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, ragtime and blues with collective polyphonicimprovisation. However, jazz did not begin as a single musical tradition in New Orleans or elsewhere. In the 1930s, arranged dance-oriented swingbig 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. (Full article...)
The Louis Moholo Quintet performing at a jazz club.
This is a list of notable venues where jazz music is played. It includes jazz clubs, clubs, dancehalls and historic venues such as theatres. A jazz club is a venue where the primary entertainment is the performance of live jazz music. Jazz clubs are usually a type of nightclub or bar, which is licensed to sell alcoholic beverages. Jazz clubs were in large rooms in the eras of Orchestral jazz and big band jazz, when bands were large and often augmented by a string section. Large rooms were also more common in the Swing era, because at that time, jazz was popular as a dance music, so the dancers needed space to move. With the transition to 1940s-era styles like Bebop and later styles such as soul jazz, small combos of musicians such as quartets and trios were mostly used, and the music became more of a music to listen to, rather than a form of dance music. As a result, smaller clubs with small stages became practical.
In the 2000s, jazz clubs may be found in the basements of larger residential buildings, in storefront locations or in the upper floors of retail businesses. They can be rather small compared to other music venues, such as rock music clubs, reflecting the intimate atmosphere of jazz shows and long-term decline in popular interest in jazz. Despite being called "clubs", these venues are usually not exclusive. Some clubs, however, have a cover charge if a live band is playing. Some jazz clubs host "jam sessions" after hours or on early evenings of the week. At jam sessions, both professional musicians and advanced amateurs will typically share the stage. (Full article...)
During the 1940s, the band featured some of the best female musicians of the day. They played swing and jazz on a national circuit that included the Apollo Theater in New York City, the Regal Theater in Chicago, and the Howard Theater in Washington, D.C. After a performance in Chicago in 1943, the Chicago Defender announced the band was "one of the hottest stage shows that ever raised the roof of the theater!" They have been labeled "the most prominent and probably best female aggregation of the Big Band era". During feminist movements of the 1960s and 1970s in America, the International Sweethearts of Rhythm became popular with feminist writers and musicologists who wanted to highlight previously-overlooked contributions from female musicians. (Full article...)
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The Grammy Award for Best Jazz Fusion Performance was an award given to a song or album for excellence in the jazz fusion genre, a combination of rock and jazz. It was given at the Grammy Awards, which began in 1958 under the name Gramophone Awards. Honors in several categories are presented at the ceremony annually by the National Academy of Recording Arts and Sciences of the United States to "honor artistic achievement, technical proficiency and overall excellence in the recording industry, without regard to album sales or chart position".
Originally called the Grammy Award for Best Jazz Fusion Performance, Vocal or Instrumental, the award was first presented to the jazz band Weather Report at the 22nd Grammy Awards in 1980 for the album 8:30. In 1988, the category name changed to Best Jazz Fusion Performance and was moved to a newly created Fusion field. The category name was retired before the 33rd Grammy Awards (1992) with the addition of the award for Best Contemporary Jazz Performance (currently known as Best Contemporary Jazz Album). (Full article...)
Swing was also dance music. It was broadcast on the radio 'live' nightly across America for many years especially by Hines and his Grand Terrace Cafe Orchestra 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 structures regarding racial segregation began to relax in America: white bandleaders began to recruit black musicians and black bandleaders. In the mid-1930s, Benny Goodman hired pianist Teddy Wilson, vibraphonist Lionel Hampton, and guitarist Charlie Christian to join small groups. Kansas City Jazz in the 1930s as exemplified by tenor saxophonist Lester Young marked the transition from big bands to the bebop influence of the 1940s. (Full article...)
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Hot 8 playing funeral for New Orleans blogger Ashley Morris, April 2008
The Hot 8 Brass Band is a New Orleans–based brass band that blends hip-hop, jazz and funk styles with traditional New Orleans brass sounds. It was formed by Bennie Pete, Jerome Jones, and Harry Cook in 1995, the merging of two earlier bands, the Looney Tunes Brass Band and the High Steppers Brass Band.
Since June 2007, the band has been signed to the UK's Tru Thoughts label, that label's first U.S. act. (Full article...)
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The Grammy Award for Best Jazz Vocal Performance, Female was an honor presented at the Grammy Awards, a ceremony that was established in 1958 and originally called the Gramophone Awards, to female recording artists for quality jazz vocal performances (songs or albums). Honors in several categories are presented at the ceremony annually by the National Academy of Recording Arts and Sciences of the United States to "honor artistic achievement, technical proficiency and overall excellence in the recording industry, without regard to album sales or chart position".
Prior to 1981, the gender-neutral category of Best Jazz Vocal Performance existed. The first award specifically for female performances was presented to Ella Fitzgerald in 1981 for the album A Perfect Match. The category remained unchanged until 1985, when it was combined with the award for Best Jazz Vocal Performance, Male and presented in the genderless category. Gender-specific awards were once again presented from 1986 until 1991. In 1992, the two categories were combined and presented as the category Best Jazz Vocal Performance. This category was later renamed to Best Jazz Vocal Album beginning in 2001. While the gender-specific award has not been presented since the category merge in 1992, an official confirmation of its retirement has not been announced. (Full article...)
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Smalls Jazz Club in New York City
Smalls Jazz Club is a jazz club at 183 West 10th Street, Greenwich Village, New York City. Established in 1994, it earned a reputation in the 1990s as a "hotbed for New York's jazz talent" with a "well-deserved reputation as one of the best places in the city to see rising talent in the New York jazz scene". Its jazz musicians are noted for being "talented, though largely unknown" while its music is characterized as "modern versions of bebop and hard bop". The club's main room is in a basement with a capacity of 50 people that expanded to 60 people. (Full article...)
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Trumpeter, bandleader and singer Louis Armstrong was an important innovator of early jazz. He introduced many contemporary popular songs to the jazz world that are now considered standards.Jazz standards are musical compositions that are widely known, performed and recorded by jazz artists as part of the genre's musical repertoire. This list includes compositions written in the 1920s that are considered standards by at least one major book publication or reference work. Some of the tunes listed were already well-known standards by the 1930s, while others were popularized later. The time of the most influential recordings of a song, where appropriate, is indicated on the list.
A period known as the "Jazz Age" started in the United States in the 1920s. Jazz had become popular music in the country, although older generations considered the music immoral and threatening to old cultural values. Dances such as the Charleston and the Black Bottom were very popular during the period, and jazz bands typically consisted of seven to twelve musicians. Important orchestras in New York were led by Fletcher Henderson, Paul Whiteman and Duke Ellington. Many New Orleans jazzmen had moved to Chicago during the late 1910s in search of employment; among others, the New Orleans Rhythm Kings, King Oliver's Creole Jazz Band and Jelly Roll Morton recorded in the city. However, Chicago's importance as a center of jazz music started to diminish toward the end of the 1920s in favor of New York. (Full article...)
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The earliest jazz recordings were made by the Original Dixieland Jass Band in 1917. Their composition "Tiger Rag" has become a popular jazz standard.Jazz standards are musical compositions that are widely known, performed and recorded by jazz artists as part of the genre's musical repertoire. This list includes compositions written before 1920 that are considered standards by at least one major fake book publication or reference work. Some of the tunes listed were instant hits and quickly became well-known standards, while others were popularized later. The time of the most influential recordings of a song, where appropriate, is indicated on the list.
From its conception at the change of the twentieth century, jazz was music intended for dancing. This influenced the choice of material played by early jazz groups: King Oliver's Creole Jazz Band, New Orleans Rhythm Kings and others included many Tin Pan Alleypopular songs in their repertoire, and record companies often used their power to dictate which songs were to be recorded by their artists. Certain songs were pushed by recording executives and therefore quickly achieved standard status; this started with the first jazz recordings in 1917, when the Original Dixieland Jass Band recorded "Darktown Strutters' Ball" and "Indiana". Originally simply called "jazz", the music of early jazz bands is today often referred to as "Dixieland" or "New Orleans jazz", to distinguish it from more recent subgenres. (Full article...)
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The Real Ambassadors is a jazz musical developed in the late 1950s and early 1960s by Dave and Iola Brubeck, in collaboration with Louis Armstrong and his band. It addressed the Civil Rights Movement, the music business, America's place in the world during the Cold War, the nature of God, and a number of other themes. It was set in a fictional African nation called Talgalla, and its central character was based on Armstrong and his time as a jazz ambassador. It was the first major large scale musical collaboration between Dave and Iola Brubeck and served as a template for their future musical collaborations. Songs from the musical were recorded by Columbia Records and a soundtrack album was released in 1962, just before the show's premiere at the 1962 Monterey Jazz Festival with an all star cast. (Full article...)
The album was announced simultaneously with the premiere of "One More Time" in May 2020; and was followed by "Hold On" in June and "Mr. Wu" in July. The second of the three tracks features the singer Lauren Faith. Wu Hen received generally favourable reviews from music critics, some praising Williams' drift from the sounds of its predecessor, Black Focus (2016), that informed him in his career with Yussef Kamaal, while others said the album's ideas shifted too urgently. In the United Kingdom, it reached number 2 on the Jazz & Blues Albums Chart and number 15 on the Independent Albums Chart. (Full article...)
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Misterioso is a 1958 live album by American jazz ensemble the Thelonious Monk Quartet. By the time of its recording, the pianist and bandleader Thelonious Monk had overcome an extended period of career difficulties and achieved stardom with his residency at New York's Five Spot Café, beginning in 1957. He returned there the following year for a second stint with his quartet, featuring drummer Roy Haynes, bassist Ahmed Abdul-Malik, and tenor saxophonist Johnny Griffin. Along with Thelonious in Action (1958), Misterioso captures portions of the ensemble's August 7 show at the venue.
One of the first successful live recordings of Monk's music, Misterioso was produced by Orrin Keepnews of Riverside Records. According to Keepnews, the pianist played more distinctly here than on his studio albums in response to the audience's enthusiasm during the performance. Misterioso's title was meant to evoke Monk's reputation as an enigmatic, challenging performer, while its cover art was part of Riverside's attempt to capitalize on his popularity with intellectual and bohemian audiences; it appropriated Giorgio de Chirico's 1915 painting The Seer. (Full article...)
Love for Sale is the unreleased second album by the American singer-songwriter Bilal. It was recorded from 2001 to 2003 at Electric Lady Studios in New York during the height of the Soulquarians era, a period in the studio's history marked by the frequent and innovative recording activity of that musical collective, in which Bilal was a member. Written and produced mainly by Bilal, the album was a departure from the producer-driven, hip hop-influenced neo-soul music of 1st Born Second(2001), his moderately successful debut album for Interscope Records.
Bilal pursued a more raw and independent direction with Love for Sale, which he mostly composed on piano. At Electric Lady, he held improvisatory jam sessions with a live band featuring the trumpeter Leron Thomas, the drummer Steve McKie, and the pianist Robert Glasper, one of several former classmates the singer enlisted from New York's New School for Jazz and Contemporary Music. With the assistance of a few select producers, such as Dr. Dre and Soulquarians member J Dilla, Bilal experimented with different recording techniques, longer free-form compositions, and arrangements drawn from jazz and the blues. The resulting music features a densely layered fusion of genres, including soul, funk, and rock, with unconventional song structures and rhythms. Bilal's varied falsetto vocal performances throughout the album include sensual and ecstatic expressions of romantic devotion and lovesickness, with lyrics reflecting a distaste for writing what he called "contrived love songs". (Full article...)
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In a Silent Way is a studio album by the American jazz trumpeter, composer, and bandleader Miles Davis, released on July 30, 1969, on Columbia Records. Produced by Teo Macero, the album was recorded in one session date on February 18, 1969, at CBS 30th Street Studio in New York City. Macero edited and arranged Davis's recordings from the session to produce the album. Marking the beginning of his "electric" period, In a Silent Way has been regarded by music writers as Davis's first fusion recording, following a stylistic shift toward the genre in his previous records and live performances.
Upon its release, the album was met by controversy among music critics, particularly those of jazz and rock music, who were divided in their reaction to its experimental musical structure and Davis's electric approach. Since its initial reception, it has been regarded by fans and critics as one of Davis's greatest and most influential works. In 2001, Columbia Legacy and Sony Music released the three-disc box set The Complete In a Silent Way Sessions, which includes additional tracks. (Full article...)
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Bossa nova (Portuguese pronunciation:[ˈbɔsɐˈnɔvɐ]ⓘ) is a relaxed style of samba developed in the late 1950s and early 1960s in Rio de Janeiro, Brazil. It is mainly characterized by a calm syncopated rhythm with chords and fingerstyle mimicking the beat of a samba groove, as if it was a simplification and stylization on the guitar of the rhythm produced by a samba school band. Another defining characteristic of the style is the use of unconventional chords in some cases with complex progressions and "ambiguous" harmonies. A common misconception is that these complex chords and harmonies were derived from jazz, but samba guitar players have been using similar arrangement structures since the early 1920s, indicating a case of parallel evolution of styles rather than a simple transference from jazz to bossa nova. Nevertheless, bossa nova was influenced by jazz, both in the harmonies used and also by the instrumentation of songs, and today many bossa nova songs are considered jazz standards. The popularity of bossa nova has helped to renew samba and contributed to the modernization of Brazilian music in general.
One of the major innovations of bossa nova was the way to synthesize the rhythm of samba on the classical guitar. According to musicologist Gilberto Mendes, the bossa nova was one of the "three rhythmic phases of samba", in which the "bossa beat" had been extracted by João Gilberto from the traditional samba. The synthesis performed by Gilberto's guitar was a reduction of the "batucada" of samba, a stylization produced from one of the percussion instruments: the thumb stylized a surdo; the index, middle and ring fingers phrased like a tamborim. In line with this thesis, musicians such as Baden Powell, Roberto Menescal, and Ronaldo Bôscoli also understand the bossa nova beat as being extracted from the tamborim play in the bateria. (Full article...)
Malcolm Earl "Mal" Waldron (August 16, 1925 – December 2, 2002) was an American jazz pianist, composer, and arranger. He started playing professionally in New York in 1950, after graduating from college. In the following dozen years or so Waldron led his own bands and played for those led by Charles Mingus, Jackie McLean, John Coltrane, and Eric Dolphy, Chris Mentens,among others. During Waldron's period as house pianist for Prestige Records in the late 1950s, he appeared on dozens of albums and composed for many of them, including writing his most famous song, "Soul Eyes", for Coltrane. Waldron was often an accompanist for vocalists, and was Billie Holiday's regular accompanist from April 1957 until her death in July 1959.
A breakdown caused by a drug overdose in 1963 left Waldron unable to play or remember any music; he regained his skills gradually, while redeveloping his speed of thought. He left the U.S. permanently in the mid-1960s, settled in Europe, and continued touring internationally until his death. (Full article...)
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Laine in 1906
George Vital "Papa Jack" Laine (September 21, 1873 – June 1, 1966) was an American musician and a pioneering band leader in New Orleans in the years from the Spanish–American War to World War I. He was often credited for training many musicians who would later become successful in jazz music.
Laine's Reliance Brass Band was the first to fuse European, African, and Latin music. The earliest jazz musicians can be traced back to playing in the Reliance Brass Band or being influenced by those who had. (Full article...)
Monk's compositions and improvisations feature dissonances and angular melodic twists, often using flat ninths, flat fifths, unexpected chromatic notes together, low bass notes and stride, and fast whole tone runs, combining a highly percussive attack with abrupt, dramatic use of switched key releases, silences, and hesitations. (Full article...)
From 1936 until the mid-1940s, Goodman led one of the most popular swingbig bands in the United States. His concert at Carnegie Hall in New York City on January 16, 1938, is described by critic Bruce Eder as "the single most important jazz or popular music concert in history: jazz's 'coming out' party to the world of 'respectable' music." (Full article...)
Diane Joan Schuur (born December 10, 1953), nicknamed "Deedles", is an American jazz singer and pianist. As of 2015, Schuur had released 23 albums, and had extended her jazz repertoire to include essences of Latin, gospel, pop and country music. Her most successful album is Diane Schuur & the Count Basie Orchestra, which remained number one on the Billboard Jazz Charts for 33 weeks. She won Grammy Awards for best female jazz vocal performance in both 1986 and 1987 and has had three other Grammy nominations.
St. Elmo Sylvester Hope (June 27, 1923 – May 19, 1967) was an American jazz pianist, composer, and arranger, chiefly in the bebop and hard bop genres. He grew up playing and listening to jazz and classical music with Bud Powell, and both were close friends of another influential pianist, Thelonious Monk.
Hope survived being shot by police as a youth to become a New York-based musician who recorded with several emerging stars in the early to mid-1950s, including trumpeter Clifford Brown, and saxophonists John Coltrane, Lou Donaldson, Jackie McLean, and Sonny Rollins. A long-term heroin user, Hope had his license to perform in New York's clubs withdrawn after a drug conviction, so he moved to Los Angeles in 1957. He was not happy during his four years on the West Coast, but had some successful collaborations there, including with saxophonist Harold Land. (Full article...)
John William Coltrane (September 23, 1926 – July 17, 1967) was an American jazz saxophonist, bandleader and composer. He is among the most influential and acclaimed figures in the history of jazz and 20th-century music.
Born and raised in North Carolina, Coltrane moved to Philadelphia after graduating from high school, where he studied music. Working in the bebop and hard bop idioms early in his career, Coltrane helped pioneer the use of modes and was one of the players at the forefront of free jazz. He led at least fifty recording sessions and appeared on many albums by other musicians, including trumpeter Miles Davis and pianist Thelonious Monk. Over the course of his career, Coltrane's music took on an increasingly spiritual dimension, as exemplified on his most acclaimed album A Love Supreme (1965) and others. Decades after his death, Coltrane remains influential, and he has received numerous posthumous awards, including a special Pulitzer Prize, and was canonized by the African Orthodox Church. (Full article...)
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Mario Bauzá, taken in Brooklyn, New York, 1992
Prudencio Mario Bauzá Cárdenas (April 28, 1911 – July 11, 1993) was an Afro-Cuban jazz, and jazz musician. He was among the first to introduce Cuban music to the United States by bringing Cuban musical styles to the New York City jazz scene. While Cuban bands had had popular jazz tunes in their repertoire for years, Bauzá's composition "Tangá" was the first piece to blend jazz harmony and arranging technique, with jazz soloists and Afro-Cuban rhythms. It is considered the first true Afro-Cuban jazz tune. (Full article...)
Garbarek was born in Mysen, Østfold, southeastern Norway, the only child of a former Polish prisoner of war, Czesław Garbarek, and a Norwegian woman. He grew up in Oslo, stateless until the age of seven, as there was no automatic grant of citizenship in Norway at the time. When he was 21, he married the author Vigdis Garbarek. He is the father of musician and composer Anja Garbarek. (Full article...)
Francisco Sánchez Gómez (Spanish:[fɾanˈθiskoˈsantʃeθˈɣomeθ]; 21 December 1947 – 25 February 2014), known as Paco de Lucía (Spanish:[ˈpakoðeluˈθi.a]), was a Spanish virtuosoflamenco guitarist, composer, and record producer. A leading proponent of the new flamenco style, he was one of the first flamenco guitarists to branch into classical and jazz. Richard Chapman and Eric Clapton, authors of Guitar: Music, History, Players, describe de Lucía as a "titanic figure in the world of flamenco guitar", and Dennis Koster, author of Guitar Atlas, Flamenco, has referred to de Lucía as "one of history's greatest guitarists".
De Lucía was noted for his fast and fluent picados (fingerstyle runs). A master of contrast, he often juxtaposed picados and rasgueados (flamenco strumming) with more sensitive playing and was known for adding abstract chords and scale tones to his compositions with jazz influences. These innovations saw him play a key role in the development of traditional flamenco and the evolution of new flamenco and Latin jazz fusion from the 1970s. He received acclaim for his recordings with flamenco singer Camarón de la Isla in the 1970s, recording ten albums which are considered some of the most important and influential in flamenco history. (Full article...)
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Krall at a CD signing in Toronto in September 2007
Diana Jean KrallOCOBC (born November 16, 1964) is a Canadian jazz pianist and singer known for her contralto vocals. She has sold more than 15 million albums worldwide, including over six million in the US. On December 11, 2009, Billboard magazine named her the second greatest jazz artist of the decade (2000–2009), establishing her as one of the best-selling artists of her time.
Krall is the only jazz singer to have had eight albums debut at the top of the Billboard Jazz Albums chart. To date, she has won two Grammy Awards and eight Juno Awards. She has also earned nine gold, three platinum, and seven multi-platinum albums. (Full article...)
She grew up on the Coeur d'Alene Reservation in Idaho, where her mother was an enrolled member. The family moved to Spokane, Washington, when she was 13. Her younger brothers also became musicians. Her brother, Al Rinker, started to perform as a singer with Bing Crosby in Spokane and became a member of The Rhythm Boys. As adults, Charles Rinker was a lyricist, and Miles Rinker was a clarinet and saxophone player who later became a booking agent. (Full article...)
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