Kawasaki, and
Frank Zappa Frank Vincent Zappa (December 21, 1940 – December 4, 1993) was an American musician, composer, and bandleader. His work is characterized by wikt:nonconformity, nonconformity, Free improvisation, free-form improvisation, sound experimen ...
, saxophonist Wayne Shorter and bassists Jaco Pastorius and Stanley Clarke. Jazz fusion was also popular in Japan, where the band Casiopea released more than thirty fusion albums. According to jazz writer Stuart Nicholson, "just as free jazz appeared on the verge of creating a whole new musical language in the 1960s ... jazz-rock briefly suggested the promise of doing the same" with albums such as Williams' '' Emergency!'' (1970) and Davis' ''
Agharta Agartha (sometimes Agartta, Agharti, Agarath, Agarta, Agharta, or Agarttha) is a legendary kingdom that is said to be located in the Earth's core. It is related to the belief in a hollow Earth and is a popular subject in esotericism. History The ...
'' (1975), which Nicholson said "suggested the potential of evolving into something that might eventually define itself as a wholly independent genre quite apart from the sound and conventions of anything that had gone before." This development was stifled by commercialism, Nicholson said, as the genre "mutated into a peculiar species of jazz-inflected pop music that eventually took up residence on FM radio" at the end of the 1970s.


Jazz-funk

By the mid-1970s, the sound known as jazz-funk had developed, characterized by a strong back beat ( groove), electrified sounds and, often, the presence of electronic analog synthesizers. Jazz-funk also draws influences from traditional African music, Afro-Cuban rhythms and Jamaican reggae, notably Kingston bandleader
Sonny Bradshaw Cecil "Sonny" Bradshaw CD (28 March 1926 – 10 October 2009), known as the "dean of Jamaican music", and the "musician's musician", was a Jamaican bandleader, trumpeter, broadcaster, and promoter who was a major figure in Jamaican music for m ...
. Another feature is the shift of emphasis from improvisation to composition: arrangements, melody and overall writing became important. The integration of
funk Funk is a music genre that originated in African American communities in the mid-1960s when musicians created a rhythmic, danceable new form of music through a mixture of various music genres that were popular among African Americans in the m ...
, soul, and R&B music into jazz resulted in the creation of a genre whose spectrum is wide and ranges from strong jazz improvisation to soul, funk or disco with jazz arrangements, jazz riffs and jazz solos, and sometimes soul vocals. Early examples are Herbie Hancock's Headhunters band and Miles Davis' '' On the Corner'' album, which, in 1972, began Davis' foray into jazz-funk and was, he claimed, an attempt at reconnecting with the young black audience which had largely forsaken jazz for rock and funk. While there is a discernible rock and funk influence in the timbres of the instruments employed, other tonal and rhythmic textures, such as the Indian tambora and tablas and Cuban congas and bongos, create a multi-layered soundscape. The album was a culmination of sorts of the ''
musique concrète Musique concrète (; ): " problem for any translator of an academic work in French is that the language is relatively abstract and theoretical compared to English; one might even say that the mode of thinking itself tends to be more schematic, ...
'' approach that Davis and producer Teo Macero had begun to explore in the late 1960s.


Traditionalism in the 1980s

The 1980s saw something of a reaction against the fusion and free jazz that had dominated the 1970s. Trumpeter Wynton Marsalis emerged early in the decade, and strove to create music within what he believed was the tradition, rejecting both fusion and free jazz and creating extensions of the small and large forms initially pioneered by artists such as
Louis Armstrong Louis Daniel Armstrong (August 4, 1901 – July 6, 1971), nicknamed "Satchmo", "Satch", and "Pops", was an American trumpeter and vocalist. He was among the most influential figures in jazz. His career spanned five decades and several era ...
and
Duke Ellington Edward Kennedy "Duke" Ellington (April 29, 1899 – May 24, 1974) was an American jazz pianist, composer, and leader of his eponymous jazz orchestra from 1923 through the rest of his life. Born and raised in Washington, D.C., Ellington was based ...
, as well as the hard bop of the 1950s. It is debatable whether Marsalis' critical and commercial success was a cause or a symptom of the reaction against Fusion and Free Jazz and the resurgence of interest in the kind of jazz pioneered in the 1960s (particularly modal jazz and post-bop); nonetheless there were many other manifestations of a resurgence of traditionalism, even if fusion and free jazz were by no means abandoned and continued to develop and evolve. For example, several musicians who had been prominent in the fusion genre during the 1970s began to record acoustic jazz once more, including
Chick Corea Armando Anthony "Chick" Corea (June 12, 1941 – February 9, 2021) was an American jazz composer, pianist, keyboardist, bandleader, and occasional percussionist. His compositions "Spain", " 500 Miles High", "La Fiesta", "Armando's Rhumba", and ...
and
Herbie Hancock Herbert Jeffrey Hancock (born April 12, 1940) is an American jazz pianist, keyboardist, bandleader, and composer. Hancock started his career with trumpeter Donald Byrd's group. He shortly thereafter joined the Miles Davis Quintet, where he help ...
. Other musicians who had experimented with electronic instruments in the previous decade had abandoned them by the 1980s; for example,
Bill Evans William John Evans (August 16, 1929 – September 15, 1980) was an American jazz pianist and composer who worked primarily as the leader of his trio. His use of impressionist harmony, interpretation of traditional jazz repertoire, block ch ...
,
Joe Henderson Joe Henderson (April 24, 1937 – June 30, 2001) was an American jazz tenor saxophonist. In a career spanning more than four decades, Henderson played with many of the leading American players of his day and recorded for several prominent l ...
, and
Stan Getz Stanley Getz (February 2, 1927 – June 6, 1991) was an American jazz saxophonist. Playing primarily the tenor saxophone, Getz was known as "The Sound" because of his warm, lyrical tone, with his prime influence being the wispy, mellow timbre of ...
. Even the 1980s music of Miles Davis, although certainly still fusion, adopted a far more accessible and recognizably jazz-oriented approach than his abstract work of the mid-1970s, such as a return to a theme-and-solos approach. The emergence of young jazz talent beginning to perform in older, established musicians' groups further impacted the resurgence of traditionalism in the jazz community. In the 1970s, the groups of
Betty Carter Betty Carter (born Lillie Mae Jones; May 16, 1929 – September 26, 1998) was an American jazz singer known for her improvisational technique, scatting and other complex musical abilities that demonstrated her vocal talent and imaginative inter ...
and Art Blakey and the Jazz Messengers retained their conservative jazz approaches in the midst of fusion and jazz-rock, and in addition to difficulty booking their acts, struggled to find younger generations of personnel to authentically play traditional styles such as hard bop and bebop. In the late 1970s, however, a resurgence of younger jazz players in Blakey's band began to occur. This movement included musicians such as Valery Ponomarev and Bobby Watson, Dennis Irwin and James Williams. In the 1980s, in addition to Wynton and
Branford Marsalis Branford Marsalis (born August 26, 1960) is an American saxophonist The saxophone (often referred to colloquially as the sax) is a type of single-reed woodwind instrument with a conical body, usually made of brass. As with all single-reed inst ...
, the emergence of pianists in the Jazz Messengers such as Donald Brown, Mulgrew Miller, and later, Benny Green, bassists such as Charles Fambrough, Lonnie Plaxico (and later, Peter Washington and Essiet Essiet) horn players such as Bill Pierce, Donald Harrison and later Javon Jackson and Terence Blanchard emerged as talented jazz musicians, all of whom made significant contributions in the 1990s and 2000s. The young Jazz Messengers' contemporaries, including
Roy Hargrove Roy Anthony Hargrove (October 16, 1969 – November 2, 2018) was an American jazz musician and composer whose principal instruments were the trumpet and flugelhorn. He achieved worldwide acclaim after winning two Grammy Awards for differing styles ...
,
Marcus Roberts Marthaniel "Marcus" Roberts (born August 7, 1963) is an American jazz pianist, composer, arranger, bandleader, and teacher. Early life Roberts was born in Jacksonville, Florida, United States. His mother was a gospel singer who had gone blind a ...
, Wallace Roney and Mark Whitfield were also influenced by Wynton Marsalis's emphasis toward jazz tradition. These younger rising stars rejected avant-garde approaches and instead championed the acoustic jazz sound of Charlie Parker, Thelonious Monk and early recordings of the first Miles Davis quintet. This group of "Young Lions" sought to reaffirm jazz as a high art tradition comparable to the discipline of classical music. In addition,
Betty Carter Betty Carter (born Lillie Mae Jones; May 16, 1929 – September 26, 1998) was an American jazz singer known for her improvisational technique, scatting and other complex musical abilities that demonstrated her vocal talent and imaginative inter ...
's rotation of young musicians in her group foreshadowed many of New York's preeminent traditional jazz players later in their careers. Among these musicians were Jazz Messenger alumni Benny Green,
Branford Marsalis Branford Marsalis (born August 26, 1960) is an American saxophonist The saxophone (often referred to colloquially as the sax) is a type of single-reed woodwind instrument with a conical body, usually made of brass. As with all single-reed inst ...
and
Ralph Peterson Jr. Ralph Peterson Jr. (May 20, 1962 – March 1, 2021) was an American jazz drummer and bandleader. Early life Four of Peterson's uncles and his grandfather were drummers. Peterson himself began on percussion at age three. He was raised in Pleasan ...
, as well as Kenny Washington, Lewis Nash, Curtis Lundy, Cyrus Chestnut, Mark Shim,
Craig Handy Craig Mitchell Handy (born September 25, 1962) is an American tenor saxophonist. Born in Oakland, California, he attended North Texas State University from 1981 to 1984, and following this played with Art Blakey, Wynton Marsalis, Roy Haynes, Ab ...
, Greg Hutchinson and Marc Cary,
Taurus Mateen Tarus Mateen, also known as Taurus Mateen and Tarus Dorsey Kinch (born October 21, 1967, Bakersfield, California) is an American double-bass and electric bassist, who works in jazz, pop, and R&B idioms.Gary W. Kennedy, "Tarus Mateen". '' The New ...
and Geri Allen. O.T.B. ensemble included a rotation of young jazz musicians such as Kenny Garrett, Steve Wilson, Kenny Davis, Renee Rosnes,
Ralph Peterson Jr. Ralph Peterson Jr. (May 20, 1962 – March 1, 2021) was an American jazz drummer and bandleader. Early life Four of Peterson's uncles and his grandfather were drummers. Peterson himself began on percussion at age three. He was raised in Pleasan ...
, Billy Drummond, and Robert Hurst. A similar reaction took place against free jazz. According to Ted Gioia:
the very leaders of the avant garde started to signal a retreat from the core principles of free jazz. Anthony Braxton began recording standards over familiar chord changes.
Cecil Taylor Cecil Percival Taylor (March 25, 1929April 5, 2018) was an American pianist and poet. Taylor was classically trained and was one of the pioneers of free jazz. His music is characterized by an energetic, physical approach, resulting in complex ...
played duets in concert with Mary Lou Williams, and let her set out structured harmonies and familiar jazz vocabulary under his blistering keyboard attack. And the next generation of progressive players would be even more accommodating, moving inside and outside the changes without thinking twice. Musicians such as David Murray or Don Pullen may have felt the call of free-form jazz, but they never forgot all the other ways one could play African-American music for fun and profit.
Pianist
Keith Jarrett Keith Jarrett (born May 8, 1945) is an American jazz and classical music pianist and composer. Jarrett started his career with Art Blakey and later moved on to play with Charles Lloyd and Miles Davis. Since the early 1970s, he has also been a ...
—whose bands of the 1970s had played only original compositions with prominent free jazz elements—established his so-called 'Standards Trio' in 1983, which, although also occasionally exploring collective improvisation, has primarily performed and recorded jazz standards. Chick Corea similarly began exploring jazz standards in the 1980s, having neglected them for the 1970s. In 1987, the United States House of Representatives and Senate passed a bill proposed by Democratic Representative John Conyers Jr. to define jazz as a unique form of American music, stating "jazz is hereby designated as a rare and valuable national American treasure to which we should devote our attention, support and resources to make certain it is preserved, understood and promulgated." It passed in the House on September 23, 1987, and in the Senate on November 4, 1987.HR-57 Cente
HR-57 Center for the Preservation of Jazz and Blues, with the six-point mandate.


Smooth jazz

In the early 1980s, a commercial form of jazz fusion called "pop fusion" or "smooth jazz" became successful, garnering significant radio airplay in " quiet storm" time slots at radio stations in urban markets across the U.S. This helped to establish or bolster the careers of vocalists including
Al Jarreau Alwin Lopez Jarreau (March 12, 1940 – February 12, 2017) was an American singer and musician. His 1981 album '' Breakin' Away'' spent two years on the ''Billboard'' 200 and is considered one of the finest examples of the Los Angeles pop and R ...
, Anita Baker,
Chaka Khan Yvette Marie Stevens (born March 23, 1953), better known by her stage name Chaka Khan (), is an American singer. Her career has spanned more than five decades, beginning in the 1970s as the lead vocalist of the funk band Rufus. Known as the " Qu ...
, and Sade, as well as saxophonists including
Grover Washington Jr. Grover Washington Jr. (December 12, 1943 – December 17, 1999) was an American jazz-funk and soul-jazz saxophonist. Along with Wes Montgomery and George Benson, he is considered by many to be one of the founders of the smooth jazz genre. He wr ...
, Kenny G, Kirk Whalum, Boney James, and David Sanborn. In general, smooth jazz is downtempo (the most widely played tracks are of 90–105 beats per minute), and has a lead melody-playing instrument (saxophone, especially soprano and tenor, and legato electric guitar are popular). In his '' Newsweek'' article "The Problem With Jazz Criticism", Stanley Crouch considers Miles Davis' playing of fusion to be a turning point that led to smooth jazz. Critic Aaron J. West has countered the often negative perceptions of smooth jazz, stating:
I challenge the prevalent marginalization and malignment of smooth jazz in the standard jazz narrative. Furthermore, I question the assumption that smooth jazz is an unfortunate and unwelcomed evolutionary outcome of the jazz-fusion era. Instead, I argue that smooth jazz is a long-lived musical style that merits multi-disciplinary analyses of its origins, critical dialogues, performance practice, and reception.


Acid jazz, nu jazz, and jazz rap

Acid jazz developed in the UK in the 1980s and 1990s, influenced by jazz-funk and electronic dance music. Acid jazz often contains various types of electronic composition (sometimes including sampling or live DJ cutting and scratching), but it is just as likely to be played live by musicians, who often showcase jazz interpretation as part of their performance. Richard S. Ginell of AllMusic considers Roy Ayers "one of the prophets of acid jazz". Nu jazz is influenced by jazz harmony and melodies, and there are usually no improvisational aspects. It can be very experimental in nature and can vary widely in sound and concept. It ranges from the combination of live instrumentation with the beats of jazz
house A house is a single-unit residential building. It may range in complexity from a rudimentary hut to a complex structure of wood, masonry, concrete or other material, outfitted with plumbing, electrical, and heating, ventilation, and air condi ...
(as exemplified by St Germain, Jazzanova, and Fila Brazillia) to more band-based improvised jazz with electronic elements (for example, The Cinematic Orchestra, Kobol and the Norwegian "future jazz" style pioneered by Bugge Wesseltoft,
Jaga Jazzist Jaga Jazzist (also known as Jaga) is a Norwegian experimental jazz band, that rose to prominence when the BBC named their second album, ''A Livingroom Hush'' (Smalltown Supersound/Ninja Tune), the best jazz album of 2002. (in Norwegian) Biograph ...
, and Nils Petter Molvær). Jazz rap developed in the late 1980s and early 1990s and incorporates jazz influences into hip hop. In 1988, Gang Starr released the debut single "Words I Manifest", which sampled Dizzy Gillespie's 1962 "Night in Tunisia", and Stetsasonic released "Talkin' All That Jazz", which sampled Lonnie Liston Smith. Gang Starr's debut LP '' No More Mr. Nice Guy'' (1989) and their 1990 track "Jazz Thing" sampled Charlie Parker and Ramsey Lewis. The groups which made up the Native Tongues Posse tended toward jazzy releases: these include the Jungle Brothers' debut '' Straight Out the Jungle'' (1988), and
A Tribe Called Quest A Tribe Called Quest was an American hip hop group formed in Queens, New York City, in 1985,Q-Tip
's '' People's Instinctive Travels and the Paths of Rhythm'' (1990) and ''
The Low End Theory ''The Low End Theory'' is the second studio album by American hip-hop group A Tribe Called Quest, released on September 24, 1991, by Jive Records. Recording sessions for the album were held mostly at Battery Studios in New York City, from 1990 to ...
'' (1991). Rap duo Pete Rock & CL Smooth incorporated jazz influences on their 1992 debut '' Mecca and the Soul Brother''. Rapper Guru's Jazzmatazz series began in 1993 using jazz musicians during the studio recordings. Although jazz rap had achieved little mainstream success, Miles Davis' final album ''
Doo-Bop ''Doo-Bop'' is the last studio album by American jazz trumpeter Miles Davis. It was recorded with hip hop producer Easy Mo Bee and released posthumously on June 30, 1992, by Warner Bros. Records. The album was received unfavorably by most critics, ...
'' (released posthumously in 1992) was based on hip hop beats and collaborations with producer Easy Mo Bee. Davis' ex-bandmate
Herbie Hancock Herbert Jeffrey Hancock (born April 12, 1940) is an American jazz pianist, keyboardist, bandleader, and composer. Hancock started his career with trumpeter Donald Byrd's group. He shortly thereafter joined the Miles Davis Quintet, where he help ...
also absorbed hip-hop influences in the mid-1990s, releasing the album '' Dis Is Da Drum'' in 1994.


Punk jazz and jazzcore

The relaxation of orthodoxy which was concurrent with post-punk in London and New York City led to a new appreciation of jazz. In London, the Pop Group began to mix free jazz and dub reggae into their brand of punk rock. In New York, No Wave took direct inspiration from both free jazz and punk. Examples of this style include Lydia Lunch's ''Queen of Siam'',Bangs, Lester. "Free Jazz / Punk Rock". ''Musician Magazine'', 1979

Access date: July 20, 2008.
Gray, the work of
James Chance and the Contortions James Chance and the Contortions (initially known simply as Contortions, a spin-off group is called James White and the Blacks) was a musical group led by saxophonist and vocalist James Chance, formed in 1977. They were a central act of New York ...
(who mixed Soul with free jazz and punk) and the
Lounge Lizards The Lounge Lizards were an eclectic musical group founded by saxophonist John Lurie and his brother, pianist Evan Lurie, in 1978. Initially known for their ironic, tongue-in-cheek take on jazz, The Lounge Lizards eventually became a showcase ...
(the first group to call themselves "
punk jazz Punk jazz is a genre of music that combines elements of jazz, especially improvisation, with the instrumentation and performance style of punk rock. The term was first used to describe James Chance and the Contortions' 1979 album ''Buy''. Punk ...
").
John Zorn John Zorn (born September 2, 1953) is an American composer, conductor, saxophonist, arranger and producer who "deliberately resists category". Zorn's avant-garde and experimental approaches to composition and improvisation are inclusive of jaz ...
took note of the emphasis on speed and dissonance that was becoming prevalent in punk rock, and incorporated this into free jazz with the release of the '' Spy vs. Spy'' album in 1986, a collection of
Ornette Coleman Randolph Denard Ornette Coleman (March 9, 1930 – June 11, 2015) was an American jazz saxophonist, violinist, trumpeter, and composer known as a principal founder of the free jazz genre, a term derived from his 1960 album '' Free Jazz: A Colle ...
tunes done in the contemporary thrashcore style. In the same year, Sonny Sharrock, Peter Brötzmann, Bill Laswell, and Ronald Shannon Jackson recorded the first album under the name Last Exit, a similarly aggressive blend of thrash and free jazz. These developments are the origins of ''jazzcore'', the fusion of free jazz with hardcore punk.


M-Base

The M-Base movement started in the 1980s, when a loose collective of young African-American musicians in New York which included
Steve Coleman Steve Coleman (born September 20, 1956) is an American saxophonist, composer, bandleader and music theorist. In 2014, he was named a MacArthur Fellow. Early life Steve Coleman was born and grew up in South Side, Chicago. He started playing al ...
,
Greg Osby Greg Osby (born August 3, 1960) is an American saxophonist and composer. Biography Born in St. Louis, Missouri, Osby studied at Howard University, then at the Berklee College of Music. He moved to New York City in 1982, where he played with Jaki ...
, and Gary Thomas developed a complex but grooving sound. In the 1990s, most M-Base participants turned to more conventional music, but Coleman, the most active participant, continued developing his music in accordance with the M-Base concept. Coleman's audience decreased, but his music and concepts influenced many musicians, according to pianist Vijay Iver and critic Ben Ratlifff of ''The New York Times''. M-Base changed from a movement of a loose collective of young musicians to a kind of informal Coleman "school", with a much advanced but already originally implied concept. Steve Coleman's music and M-Base concept gained recognition as "next logical step" after Charlie Parker, John Coltrane, and Ornette Coleman.


1990s–present

Since the 1990s, jazz has been characterized by a pluralism in which no one style dominates, but rather a wide range of styles and genres are popular. Individual performers often play in a variety of styles, sometimes in the same performance. Pianist Brad Mehldau and The Bad Plus have explored contemporary rock music within the context of the traditional jazz acoustic piano trio, recording instrumental jazz versions of songs by rock musicians. The Bad Plus have also incorporated elements of free jazz into their music. A firm avant-garde or free jazz stance has been maintained by some players, such as saxophonists
Greg Osby Greg Osby (born August 3, 1960) is an American saxophonist and composer. Biography Born in St. Louis, Missouri, Osby studied at Howard University, then at the Berklee College of Music. He moved to New York City in 1982, where he played with Jaki ...
and Charles Gayle, while others, such as James Carter, have incorporated free jazz elements into a more traditional framework.
Harry Connick Jr. Joseph Harry Fowler Connick Jr. (born September 11, 1967) is an American singer, pianist, composer, actor, and television host. He has sold over 28million albums worldwide. Connick is ranked among the top60 best-selling male artists in the Uni ...
began his career playing stride piano and the Dixieland jazz of his home, New Orleans, beginning with his first recording when he was 10 years old. Some of his earliest lessons were at the home of pianist Ellis Marsalis. Connick had success on the pop charts after recording the soundtrack to the movie '' When Harry Met Sally'', which sold over two million copies. Crossover success has also been achieved by Diana Krall, Norah Jones, Cassandra Wilson, Kurt Elling, and Jamie Cullum. A number of players from largely straight-ahead or post-bop backgrounds have emerged since the 1990s, including pianists Jason Moran and Vijay Iyer, guitarist Kurt Rosenwinkel, vibraphonist
Stefon Harris Stefon DeLeon Harris (born March 23, 1973) is an American jazz vibraphonist. Biography A native of Albany, New York, Harris intended to work for the New York Philharmonic until he heard the music of Charlie Parker. During the 1990s he recorded ...
, trumpeters
Roy Hargrove Roy Anthony Hargrove (October 16, 1969 – November 2, 2018) was an American jazz musician and composer whose principal instruments were the trumpet and flugelhorn. He achieved worldwide acclaim after winning two Grammy Awards for differing styles ...
and Terence Blanchard, saxophonists Chris Potter and Joshua Redman, clarinetist Ken Peplowski and bassist Christian McBride. Although jazz-rock fusion reached the height of its popularity in the 1970s, the use of electronic instruments and rock-derived musical elements in jazz continued in the 1990s and 2000s. Musicians using this approach include Pat Metheny, John Abercrombie, John Scofield and the Swedish group e.s.t. Since the beginning of the 1990s, electronic music had significant technical improvements that popularized and created new possibilities for the genre. Jazz elements such as improvisation, rhythmic complexities and harmonic textures were introduced to the genre and consequently had a big impact in new listeners and in some ways kept the versatility of jazz relatable to a newer generation that did not necessarily relate to what the traditionalists call real jazz (bebop, cool and modal jazz). Artists such as Squarepusher,
Aphex Twin Richard David James (born 18 August 1971), best known as Aphex Twin, is an Irish-born British musician, composer and DJ. He is known for his idiosyncratic work in electronic music, electronic styles such as techno, ambient music, ambient, and jun ...
, Flying Lotus and sub genres like IDM,
drum 'n' bass Drum and bass (also written as drum & bass or drum'n'bass and commonly abbreviated as D&B, DnB, or D'n'B) is a genre of electronic dance music characterized by fast breakbeats (typically 165–185 beats per minute) with heavy bass and sub-ba ...
, jungle and techno ended up incorporating a lot of these elements. Squarepusher being cited as one big influence for jazz performers drummer Mark Guiliana and pianist Brad Mehldau, showing the correlations between jazz and electronic music are a two-way street. In 2001,
Ken Burns Kenneth Lauren Burns (born July 29, 1953) is an American filmmaker known for his documentary film, documentary films and television series, many of which chronicle United States, American History of the United States, history and Culture of the ...
's documentary '' Jazz'' was premiered on PBS, featuring Wynton Marsalis and other experts reviewing the entire history of American jazz to that time. It received some criticism, however, for its failure to reflect the many distinctive non-American traditions and styles in jazz that had developed, and its limited representation of US developments in the last quarter of the 20th century. The mid-2010s saw an increasing influence of R&B, hip-hop, and pop music on jazz. In 2015, Kendrick Lamar released his third studio album, '' To Pimp a Butterfly''. The album heavily featured prominent contemporary jazz artists such as
Thundercat Thundercat or Thundercats may refer to: * Thundercat (snowmobile), a series of snowmobiles produced by Arctic Cat * Thundercat (musician), stage name of Stephen Lee Bruner, an American musician * ThunderCats, a media franchise, featuring a fictio ...
and redefined jazz rap with a larger focus on improvisation and live soloing rather than simply sampling. In that same year, saxophonist Kamasi Washington released his nearly three-hour long debut, '' The Epic''. Its hip-hop inspired beats and R&B vocal interludes was not only acclaimed by critics for being innovative in keeping jazz relevant, but also sparked a small resurgence in jazz on the internet. Another internet-aided trend of 2010's jazz was that of extreme
reharmonization In music, harmonization is the chordal accompaniment to a part (music), line or melody: "Using chords and melodies together, making harmony by stacking scale tones as triads". A harmonized scale can be created by using each note of a musical s ...
, inspired by both virtuosic players known for their speed and rhythm such as Art Tatum, as well as players known for their ambitious voicings and chords such as Bill Evans. Supergroup Snarky Puppy adopted this trend, allowing players like Cory Henry to shape the grooves and harmonies of modern jazz soloing. YouTube phenomenon Jacob Collier also gained recognition for his ability to play an incredibly large number of instruments and his ability to use
microtones Microtonal music or microtonality is the use in music of microtones—intervals smaller than a semitone, also called "microintervals". It may also be extended to include any music using intervals not found in the customary Western tuning of tw ...
, advanced polyrhythms, and blend a spectrum of genres in his largely homemade production process.


See also

*
Jazz (Henri Matisse) Henri Matisse’s ''Jazz'' is a limited-edition art book containing prints of colorful cut-paper Collage, collages, accompanied by the artist's written thoughts. It was first issued on September 30, 1947, by art publisher Tériade. The portfolio, ...
* Jazz piano *
Jazz royalty Jazz royalty is a term encompassing the many jazz musicians who have been termed as exceptionally musically gifted and informally granted honorific, "aristocratic" or "royal" titles as nicknames. The practice of affixing honorific titles to the ...
* Victorian Jazz Archive * Hogan Jazz Archive * International Jazz Day *
Bibliography of jazz General and history * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * Autobiography and biography Louis Armstrong * * ...
*
Timeline of jazz education Timeline of jazz education (a chronology of jazz pedagogy): The initial jazz education movement in North American was much an outgrowth of the music education movement that had been in full swing since the 1920s. Chuck Suber ''(né'' Charles Harr ...
*
List of certified jazz recordings This is a list of certified jazz recordings, which also represents best-selling jazz recordings. Jazz recordings Studio albums Live albums Compilation albums Crossover jazz recordings References {{Reflist Jazz discographies Jazz Jazz ...
* List of jazz festivals *
List of jazz genres This is a list of subgenres of jazz music. See also References {{Western music genres Jazz Jazz is a music genre that originated in the African-American communities of New Orleans, Louisiana in the late 19th and early 20th c ...
* List of jazz musicians * List of jazz standards * List of jazz venues * List of jazz venues in the United States


Notes


References

* . * * Includes a 120-page interview with Hines plus many photos. * * * * * * * * New printing 1986. * * Also: ''Jazz'' (2001 miniseries).


Further reading

* * Carr, Ian. ''Music Outside: Contemporary Jazz in Britain.'' 2nd edition. London: Northway. * * Downbeat (2009). ''The Great Jazz Interviews'': Frank Alkyer & Ed Enright (eds). Hal Leonard Books. * Gridley, Mark C. 2004. ''Concise Guide to Jazz'', fourth edition. Upper Saddle River, New Jersey: Pearson/Prentice Hall. * Nairn, Charlie. 1975. ''Earl 'Fatha' Hines'': 1 hour 'solo' documentary made in "Blues Alley" Jazz Club, Washington DC, for ATV, England, 1975: produced/directed by Charlie Nairn: original 16mm film plus out-takes of additional tunes from that film archived in British Film Institute Library at bfi.org.uk and itvstudios.com: DVD copies with Jean Gray Hargrove Music Library [who hold The
Earl Hines Earl Kenneth Hines, also known as Earl "Fatha" Hines (December 28, 1903 – April 22, 1983), was an American jazz pianist and bandleader. He was one of the most influential figures in the development of jazz piano and, according to one source, " ...
Collection/Archive], University of California, Berkeley: also University of Chicago, Hogan Jazz Archive Tulane University New Orleans and Louis Armstrong House Museum Libraries. * Schuller, Gunther. 1991. ''The Swing Era: The Development of Jazz, 1930–1945''. Oxford University Press.


External links


Jazz at the Smithsonian Museum

Alabama Jazz Hall of Fame website

RedHotJazz.com

Jazz at Lincoln Center

American Jazz Museum
website {{Authority control African-American cultural history African-American music American styles of music Jazz terminology Musical improvisation Popular music Radio formats Traditional music