Jazz

For other uses, seeJazz (disambiguation).

Template:Jazzbox Jazzis amusicalart form which originated at the beginning of the 20th century inAfrican Americancommunities in theSouthern United Statesfrom a confluence ofAfricanandEuropeanmusic traditions.

From its early development until the present, jazz has incorporated music from 19th and 20th centuryAmerican popular music.ItsWest Africanpedigree is evident in its use ofblue notes,improvisation,polyrhythms,syncopation,and theswung notebut one of jazz's iconic figuresArt Blakeyhas been quoted as saying, "No America, no jazz. I’ve seen people try to connect it to other countries, for instance to Africa, but it doesn’t have a damn thing to do with Africa".

Theword "jazz"began as aWest Coastslang term of uncertain derivation and was first used to refer to music inChicagoin about 1915.

Jazz has, from its early 20th century inception, spawned a variety of subgenres, fromNew OrleansDixielanddating from the early 1910s,big band-styleswingfrom the 1930s and 1940s,bebopfrom the mid-1940s, a variety ofLatin jazzfusionssuch asAfro-CubanandBrazilian jazzfrom the 1950s and 1960s,jazz-rock fusionfrom the 1970s and late 1980s developments such asacid jazz,which blended jazz influences intofunkandhip-hop.

As the music has spread around the world it has drawn on local national and regional musical cultures, its aesthetics being adapted to its varied environments and giving rise to many distinctive styles.

Definition

Double bassistReggie Workman,tenor saxophone playerPharoah Sanders,and drummerIdris Muhammadperforming in 1978

Jazz can be very hard to define because it spans fromRagtimewaltzes to 2000s-era fusion. While many attempts have been made to define jazz from points of view outside jazz, such as using European music history or African music, jazz criticJoachim Berendtargues that all such attempts are unsatisfactory.One way to get around the definitional problems is to define the term “jazz” more broadly. Berendt defines jazz as a "form of art music which originated in the United States through the confrontation of blacks with European music"; he argues that jazz differs from European music in that jazz has a "special relationship to time, defined as 'swing'", "a spontaneity and vitality of musical production in which improvisation plays a role"; and "sonority and manner of phrasing which mirror the individuality of the performing jazz musician".

Travis Jackson has also proposed a broader definition of jazz which is able to encompass all of the radically different eras: he states that it is music that includes qualities such as "swinging', improvising, group interaction, developing an 'individual voice', and being 'open' to different musical possibilities ".Krin Gabbard claims that “jazz is a construct” or category that, while artificial, still is useful to designate “a number of musics with enough in common to be understood as part of a coherent tradition”.

While jazz may be difficult to define,improvisationis clearly one of its key elements. Earlyblueswas commonly structured around a repetitivecall-and-responsepattern, a common element in theAfrican Americanoral tradition. A form of folk music which rose in part from work songs and field hollers of rural Blacks, early blues was also highly improvisational. These features are fundamental to the nature of jazz. While in Europeanclassical musicelements of interpretation, ornamentation and accompaniment are sometimes left to the performer's discretion, the performer's primary goal is to play a composition as it was written.

In jazz, however, the skilled performer will interpret a tune in very individual ways, never playing the same composition exactly the same way twice. Depending upon the performer's mood and personal experience, interactions with fellow musicians, or even members of the audience, a jazz musician/performer may alter melodies, harmonies or time signature at will. European classical music has been said to be a composer's medium. Jazz, however, is often characterized as the product of democratic creativity, interaction and collaboration, placing equal value on the contributions of composer and performer, 'adroitly weigh[ing] the respective claims of thecomposerand the improviser'.

In New Orleans andDixielandjazz, performers took turns playing the melody, while others improvised countermelodies. By theswingera,big bandswere coming to rely more on arranged music:arrangementswere eitherwrittenor learned by ear and memorized – many early jazz performers could not read music. Individual soloists would improvise within these arrangements. Later, inbebopthe focus shifted back towards small groups and minimal arrangements; the melody (known as the "head" ) would be stated briefly at the start and end of a piece but the core of the performance would be the series of improvisations in the middle. Later styles of jazz such asmodal jazzabandoned the strict notion of achord progression,allowing the individual musicians to improvise even more freely within the context of a given scale or mode.Theavant-gardeandfree jazzidioms permit, even call for, abandoning chords, scales, and rhythmic meters.

Debates

There have long been debates in the jazz community over the definition and the boundaries of “jazz”. Although alteration or transformation of jazz by new influences has often been initially criticized as a “debasement,” Andrew Gilbert argues that jazz has the “ability to absorb and transform influences” from diverse musical styles.While some enthusiasts of certain types of jazz have argued for narrower definitions which exclude many other types of music also commonly known as "jazz", jazz musicians themselves are often reluctant to define the music they play.Duke Ellingtonsummed it up by saying, "It's all music."Some critics have even stated that Ellington's music was not jazz because it was arranged and orchestrated.On the other hand Ellington's friendEarl Hines's twenty solo "transformative versions" of Ellington compositions (onEarl Hines Plays Duke Ellingtonrecorded in the 1970s) were described by Ben Ratliff, theNew York Timesjazz critic, as "as good an example of the jazz process as anything out there."

Commercially-oriented or popular music-influenced forms of jazz have both long been criticized, at least since the emergence of Bop. Traditional jazz enthusiasts have dismissed Bop, the 1970s jazz fusion era [and much else] as a period of commercial debasement of the music. According to Bruce Johnson, jazz music has always had a "tension between jazz as a commercial music and an art form".Gilbert notes that as the notion of a canon of jazz is developing, the “achievements of the past” may become "…privileged over the idiosyncratic creativity...” and innovation of current artists.Village Voicejazz criticGary Giddinsargues that as the creation and dissemination of jazz is becoming increasingly institutionalized and dominated by major entertainment firms, jazz is facing a "...perilous future of respectability and disinterested acceptance." David Ake warns that the creation of “norms” in jazz and the establishment of a “jazz tradition” may exclude or sideline other newer, avant-garde forms of jazz.Controversy has also arisen over new forms of contemporary jazz created outside the United States and departing significantly from American styles. On one view they represent a vital part of jazz's current development; on another they are sometimes criticised as a rejection of vital jazz traditions.

Etymology of "Jazz"

Main article:Jazz (word)

The word jazz makes one of its earliest appearances in San Francisco baseball writing in 1913.

Jazz was introduced to San Francisco in 1913 by William (Spike) Slattery, sports editor of the Call, and propagated by a band-leader named Art Hickman. It reached Chicago by 1915 but was not heard of in New York until a year later.

One of the first known uses of the word jazz appears in a March 3, 1913, baseball article in the San Francisco Bulletin by E. T. “Scoop” Gleeson

Origins

In the late 18th-century paintingThe Old Plantation,African-Americans dance to banjo and percussion.

By 1808 theAtlantic slave tradehad brought almost half a millionAfricansto the United States. The slaves largely came fromWest Africaand brought strong tribal musical traditions with them.Lavish festivals featuring African dances to drums were organized on Sundays atPlace Congo,orCongo Square,inNew Orleansuntil 1843, as were similar gatherings inNew EnglandandNew York.African music was largely functional, for work or ritual, and includedwork songsandfield hollers.The African tradition made use of a single-line melody andcall-and-responsepattern, but without the European concept of harmony. Rhythms reflected African speech patterns, and the African use of pentatonic scales led toblue notesin blues and jazz.

TheblackfaceVirginia Minstrelsin 1843, featuring tambourine, fiddle, banjo andbones.

In the early 19th century an increasing number of black musicians learned to play European instruments, particularly theviolin,which they used to parody European dance music in their owncakewalkdances. In turn, European-Americanminstrel showperformers inblackfacepopularized such music internationally, combiningsyncopationwith European harmonic accompaniment.Louis Moreau Gottschalkadapted African-American cakewalk music, South American, Caribbean and other slave melodies as piano salon music. Another influence came from black slaves who had learned the harmonic style ofhymnsand incorporated it into their own music asspirituals.Theorigins of the bluesare undocumented, though they can be seen as the secular counterpart of the spirituals.Paul Oliverhas drawn attention to similarities in instruments, music and social function to thegriotsof the West Africansavannah.

1890s–1910s

Ragtime

Main article:Ragtime

Scott Joplinin 1907.

The abolition of slavery led to new opportunities for the education of freed African-Americans, though strict segregation limited employment opportunities for most blacks, however Blacks were able to find work in entertainment. Black musicians were able to provide "low-class" entertainment in dances,minstrel shows,and invaudeville,by which many marching bands formed. Black pianists played in bars, clubs, and brothels, asragtimedeveloped.

Ragtime appeared as sheet music, popularized by African American musicians such as the entertainerErnest Hogan,whose hit songs appeared in 1895; two years laterVess Ossmanrecorded a medley of these songs as abanjosolo "Rag Time Medley".Also in 1897, the white composerWilliam H. Krellpublished his "Mississippi Rag" as the first written piano instrumental ragtime piece, andTom Turpinpublished his Harlem Rag, that was the first rag published by an African-American. The classically-trained pianistScott Joplinproduced his "Original Rags" in the following year, then in 1899 had an international hit with "Maple Leaf Rag."He wrote numerous popular rags, including,"The Entertainer",combining syncopation, banjo figurations and sometimes call-and-response, which led to the ragtime idiom being taken up by classical composers includingClaude DebussyandIgor Stravinsky.Bluesmusic was published and popularized byW. C. Handy,whose "Memphis Blues"of 1912 and"St. Louis Blues"of 1914 both becamejazz standards.

New Orleans music

Main article:Dixieland

Themusic of New Orleanshad a profound effect on the creation of early jazz. Many early jazz performers played in the brothels and bars of thered-light districtaroundBasin Street,called "Storyville."In addition, numerous marching bands played at lavish funerals arranged by the African American community. The instruments used inmarching bandsand dance bands became the basic instruments of jazz: brass and reeds tuned in the European 12-tone scale and drums. Small bands of primarily self-taught African American musicians, many of whom came from the funeral-procession tradition ofNew Orleans,played a seminal role in the development and dissemination of early jazz, traveling throughout Black communities in the Deep South and, from around 1914 on,Afro-Creoleand African American musicians playing invaudevilleshows took jazz to western and northern US cities.

The Bolden Bandaround 1905.

ThecornetistBuddy Boldenis often mentioned as "the first man of jazz." He played in New Orleans around the year 1900. No recordings remain of Bolden, but his song "Buddy Bolden Blues" has been recorded by many other musicians. Bolden became mentally ill in 1907 and spent the rest of his life in a mental institution.

Morton published "Jelly Roll Blues" in 1915, the first jazz work in print.

Afro-Creole pianistJelly Roll Mortonbegan his career in Storyville. From 1904, he toured withvaudevilleshows around southern cities, also playing inChicagoandNew York.His "Jelly Roll Blues,"which he composed around 1905, was published in 1915 as the first jazz arrangement in print, introducing more musicians to the New Orleans style. In the northeastern United States, a "hot" style of playing ragtime had developed, notablyJames Reese Europe's symphonicClef Cluborchestra inNew Yorkwhich played a benefit concert atCarnegie Hallin 1912.TheBaltimorerag style ofEubie BlakeinfluencedJames 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.

TheOriginal Dixieland Jass Bandmade the first Jazz recordings early in 1917, their "Livery Stable Blues"became the earliest Jazz recording.That year numerous other bands made recordings featuring "jazz" in the title or band name, mostly ragtime or novelty records rather than jazz. In September 1917W.C. Handy's Orchestra of Memphis recorded a cover version of "Livery Stable Blues."In February 1918James Reese Europe's "Hellfighters" infantry band took ragtime to Europe duringWorld War I,then on return recorded Dixieland standards including "Darktown Strutters' Ball."

1920s and 1930s

Prohibition in the United States(from 1920 to 1933) banned the sale of alcoholic drinks, resulting in illicitspeakeasiesbecoming lively venues of the "Jazz Age",an era when popular music included current dance songs, novelty songs, and show tunes. Jazz started to get a reputation as beingimmoraland many members of the older generations saw it as threatening the old values in culture and promoting the new decadent values of theRoaring 20s.From 1919Kid Ory's Original Creole Jazz Band of musicians from New Orleans played inSan FranciscoandLos Angeleswhere in 1922 they became the first black jazz band of New Orleans origin to make recordings.However, the main centre developing the new "Hot Jazz"wasChicago,whereKing OliverjoinedBill Johnson.That year also saw the first recording byBessie Smith,the most famous of the 1920s blues singers.

The King & Carter Jazzing Orchestra photographed in Houston, Texas, January 1921.

Bix Beiderbeckeformed The Wolverines in 1924. Also in 1924Louis Armstrongjoined theFletcher Hendersondance band as featured soloist for a year, then formed his virtuosicHot Fiveband, also popularizingscat singing.Jelly Roll Mortonrecorded with theNew Orleans Rhythm Kingsin an early mixed-race collaboration, then in 1926 formed hisRed Hot Peppers.There was a larger market for jazzy dance music played by white orchestras, such asJean Goldkette's orchestra andPaul Whiteman's orchestra. In 1924 Whiteman commissionedGershwin'sRhapsody in Blue,which was premièred by Whiteman's Orchestra. Other influential large ensembles includedFletcher Henderson's band,Duke Ellington's band (which opened an influential residency at theCotton Clubin 1927) in New York, andEarl Hines's Band in Chicago (who opened in The Grand Terrace Cafe there in 1928). All significantly influenced the development of big band-style swing jazz.

Swing

Main article:Swing music

The 1930s belonged to popularswingbig bands,in which some virtuoso soloists became as famous as the band leaders. Key figures in developing the "big" jazz band included bandleaders and arrangersCount Basie,Cab Calloway,JimmyandTommy Dorsey,Duke Ellington,Benny Goodman,Fletcher Henderson,Earl Hines,Glenn Miller,andArtie Shaw.

Trumpeter, bandleader andsingerLouis Armstrongwas a much-imitated innovator of early jazz.

Swing was also dance music. It was broadcast on the radio 'live' nightly across America for many years especially by Hines and hisGrand Terrace CafeOrchestra broadcasting coast-to-coast from Chicago, well placed for 'live' time-zones. 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 very complex and '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 Goodmanhired pianistTeddy Wilson,vibraphonistLionel Hampton,and guitaristCharlie Christianto join small groups. An early 1940s style known as "jumping the blues" orjump bluesused small combos, up-tempo music, and blues chord progressions. Jump blues drew onboogie-woogiefrom the 1930s.Kansas City Jazzin the 1930s as exemplified by tenor saxophonistLester Youngmarked the transition from big bands to the bebop influence of the 1940s.

Beginnings of European jazz

Outside of the United States the beginnings of a distinct European style of jazz emerged in France with theQuintette du Hot Club de Francewhich began in 1934. Belgian guitar virtuosoDjango Reinhardtpopularizedgypsy jazz,a mix of 1930s Americanswing,French dance hall "musette"and Eastern European folk with a languid, seductive feel. The main instruments are steel stringed guitar,violin,anddouble bass.Solos pass from one player to another as the guitar and bass play the role of therhythm section.Some music researchers hold that it was Philadelphia'sEddie Lang(guitar) andJoe Venuti(violin) who pioneered thegypsy jazzform,which was brought to France after they had been heard live or onOkeh Recordsin the late 1920s.

1940s and 1950s

Dixieland revival

Louis Armstrongin 1953

In the late 1940s there was a revival of "Dixieland"music, harkening back to the originalcontrapuntalNew Orleans style. This was driven in large part by record company reissues of early jazz classics by the Oliver, Morton, and Armstrong bands of the 1930s. There were two populations of musicians involved in the revival. One group consisted of players who had begun their careers playing in the traditional style, and were either returning to it, or continuing what they had been playing all along, such asBob Crosby's Bobcats,Max Kaminsky,Eddie Condon,andWild Bill Davison.Most of this group were originally Midwesterners, although there were a small number of New Orleans musicians involved. The second population of revivalists consisted of young musicians such as theLu Wattersband. 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.

Bebop

See alsoList of bebop musicians

File:Thelonious Monk 1967.jpg

Thelonious MonkatExpo 67,1967,Montréal,Québec.BassistLarry Galesseen in background.

In the early 1940sbebopperformers helped to shift jazz from danceable popular music towards a more challenging "musician's music." Differing greatly from swing, early bebop divorced itself from dance music, establishing itself more as an art form but lessening its potential popular and commercial value. Since bebop was meant to be listened to, not danced to, it used faster tempos. Beboppers introduced new forms ofchromaticismanddissonanceinto jazz; the dissonanttritone(or "flatted fifth" ) interval became the "most important interval of bebop"and players engaged in a more abstracted form of chord-based improvisation which used "passing" chords,substitute chords,andaltered chords.The style of drumming shifted as well to a more elusive and explosive style, in which theride cymbalwas used to keep time, while the snare and bass drum were used for accents.

These divergences from the jazz mainstream of the time initially met with a divided, sometimes hostile response among fans and fellow musicians, especially established swing players, who bristled at the new harmonic sounds. To hostile critics, bebop seemed to be filled with "racing, nervous phrases".Despite the initial friction, by the 1950s bebop had become an accepted part of the jazz vocabulary. The most influential bebop musicians included saxophonistCharlie Parker,pianistsBud PowellandThelonious Monk,trumpetersDizzy GillespieandClifford Brown,and drummerMax Roach.

Cool jazz

By the end of the 1940s, the nervous energy and tension of bebop was replaced with a tendency towards calm and smoothness, with the sounds ofcool jazz,which favoured long, linear melodic lines. It emerged inNew York City,as a result of the mixture of the styles of predominantly white jazz musicians and blackbebopmusicians, and it dominated jazz in the first half of the 1950s. Cool jazz recordings byChet Baker,Dave Brubeck,Bill Evans,Gil Evans,Stan Getzand theModern Jazz Quartetusually have a "lighter" sound which avoided the aggressive tempos and harmonic abstraction of bebop. An important recording was trumpeterMiles Davis'sBirth of the Cool(tracks originally recorded in 1949 and 1950 and collected as an LP in 1957). Cool jazz styles had a particular resonance in Europe, especially Scandinavia, with emergence of such major figures as baritone saxophonistLars Gullinand pianistBengt Hallberg.Players such as pianistBill Evanslater began searching for new ways to structure their improvisations by exploringmodal music.The theoretical underpinnings of cool jazz were set out by the blind Chicago pianistLennie Tristano.Cool jazz later became strongly identified with theWest Coast jazzscene. Its influence stretches into such later developments asBossa nova,modal jazz (especially in the form of Davis'sKind of Blue1959), and even free jazz (see also theList of Cool jazz and West Coast jazz musicians).

Hard bop

Hard bopis an extension ofbebop(or "bop" ) music that incorporates influences fromrhythm and blues,gospel music,andblues,especially in thesaxophoneandpianoplaying. Hard bop was developed in the mid-1950s, partly in response to the vogue forcool jazzin the early 1950s. The hard bop style coalesced in 1953 and 1954, paralleling the rise of rhythm and blues.Miles Davis' performance of "Walkin'" the title track of hisalbumof the same year, at the very firstNewport Jazz Festivalin 1954, announced the style to the jazz world. The quintetArt Blakey and the Jazz Messengers,fronted byBlakeyand featuring pianistHorace Silverand trumpeterClifford Brown,were leaders in the hard bop movement along with Davis. (See alsoList of Hard bop musicians)

Modal jazz

Modal jazzis a development beginning in the later 1950s which takes themode,or musical scale, as the basis of musical structure and improvisation. Previously, the goal of the soloist was to play a solo that fit into a givenchord progression.However, with modal jazz, the soloist creates a melody using one or a small number of modes. The emphasis in this approach shifts from harmony to melody.Miles Davisrecorded the best selling jazz album of all time in the modal framework:Kind of Blue,an exploration of the possibilities of modal jazz. Other innovators in this style includeJohn ColtraneandHerbie Hancock.

Free jazz

A shot from a 2006 performance byPeter Brötzmann,a key figure in European free jazz

Free jazzand the related form ofavant-garde jazzbroke through into an open space of "free tonality" in which meter, beat, and formal symmetry all disappeared, and a range ofWorld musicfrom India, Africa, and Arabia were melded into an intense, even religiously ecstatic or orgiastic style of playing.While rooted inbebop,free jazz tunes gave players much more latitude; the looseharmonyandtempowas deemed controversial when this approach was first developed. The bassistCharles Mingusis 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 ofOrnette ColemanandCecil Taylor.In the 1960s, performers includedJohn Coltrane(A Love Supreme),Archie Shepp,Sun Ra,Albert Ayler,Pharoah Sanders,and others. Free jazz quickly found a foothold in Europe– in part because musicians such as Ayler, Taylor,Steve LacyandEric Dolphyspent extended periods in Europe. A distinctive European contemporary jazz (often incorporating elements of free jazz but not limited to it) flourished also because of the emergence of musicians (such asJohn Surman,Zbigniew Namyslowski,Albert Mangelsdorff,Kenny WheelerandMike Westbrook) anxious to develop new approaches reflecting their national and regional musical cultures and contexts.Keith Jarretthas been prominent in defending free jazz from criticism by traditionalists in the 1990s and 2000s.

1960s and 1970s

Latin jazz

Latin jazzcombines rhythms from African and Latin American countries, often played on instruments such asconga,timbale,güiro,andclaves,with jazz and classical harmonies played on typical jazz instruments (piano, double bass, etc.). There are two main varieties:Afro-Cuban jazzwas played in the US right after the bebop period, whileBrazilian jazzbecame more popular in the 1960s. Afro-Cuban jazz began as a movement in the mid-1950s asbebopmusicians such asDizzy GillespieandBilly Taylorstarted Afro-Cuban bands influenced by such Cuban and Puerto Rican musicians asXavier Cugat,Tito Puente,andArturo Sandoval.Brazilian jazzsuch asbossa novais derived fromsamba,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. The style was pioneered by BraziliansJoão GilbertoandAntônio Carlos Jobim.The related term jazz-samba describes an adaptation of bossa nova compositions to the jazz idiom by American performers such asStan GetzandCharlie Byrd.

Post bop

Post-bopjazz is a form of small-combo jazz derived from earlier bop styles.Maiden VoyagebyHerbie HancockandSpeak No EvilbyWayne Shorterare key examples of this style.

Soul jazz

Soul jazzwas a development ofhard bopwhich incorporated strong influences fromblues,gospelandrhythm and bluesin music for small groups, often theorgan trio,which partnered aHammond organplayer with a drummer and a tenor saxophonist. Unlikehard bop,soul jazz generally emphasized repetitivegroovesand melodic hooks, andimprovisationswere often less complex than in other jazz styles.Horace Silverhad a large influence on the soul jazz style, with songs that used funky and oftengospel-based pianovamps.It often had a steadier "funk" style groove, different from the swing rhythms typical of much hard bop. Important soul jazz organists includedJimmy McGriffandJimmy SmithandJohnny Hammond Smith,and influential tenorsaxophoneplayers includedEddie "Lockjaw" DavisandStanley Turrentine.(See alsoList of soul-jazz musicians.)

Jazz fusion

In the late 1960s and early 1970s the hybrid form of jazz-rockfusionwas developed by combining jazz improvisation with rock rhythms, electric instruments, and the highly amplified stage sound of rock musicians such asJimi Hendrix.Miles Davis made the breakthrough into fusion in 1970s with his albumBitches Brew.Musicians who worked with Davis formed the four most influential fusion groups:Weather ReportandMahavishnu Orchestraemerged in 1971 and were soon followed byReturn to ForeverandThe Headhunters.Although jazz purists protested the blend of jazz and rock, some of jazz's significant innovators crossed over from the contemporary hard bop scene into fusion. Jazz fusion music often uses mixed meters, odd time signatures, syncopation, and complex chords and harmonies. In addition to using the electric instruments of rock, such as the electric guitar, electric bass, electric piano, and synthesizer keyboards, fusion also used the powerful amplification,"fuzz" pedals,wah-wah pedals,and other effects used by 1970s-era rock bands. Notable performers of jazz fusion includedMiles Davis,keyboardistsJoe Zawinul,Chick Corea,Herbie Hancock,vibraphonistGary Burton,drummerTony Williams,violinistJean-Luc Ponty,guitaristsLarry Coryell,Al Di Meola,John McLaughlinandFrank Zappa,saxophonistWayne Shorter,and bassistsJaco PastoriusandStanley Clarke.

Other trends

There was a resurgence of interest in jazz and other forms of African American cultural expression during theBlack Arts MovementandBlack nationalistperiod of the early 1970s. Musicians such asPharoah Sanders,Hubert LawsandWayne Shorterbegan using African instruments such askalimbas,cowbells, beaded gourds and other instruments not traditional to jazz. Musicians began improvising jazz tunes on unusual instruments, such as the jazzharp(Alice Coltrane), electrically-amplified and wah-wah pedaled jazz violin (Jean-Luc Ponty), and even bagpipes (Rufus Harley). Jazz continued to expand and change, influenced by other types of music, such asworld music,avant garde classical music,and rock and pop music. GuitaristJohn McLaughlin'sMahavishnu Orchestraplayed a mix of rock and jazz infused withEast Indianinfluences. TheECMrecord label began in Germany in the 1970s with artists includingKeith Jarrett,Paul Bley,thePat Metheny Group,Jan Garbarek,Ralph Towner,Kenny Wheeler,John Taylor,John SurmanandEberhard Weber,establishing a newchamber musicaesthetic, featuring mainly acoustic instruments, and sometimes incorporating elements ofworld musicandfolk music.

1980s–2000s

In the 1980s, the jazz community shrank dramatically and split. A mainly older audience retained an interest in traditional andstraight-aheadjazz styles.Wynton Marsalisstrove to create music within what he believed was the tradition, creating extensions of small and large forms initially pioneered by such artists asLouis ArmstrongandDuke Ellington.In 1987, the US House of Representatives and Senate passed a bill proposed by Democratic RepresentativeJohn Conyers, Jr.to define jazz as a unique form of American music stating, among other things, "...that 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."

Pop fusion and other subgenres

In the early 1980s, a lighter commercial form of jazz fusion called pop fusion or "smooth jazz"became successful and garnered significant radio airplay. Smooth jazz saxophonists includeGrover Washington, Jr.,Kenny G,NajeeandMichael Lington.Smooth jazz received frequent airplay with more straight-ahead jazz inquiet stormtime slots at radio stations in urban markets across the U.S., helping to establish or bolster the careers of vocalists includingAl Jarreau,Anita Baker,Chaka Khan,andSade.

In the late 1980s and early 1990s, several subgenres fused jazz with popular music, such asAcid jazz,nu jazz,andjazz rap.Acid jazz and nu jazz combined elements of jazz and modern forms ofelectronic dance music.Whilenu jazzis influenced by jazz harmony and melodies, there are usually no improvisational aspects.Jazz rapfused jazz and hip-hop.Gang Starrrecorded "Words I Manifest," "Jazz Music," and "Jazz Thing", samplingCharlie ParkerandRamsey Lewis,and collaborating withBranford MarsalisandTerence Blanchard.Beginning in 1993, rapperGuru'sJazzmatazzseries used jazz musicians during the studio recordings.

'Straight-ahead' and Experimental performers

In the 2000s,straight-ahead jazzcontinues to appeal to a core group of listeners. Well-established jazz musicians, such asDave Brubeck,Wynton Marsalis,Sonny Rollins,Wayne ShorterandJessica Williams,continue to perform and record. In the 1990s and 2000s, a number of young musicians emerged, including US pianistsBrad Mehldau,Jason MoranandVijay Iyer,guitaristKurt Rosenwinkel,vibraphonistStefon Harris,trumpetersRoy HargroveandTerence Blanchard,and saxophonistsChris PotterandJoshua Redman.The more experimental end of the spectrum has included US trumpetersDave DouglasandRob Mazurek,saxophonistKen Vandermark,Norwegian pianistBugge Wesseltoft,the Swedish groupE.S.T.,and US bassistChristian McBride.Toward the more dance or pop music end of the spectrum areSt Germain,who incorporates some live jazz playing withhouse beats,andJamie Cullum,who plays a particular mix of Jazz Standards with his own more pop-oriented compositions.

Modern Creative

In the 1980s, a large jazz scene formed in New York City around a new genre calledModern Creative,a combination of older genres likebop,free,andfusion,with more contemporary musical styles such asfunk,pop,androck.Allmusichas the following definition: "Continuing the tradition of the '50s to '60s free-jazz mode, Modern Creative musicians may incorporate free playing into structured modes—or play just about anything."Musicians working in and around this scene include saxophonistsJohn Zorn,Tim Berne,David Murray,andChris Speed;trumpetersButch MorrisandDave Douglas;clarinetistDon Byron;guitaristBill Frisell,pianistsWayne Horvitz,Uri Caine,andMarilyn Crispell;bassistsMichael Formanek,William Parker,Mark Dresser,andDrew Gress;cellistHank Roberts;and drummersJoey Baron,Bobby Previte,andJim Black.Other modern creative musicians includeGermanjazz clarinetistTheo Jörgensmann,tenor saxophonistGerd Dudek,and Bay Area bass innovatorEdo Castro.

See also

• Alabama Jazz Hall of Fame
• American Jazz Museum
• Cape jazz
• Cool (aesthetic)
• Dixieland
• European free jazz
• International Association for Jazz Education
• Jazz at Lincoln Center
• Jazz Foundation of America
• Jazz in Germany
• Jazz poetry
• Jazzpar Prize
• List of jazz festivals
• List of jazz guitarists
• List of jazz institutions and organizations
• List of jazz pianists
• List of jazz violinists
• List of jazz vocalists
• Swing (jazz performance style)
• Swing music
• Thirty-two-bar form
• Timeline of jazz education
• Victorian Jazz Archive

References

• Adorno, Theodor."Prisms." The MIT Press: Cambridge, MA. 1967.
• Allen, William Francis,Charles Pickard Ware,and Lucy McLim Garrison, eds. 1867.Slave Songs of the United States.New York: A Simpson & Co. Electronic edition, Chapel Hill, N. C.: Academic Affairs Library, University of North Carolina at Chapel Hill,2000.
• Burns, Ken, and Geoffrey C. Ward. 2000.Jazz—A History of America's Music.New York: Alfred A. Knopf. Also: The Jazz Film Project, Inc.
• Cooke, Mervyn (1999).Jazz.London: Thames and Hudson.ISBN0-500-20318-0..
• Carr, Ian.Music Outside: Contemporary Jazz in Britain.2nd edition. London: Northway. ISBN 978-0-9550908-6-8
• Collier, James Lincoln.The Making of Jazz: A Comprehensive History(Dell Publishing Co., 1978)
• Davis, Miles.Miles Davis (2005).Boplicity.ISBN 4-006408-264637.{{cite AV media}}:Unknown parameter|Label=ignored (help)
• Elsdon, Peter. 2003. "The Cambridge Companion to Jazz,Edited by Mervyn Cooke and David Horn, Cambridge: Cambridge University Press, 2002. Review. "Frankfürter Zeitschrift für Musikwissenschaft6:159–75.
• Gang Starr.2006.Mass Appeal: The Best of Gang Starr.CD recording 72435-96708-2-9. New York: Virgin Records.
• Giddins, Gary. 1998.Visions of Jazz: The First CenturyNew York: Oxford University Press. ISBN 0195076753
• Godbolt, Jim. 2005.A History of Jazz in Britain 1919-50London: Northway. ISBN 0-9537040-5-X
• Gridley, Mark C. 2004.Concise Guide to Jazz,fourth edition. Upper Saddle River, NJ: Pearson/Prentice Hall. ISBN 0131826573
• Hersch, Charles (2009).Subversive Sounds: Race and the Birth of Jazz in New Orleans.University of Chicago Press.ISBN9780226328683.
• Kenney, William Howland. 1993.Chicago Jazz: A Cultural History, 1904-1930.New York: Oxford University Press. ISBN 0195064534 (cloth); paperback reprint 1994 ISBN 0195092600
• Oliver, Paul(1970).Savannah Syncopators: African Retentions in the Blues.London: Studio Vista.ISBN0-289-79827-2..
• Mandel, Howard. 2007.Miles, Ornette, Cecil: Jazz Beyond Jazz.Routledge. ISBN 0415967147.
• Porter, Eric. 2002.What Is This Thing Called Jazz? African American Musicians as Artists, Critics and Activists.University of California Press, Ltd. London, England.
• Ratliffe, Ben. 2002.Jazz: A Critic's Guide to the 100 Most Important Recordings.The New York Times Essential Library. New York: Times Books. ISBN 0805070680
• Scaruffi, Piero:A History of Jazz Music 1900-2000.2007. Omniware. ISBN 978-0-9765531-3-7
• Schuller, Gunther.1968.Early Jazz: Its Roots and Musical Development.Oxford University Press. New printing 1986.
• Schuller, Gunther.1991.The Swing Era: The Development of Jazz, 1930-1945.Oxford University Press.
• Searle, Chris. 2008.Forward Groove: Jazz and the Real World from Louis Armstrong to Gilad Atzmon.London: Northway. ISBN 978-0-9550908-7-5
• Szwed, John Francis. 2000.Jazz 101: A Complete Guide to Learning and Loving Jazz.New York: Hyperion. ISBN 0786884967
• Vacher, Peter. 2004.Soloists and Sidemen: American Jazz Stories.London: Northway. ISBN 978-0-9537040-4-1
• Yanow, Scott.2004.Jazz on Film: The Complete Story of the Musicians and Music Onscreen.(Backbeat Books) ISBN 0879307838

External links

• Jazz Foundation of America
• Jazz @ the Smithsonian
• Alabama Jazz Hall of Fame website
• Red Hot Jazz.com
• Jazz at Lincoln Center website
• Jazz At Lincoln Center Hall of Fame
• American Jazz Museumwebsite
• The International Archives for the Jazz Organ
• The Jazz Archive at Duke University
• Jazz Festivals in Europe
• Free 1920s Jazz Collectionavailable for downloading atArchive.org