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...)
Free jazz or Free Form in the early- to mid-1970s is a style of avant-garde jazz or an experimental approach to jazz improvisation that developed in the late 1950s and early 1960s when musicians attempted to change or break down jazz conventions, such as regular tempos, tones, and chord changes. Musicians during this period believed that the bebop and modal jazz that had been played before them was too limiting, and became preoccupied with creating something new. The term "free jazz" was drawn from the 1960 Ornette Coleman recording Free Jazz: A Collective Improvisation. Europeans tend to favor the term "free improvisation". Others have used "modern jazz", "creative music", and "art music".
The ambiguity of free jazz presents problems of definition. Although it is usually played by small groups or individuals, free jazz big bands have existed. Although musicians and critics claim it is innovative and forward-looking, it draws on early styles of jazz and has been described as an attempt to return to primitive, often religious, roots. Although jazz is an American invention, free jazz musicians drew heavily from world music and ethnic music traditions from around the world. Sometimes they played African or Asian instruments, unusual instruments, or invented their own. They emphasized emotional intensity and sound for its own sake, exploring timbres. (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...)
Scott Joplin achieved fame for his ragtime compositions and was dubbed the "King of Ragtime" by contemporaries. His "Maple Leaf Rag" is one of the most famous rags.
Ragtime, also spelled rag-time or rag time, is a musical style that had its peak from the 1890s to 1910s. Its cardinal trait is its syncopated or "ragged" rhythm. Ragtime was popularized during the early 20th century by composers such as Scott Joplin, James Scott and Joseph Lamb. Ragtime pieces (often called "rags") are typically composed for and performed on piano, though the genre has been adapted for a variety of instruments and styles.
Ragtime music originated within African-American communities in the late 19th century and became a distinctly American form of popular music. It is closely related to marches. Ragtime pieces usually contain several distinct themes, often arranged in patterns of repeats and reprises. Scott Joplin, known as the "King of Ragtime", gained fame through compositions like "Maple Leaf Rag" and "The Entertainer". Ragtime influenced early jazz, Harlem stride piano, Piedmont blues, and European classical composers such as Erik Satie, Claude Debussy, and Igor Stravinsky. Despite being overshadowed by jazz in the 1920s, ragtime has experienced several revivals, notably in the 1950s and 1970s (the latter renaissance due in large part to the use of "The Entertainer" in the film The Sting). The music was distributed primarily through sheet music and piano rolls, with some compositions adapted for other instruments and ensembles. (Full article...)
Most of the early festivals were broadcast on Voice of America radio, and many performances were recorded and released as albums. In 1972, the Newport Jazz Festival was moved to New York City. In 1981, it became a two-site festival when it was returned to Newport while continuing in New York. From 1984 to 2008, the festival was known as the JVC Jazz Festival; in the economic downturn of 2009, JVC ceased its support of the festival and was replaced by CareFusion. (Full article...)
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The Grammy Award for Best Contemporary Jazz Album was an award presented at the Grammy Awards, a ceremony that was established in 1958 and originally called the Gramophone Awards, to recording artists for works (songs or albums) containing quality contemporary jazz performances. Honors in several categories are presented at the ceremony annually by The Recording Academy 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 Contemporary Jazz Performance, the award was first presented to the Manhattan Transfer in 1992. From 1993 to 1994 the category was known as Best Contemporary Jazz Performance (Instrumental), from 1995 to 2000 the name changed to Best Contemporary Jazz Performance, and since 2001 the name of the category has been Best Contemporary Jazz Album. Until 2001, both albums and singles were eligible for this award. According to the category description guide for the 52nd Grammy Awards, the award is presented for albums containing "at least 51% playing time of newly recorded contemporary jazz instrumental tracks". Beginning in 2001, award recipients included the producers, engineers, and/or mixers associated with the nominated work in addition to the recording artists. (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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"Amar pelos dois" (Portuguese pronunciation:[ɐˈmaɾpɨluʒˈðojʃ]; English: "To Love for the Both of Us") is a song recorded by Portuguese singer Salvador Sobral. The song was written and produced by his sister Luísa Sobral and released for digital download as a single on 10 March 2017 by Sons em Trânsito. It premiered on 19 February of that year, when it was performed during the first semi-final of Festival da Canção 2017.
"Amar pelos dois" is a jazz waltz with the lyrical theme of heartbreak after a breakup. The track received praise from music critics. The song earned the Sobral siblings various awards, including two Marcel Bezençon Awards. The track achieved commercial success, particularly in Europe, reaching the top ten in several countries. It was certified platinum by the Associação Fonográfica Portuguesa (AFP). Sobral has performed "Amar pelos dois" at his international tours. It is included in the European Union Songbook as the all-time top Portugueselove song, and it is listed in the Guinness World Records. The song has been covered by several artists. (Full article...)
Max Roach (1924–2007), one of the pioneers of modern jazz drumming during the 1940s bebop era
Jazz drumming is the art of playing percussion (predominantly the drum kit, which includes a variety of drums and cymbals) in jazz styles ranging from 1910s-style Dixieland jazz to 1970s-era jazz fusion and 1980s-era Latin jazz. The techniques and instrumentation of this type of performance have evolved over several periods, influenced by jazz at large and the individual drummers within it. Stylistically, this aspect of performance was shaped by its starting place, New Orleans, as well as numerous other regions of the world, including other parts of the United States, the Caribbean, and Africa.
Jazz required a method of playing percussion different from traditional European styles, one that was easily adaptable to the different rhythms of the new genre, fostering the creation of jazz drumming's hybrid technique. As each period in the evolution of jazz—swing and bebop, for example—tended to have its own rhythmic style, jazz drumming continued to evolve along with the music through the 20th century. One tendency that emerged over time was the gradual "freeing" of the beat. But older styles persisted in later periods. The borders between these periods are unclear, partly because no one style completely replaced others, and partly because there were numerous cross influences between styles. (Full article...)
Dark Magus was released after Davis' 1975 retirement, upon which Columbia Records issued a series of albums of his live music and studio outtakes. After releasing the Agharta (1975) live recording in the United States, Columbia released the live Pangaea (1976) and Dark Magus (1977) albums only in Japan, through CBS/Sony. The label's A&R executive, Tatsu Nosaki, suggested the album's title, which refers to the Magus from Zoroastrianism. (Full article...)
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Club Harlem, 1964
Club Harlem was a nightclub at 32 Kentucky Avenue in Atlantic City, New Jersey. Founded in 1935 by Leroy "Pop" Williams, it was the city's premier club for black jazz performers. Like its Harlem counterpart, the Cotton Club, many of Club Harlem's guests were white, wealthy and eager to experience a night of African-American entertainment.
Live in Tokyo is a live album by the American jazz trumpeter-composer Charles Tolliver and his quartet Music Inc. Their fifth album overall, it was recorded on December 7, 1973, at Yubinchokin Hall in Tokyo during Tolliver and Music Inc.'s first tour of Japan. The quartet – featuring the pianist Stanley Cowell, the bassist Clint Houston, and Clifford Barbaro on drums – played the show in mostly fast tempo and performed three of Tolliver's original compositions, along with a ballad composed by Cowell and the Thelonious Monk standard "'Round Midnight".
Produced by Tolliver, Live in Tokyo was released about a year after the concert on LP by Strata-East Records, his independent record label. It was later reissued on CD and compiled by the Mosaic label for a three-disc box set of Music Inc.'s live recordings from that same period, titled Mosaic Select. Critics have received the Tokyo disc favorably, giving praise to the quartet's passionate post-bop and hard bop performances. Their innovative interpretation of the Monk piece was highlighted in particular, although some reviewers questioned the sound quality throughout the recordings. (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 "different beat" that altered the harmonies with the introduction of unconventional chords and an innovative syncopation of traditional samba from a single rhythmic division. The "bossa nova beat" is characteristic of a samba style and not of an autonomous genre. The bossa nova wave became popular around the world; this increased popularity helped to renew samba and contributed to the modernization of Brazilian music in general.
According to Brazilian journalist Ruy Castro, the bossa beat – which was created by the drummer Milton Banana – was "an extreme simplification of the beat of the samba school", as if all instruments had been removed and only the tamborim had been preserved. In line with this thesis, musicians such as Baden Powell, Roberto Menescal, and Ronaldo Bôscoli also claim that this beat is related to the tamborim of the samba school. 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. According to the author Walter Garcia, 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. (Full article...)
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Theatrical release poster
King of Jazz is a 1930 American pre-Code color musical film starring Paul Whiteman and his orchestra. The film title refers to Whiteman's popular cultural appellation. At the time the film was made, "jazz", to the general public, meant jazz-influenced syncopated dance music heard on phonograph records, on radio broadcasts, and in dance halls. In the 1920s Whiteman signed and featured white jazz musicians including Joe Venuti and Eddie Lang (both are seen and heard in the film), Bix Beiderbecke (who had left before filming began), Frank Trumbauer, and others.
King of Jazz was filmed in the early two-color Technicolor process and was produced by Carl Laemmle Jr. for Universal Pictures. The film featured several songs sung on camera by the Rhythm Boys (Bing Crosby, Al Rinker and Harry Barris), as well as off-camera solo vocals by Crosby during the opening credits and, very briefly, during a cartoon sequence. King of Jazz still survives in a near-complete color print and is not a lost film, unlike many contemporary musicals that now exist only either in incomplete form or as black-and-white reduction copies. There is a possibility that one of the people appearing in the film was the great-uncle of Kurt Cobain (the late vocalist and guitarist of Nirvana). (Full article...)
Billy Strayhorn (November 29, 1915 – May 31, 1967) was an American jazz composer, pianist, lyricist, and arranger, best remembered for his long-time collaboration with bandleader and composer Duke Ellington that lasted nearly three decades. Though classical music was Strayhorn's first love, his ambition to become a classical composer went unrealized because of the harsh reality of a black man trying to make his way in the world of classical music, which at that time was almost completely white. He was introduced to the music of pianists like Art Tatum and Teddy Wilson at age 19, and the artistic influence of these musicians guided him into the realm of jazz, where he remained for the rest of his life. This photograph of Strayhorn was taken by William P. Gottlieb in the 1940s.
Jean Reinhardt (23 January 1910 – 16 May 1953), known by his Romani nickname Django (French:[dʒãŋɡoʁɛjnaʁt] or [dʒɑ̃ɡoʁenɑʁt]), was a Romani-French jazz guitarist and composer. He was one of the first major jazz talents to emerge in Europe and has been hailed as one of its most significant exponents.
With violinist Stéphane Grappelli, Reinhardt formed the Paris-based Quintette du Hot Club de France in 1934. The group was among the first to play jazz that featured the guitar as a lead instrument. Reinhardt recorded in France with many visiting American musicians, including Coleman Hawkins and Benny Carter, and briefly toured the United States with Duke Ellington's orchestra in 1946. He died suddenly of a stroke in 1953 at the age of 43. (Full article...)
Corea continued to collaborate frequently while exploring different musical styles throughout the 1980s and 1990s. As of May 2024, he has won 27 Grammy Awards and was nominated 72 times for the award. (Full article...)
William James "Count" Basie (/ˈbeɪsi/; August 21, 1904 – April 26, 1984) was an American jazz pianist, organist, bandleader, and composer. In 1935, he formed the Count Basie Orchestra, and in 1936 took them to Chicago for a long engagement and their first recording. He led the group for almost 50 years, creating innovations like the use of two "split" tenor saxophones, emphasizing the rhythm section, riffing with a big band, using arrangers to broaden their sound, and others. Many musicians came to prominence under his direction, including the tenor saxophonists Lester Young and Herschel Evans, the guitarist Freddie Green, trumpeters Buck Clayton and Harry "Sweets" Edison, plunger trombonist Al Grey, and singers Jimmy Rushing, Helen Humes, Thelma Carpenter, and Joe Williams. (Full article...)
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Smith in 1936
Bessie Smith (April 15, 1894 – September 26, 1937) was an African-American blues singer widely renowned during the Jazz Age. Nicknamed the "Empress of the Blues", she was the most popular female blues singer of the 1930s. Inducted into the Rock and Roll Hall of Fame in 1989, she is often regarded as one of the greatest singers of her era and was a major influence on fellow blues singers, as well as jazz vocalists.
Born in Chattanooga, Tennessee, Smith was young when her parents died, and she and her six siblings survived by performing on street corners. She began touring and performed in a group that included Ma Rainey, and then went out on her own. Her successful recording career with Columbia Records began in 1923, but her performing career was cut short by a car crash that killed her at the age of 43. (Full article...)
Zorn engaged New York City's downtown music scene in the mid-1970s, collaborating with improvising artists and experimenting with compositional strategies and arrangements. Over the next decade he performed throughout Europe and Japan and recorded on independent US and European labels. He released The Big Gundown, reconstructing the film scores of a formative musical influence, Ennio Morricone, to acclaim in 1986. Spillane and Naked City further demonstrated Zorn's ability to merge and blend musical styles in new and challenging formats. (Full article...)
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Holiday with her dog, Mister c. 1947
Billie Holiday (born Eleanora Fagan; April 7, 1915 – July 17, 1959) was an American jazz and swing music singer. Nicknamed "Lady Day" by her friend and music partner, Lester Young, Holiday made a significant contribution to jazz music and pop singing. Her vocal style, strongly influenced by jazz instrumentalists, inspired a new way of manipulating phrasing and tempo. She was known for her vocal delivery and improvisational skills.
After a turbulent childhood, Holiday began singing in nightclubs in Harlem, where she was heard by producer John Hammond, who liked her voice. She signed a recording contract with Brunswick in 1935. Collaborations with Teddy Wilson produced the hit "What a Little Moonlight Can Do", which became a jazz standard. Throughout the 1930s and 1940s, Holiday had mainstream success on labels such as Columbia and Decca. By the late 1940s, however, she was beset with legal troubles and drug abuse. After a short prison sentence, she performed at a sold-out concert at Carnegie Hall. She was a successful concert performer throughout the 1950s with two further sold-out shows at Carnegie Hall. Because of personal struggles and an altered voice, her final recordings were met with mixed reaction but were mild commercial successes. Her final album, Lady in Satin, was released in 1958. Holiday died of heart failure on July 17, 1959, at age 44. (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 farmer's daughter. 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...)
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Publicity portrait, c. 1940s
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 in New York City from the mid-1920s and gained a national profile through his orchestra's appearances at the Cotton Club in Harlem. A master at writing miniatures for the three-minute 78 rpm recording format, Ellington wrote or collaborated on more than one thousand compositions; his extensive body of work is the largest recorded personal jazz legacy, and many of his pieces have become standards. He also recorded songs written by his bandsmen, such as Juan Tizol's "Caravan", which brought a Spanish tinge to big band jazz. (Full article...)
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De Lucía performing in 2007
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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Eldridge in 1946
David Roy Eldridge (January 30, 1911 – February 26, 1989), nicknamed "Little Jazz", was an American jazz trumpeter. His sophisticated use of harmony, including the use of tritone substitutions, his virtuosic solos exhibiting a departure from the dominant style of jazz trumpet innovator Louis Armstrong, and his strong impact on Dizzy Gillespie mark him as one of the most influential musicians of the swing era and a precursor of bebop. (Full article...)
Ferdinand Joseph LaMothe (néLemott, later Morton; c. September 20, 1890 – July 10, 1941), known professionally as Jelly Roll Morton, was an American ragtime and jazz pianist, bandleader, and composer of Louisiana Creole descent. Morton was jazz's first arranger, proving that a genre rooted in improvisation could retain its essential characteristics when notated. His composition "Jelly Roll Blues", published in 1915, was one of the first published jazz compositions. He also claimed to have invented the genre.
Gerald Joseph Mulligan (April 6, 1927 – January 20, 1996), also known as Jeru, was an American jazz saxophonist, clarinetist, composer and arranger. Though primarily known as one of the leading jazz baritone saxophonists—playing the instrument with a light and airy tone in the era of cool jazz—Mulligan was also a significant arranger working with Claude Thornhill, Miles Davis, Stan Kenton, and others. His piano-less quartet of the early 1950s with trumpeter Chet Baker is still regarded as one of the best cool jazz ensembles. Mulligan was also a skilled pianist and played several other reed instruments. Several of his compositions including "Walkin' Shoes" and "Five Brothers", have become standards. (Full article...)
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Arthur Stewart Farmer (August 21, 1928 – October 4, 1999) was an American jazz trumpeter and flugelhorn player. He also played flumpet, a trumpet–flugelhorn combination especially designed for him. He and his identical twin brother, double bassist Addison Farmer, started playing professionally while at high school in Los Angeles. Art gained greater attention after the release of a recording of his composition "Farmer's Market" in 1952. He subsequently moved from Los Angeles to New York, where he performed and recorded with musicians such as Horace Silver, Sonny Rollins, and Gigi Gryce and became known principally as a bebop player.
As Farmer's reputation grew, he expanded from bebop into more experimental forms through working with composers such as George Russell and Teddy Charles. He went on to join Gerry Mulligan's quartet and, with Benny Golson, to co-found the Jazztet. Continuing to develop his own sound, Farmer switched from trumpet to the warmer flugelhorn in the early 1960s, and he helped to establish the flugelhorn as a soloist's instrument in jazz. He settled in Europe in 1968 and continued to tour internationally until his death. Farmer recorded more than 50 albums under his own name, a dozen with the Jazztet, and dozens more with other leaders. His playing is known for its individuality – most noticeably, its lyricism, warmth of tone and sensitivity. (Full article...)
"At the Jazz Band Ball", played by the Dixieland Jazz Band ensemble of the U.S. Coast Guard Band for the album "U.S. Coast Guard Bicentennial, 1790–1990".
This is a list of recognized content, updated weekly by JL-Bot (talk·contribs) (typically on Saturdays). There is no need to edit the list yourself. If an article is missing from the list, make sure it is tagged or categorized (e.g. Category:WikiProject Jazz articles) correctly and wait for the next update. See WP:RECOG for configuration options.
Free jazz or Free Form in the early- to mid-1970s is a style of avant-garde jazz or an experimental approach to jazz improvisation that developed in the late 1950s and early 1960s when musicians attempted to change or break down jazz conventions, such as regular tempos, tones, and chord changes. Musicians during this period believed that the bebop and modal jazz that had been played before them was too limiting, and became preoccupied with creating something new. The term "free jazz" was drawn from the 1960 Ornette Coleman recording Free Jazz: A Collective Improvisation. Europeans tend to favor the term "free improvisation". Others have used "modern jazz", "creative music", and "art music".
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