Jazz - Knowledge

4682: 2683: 1971: 1043: 3579:, such a scheme cannot be sustained by the evidence from a cognitive approach. Claude Debussy did have some influence on jazz, for example, on Bix Beiderbecke's piano playing. And it is also true that Duke Ellington adopted and reinterpreted some harmonic devices in European contemporary music. West Coast jazz would run into such debts as would several forms of cool jazz, but bebop has hardly any such debts in the sense of direct borrowings. On the contrary, ideologically, bebop was a strong statement of rejection of any kind of eclecticism, propelled by a desire to activate something deeply buried in self. Bebop then revived tonal-harmonic ideas transmitted through the blues and reconstructed and expanded others in a basically non-Western harmonic approach. The ultimate significance of all this is that the experiments in jazz during the 1940s brought back to 3290: 6150: 3448:. Some, including Gillespie, composed intricate yet danceable pieces for bebop musicians in an effort to make them more accessible, but bebop largely remained on the fringes of American audiences' purview. "The new direction of postwar jazz drew a wealth of critical acclaim, but it steadily declined in popularity as it developed a reputation as an academic genre that was largely inaccessible to mainstream audiences", Burchett said. "The quest to make jazz more relevant to popular audiences, while retaining its artistic integrity, is a constant and prevalent theme in the history of postwar jazz." During its swing period, jazz had been an uncomplicated musical scene; according to 4454:. Their "Chékere-son" (1976) introduced a style of "Cubanized" bebop-flavored horn lines that departed from the more angular guajeo-based lines which were typical of Cuban popular music and Latin jazz up until that time. It was based on Charlie Parker's composition "Billie's Bounce", jumbled together in a way that fused clave and bebop horn lines. In spite of the ambivalence of some band members towards Irakere's Afro-Cuban folkloric / jazz fusion, their experiments forever changed Cuban jazz: their innovations are still heard in the high level of harmonic and rhythmic complexity in Cuban jazz and in the jazzy and complex contemporary form of popular dance music known as 3803: 1502: 3006:. His Royal Canadians Orchestra specialized in performances of "the Sweetest music this side of Heaven" which transcended racial boundaries. The original New Orleans style was polyphonic, with theme variation and simultaneous collective improvisation. Armstrong was a master of his hometown style, but by the time he joined Henderson's band, he was already a trailblazer in a new phase of jazz, with its emphasis on arrangements and soloists. Armstrong's solos went well beyond the theme-improvisation concept and extemporized on chords, rather than melodies. According to Schuller, by comparison, the solos by Armstrong's bandmates (including a young 1139:, with less attention given to interpretation, ornamentation, and accompaniment. The classical performer's goal is to play the composition as it was written. In contrast, jazz is often characterized by the product of interaction and collaboration, placing less value on the contribution of the composer, if there is one, and more on the performer. The jazz performer interprets a tune in individual ways, never playing the same composition twice. Depending on the performer's mood, experience, and interaction with band members or audience members, the performer may change melodies, harmonies, and time signatures. 3409:, bebop was "the post-war musical development which tried to ensure that jazz would no longer be the spontaneous sound of joy ... Students of race relations in America are generally agreed that the exponents of post-war jazz were determined, with good reason, to present themselves as challenging artists rather than tame entertainers." The end of the war marked "a revival of the spirit of experimentation and musical pluralism under which it had been conceived", along with "the beginning of a decline in the popularity of jazz music in America", according to American academic Michael H. Burchett. 3138: 3603: 4760:, which contains material that is virtually identical to portions of "Giant Steps". The harmonic complexity of "Giant Steps" is on the level of the most advanced 20th-century art music. Superimposing the pentatonic scale over "Giant Steps" is not merely a matter of harmonic simplification, but also a sort of "Africanizing" of the piece, which provides an alternate approach for soloing. Mark Levine observes that when mixed in with more conventional "playing the changes", pentatonic scales provide "structure and a feeling of increased space". 1276: 771: 2650: 3681: 3539:(or "flatted fifth") interval became the "most important interval of bebop" Chord progressions for bebop tunes were often taken directly from popular swing-era tunes and reused with a new and more complex melody or reharmonized with more complex chord progressions to form new compositions, a practice which was already well-established in earlier jazz, but came to be central to the bebop style. Bebop made use of several relatively common chord progressions, such as blues (at base, I–IV–V, but often infused with ii–V motion) and " 2820: 2260: 1514: 3042: 5275: 1606: 4729: 6305: 11864:: 1 hour 'solo' documentary made in "Blues Alley" Jazz Club, Washington DC, for ATV, England, 1975: produced/directed by Charlie Nairn: original 16mm film plus out-takes of additional tunes from that film archived in British Film Institute Library at bfi.org.uk and itvstudios.com: DVD copies with Jean Gray Hargrove Music Library , University of California, Berkeley: also University of Chicago, Hogan Jazz Archive Tulane University New Orleans and Louis Armstrong House Museum Libraries. 2934:, wrote, "This composition shows extraordinary talent, as it shows a young composer with aims that go far beyond those of his ilk, struggling with a form of which he is far from being master. ... In spite of all this, he has expressed himself in a significant and, on the whole, highly original form. ... His first theme ... is no mere dance-tune ... it is an idea, or several ideas, correlated and combined in varying and contrasting rhythms that immediately intrigue the listener." 2953: 2623: 3707:) of the A section and the introduction, while Gillespie wrote the bridge. Gillespie recounted: "If I'd let it go like wanted it, it would have been strictly Afro-Cuban all the way. There wouldn't have been a bridge. I thought I was writing an eight-bar bridge, but ... I had to keep going and ended up writing a sixteen-bar bridge." The bridge gave "Manteca" a typical jazz harmonic structure, setting the piece apart from Bauza's modal "Tanga" of a few years earlier. 2790: 4467: 3749: 1397: 5659: 2477: 6076: 4074: 1574:

sheepskin-covered "gumbo box", apparently a frame drum; triangles and jawbones furnished the auxiliary percussion. There are quite a few from the southeastern states and Louisiana dating from the period 1820–1850. Some of the earliest Delta settlers came from the vicinity of New Orleans, where drumming was never actively discouraged for very long and homemade drums were used to accompany public dancing until the outbreak of the Civil War.

5108:(1975), which Nicholson said "suggested the potential of evolving into something that might eventually define itself as a wholly independent genre quite apart from the sound and conventions of anything that had gone before." This development was stifled by commercialism, Nicholson said, as the genre "mutated into a peculiar species of jazz-inflected pop music that eventually took up residence on FM radio" at the end of the 1970s. 3554:, New York, in early 1942. "I'd been getting bored with the stereotyped changes that were being used...and I kept thinking there's bound to be something else. I could hear it sometimes. I couldn't play it...I was working over 'Cherokee,' and, as I did, I found that by using the higher intervals of a chord as a melody line and backing them with appropriately related changes, I could play the thing I'd been hearing. It came alive." 4277: 3919: 3871:, harking back to the contrapuntal New Orleans style. This was driven in large part by record company reissues of jazz classics by the Oliver, Morton, and Armstrong bands of the 1930s. There were two types of musicians involved in the revival: the first group was made up of those who had begun their careers playing in the traditional style and were returning to it (or continuing what they had been playing all along), such as 4741: 4852: 3464:, and there was a completely new phenomenon called revivalism – the rediscovery of jazz from the past, either on old records or performed live by aging players brought out of retirement. From now on it was no good saying that you liked jazz, you had to specify what kind of jazz. And that is the way it has been ever since, only more so. Today, the word 'jazz' is virtually meaningless without further definition. 5010:, including an avoidance of head-and-chorus composition in favor of continuous rhythm and movement – but took the music further. To emphasize the group's rejection of standard methodology, the album opened with the inscrutable avant-garde atmospheric piece "Milky Way", which featured by Shorter's extremely muted saxophone inducing vibrations in Zawinul's piano strings while the latter pedaled the instrument. 4562: 2756:, D'Jalma Ganier, taught Louis Armstrong to play trumpet; Armstrong would then popularize the New Orleans style of trumpet playing, and then expand it. Like Jelly Roll Morton, Armstrong is also credited with the abandonment of ragtime's stiffness in favor of swung notes. Armstrong, perhaps more than any other musician, codified the rhythmic technique of swing in jazz and broadened the jazz solo vocabulary. 13369: 6277: 2519: 7702:"The primary instrument for a cultural music expression was a long narrow African drum. It came in various sized from three to eight feet long and had previously been banned in the South by whites. Other instruments used were the triangle, a jawbone, and early ancestors to the banjo. Many types of dances were performed in Congo Square, including the 'flat-footed-shuffle' and the 'Bamboula.'" 5963: 3169:, and liked to describe those who impressed him as "beyond category". These included many musicians from his orchestra, some of whom are considered among the best in jazz in their own right, but it was Ellington who melded them into one of the most popular jazz orchestras in the history of jazz. He often composed for the style and skills of these individuals, such as "Jeep's Blues" for 6291: 5367:—whose bands of the 1970s had played only original compositions with prominent free jazz elements—established his so-called 'Standards Trio' in 1983, which, although also occasionally exploring collective improvisation, has primarily performed and recorded jazz standards. Chick Corea similarly began exploring jazz standards in the 1980s, having neglected them for the 1970s. 3217:, who visited Europe during and after World War I. It was their live performances which inspired European audiences' interest in jazz, as well as the interest in all things American (and therefore exotic) which accompanied the economic and political woes of Europe during this time. The beginnings of a distinct European style of jazz began to emerge in this interwar period. 11228:, Philadelphia Media Network) Already in 2010 pianist Vijay Iyer (who was chosen as "Jazz Musician of the Year 2010" by the Jazz Journalists Association) said: "To me, Steve is as important as Coltrane. He has contributed an equal amount to the history of the music. He deserves to be placed in the pantheon of pioneering artists." (Source: Larry Blumenfeld, 1493:. It also incorporated interpretations of American and European classical music, entwined with African and slave folk songs and the influences of West African culture. Its composition and style have changed many times throughout the years with each performer's personal interpretation and improvisation, which is also one of the greatest appeals of the genre. 2546:). The instruments used by marching bands and dance bands became the instruments of jazz: brass, drums, and reeds tuned in the European 12-tone scale. Small bands contained a combination of self-taught and formally educated musicians, many from the funeral procession tradition. These bands traveled in black communities in the deep south. Beginning in 1914, 2701:, and could perform pieces in either style; in 1938, Morton made a series of recordings for the Library of Congress in which he demonstrated the difference between the two styles. Morton's solos, however, were still close to ragtime, and were not merely improvisations over chord changes as in later jazz, but his use of the blues was of equal importance. 5392:, featuring Wynton Marsalis and other experts reviewing the entire history of American jazz to that time. It received some criticism, however, for its failure to reflect the many distinctive non-American traditions and styles in jazz that had developed, and its limited representation of US developments in the last quarter of the 20th century. 1801: 3205:", which brought the "Spanish Tinge" to big-band jazz. Several members of the orchestra remained with him for several decades. The band reached a creative peak in the early 1940s, when Ellington and a small hand-picked group of his composers and arrangers wrote for an orchestra of distinctive voices who displayed tremendous creativity. 2079: 4010:, but with modal jazz, the soloist creates a melody using one (or a small number of) modes. The emphasis is thus shifted from harmony to melody: "Historically, this caused a seismic shift among jazz musicians, away from thinking vertically (the chord), and towards a more horizontal approach (the scale)", explained pianist 2064: 4783:. However, it was only after World War II that a few jazz musicians began to compose and perform extended works intended for religious settings or as religious expression. Since the 1950s, sacred and liturgical music has been performed and recorded by many prominent jazz composers and musicians. The "Abyssinian Mass" by 2748:

subdivisions of the beat over a basic pulse structure or four subdivisions. This aspect of swing is far more prevalent in African-American music than in Afro-Caribbean music. One aspect of swing, which is heard in more rhythmically complex Diaspora musics, places strokes in-between the triple and duple-pulse "grids".

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It's hard to overstate influence. He's affected more than one generation, as much as anyone since John Coltrane ... It's not just that you can connect the dots by playing seven or 11 beats. What sits behind his influence is this global perspective on music and life. He has a point of view of what he

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have explored contemporary rock music within the context of the traditional jazz acoustic piano trio, recording instrumental jazz versions of songs by rock musicians. The Bad Plus have also incorporated elements of free jazz into their music. A firm avant-garde or free jazz stance has been maintained

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I challenge the prevalent marginalization and malignment of smooth jazz in the standard jazz narrative. Furthermore, I question the assumption that smooth jazz is an unfortunate and unwelcomed evolutionary outcome of the jazz-fusion era. Instead, I argue that smooth jazz is a long-lived musical style

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Although some jazz purists protested against the blend of jazz and rock, many jazz innovators crossed over from the contemporary hard bop scene into fusion. As well as the electric instruments of rock (such as electric guitar, electric bass, electric piano and synthesizer keyboards), fusion also used

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recorded his "Jazz Missa Brevis" with a jazz ensemble, soloists and the St Martin's Voices on a 2018 Signum Records release, "Passion Music/Jazz Missa Brevis" also released as "Mass in Blue", and jazz organist James Taylor composed "The Rochester Mass" (Cherry Red Records, 2015). In 2013, Versace put

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Relatively little has been written about sacred and liturgical jazz. In a 2013 doctoral dissertation, Angelo Versace examined the development of sacred jazz in the 1950s using disciplines of musicology and history. He noted that the traditions of black gospel music and jazz were combined in the 1950s

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Hard bop was prevalent within jazz for about a decade spanning from 1955 to 1965, but has remained highly influential on mainstream or "straight-ahead" jazz. It went into decline in the late 1960s through the 1970s due to the emergence of other styles such as jazz fusion, but again became influential

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marked a turning point for jazz. The swing-era jazz of the previous decade had challenged other popular music as being representative of the nation's culture, with big bands reaching the height of the style's success by the early 1940s; swing acts and big bands traveled with U.S. military overseas to

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outlawed drumming by slaves, which meant that African drumming traditions were not preserved in North America, unlike in Cuba, Haiti, and elsewhere in the Caribbean. African-based rhythmic patterns were retained in the United States in large part through "body rhythms" such as stomping, clapping, and

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A broader definition that encompasses different eras of jazz has been proposed by Travis Jackson: "it is music that includes qualities such as swing, improvising, group interaction, developing an 'individual voice', and being open to different musical possibilities". Krin Gibbard argued that "jazz is

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to define jazz as a unique form of American music, stating "jazz is hereby designated as a rare and valuable national American treasure to which we should devote our attention, support and resources to make certain it is preserved, understood and promulgated." It passed in the House on September 23,

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while the drumset and bass played a Brazilian bossa nova pattern. Many jazz standards such as "Manteca", "On Green Dolphin Street" and "Song for My Father" have a "Latin" A section and a swung B section. Typically, the band would only play an even-eighth "Latin" feel in the A section of the head and

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Hard bop is an extension of bebop (or "bop") music that incorporates influences from blues, rhythm and blues, and gospel, especially in saxophone and piano playing. Hard bop was developed in the mid-1950s, coalescing in 1953 and 1954; it developed partly in response to the vogue for cool jazz in the

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These divergences from the jazz mainstream of the time met a divided, sometimes hostile response among fans and musicians, especially swing players who bristled at the new harmonic sounds. To hostile critics, bebop seemed filled with "racing, nervous phrases". But despite the friction, by the 1950s

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In Ohio and elsewhere in the mid-west the major influence was ragtime, until about 1919. Around 1912, when the four-string banjo and saxophone came in, musicians began to improvise the melody line, but the harmony and rhythm remained unchanged. A contemporary account states that blues could only be

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Continuum Encyclopedia of Popular Music of the World Volume 8- Genres North America. Horn, David. Shephard, John Editors. Bloombury Publishing 2012 p. 472 "Armstrong and Lombardo did not view their worlds as diametrically opposed, nor did many other contemporary musicians of the 1930s. ...Lombardo

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Since the beginning of the 1990s, electronic music had significant technical improvements that popularized and created new possibilities for the genre. Jazz elements such as improvisation, rhythmic complexities and harmonic textures were introduced to the genre and consequently had a big impact in

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As noted above, jazz has incorporated from its inception aspects of African-American sacred music including spirituals and hymns. Secular jazz musicians often performed renditions of spirituals and hymns as part of their repertoire or isolated compositions such as "Come Sunday", part of "Black and

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later called it "the torch that lit the free jazz thing". After recording with the quartet over the next few months, Coltrane invited Pharoah Sanders to join the band in September 1965. While Coltrane used over-blowing frequently as an emotional exclamation-point, Sanders would opt to overblow his

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rather than 20th-century Western classical music. "Auditory inclinations were the African legacy in life, reconfirmed by the experience of the blues tonal system, a sound world at odds with the Western diatonic chord categories. Bebop musicians eliminated Western-style functional harmony in their

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Dizzy Gillespie wrote: "People talk about the Hines band being 'the incubator of bop' and the leading exponents of that music ended up in the Hines band. But people also have the erroneous impression that the music was new. It was not. The music evolved from what went before. It was the same basic

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wrote: "In 1943 I heard the great Earl Hines band which had Bird in it and all those other great musicians. They were playing all the flatted fifth chords and all the modern harmonies and substitutions and Dizzy Gillespie runs in the trumpet section work. Two years later I read that that was 'bop'

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Cornetist Buddy Bolden played in New Orleans from 1895 to 1906. No recordings by him exist. His band is credited with creating the big four: the first syncopated bass drum pattern to deviate from the standard on-the-beat march. As the example below shows, the second half of the big four pattern is

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The primitive southern Negro, as he sang, was sure to bear down on the third and seventh tone of the scale, slurring between major and minor. Whether in the cotton field of the Delta or on the Levee up St. Louis way, it was always the same. Till then, however, I had never heard this slur used by a

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became interested in folk blues of the Deep South while traveling through the Mississippi Delta. In this folk blues form, the singer would improvise freely within a limited melodic range, sounding like a field holler, and the guitar accompaniment was slapped rather than strummed, like a small drum

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Samuel Floyd states that blues was both the bedrock and propelling force of bebop, bringing about a new harmonic conception using extended chord structures that led to unprecedented harmonic and melodic variety, a developed and even more highly syncopated, linear rhythmic complexity and a melodic

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banned the sale of alcoholic drinks, resulting in illicit speakeasies which became lively venues of the "Jazz Age", hosting popular music, dance songs, novelty songs, and show tunes. Jazz began to get a reputation as immoral, and many members of the older generations saw it as a threat to the old

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Jewish Americans were able to thrive in Jazz because of the probationary whiteness that they were allotted at the time. George Bornstein wrote that African Americans were sympathetic to the plight of the Jewish American and vice versa. As disenfranchised minorities themselves, Jewish composers of

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from India, Africa, and Arabia were melded into an intense, even religiously ecstatic or orgiastic style of playing. While loosely inspired by bebop, free jazz tunes gave players much more latitude; the loose harmony and tempo was deemed controversial when this approach was first developed. The

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which responded in syncopated accents, functioning as another "voice". Handy and his band members were formally trained African-American musicians who had not grown up with the blues, yet he was able to adapt the blues to a larger band instrument format and arrange them in a popular music form.

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Usually such music was associated with annual festivals, when the year's crop was harvested and several days were set aside for celebration. As late as 1861, a traveler in North Carolina saw dancers dressed in costumes that included horned headdresses and cow tails and heard music provided by a

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were hailed by conservative jazz critics as more authentic than the big bands. Elsewhere, with the limitations on recording, small groups of young musicians developed a more uptempo, improvisational style of jazz, collaborating and experimenting with new ideas for melodic development, rhythmic

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In the post-Civil War period (after 1865), African Americans were able to obtain surplus military bass drums, snare drums and fifes, and an original African-American drum and fife music emerged, featuring tresillo and related syncopated rhythmic figures. This was a drumming tradition that was

3235:, which began in 1934. Much of this French jazz was a combination of African-American jazz and the symphonic styles in which French musicians were well-trained; in this, it is easy to see the inspiration taken from Paul Whiteman since his style was also a fusion of the two. Belgian guitarist 2747:

states that swing is: "An intangible rhythmic momentum in jazz...Swing defies analysis; claims to its presence may inspire arguments." The dictionary does nonetheless provide the useful description of triple subdivisions of the beat contrasted with duple subdivisions: swing superimposes six

4447:'s most experimental salsa groups: salsa was the medium, but Palmieri was stretching the form in new ways. He incorporated parallel fourths, with McCoy Tyner-type vamps. The innovations of Palmieri, the Gonzalez brothers and others led to an Afro-Cuban jazz renaissance in New York City. 5355:, and let her set out structured harmonies and familiar jazz vocabulary under his blistering keyboard attack. And the next generation of progressive players would be even more accommodating, moving inside and outside the changes without thinking twice. Musicians such as David Murray or 1735:," observed the writer Robert Palmer, speculating that "this tradition must have dated back to the latter half of the nineteenth century, and it could have not have developed in the first place if there hadn't been a reservoir of polyrhythmic sophistication in the culture it nurtured." 3648:. Within the context of jazz, however, harmony is the primary referent, not rhythm. The harmonic progression can begin on either side of clave, and the harmonic "one" is always understood to be "one". If the progression begins on the "three-side" of clave, it is said to be in 3714:

also drew from African rhythm. Jazz arrangements with a Latin A section and a swung B section, with all choruses swung during solos, became common practice with many Latin tunes of the jazz standard repertoire. This approach can be heard on pre-1980 recordings of "Manteca",

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Levine points out that the V pentatonic scale works for all three chords of the standard II–V–I jazz progression. This is a very common progression, used in pieces such as Miles Davis' "Tune Up". The following example shows the V pentatonic scale over a II–V–I progression.

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music and in other forms of popular music from that city from the turn of the 20th century to present. "By and large the simpler African rhythmic patterns survived in jazz ... because they could be adapted more readily to European rhythmic conceptions," jazz historian

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offered his recollections of the slang connotations of the term, saying: "When Broadway picked it up, they called it 'J-A-Z-Z'. It wasn't called that. It was spelled 'J-A-S-S'. That was dirty, and if you knew what it was, you wouldn't say it in front of ladies." The

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Bebop musicians employed several harmonic devices which were not previously typical in jazz, engaging in a more abstracted form of chord-based improvisation. Bebop scales are traditional scales with an added chromatic passing note; bebop also uses "passing" chords,

2675:, an essential ingredient of jazz. "Now in one of my earliest tunes, "New Orleans Blues," you can notice the Spanish tinge. In fact, if you can't manage to put tinges of Spanish in your tunes, you will never be able to get the right seasoning, I call it, for jazz." 1895:

in 1865 led to new opportunities for the education of freed African Americans. Although strict segregation limited employment opportunities for most blacks, many were able to find work in entertainment. Black musicians were able to provide entertainment in dances,

5297:, as well as the hard bop of the 1950s. It is debatable whether Marsalis' critical and commercial success was a cause or a symptom of the reaction against Fusion and Free Jazz and the resurgence of interest in the kind of jazz pioneered in the 1960s (particularly 2724: 4819:

has not embraced jazz as appropriate for worship. In 1966 Joe Masters recorded "Jazz Mass" for Columbia Records. A jazz ensemble was joined by soloists and choir using the English text of the Roman Catholic Mass. Other examples include "Jazz Mass in Concert" by

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had a profound effect on the creation of early jazz. In New Orleans, slaves could practice elements of their culture such as voodoo and playing drums. Many early jazz musicians played in the bars and brothels of the red-light district around Basin Street called

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dance music and jazz, leading to a new level of integration of jazz and Cuban rhythms. This era of creativity and vitality is best represented by the Gonzalez brothers Jerry (congas and trumpet) and Andy (bass). During 1974–1976, they were members of one of

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Jazz Band. By the late 1940s, Louis Armstrong's Allstars band became a leading ensemble. Through the 1950s and 1960s, Dixieland was one of the most commercially popular jazz styles in the US, Europe, and Japan, although critics paid little attention to it.

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on bass and Max Roach on drums. Noted for its "frenetic energy" and "clanging cowbell and polyrhythmic accompaniment," the composition combined Afro-Cuban rhythm with polytonality and preceded further use of modality and avant-garde harmony in Latin jazz.

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Since the emergence of bebop, forms of jazz that are commercially oriented or influenced by popular music have been criticized. According to Bruce Johnson, there has always been a "tension between jazz as a commercial music and an art form". Regarding the

2767:" became the earliest released jazz record. That year, numerous other bands made recordings featuring "jazz" in the title or band name, but most were ragtime or novelty records rather than jazz. In February 1918 during World War I, James Reese Europe's 2593:

communities due to segregation laws. Storyville brought jazz to a wider audience through tourists who visited the port city of New Orleans. Many jazz musicians from African-American communities were hired to perform in bars and brothels. These included

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is influenced by jazz harmony and melodies, and there are usually no improvisational aspects. It can be very experimental in nature and can vary widely in sound and concept. It ranges from the combination of live instrumentation with the beats of jazz

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more sophisticated Negro, or by any white man. I tried to convey this effect ... by introducing flat thirds and sevenths (now called blue notes) into my song, although its prevailing key was major ... , and I carried this device into my melody as well.

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Since the 1990s, jazz has been characterized by a pluralism in which no one style dominates, but rather a wide range of styles and genres are popular. Individual performers often play in a variety of styles, sometimes in the same performance. Pianist

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Habaneras were widely available as sheet music and were the first written music which was rhythmically based on an African motif (1803). From the perspective of African-American music, the "habanera rhythm" (also known as "congo"), "tango-congo", or

1977: 3342:) limited record production; a shortage of rubber (also due to the war effort) discouraged bands from touring via road travel; and a demand by the musicians' union for a commercial recording ban limited music distribution between 1942 and 1944. 2688: 1819:'s piano piece "Ojos Criollos (Danse Cubaine)" (1860) was influenced by the composer's studies in Cuba: the habanera rhythm is clearly heard in the left hand. In Gottschalk's symphonic work "A Night in the Tropics" (1859), the tresillo variant 4485:, with influences from jazz and other 20th-century classical and popular music styles. Bossa is generally moderately paced, with melodies sung in Portuguese or English, whilst the related jazz-samba is an adaptation of street samba into jazz. 4399:

In the 1960s and 1970s, many jazz musicians had only a basic understanding of Cuban and Brazilian music, and jazz compositions which used Cuban or Brazilian elements were often referred to as "Latin tunes", with no distinction between a Cuban

2838: 3247:", and Eastern European folk with a languid, seductive feel; the main instruments were steel stringed guitar, violin, and double bass. Solos pass from one player to another as guitar and bass form the rhythm section. Some researchers believe 4806:

The most prominent form of sacred and liturgical jazz is the jazz mass. Although most often performed in a concert setting rather than church worship setting, this form has many examples. An eminent example of composers of the jazz mass was

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and Arthur Johnston (top), compared with Armstrong's solo improvisations (below) (recorded 1924). Armstrong's solos were a significant factor in making jazz a true 20th-century language. After leaving Henderson's group, Armstrong formed his

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retained their conservative jazz approaches in the midst of fusion and jazz-rock, and in addition to difficulty booking their acts, struggled to find younger generations of personnel to authentically play traditional styles such as

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According to jazz writer Stuart Nicholson, "just as free jazz appeared on the verge of creating a whole new musical language in the 1960s ... jazz-rock briefly suggested the promise of doing the same" with albums such as Williams'

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An 1885 account says that they were making strange music (Creole) on an equally strange variety of 'instruments'—washboards, washtubs, jugs, boxes beaten with sticks or bones and a drum made by stretching skin over a flour-barrel.

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emerged early in the decade, and strove to create music within what he believed was the tradition, rejecting both fusion and free jazz and creating extensions of the small and large forms initially pioneered by artists such as

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The minor pentatonic scale is often used in blues improvisation, and like a blues scale, a minor pentatonic scale can be played over all of the chords in a blues. The following pentatonic lick was played over blues changes by

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Although jazz-rock fusion reached the height of its popularity in the 1970s, the use of electronic instruments and rock-derived musical elements in jazz continued in the 1990s and 2000s. Musicians using this approach include

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For some African Americans, jazz has drawn attention to African-American contributions to culture and history. For others, jazz is a reminder of "an oppressive and racist society and restrictions on their artistic visions".

2869:'s Original Creole Jazz Band of musicians from New Orleans began playing in San Francisco and Los Angeles, where in 1922 they became the first black jazz band of New Orleans origin to make recordings. During the same year, 4552:

While bossa nova has been labeled as jazz by music critics, namely those from outside of Brazil, it has been rejected by many prominent bossa nova musicians such as Jobim, who once said "Bossa nova is not Brazilian jazz."

4392:, as the jazz subgenre typically employs rhythms that either have a direct analog in Africa or exhibit an African rhythmic influence beyond what is ordinarily heard in other jazz. The two main categories of Latin jazz are 3666: 3479:

In the early 1940s, bebop-style performers began to shift jazz from danceable popular music toward a more challenging "musician's music". The most influential bebop musicians included saxophonist Charlie Parker, pianists

2005:

postulates that the tresillo/habanera rhythm "found its way into ragtime and the cakewalk," whilst Roberts suggests that "the habanera influence may have been part of what freed black music from ragtime's European bass".

1373:

is acknowledged as the first female horn player to work in major bands and to make a real impact on jazz, not only as a musician but also as a respected composer and arranger, particularly through her collaborations with

4027:(1959), an exploration of the possibilities of modal jazz which would become the best selling jazz album of all time. In contrast to Davis' earlier work with hard bop and its complex chord progression and improvisation, 4437:

For most of its history, Afro-Cuban jazz had been a matter of superimposing jazz phrasing over Cuban rhythms. But by the end of the 1970s, a new generation of New York City musicians had emerged who were fluent in both

2729: 2751:

New Orleans brass bands are a lasting influence, contributing horn players to the world of professional jazz with the distinct sound of the city whilst helping black children escape poverty. The leader of New Orleans'

2687: 11219:

In 2014 drummer Billy Hart said that "Coleman has quietly influenced the whole jazz musical world", and is the "next logical step" after Charlie Parker, John Coltrane, and Ornette Coleman. (Source: Kristin E. Holmes,

1084:". Jazz involves "a spontaneity and vitality of musical production in which improvisation plays a role" and contains a "sonority and manner of phrasing which mirror the individuality of the performing jazz musician". 3104:

Over time, social strictures regarding racial segregation began to relax in America: white bandleaders began to recruit black musicians and black bandleaders white ones. In the mid-1930s, Benny Goodman hired pianist

11068:"... circular and highly complex polymetric patterns which preserve their danceable character of popular Funk-rhythms despite their internal complexity and asymmetries ..." (Musicologist and musician Ekkehard Jost, 2949:. According to Mario Dunkel, Whiteman's success was based on a "rhetoric of domestication" according to which he had elevated and rendered valuable (read "white") a previously inchoate (read "black") kind of music. 5134:

new listeners and in some ways kept the versatility of jazz relatable to a newer generation that did not necessarily relate to what the traditionalists call real jazz (bebop, cool and modal jazz). Artists such as

3149:

spent the late 1920s and 1930s in Washington, D.C.'s jazz scene, developing an innovative musical idiom for his orchestra. Abandoning the conventions of swing, he experimented with orchestral sounds, harmony, and

1833: 9152:, p. 6 writes "He tried to avoid the word 'jazz' preferring 'Negro' or 'American' music. He claimed there were only two types of music, 'good' and 'bad' ... And he embraced a phrase coined by his colleague 2718: 2656: 5245:

of the instruments employed, other tonal and rhythmic textures, such as the Indian tambora and tablas and Cuban congas and bongos, create a multi-layered soundscape. The album was a culmination of sorts of the

3887:. Most of these players were originally Midwesterners, although there were a small number of New Orleans musicians involved. The second group of revivalists consisted of younger musicians, such as those in the 1369:. Beginning in the 1950s, many women jazz instrumentalists were prominent, some sustaining long careers. Some of the most distinctive improvisers, composers, and bandleaders in jazz have been women. Trombonist 3567:

angularity in which the blue note of the fifth degree was established as an important melodic-harmonic device; and reestablishment of the blues as the primary organizing and functional principle. Kubik wrote:

1807: 1079:

which originated in the United States through the confrontation of the Negro with European music" and arguing that it differs from European music in that jazz has a "special relationship to time defined as

10231:

song composition, often associated with simple work rhythms in a regular meter, but with notable off-beat accents ... reaches back perhaps thousands of years to early West African sorgum agriculturalists."

6168:

began his career playing stride piano and the Dixieland jazz of his home, New Orleans, beginning with his first recording when he was 10 years old. Some of his earliest lessons were at the home of pianist

2836: 1974: 1705: 2812:

reported that Siberian villagers used jazz to scare away bears, but the villagers had used pots and pans; another story claimed that the fatal heart attack of a celebrated conductor was caused by jazz.

1796:. The habanera was the first of many Cuban music genres which enjoyed periods of popularity in the United States and reinforced and inspired the use of tresillo-based rhythms in African-American music. 5954:. Its hip-hop inspired beats and R&B vocal interludes was not only acclaimed by critics for being innovative in keeping jazz relevant, but also sparked a small resurgence in jazz on the internet. 4791:

to produce a new genre, "sacred jazz". Versace maintained that the religious intent separates sacred from secular jazz. Most prominent in initiating the sacred jazz movement were pianist and composer

2743:

feeling. Swing is the most important and enduring African-based rhythmic technique used in jazz. An oft quoted definition of swing by Louis Armstrong is: "if you don't feel it, you'll never know it."

6112:

M-Base changed from a movement of a loose collective of young musicians to a kind of informal Coleman "school", with a much advanced but already originally implied concept. Steve Coleman's music and

5406:

The emergence of young jazz talent beginning to perform in older, established musicians' groups further impacted the resurgence of traditionalism in the jazz community. In the 1970s, the groups of

1199:

revival of the 1940s, Black musicians rejected it as being shallow nostalgia entertainment for white audiences. On the other hand, traditional jazz enthusiasts have dismissed bebop, free jazz, and

3334:

Europe, where it also became popular. Stateside, however, the war presented difficulties for the big-band format: conscription shortened the number of musicians available; the military's need for

1203:

as forms of debasement and betrayal. An alternative view is that jazz can absorb and transform diverse musical styles. By avoiding the creation of norms, jazz allows avant-garde styles to emerge.

3665: 3345:

Many of the big bands who were deprived of experienced musicians because of the war effort began to enlist young players who were below the age for conscription, as was the case with saxophonist

5336:, although certainly still fusion, adopted a far more accessible and recognizably jazz-oriented approach than his abstract work of the mid-1970s, such as a return to a theme-and-solos approach. 2173: 4886:... until around 1967, the worlds of jazz and rock were nearly completely separate. as rock became more creative and its musicianship improved, and as some in the jazz world became bored with 2730: 1620:

During the early 19th century an increasing number of black musicians learned to play European instruments, particularly the violin, which they used to parody European dance music in their own

2664:

Afro-Creole pianist Jelly Roll Morton began his career in Storyville. Beginning in 1904, he toured with vaudeville shows to southern cities, Chicago, and New York City. In 1905, he composed "

1966:

in the right hand, especially in the transition between the first and second strain, were novel at the time. The last four measures of Scott Joplin's "Maple Leaf Rag" (1899) are shown below.

3010:), sounded "stiff, stodgy", with "jerky rhythms and a grey undistinguished tone quality". The following example shows a short excerpt of the straight melody of "Mandy, Make Up Your Mind" by 1178:

of one or more chordal instruments (piano, guitar), double bass, and drums. The rhythm section plays chords and rhythms that outline the composition structure and complement the soloist. In

6561: 2837: 11236:) In September 2014, Coleman was awarded a MacArthur Fellowship (a.k.a. "Genius Grant") for "redefining the vocabulary and vernaculars of contemporary music". (Source: Kristin E. Holmes, 1834: 6102:

In the 1990s, most M-Base participants turned to more conventional music, but Coleman, the most active participant, continued developing his music in accordance with the M-Base concept.

3101:. Although it was a collective sound, swing also offered individual musicians a chance to "solo" and improvise melodic, thematic solos which could at times be complex "important" music. 1640:

adapted slave rhythms and melodies from Cuba and other Caribbean islands into piano salon music. New Orleans was the main nexus between the Afro-Caribbean and African American cultures.

5521:'s rotation of young musicians in her group foreshadowed many of New York's preeminent traditional jazz players later in their careers. Among these musicians were Jazz Messenger alumni 3228:

and His Cambridge Undergraduates began broadcasting on the BBC. Thereafter jazz became an important element in many leading dance orchestras, and jazz instrumentalists became numerous.

900:

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.

4992:), and their unorthodox approach to music. The album featured a softer sound than would be the case in later years (predominantly using acoustic bass with Shorter exclusively playing 7598: 3432:. Older musicians who still performed their pre-war jazz, such as Armstrong and Ellington, were gradually viewed in the mainstream as passé. Other younger performers, such as singer 1704: 7889:"-Latin rhythms have been absorbed into black American styles far more consistently than into white popular music, despite Latin music's popularity among whites" (Roberts 1979: 41). 4549:

also influenced jazz internationally by introducing Afro-Brazilian folkloric instruments and rhythms into a wide variety of jazz styles, thus attracting a greater audience to them.

4388:

Latin jazz is jazz that employs Latin American rhythms and is generally understood to have a more specific meaning than simply jazz from Latin America. A more precise term might be

3213:

As only a limited number of American jazz records were released in Europe, European jazz traces many of its roots to American artists such as James Reese Europe, Paul Whiteman, and

2686: 5305:); nonetheless there were many other manifestations of a resurgence of traditionalism, even if fusion and free jazz were by no means abandoned and continued to develop and evolve. 7370: 5730:

considers Miles Davis' playing of fusion to be a turning point that led to smooth jazz. Critic Aaron J. West has countered the often negative perceptions of smooth jazz, stating:

11351: 3664: 969: 1531:

By the 18th century, slaves in the New Orleans area gathered socially at a special market, in an area which later became known as Congo Square, famous for its African dances.

5604:

Starting in the 1990s, a number of players from largely straight-ahead or post-bop backgrounds emerged as a result of the rise of neo-traditionalist jazz, including pianists

5347:

the very leaders of the avant garde started to signal a retreat from the core principles of free jazz. Anthony Braxton began recording standards over familiar chord changes.

4206:

A series of recordings with the Classic Quartet in the first half of 1965 show Coltrane's playing becoming increasingly abstract, with greater incorporation of devices like

1670:, what preceded New Orleans jazz before 1890 was "Afro-Latin music", similar to what was played in the Caribbean at the time. A three-stroke pattern known in Cuban music as 9062:

Encyclopedia of music in the 20th Century. Stacey, Lee. Henderson, Lol Editors. Routledge Taylor and Francis Group London 2014 p. 379 Guy Lombardo Biography on Google Books

7444: 1166:

era of the 1940s, big bands gave way to small groups and minimal arrangements in which the melody was stated briefly at the beginning and most of the piece was improvised.

10320:

Cyclic Patterns in John Coltrane's Melodic Vocabulary as Influenced by Nicolas Slonimsky's Thesaurus of Scales and Melodic Patterns: An Analysis of Selected Improvisations

5237:

album, which, in 1972, began Davis' foray into jazz-funk and was, he claimed, an attempt at reconnecting with the young black audience which had largely forsaken jazz for

5777:), but it is just as likely to be played live by musicians, who often showcase jazz interpretation as part of their performance. Richard S. Ginell of AllMusic considers 3954:. The late 1950s to early 1960s saw hard boppers form their own bands as a new generation of blues- and bebop-influenced musicians entered the jazz world, from pianists 2162:

An ancient west central Sudanic stratum of pentatonic song composition, often associated with simple work rhythms in a regular meter, but with notable off-beat accents.

2806:

of Princeton University wrote, "... it is not music at all. It's merely an irritation of the nerves of hearing, a sensual teasing of the strings of physical passion."

3615:

The general consensus among musicians and musicologists is that the first original jazz piece to be overtly based in clave was "Tanga" (1943), composed by Cuban-born

3366:, during informal, late-night jam sessions hosted in small clubs and apartments. Key figures in this development were largely based in New York and included pianists 1261:

became leading members of swing during the 1930s. Many bands included both Black and white musicians. These musicians helped change attitudes toward race in the U.S.

10323: 8273: 2715: 2653: 1975: 1042: 10614: 10590: 4038:, but brought in sketches for what everybody was supposed to play because I wanted a lot of spontaneity," recalled Davis. The track "So What" has only two chords: 3053:

big bands, in which some virtuoso soloists became as famous as the band leaders. Key figures in developing the "big" jazz band included bandleaders and arrangers

1457:. He entertained audiences with a light elegant musical style which remained popular with audiences for nearly three decades from the 1930s until the late 1950s. 11378: 6665: 5876: 1804: 5506:'s emphasis toward jazz tradition. These younger rising stars rejected avant-garde approaches and instead championed the acoustic jazz sound of Charlie Parker, 1435:

in 1938 was the first ever to be played there. The concert was described by Bruce Eder as "the single most important jazz or popular music concert in history".

11405: 10564: 9910:

Yudkin, Jeremy (2012). "The Naming of Names: "Flamenco Sketches" or "All Blues"? Identifying the Last Two Tracks on Miles Davis's Classic Album Kind of Blue".

2678:

An excerpt of "New Orleans Blues" is shown below. In the excerpt, the left hand plays the tresillo rhythm, while the right hand plays variations on cinquillo.

1997:" (1909) is generally considered to be in the habanera genre: both of the pianist's hands play in a syncopated fashion, completely abandoning any sense of a 1684:

and Gottschalk's compositions (for example "Souvenirs From Havana" (1859)). Tresillo (shown below) is the most basic and most prevalent duple-pulse rhythmic

10719: 10385:"The Evolution of Sacred Jazz as Reflected in the Music of Mary Lou Williams, Duke Ellington, John Coltrane and Recognized Contemporary Sacred Jazz Artists" 5204:. Another feature is the shift of emphasis from improvisation to composition: arrangements, melody and overall writing became important. The integration of 2215:. Handy's music career began in the pre-jazz era and contributed to the codification of jazz through the publication of some of the first jazz sheet music. 1768:

and New Orleans would take the twice-daily ferry between both cities to perform, and the habanera quickly took root in the musically fertile Crescent City.

10705: 10658: 2727: 1407:

Jewish Americans played a significant role in jazz. As jazz spread, it developed to encompass many different cultures, and the work of Jewish composers in

1772:

states that the musical genre habanera "reached the U.S. twenty years before the first rag was published." For the more than quarter-century in which the

1431:

was a vital Jewish American to the progression of Jazz. Goodman was the leader of a racially integrated band named King of Swing. His jazz concert in the

11155:

His recombinant ideas about rhythm and form and his eagerness to mentor musicians and build a new vernacular have had a profound effect on American jazz.

10459: 6019:

took note of the emphasis on speed and dissonance that was becoming prevalent in punk rock, and incorporated this into free jazz with the release of the

4933: 3511:

Since bebop was meant to be listened to, not danced to, it could use faster tempos. Drumming shifted to a more elusive and explosive style, in which the

2554:

shows which carried jazz to cities in the northern and western parts of the U.S. Jazz became international in 1914, when the Creole Band with cornettist

10076: 1831: 1006:

in which a minor league baseball pitcher described a pitch which he called a 'jazz ball' "because it wobbles and you simply can't do anything with it".

3456:

Suddenly jazz was no longer straightforward. There was bebop and its variants, there was the last gasp of swing, there were strange new brews like the

3349:'s entry in a band as a teenager. This coincided with a nationwide resurgence in the Dixieland style of pre-swing jazz; performers such as clarinetist 1071:. Attempts have been made to define jazz from the perspective of other musical traditions, such as European music history or African music. But critic 7706: 8495: 5669:

In the early 1980s, a commercial form of jazz fusion called "pop fusion" or "smooth jazz" became successful, garnering significant radio airplay in "

4867:

was developed by combining jazz improvisation with rock rhythms, electric instruments and the highly amplified stage sound of rock musicians such as

11039: 3515:

was used to keep time while the snare and bass drum were used for accents. This led to a highly syncopated music with a linear rhythmic complexity.

6557: 2689: 2577:

integrated blacks and whites in his marching band. He was known as "the father of white jazz" because of the many top players he employed, such as

6600: 4031:

was composed as a series of modal sketches in which the musicians were given scales that defined the parameters of their improvisation and style.

2716: 2654: 12395: 10156: 9686:

DeMotta, David J. (2015) The contributions of Earl "Bud" Powell to the modern jazz style. Doctoral dissertation, The City University of New York.

4815:

and the third was commissioned by a pontifical commission. It was performed once in 1975 in St Patrick's Cathedral in New York City. However the

4412:, a bossa nova bass line is referred to as a "Latin bass figure". It was not uncommon during the 1960s and 1970s to hear a conga playing a Cuban 1805: 6692: 4988:

debut album caused a sensation in the jazz world on its arrival in 1971, thanks to the pedigree of the group's members (including percussionist

4354:

Since the 1960s, creative centers of jazz in Europe have developed, such as the creative jazz scene in Amsterdam. Following the work of drummer

1186:, the separation of soloist and band is reduced, and there is license, or even a requirement, for the abandoning of chords, scales, and meters. 7478: 6105:

Coleman's audience decreased, but his music and concepts influenced many musicians, according to pianist Vijay Iver and critic Ben Ratlifff of

3710:

Gillespie's collaboration with Pozo brought specific African-based rhythms into bebop. While pushing the boundaries of harmonic improvisation,

3496:. Divorcing itself from dance music, bebop established itself more as an art form, thus lessening its potential popular and commercial appeal. 2829: 2505: 1850:

is the New Orleans "clavé", a Spanish word meaning "code" or "key", as in the key to a puzzle, or mystery. Although the pattern is only half a

7295: 6202:

Additionally, the era saw the release of recordings and videos from the previous century, such as a Just Jazz tape broadcast by a band led by

4702:

perfected the use of the pentatonic scale in his solos, and also used parallel fifths and fourths, which are common harmonies in West Africa.

1707: 1357:, which was founded in 1937, was a popular band that became the first all-female integrated band in the U.S. and the first to travel with the 13405: 11691: 5423:. In the late 1970s, however, a resurgence of younger jazz players in Blakey's band began to occur. This movement included musicians such as 3571:

While for an outside observer, the harmonic innovations in bebop would appear to be inspired by experiences in Western "serious" music, from

1731:

distinct from its Caribbean counterparts, expressing a uniquely African-American sensibility. "The snare and bass drummers played syncopated

8263:

provides two separate entries: blues, an originally African-American genre (p. 128), and the blues form, a widespread musical form (p. 131).

7590: 6948: 5359:

may have felt the call of free-form jazz, but they never forgot all the other ways one could play African-American music for fun and profit.

4811:. Williams converted to Catholicism in 1957, and proceeded to compose three masses in the jazz idiom. One was composed in 1968 to honor the 13556: 4366:

documented the free jazz scene in Amsterdam and some of its main exponents such as the ICP (Instant Composers Pool) orchestra in his book

3667: 2668:", which became the first jazz arrangement in print when it was published in 1915. It introduced more musicians to the New Orleans style. 12698: 6770: 5944:

and redefined jazz rap with a larger focus on improvisation and live soloing rather than simply sampling. In that same year, saxophonist

4643:. Throughout the piece, the four beats, whether sounded or not, are maintained as the temporal referent. The following example shows the 2728: 9074:

himself always took great pride in the number of black orchestras that imitated his style." Guy lombardo band popularity on Google Books

7360: 5320:. Other musicians who had experimented with electronic instruments in the previous decade had abandoned them by the 1980s; for example, 1565:, in New Orleans until 1843. There are historical accounts of other music and dance gatherings elsewhere in the southern United States. 13761: 8433: 6630: 5673:" time slots at radio stations in urban markets across the U.S. This helped to establish or bolster the careers of vocalists including 3699:" (1947) is the first jazz standard to be rhythmically based on clave. According to Gillespie, Pozo composed the layered, contrapuntal 10919: 7011: 5514:

quintet. This group of "Young Lions" sought to reaffirm jazz as a high art tradition comparable to the discipline of classical music.

3255:

pioneered the guitar-violin partnership characteristic of the genre, which was brought to France after they had been heard live or on

1832: 6795: 12637: 6389: 2411: 2336: 11432: 11082: 9072: 8667: 2937:

After Whiteman's band successfully toured Europe, huge hot jazz orchestras in theater pits caught on with other whites, including

1115:

is one of its defining elements. The centrality of improvisation is attributed to the influence of earlier forms of music such as

12657: 5848: 4812: 3559: 2768: 1649: 1354: 854:

As jazz spread around the world, it drew on national, regional, and local musical cultures, which gave rise to different styles.

8096: 4085:, broke through into an open space of "free tonality" in which meter, beat, and formal symmetry all disappeared, and a range of 3550:

The harmonic development in bebop is often traced back to a moment experienced by Charlie Parker while performing "Cherokee" at

939:'s rhythms, electric instruments, and highly amplified stage sound. In the early 1980s, a commercial form of jazz fusion called 11298: 3121:

marked the transition from big bands to the bebop influence of the 1940s. An early 1940s style known as "jumping the blues" or

877:. However, jazz did not begin as a single musical tradition in New Orleans or elsewhere. In the 1930s, arranged dance-oriented 9121:

Van de Leur, Walter (2015). "12 "Seldom seen, but always heard": Billy Strayhorn and Duke Ellington". In Green, Edward (ed.).

3927:

early 1950s and paralleled the rise of rhythm and blues. It has been described as "funky" and can be considered a relative of

2159:. It is characterized by melisma, wavy intonation, pitch instabilities within a pentatonic framework, and a declamatory voice. 1427:

is one example of how Jewish Americans were able to bring jazz, music that African Americans developed, into popular culture.

12622: 11855: 11827: 11801: 11739: 11713: 11676: 11657: 11638: 11502: 11325: 10636: 10545: 9645: 9473: 9390: 9356: 9234: 9209: 9134: 9061: 8880: 8820: 8650: 8623: 7919: 7817: 7737: 7680: 7465: 7400: 7170: 7143: 7107: 7082: 6891: 6610: 4362:, musicians started to explore by improvising collectively until a form (melody, rhythm, a famous song) is found Jazz critic 4103: 3644:, into jazz. Music organized around key patterns convey a two-celled (binary) structure, which is a complex level of African 2425: 13353: 12647: 1689: 1088:

a construct" which designates "a number of musics with enough in common to be understood as part of a coherent tradition".

11558: 10954: 9166: 8469: 5162:

ended up incorporating a lot of these elements. Squarepusher being cited as one big influence for jazz performers drummer

4803:

wrote three Sacred Concerts: 1965 – A Concert of Sacred Music; 1968 – Second Sacred Concert; 1973 – Third Sacred Concert.

4094:

is also frequently associated with the avant-garde in jazz, although his compositions draw from myriad styles and genres.

4006:, or musical scale, as the basis of musical structure and improvisation. Previously, a solo was meant to fit into a given 12617: 10318: 8277: 8201: 2888:

Despite its Southern black origins, there was a larger market for jazzy dance music played by white orchestras. In 1918,

2082: 2067: 10587: 8810: 4696:

was another trend associated with Africa. The use of pentatonic scales in Africa probably goes back thousands of years.

3289: 2614:

started his career in Storyville and found success in Chicago. Storyville was shut down by the U.S. government in 1917.

1330:

were recognized for their vocal talent, less familiar were bandleaders, composers, and instrumentalists such as pianist

10611: 6975: 4374:

has argued European contemporary jazz has an identity different from American jazz and follows a different trajectory.

3221: 2498: 11382: 7269: 6087:

movement started in the 1980s, when a loose collective of young African-American musicians in New York which included

4191:

in 1960 and turning it into "the house that Trane built", while championing many younger free jazz musicians, notably

3563:

music while retaining the strong central tonality of the blues as a basis for drawing upon various African matrices."

13771: 13606: 13398: 13318: 11841: 11780: 11591: 11537: 10348: 10130: 10058: 10038: 9754: 9662: 9435: 8729: 8158: 7977: 6998: 6544: 6359: 4371: 1744: 1546:

basin and brought strong musical traditions with them. The African traditions primarily use a single-line melody and

1450: 1237:

was one of the most prominent jazz soloists of the 1920s. The Chicago Style was developed by white musicians such as

10677: 10561: 9287: 8698: 8370: 6149: 5016:

described the album as "music beyond category", and awarded it Album of the Year in the magazine's polls that year.

1780:, and proto-jazz were forming and developing, the habanera was a consistent part of African-American popular music. 943:

became successful, garnering significant radio airplay. Other styles and genres abound in the 21st century, such as

13549: 12463: 10847:"Caught Between Jazz and Pop: The Contested Origins, Criticism, Performance Practice, and Reception of Smooth Jazz" 8407: 7542: 5994: 5370:

In 1987, the United States House of Representatives and Senate passed a bill proposed by Democratic Representative

4232: 3178: 3016: 2994:

In 1924, Louis Armstrong joined the Fletcher Henderson dance band for a year, as featured soloist. By 1924, one of

2798: 2151:

an extension and merger of basically two broad accompanied song-style traditions in the west central Sudanic belt:

1059:

Jazz is difficult to define because it encompasses a wide range of music spanning a period of over 100 years, from

5036:

and other effects that were used by 1970s-era rock bands. Notable performers of jazz fusion included Miles Davis,

4167:. In developing his late style, Coltrane was especially influenced by the dissonance of Ayler's trio with bassist 3416:. Vocalists of the famous big bands moved on to being marketed and performing as solo pop singers; these included 13766: 13147: 12443: 11881: 11549: 11410: 11009: 10727: 8836: 7626: 6246:

also gained recognition for his ability to play an incredibly large number of instruments and his ability to use

5629: 5570: 4732:

C pentatonic scale beginning on the I (C pentatonic), IV (F pentatonic), and V (G pentatonic) steps of the scale.

4259: 4220: 3232: 1566: 10992: 10752: 8942: 8784: 7455: 5735:

that merits multi-disciplinary analyses of its origins, critical dialogues, performance practice, and reception.

5217: 13781: 12390: 12028: 11963: 8968: 7703: 5284:

The 1980s saw something of a reaction against the fusion and free jazz that had dominated the 1970s. Trumpeter

4640: 4187:

magazine panned as "anti-jazz". On his 1961 tour of France, he was booed, but persevered, signing with the new

3720: 3551: 3508:

music. The difference was in how you got from here to here to here...naturally each age has got its own shit."

3440:, who were discouraged by bebop's increasing complexity, pursued more lucrative endeavors in rhythm and blues, 2893: 2740: 2401: 13025: 10190: 4909:, which can be considered his first fusion album. Composed of two side-long suites edited heavily by producer 2896:

and became the top bandleader of the 1920s, giving hot jazz a white component, hiring white musicians such as

13626: 12584: 12559: 12484: 12415: 12405: 10070: 8509: 4752:" (1960), with its 26 chords per 16 bars, can be played using only three pentatonic scales. Coltrane studied 2882: 2491: 1051: 11455: 8360:: foreword by Abbe Niles. Macmillan Company, New York; (1941), pp. 99, 100 (no ISBN in this first printing). 6116:

concept gained recognition as "next logical step" after Charlie Parker, John Coltrane, and Ornette Coleman.

5000:

involved), but is still considered a classic of early fusion. It built on the avant-garde experiments which

1904:, during which time many marching bands were formed. Black pianists played in bars, clubs, and brothels, as 1465:

Jazz originated in the late-19th to early-20th century. It developed out of many forms of music, including

13518: 13391: 12579: 12534: 12458: 12453: 12448: 11615: 11109: 5838:

released the debut single "Words I Manifest", which sampled Dizzy Gillespie's 1962 "Night in Tunisia", and

5578: 5122: 2845: 2760: 2586: 2207:

argues that it is not really a blues, but "more like a cakewalk"). This composition, as well as his later "

2042:

heard in jazz in the gut-bucket cabarets, which were generally looked down upon by the Black middle-class.

1230: 986:

has resulted in considerable research, and its history is well documented. It is believed to be related to

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Kubik, Gerhard (March 22, 2005). "Bebop: A Case in Point. The African Matrix in Jazz Harmonic Practices".

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In 1992 Bauza recorded "Tanga" in the expanded form of an Afro-Cuban suite, consisting of five movements.

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tended to be the exception. For example, on a 1959 live Tjader recording of "A Night in Tunisia", pianist

4179:

as leader. In November 1961, Coltrane played a gig at the Village Vanguard, which resulted in the classic

3695:. Gillespie and Pozo's brief collaboration produced some of the most enduring Afro-Cuban jazz standards. " 2446: 1162:

which were written or learned by ear and memorized. Soloists improvised within these arrangements. In the

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playing, in which the right hand plays the melody, while the left hand provides the rhythm and bassline.

1970: 1827: 1800: 1700: 1655: 1127:

of African-American slaves on plantations. These work songs were commonly structured around a repetitive

904:

developed near the end of the 1940s, introducing calmer, smoother sounds and long, linear melodic lines.

12314: 11925: 10769: 6989: 4875:. Jazz fusion often uses mixed meters, odd time signatures, syncopation, complex chords, and harmonies. 4268:

entire solo, resulting in a constant screaming and screeching in the altissimo range of the instrument.

3764:" in 1959. "Afro Blue" was the first jazz standard built upon a typical African three-against-two (3:2) 13796: 12599: 12400: 11701: 9126: 7044:"African American Musicians Reflect On 'What Is This Thing Called Jazz?' In New Book By UC Professor". 6354: 6253:

Other jazz musicians gained popularity through social media during the 2010s and 2020s. These included

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emerged as talented jazz musicians, all of whom made significant contributions in the 1990s and 2000s.

5069: 4963: 4506: 4200: 3350: 2559: 1676:

is a fundamental rhythmic figure heard in many different slave musics of the Caribbean, as well as the

1501: 1346:. Women began playing instruments in jazz in the early 1920s, drawing particular recognition on piano. 17: 11920: 11168: 4303:

traveled to the U.S. to experience American music firsthand. European contemporary jazz was shaped by

2542:. In addition to dance bands, there were marching bands which played at lavish funerals (later called 13776: 12677: 12594: 12344: 9252: 7046: 6726: 6720: 6705: 5468: 5436: 4018: 3532: 3214: 3154:

with complex compositions that still translated well for popular audiences; some of his tunes became

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argues that its terms of reference and its definition should be broader, defining jazz as a "form of

840: 730: 7519: 6966: 3547:". Late bop also moved towards extended forms that represented a departure from pop and show tunes. 2286: 1590:

are undocumented, though they can be seen as the secular counterpart of the spirituals. However, as

1229:, who ran the Reliance band in New Orleans in the 1910s, was called "the father of white jazz". The 12693: 12632: 12349: 11139: 10873: 10720:"Where Did Our Revolution Go? (Part Three) – Jazz.com | Jazz Music – Jazz Artists – Jazz News" 9461: 7287: 6462: 6250:, advanced polyrhythms, and blend a spectrum of genres in his largely homemade production process. 5887: 5793: 4937: 4598: 4288: 4144: 3182: 2991:, with Henderson and Redman developing the "talking to one another" formula for "hot" swing music. 2878: 1911:

Ragtime appeared as sheet music, popularized by African-American musicians such as the entertainer

1032: 7568: 7205: 6439: 6230:, as well as players known for their ambitious voicings and chords such as Bill Evans. Supergroup 5216:

music into jazz resulted in the creation of a genre whose spectrum is wide and ranges from strong

5196:. Jazz-funk also draws influences from traditional African music, Afro-Cuban rhythms and Jamaican 5130: 12667: 12569: 12519: 12425: 12385: 12364: 12354: 12324: 9741: 9423: 9382: 7012:"Jazz Inc.: The bottom line threatens the creative line in corporate America's approach to music" 6945: 6585: 6143: 5866: 5805: 5598: 5448: 5147: 5053: 4636: 4520:; this spread to North America via visiting American jazz musicians. The resulting recordings by 3900: 3876: 2630: 2547: 2539: 2308: 2085: 2070: 1816: 1637: 1561:

Lavish festivals with African-based dances to drums were organized on Sundays at Place Congo, or

13020: 9250:

Jackson, Jeffrey (2002). "Making Jazz French: The Reception of Jazz Music in Paris, 1927–1934".

6666:"Where Did 'Jazz,' the Word, Come From? Follow a Trail of Clues, in Deep Dive with Lewis Porter" 4837:

and New York composer Deanna Witkowski as contemporary exemplars of sacred and liturgical jazz.

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Morton loosened ragtime's rigid rhythmic feeling, decreasing its embellishments and employing a

13791: 13786: 13636: 12897: 12770: 12652: 12642: 12609: 12369: 12329: 12301: 11624: 9864: 8837:"Tim Gracyk's Phonographs, Singers, and Old Records – Jass in 1916–1917 and Tin Pan Alley" 7670: 6474: 6379: 6374: 6364: 6344: 6334: 6096: 6046: 5605: 5582: 4953: 4718: 4538:, and the eventual entrenchment of the bossa nova style as a lasting influence in world music. 4124: 4039: 4011: 3938:

introduced the style to the jazz world. Further leaders of hard bop's development included the

3580: 2926:, which was premiered by his orchestra. Jazz began to be recognized as a notable musical form. 2406: 2208: 1749: 1294:

Female jazz performers and composers have contributed to jazz throughout its history. Although

11900: 11768: 9465: 9455: 9201: 8866: 7160: 6053:, a similarly aggressive blend of thrash and free jazz. These developments are the origins of 5930:

The mid-2010s saw an increased influence of R&B, hip-hop, and pop music on jazz. In 2015,

4450:

This occurred in parallel with developments in Cuba The first Cuban band of this new wave was

1174:

to allow musicians to improvise even more. In many forms of jazz, a soloist is supported by a

13523: 13346: 12737: 12662: 12627: 12359: 12339: 12319: 12309: 12006: 11764: 11513: 11433:"The Sant Andreu Jazz Band: Our Newest Jazz Stars Are From—Barcelona? – The Syncopated Times" 10416: 10384: 9912: 9746: 8523: 7911: 7135: 7051: 6827:. Translated by H. and B. Bredigkeit with Dan Morgenstern. 1981. Lawrence Hill Books, p. 371. 6796:"1999 Words of the Year, Word of the 1990s, Word of the 20th Century, Word of the Millennium" 6261:

whose big band and jazz combo videos have received tens of millions of views on YouTube, and

5941: 5690: 5522: 3935: 3363: 3126: 2697:

Morton was a crucial innovator in the evolution from the early jazz form known as ragtime to

2416: 1719: 1454: 1283: 1112: 1111:

Although jazz is considered difficult to define, in part because it contains many subgenres,

1072: 1023: 1011: 874: 31: 13005: 11628: 9193: 8455: 7127: 6880: 6638: 5913:(released posthumously in 1992) was based on hip hop beats and collaborations with producer 5821: 4799:. Prior to his death in 1974 in response to contacts from Grace Cathedral in San Francisco, 3137: 1823:

appears extensively. The figure was later used by Scott Joplin and other ragtime composers.

13297: 13112: 12724: 12499: 12410: 10927: 9427: 9417: 7586: 7015: 6349: 6319: 6310: 6175: 5871: 5857: 4238: 4226: 3980:(1957), considered by Al Campbell to have been one of the high points of the hard bop era. 3976: 3412:

With the rise of bebop and the end of the swing era after the war, jazz lost its cachet as

2351: 2281: 2245: 2014:

In the northeastern United States, a "hot" style of playing ragtime had developed, notably

1677: 1587: 1535: 1391: 1331: 89: 11283:

Gates Jr. (host), Henry Louis (July 17, 2010). "Branford Marsalis and Harry Connick Jr.".

5713:), and has a lead melody-playing instrument (saxophone, especially soprano and tenor, and 4721:

refers to the scale generated by beginning on the fifth step of a pentatonic scale as the

3812:

covered "Afro Blue" in 1963, he inverted the metric hierarchy, interpreting the tune as a

3731:

Another jazz composition critical to the development of Afro-Cuban jazz was Bud Powell's "

3602: 2771:

band took ragtime to Europe, then on their return recorded Dixieland standards including "

8: 13565: 13142: 12742: 12589: 12494: 12083: 12048: 10846: 9635: 7317:

Marin, Reva (December 2015). "Representations of Identity in Jewish Jazz Autobiography".

6384: 6369: 6211: 5936: 5843: 5411: 5265: 5193: 5151: 4332: 3943: 3322: 3318: 3198: 3117:

to join small groups. In the 1930s, Kansas City Jazz as exemplified by tenor saxophonist

2764: 1446: 1016:

Its first documented use in a musical context in New Orleans was in a November 14, 1916,

402: 378: 13010: 5769:. Acid jazz often contains various types of electronic composition (sometimes including 5248: 5184:

By the mid-1970s, the sound known as jazz-funk had developed, characterized by a strong

4546: 4524:

and Stan Getz cemented bossa nova's popularity and led to a worldwide boom, with 1963's

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of the church, which black slaves had learned and incorporated into their own music as

1519: 1339: 1171: 1106: 848: 749: 700: 99: 6038: 4370:. Since the 1990s Keith Jarrett has defended free jazz from criticism. British writer 4304: 4280: 3772:. The piece begins with the bass repeatedly playing 6 cross-beats per each measure of 2959:

began his career in New Orleans and became one of jazz's most recognizable performers.

2104:

Blues is the name given to both a musical form and a music genre, which originated in

1636:

with European harmonic accompaniment. In the mid-1800s the white New Orleans composer

1225:. White jazz musicians appeared in the Midwest and in other areas throughout the U.S. 13683: 13576: 13496: 13330: 13253: 12479: 11851: 11837: 11823: 11797: 11776: 11747: 11735: 11709: 11672: 11653: 11634: 11587: 11533: 11498: 11463: 10699: 10652: 10541: 10344: 10164: 10054: 10034: 9838: 9750: 9641: 9469: 9431: 9386: 9377:

Tucker, Mark; Jackson, Travis (2015). "7. Traditional and Modern Jazz in the 1940s".

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Postwar America: An Encyclopedia of Social, Political, Cultural, and Economic History

9273: 9230: 9205: 9194: 9130: 9036: 8876: 8816: 8646: 8619: 8503: 8154: 8100: 7973: 7915: 7904: 7845: 7813: 7733: 7676: 7643: 7461: 7428: 7406: 7396: 7346: 7334: 7186:

Hentoff, Nat (January 15, 2009). "How Jazz Helped Hasten the Civil Rights Movement".

7166: 7139: 7128: 7103: 7078: 7071: 6994: 6971: 6887: 6743: 6606: 6540: 6510: 6165: 5985:

took direct inspiration from both free jazz and punk. Examples of this style include

5945: 5641: 5625: 5526: 5480: 5456: 5444: 5352: 4993: 4808: 4792: 4753: 4624: 4250: 4007: 3884: 3576: 3186: 3114: 2909: 2626: 2599: 2451: 2441: 2436: 2384: 2318: 2291: 2200: 2113: 1986: 1859: 1847: 1789: 1715: 1671: 1275: 1222: 1002: 820: 792: 73: 9319: 6265:, who broadcast a series of performances live from New York starting in March 2020. 6173:. Connick had success on the pop charts after recording the soundtrack to the movie 5709:. In general, smooth jazz is downtempo (the most widely played tracks are of 90–105 3680: 2793:

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

1727:

observed. "Some survived, others were discarded as the Europeanization progressed."

13611: 13513: 13508: 13430: 13324: 13137: 13015: 12892: 12813: 12549: 12539: 12237: 12091: 11723: 11686: 10093: 10029:

Andy Gonzalez interviewed by Larry Birnbaum. Ed. Boggs, Vernon W. (1992: 297–298).

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The Power of Black Music: Interpreting its history from Africa to the United States

9488: 9261: 9022: 8862: 7635: 7326: 6502: 6188: 5950: 5907:

Although jazz rap had achieved little mainstream success, Miles Davis' final album

5813: 5770: 5766: 5710: 5613: 5464: 5424: 5384: 5371: 5213: 5170:, showing the correlations between jazz and electronic music are a two-way street. 4693: 4501: 4359: 4312: 4188: 4082: 3848: 3833: 3757: 3520: 3500: 3457: 3236: 3090: 2967:(who opened in The Grand Terrace Cafe in Chicago in 1928), Washington, D.C.-native 2922: 2665: 2481: 2313: 2296: 2276: 2204: 2105: 2031: 1757: 1724: 1693: 1538:

had brought nearly 400,000 Africans to North America. The slaves came largely from

1350: 1323: 1246: 1179: 1036: 912: 885: 665: 615: 580: 368: 293: 232: 13383: 11915: 10117: 6179:, which sold over two million copies. Crossover success has also been achieved by 5981:

began to mix free jazz and dub reggae into their brand of punk rock. In New York,

5830:

developed in the late 1980s and early 1990s and incorporates jazz influences into

4489: 2622: 1146:, a.k.a. New Orleans jazz, performers took turns playing melodies and improvising 13720: 13708: 13491: 13445: 13339: 13055: 13035: 12987: 12792: 12529: 12524: 12227: 12207: 12195: 11986: 10996: 10756: 10622: 10618: 10594: 10568: 10327: 10080: 9153: 9027: 9011:"W. C. Handy, Abbe Niles, and (Auto)biographical Positioning in the Whiteman Era" 9010: 8870: 7710: 7503: 7365: 6952: 6838: 6739: 6700: 6579: 6565: 6223: 6026: 5861: 5507: 5503: 5472: 5440: 5290: 5285: 5278: 5228: 5104: 4905: 4816: 4784: 4531: 4497: 4393: 4363: 4344: 4296: 4215: 4160: 4148: 4098: 3951: 3840: 3631: 3597: 3485: 3402: 3387: 3367: 3306: 3174: 3011: 3007: 2995: 2956: 2917: 2897: 2611: 2574: 2555: 2259: 1994: 1928: 1843: 1667: 1442: 1419: 1299: 1234: 1226: 1147: 1132: 948: 725: 690: 670: 570: 437: 358: 338: 222: 141: 94: 10750:

HR-57 Center for the Preservation of Jazz and Blues, with the six-point mandate.

7055: 4894:, the two different idioms began to trade ideas and occasionally combine forces. 4351:. They were eager to develop approaches to music that reflected their heritage. 4287:

Free jazz was played in Europe in part because musicians such as Ayler, Taylor,

1009:

The use of the word in a musical context was documented as early as 1915 in the

927:, or musical scale, as the basis of musical structure and improvisation, as did 13616: 13581: 13467: 13071: 12868: 12269: 12257: 11195: 10958: 10411: 9663:"Jazz at 100 Hour 27: Un Poco Loco - The Intensity of Bud Powell (1946 - 1953)" 9170: 8759: 8473: 7849: 7624:

DeVeaux, Scott (1991). "Constructing the Jazz Tradition: Jazz Historiography".

6158: 6034: 6006: 5931: 5923: 5918: 5801: 5727: 5594: 5546: 5499: 5491: 5460: 5452: 5317: 5294: 5201: 5189: 5085: 5081: 5057: 4979: 4825: 4821: 4800: 4796: 4776: 4444: 4422: 4348: 4340: 4091: 3971: 3959: 3939: 3852: 3736: 3696: 3691:

introduced bebop innovator Dizzy Gillespie to Cuban conga drummer and composer

3572: 3540: 3489: 3433: 3383: 3294: 3202: 3146: 3110: 3070: 3041: 2984: 2976: 2968: 2942: 2803: 2582: 2578: 2461: 2224: 2172: 2133: 1951: 1947: 1851: 1343: 1319: 1307: 1196: 1175: 1089: 1046: 1018: 605: 595: 589: 11352:"Grammy-Winning Keyboardist Cory Henry On Inspiration And Funky Improvisation" 10481: 9265: 8205: 6226:, inspired by both virtuosic players known for their speed and rhythm such as 4913:, this quiet, static album would be equally influential to the development of 3688: 1513: 935:

appeared in the late 1960s and early 1970s, combining jazz improvisation with

13756: 13750: 13735: 13700: 13302: 13285: 13270: 13197: 13192: 13187: 13182: 13177: 13172: 13167: 13162: 13157: 13152: 12972: 12949: 12847: 12835: 12825: 12808: 12435: 12279: 12138: 12073: 12058: 12038: 11949: 11601: 11525: 11467: 10168: 9842: 8357: 7647: 7479:"SHEP FIELDS, LEADER OF BIG BAND KNOWEN FOR RIPPLING RYTHEM (Published 1981)" 7432: 7410: 7338: 6514: 6254: 6243: 6139: 6088: 6058: 5978: 5897: 5706: 5662: 5637: 5633: 5617: 5574: 5562: 5495: 5476: 5364: 5325: 5274: 5269: 5238: 5233: 5163: 5126: 5061: 5033: 4989: 4914: 4711: 4707: 4594: 4575: 4542: 4535: 4526: 4517: 4512: 4439: 4426: 4336: 4320: 4140: 4132: 4128: 4116: 4052: 3963: 3809: 3555: 3524: 3445: 3417: 3314: 3280: 3276: 3272: 3268: 3225: 3170: 3074: 3050: 3036: 2889: 2672: 2212: 2023: 1998: 1959: 1955: 1943: 1924: 1897: 1863: 1785: 1625: 1591: 1478: 1432: 1428: 1408: 1366: 1315: 1303: 1270: 1254: 878: 836: 824: 754: 660: 610: 575: 542: 537: 502: 247: 207: 187: 9925: 8151:

Habaneras, Maxixies & Tangos The Syncopated Piano Music of Latin America

5804:) to more band-based improvised jazz with electronic elements (for example, 4944:

I just threw out all the chord sheets and told everyone to play off of that.

4903:

In 1969, Davis fully embraced the electric instrument approach to jazz with

2589:. During the early 1900s, jazz was mostly performed in African-American and 1935:

published his "Harlem Rag", the first rag published by an African-American.

931:, which explored playing without regular meter, beat and formal structures. 13661: 13621: 13484: 13457: 13425: 13292: 13212: 13207: 13202: 12956: 12944: 12937: 12927: 12880: 12875: 12842: 12718: 12713: 12703: 12574: 12286: 12123: 12023: 11579: 10537: 6329: 6296: 6231: 6196: 6154: 6130: 6126: 6042: 5853: 5817: 5809: 5621: 5586: 5542: 5518: 5487: 5432: 5428: 5407: 5348: 5185: 5167: 5155: 5143: 5135: 5073: 5037: 5006: 4929: 4868: 4780: 4521: 4328: 4300: 4264: 4207: 4192: 4176: 4172: 4168: 4164: 4156: 4112: 4108: 4023: 4003: 4002:

Modal jazz is a development which began in the later 1950s which takes the

3955: 3896: 3892: 3880: 3765: 3732: 3640: 3544: 3528: 3437: 3379: 3354: 3330: 3298: 3256: 3190: 3151: 3118: 3106: 3094: 3066: 3062: 3058: 3020: 3003: 2952: 2905: 2901: 2892:

and his orchestra became a hit in San Francisco. He signed a contract with

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with four parts that feature recurring themes and a bass line with copious

1939: 1912: 1884: 1855: 1793: 1685: 1681: 1605: 1562: 1506: 1387: 1375: 1370: 1362: 1335: 1327: 1295: 1279: 1238: 1218: 1159: 1124: 924: 916: 775: 720: 715: 710: 675: 655: 650: 600: 547: 507: 388: 353: 308: 262: 11017: 9774: 8737: 7330: 6146:, have incorporated free jazz elements into a more traditional framework. 5977:

in London and New York City led to a new appreciation of jazz. In London,

5312:

genre during the 1970s began to record acoustic jazz once more, including

3583:

several structural principles and techniques rooted in African traditions.

3504:

and the beginning of modern jazz ... but the band never made recordings."

3125:

used small combos, uptempo music and blues chord progressions, drawing on

13588: 13501: 13435: 13373: 13275: 13238: 12932: 12922: 12917: 12902: 12863: 12818: 12732: 12708: 12564: 12544: 12509: 12504: 12489: 12274: 12262: 12247: 12180: 12063: 12043: 12018: 11991: 11895: 11836:, fourth edition. Upper Saddle River, New Jersey: Pearson/Prentice Hall. 11807: 11492: 9451: 9413: 9295: 8706: 7235: 7030: 6440:"Jazz Origins in New Orleans – New Orleans Jazz National Historical Park" 6282: 6262: 6203: 6192: 6184: 6180: 5986: 5940:. The album heavily featured prominent contemporary jazz artists such as 5914: 5839: 5789: 5702: 5698: 5678: 5670: 5653: 5554: 5511: 5333: 5313: 5309: 5118: 5077: 5065: 5049: 5045: 5041: 5001: 4997: 4925: 4872: 4864: 4856: 4846: 4769: 4749: 4699: 4606: 4401: 4355: 4324: 4308: 4292: 4086: 3967: 3856: 3616: 3512: 3461: 3449: 3425: 3406: 3398: 3358: 3302: 3244: 3086: 3054: 3032: 2972: 2938: 2927: 2789: 2603: 2530: 2203:" sheet music in 1912 introduced the 12-bar blues to the world (although 2183: 2176: 2096: 2027: 1963: 1916: 1761: 1633: 1599: 1543: 1539: 1490: 1441:

also helped to popularize "Sweet" Jazz music through his appearances and

1438: 1287: 1242: 1200: 1151: 1136: 1068: 1027: 982: 973: 960: 940: 932: 893: 796: 788: 759: 695: 645: 635: 630: 625: 585: 532: 487: 432: 383: 288: 283: 252: 127: 113: 51: 11456:"Live From Emmet's Place: inside New York's most exclusive jazz concert" 10031:

Salsiology; Afro-Cuban Music and the Evolution of Salsa in New York City

8972: 8565:

The Latin Tinge: The impact of Latin American music on the United States

8411: 8062: 7546: 5904:

series began in 1993 using jazz musicians during the studio recordings.

4466: 3748: 2558:

performed the first ever jazz concert outside the United States, at the

1993:, are heard in the ragtime compositions of Joplin and Turpin. Joplin's " 1396: 13730: 13725: 13713: 13260: 13248: 13092: 13076: 12982: 12907: 12765: 12232: 12217: 12190: 12170: 12068: 12053: 11669:

The Clave Matrix; Afro-Cuban Rhythm: Its Principles and African Origins

9866:

A Blowin' Session – Johnny Griffin | Songs, Reviews, Credits | AllMusic

9850: 8645:(7th ed.). Upper Saddle River, NJ: Prentice Hall. pp. 72–73. 8616:

The Clave Matrix: Afro-Cuban Rhythm: Its Principles and African Origins

8266: 7655: 6522: 6324: 6247: 6235: 6030: 5998: 5921:

also absorbed hip-hop influences in the mid-1990s, releasing the album

5835: 5774: 5682: 5674: 5658: 5609: 5566: 5538: 5356: 5321: 5298: 5253: 5209: 5139: 4910: 4677:(not bass notes), where one ordinarily taps their foot to "keep time". 4674: 4632: 4628: 4478: 4418: 4405: 4383: 4196: 4136: 4120: 3997: 3947: 3888: 3872: 3844: 3795: 3692: 3645: 3481: 3441: 3371: 3252: 3248: 3240: 3194: 3155: 3122: 3098: 3082: 2988: 2964: 2913: 2857: 2698: 2551: 2139:

The African use of pentatonic scales contributed to the development of

2125: 2109: 1932: 1901: 1753: 1732: 1660: 1583: 1551: 1482: 1470: 1415:

popular music saw themselves as natural allies with African Americans.

1258: 1250: 1167: 1064: 944: 936: 920: 889: 859: 844: 828: 680: 620: 442: 343: 333: 323: 217: 212: 182: 84: 79: 13534: 11935: 11708:(reprint ed.). Urbana and Chicago: University of Illinois Press. 11563: 8840: 8640: 6414: 5241:

and funk. While there is a discernible rock and funk influence in the

1411:

helped shape the many different sounds that jazz came to incorporate.

1000:. The earliest written record of the word is in a 1912 article in the 13654: 13593: 13479: 13450: 13440: 13228: 12977: 12830: 12780: 12672: 12291: 12252: 12175: 12163: 12153: 12148: 12143: 12133: 12128: 12118: 12033: 11996: 11727: 11173: 10990: 10749: 10573: 10439:

O'Connor, Norman (February 1, 1970). "The Jazz Mass by Joe Masters".

9102: 8946: 6258: 6227: 6135: 6092: 6075: 6016: 6010: 6002: 5974: 5966: 5797: 5778: 5762: 5758: 5745: 5558: 5550: 5379: 5340: 5329: 5179: 4891: 4834: 4829: 4728: 4295:

spent extended periods of time there, and European musicians such as

4211: 4073: 4068: 3931:. Some elements of the genre were simplified from their bebop roots. 3928: 3868: 3761: 3652:(shown below). If the progression begins on the "two-side", it is in 3623:

and his Afro-Cubans in New York City. "Tanga" began as a spontaneous

3493: 3429: 3421: 3413: 3375: 3346: 3310: 3284: 2999: 2802:

cultural values by promoting the decadent values of the Roaring 20s.

2534: 2394: 2346: 2155:

A strongly Arabic/Islamic song style, as found for example among the

2140: 2117: 2019: 1990: 1880: 1820: 1629: 1595: 1424: 1400: 1311: 1233:, whose members were white, were the first jazz group to record, and 1183: 1155: 1143: 1120: 1076: 928: 919:, and blues to small groups and particularly to saxophone and piano. 901: 871: 863: 855: 832: 800: 704: 685: 640: 522: 482: 467: 457: 452: 422: 393: 373: 318: 313: 192: 152: 10257:

Map showing distribution of harmony in Africa. Jones, A. M. (1959).

9834: 9745:, M. Erlewine, V. Bogdanov, San Francisco: Miller Freeman, pp. 9200:(1 ed.). Jackson, MS: University Press of Mississippi. p. 7810:

The World That Made New Orleans: From Spanish Silver to Congo Square

7639: 6819: 6817: 6506: 5852:(1989) and their 1990 track "Jazz Thing" sampled Charlie Parker and 5019:

Weather Report's subsequent releases were creative funk-jazz works.

4021:. Miles Davis introduced the concept to the greater jazz world with 3827:

jazz waltz with duple cross-beats superimposed (2:3). Originally a B

3558:

postulates that harmonic development in bebop sprang from blues and

2476: 13673: 13233: 13132: 12514: 12242: 12185: 12111: 12101: 12001: 11789: 10821: 10682: 9736: 7270:"The First Woman Trombonist in Big Bands – Melba Liston, 1926–1999" 6581:

From Jazz to Swing: Black Jazz Musicians and Their Music, 1917–1935

5827: 5753: 5722: 5686: 5416: 5302: 5089: 5012: 4887: 4879: 4471: 4276: 4244: 4097:

The first major stirrings came in the 1950s with the early work of

3913: 3791: 3704: 3624: 3158:, and his own popularity spanned from the United States to Europe. 2874: 2784: 2563: 1773: 1621: 1524: 1496: 908: 881: 816: 527: 517: 492: 477: 472: 447: 427: 363: 328: 303: 257: 167: 162: 132: 11910: 7159:

Cayton, Andrew R.L.; Sisson, Richard; Zacher, Chris, eds. (2006).

3918: 2963:

Whiteman's success caused black artists to follow suit, including

1923:

solo known as "Rag Time Medley". Also in 1897, the white composer

819:, it has been recognized as a major form of musical expression in 13678: 13280: 13265: 13127: 12222: 12106: 6814: 6239: 5982: 5909: 5831: 5784: 5749: 5694: 5401: 4851: 4451: 3985: 3769: 3620: 3536: 3335: 3193:. He also recorded compositions written by his bandsmen, such as 2866: 2590: 2456: 1905: 1892: 1875: 1777: 1486: 1361:, touring Europe in 1945. Women were members of the big bands of 1060: 867: 812: 808: 512: 177: 157: 69: 11326:"Art Blakey & the Jazz Messengers: Just Coolin' (Blue Note)" 10460:"'The Rochester Mass,' a new concept from organist James Taylor" 9799:

Natambu, Kofi (2014). "Miles Davis: A New Revolution in Sound".

9043: 4863:

In the late 1960s and early 1970s, the hybrid form of jazz-rock

4673:

forms of the bass line. The slashed noteheads indicate the main

3836:

blues, Coltrane expanded the harmonic structure of "Afro Blue".

2848:

performing "Jazz Me Blues", an example of a jazz piece from 1921

1854:, Marsalis makes the point that the single-celled figure is the 1505:

Dance in Congo Square in the late 1700s, artist's conception by

1349:

When male jazz musicians were drafted during World War II, many

13666: 13462: 12785: 12212: 12202: 11356: 8872:

Scott's Official History of the American Negro in the World War

7791:

Borneman, Ernest (1969: 104). "Jazz and the Creole Tradition."

7445:

The Telegraph, Feb. 24, 1981 p. 9 Shep Field Obituary on Google

6771:"The Musical That Ushered In The Jazz Age Gets Its Own Musical" 6113: 6084: 6070: 5714: 5242: 5197: 5159: 4561: 4417:

swing throughout all of the solos. Latin jazz specialists like

4413: 4152: 3700: 2567: 2366: 2112:

of the United States at the end of the 19th century from their

1765: 1598:, rural blues and early jazz "was largely based on concepts of 803:, in the late 19th and early 20th centuries, with its roots in 462: 348: 227: 137: 9457:

Cultural Amnesia: Necessary Memories from History and the Arts

7504:

Tammy L. Kernodle; Horace Maxile; Emmett G. Price III (2010).

5339:

A similar reaction took place against free jazz. According to

2518: 2022:

orchestra in New York City, which played a benefit concert at

13644: 13368: 13243: 13117: 12096: 9957: 9879: 9347:

Burchett, Michael H. (2015). "Jazz". In Ciment, James (ed.).

7746: 6491:

Roth, Russell (1952). "On the Instrumental Origins of Jazz".

6276: 5573:

ensemble included a rotation of young jazz musicians such as

5420: 5308:

For example, several musicians who had been prominent in the

5192:), electrified sounds and, often, the presence of electronic 4482: 4455: 3794:"Afro Blue" bass line. The cross noteheads indicate the main 3474: 3391: 2671:

Morton considered the tresillo/habanera, which he called the

2389: 2211:" and others, included the habanera rhythm, and would become 2129: 2051: 1931:" as the first written piano instrumental ragtime piece, and 1920: 1474: 1466: 1163: 1116: 1092:, one of jazz's most famous figures, said, "It's all music." 968: 897: 804: 497: 298: 147: 64: 9615: 8334: 5962: 4932:, and a new group who had just come out with a hit record, " 4824:(Aleph Records, 1998, UPC 0651702632725) and "Jazz Mass" by 3787:, or 6 cross-beats per 4 main beats—6:4 (two cells of 3:2). 2763:

made the music's first recordings early in 1917, and their "

10588:"6 Genre-Bending Artists Fusing Jazz with Electronic Music" 7449: 6877: 6238:

to shape the grooves and harmonies of modern jazz soloing.

6222:

An internet-aided trend of 2010's jazz was that of extreme

5447:, the emergence of pianists in the Jazz Messengers such as 5221: 5205: 4631:

tune: African rhythmic structures are accessed directly by

1962:. Its structure was the basis for many other rags, and the 1842:

Comparing the music of New Orleans with the music of Cuba,

1579: 242: 172: 11822:: Frank Alkyer & Ed Enright (eds). Hal Leonard Books. 11544:

Includes a 120-page interview with Hines plus many photos.

10069:

Moore, Kevin (2007) "History and Discography of Irakere".

7361:"'Body and Soul' doc explores links between jazz and Jews" 6907:

Luebbers, Johannes (September 8, 2008). "It's All Music".

5761:

developed in the UK in the 1980s and 1990s, influenced by

4740: 3627:(Cuban jam session), with jazz solos superimposed on top. 3606:

Machito (maracas) and his sister Graciella Grillo (claves)

3588:

bebop had become an accepted part of the jazz vocabulary.

11930: 11850:. Vienna: Hollitzer (=Studies in Jazz Research Vol. 16). 10361:

Bowes, Malcolm (January 11, 1966). "Jazz in the chapel".

9515: 9513: 8498:. May 6, 2014. Archived from the original on May 6, 2014. 8325: 8035:

Morton, Jelly Roll (1938: Library of Congress Recording)

7942:. Philadelphia: Temple University Press. pp. 67, 69. 7826: 4940:... I wanted to make it more like rock. When we recorded 3397:

Bebop and subsequent post-war jazz developments featured

2084:

Audio playback is not supported in your browser. You can

2069:

Audio playback is not supported in your browser. You can

1358: 1221:

argues that there is a "white jazz" genre that expresses

237: 11608:. Jackson, Mississippi: University Press of Mississippi. 10532:

Harrison, Max; Thacker, Eric; Nicholson, Stuart (2000).

10531: 10051:

Cubano Be, Cubano Bop: One Hundred Years of Jazz in Cuba

9821:

Rosenthal, David H. (1988). "Hard Bop and Its Critics".

8545: 7050:. Vol. 38, no. 79. March 20, 2002. p. 7. 5088:. Jazz fusion was also popular in Japan, where the band 4828:(Fantasy Records, 1965). In England, classical composer 4530:, numerous recordings by famous jazz performers such as 3984:

following the Young Lions Movement and the emergence of

3934:

Miles Davis' 1954 performance of "Walkin'" at the first

11941: 9702: 9603: 9196:

Cross the Water Blues: African American music in Europe

9090: 9078: 8994:

Downes, Olin (February 13, 1924). "A Concert of Jazz".

8613: 8388: 8122:

Tanner, Paul; Megill, David W.; Gerow, Maurice (2009).

8060: 8042: 7955:

Cubano Be Cubano Bop: One Hundred Years of Jazz in Cuba

6886:. New York: Cambridge University Press. pp. 1, 6. 4257:

In June 1965, Coltrane and 10 other musicians recorded

3145:

While swing was reaching the height of its popularity,

1946:" in 1898 and, in 1899, had an international hit with " 10637:"Free Jazz-Funk Music: Album, Track and Artist Charts" 10534:

The Essential Jazz Records: Modernism to Postmodernism

10264: 10131:"Jazz Festival – A Study Of Folk-Jazz Fusion – Review" 9526: 9510: 8583: 8292: 8232: 8172:

Cuba and its Music; From the First Drums to the Mambo.

8077: 7986: 7859: 6568:). IIP Digital. Oxford University Press, 26 July 2008. 5973:

The relaxation of orthodoxy which was concurrent with

4203:" in Manhattan in 1964, the first free jazz festival. 3543:" (I-vi-ii-V) – the chords to the 1930s pop standard " 3405:

and at faster tempos than previous jazz. According to

888:(a hard-swinging, bluesy, improvisational style), and 11406:"Jacob Collier review: Youtuber gets Gen Y into jazz" 10412:"A jazz mass? The vexing legacy of Mary Lou Williams" 9945: 9891: 9498: 8126:(11 ed.). Boston: McGraw-Hill. pp. 328–331. 8007:

Cuba and Its Music: From the First Drums to the Mambo

6927: 6915: 6558:"Popular Jazz and Swing: America's Original Art Form" 5486:

The young Jazz Messengers' contemporaries, including

2602:

in addition to those from other communities, such as

2167: 1915:, whose hit songs appeared in 1895. Two years later, 1135:

performance is evaluated more by its fidelity to the

10562:"Jazztronica: A Brief History of the Future of Jazz" 8923: 8896: 7812:. Chicago: Chicago Review Press. pp. 124, 287. 7758: 7605: 7460:

George T. Simon. Schirmer Trade Books, London, 2012

7425:

Benny Goodman live at Carnegie Hall, 1938: complete.

6272: 5877:

People's Instinctive Travels and the Paths of Rhythm

5220:

to soul, funk or disco with jazz arrangements, jazz

4956:

to create one of the early acclaimed fusion albums:

4779:. Later many other jazz artists borrowed from black 4214:

3243:, a mix of 1930s American swing, French dance hall " 1119:, a form of folk music which arose in part from the 976:

made an early contribution to the genre's etymology.

13413: 10761: 8304: 8220: 7871: 7077:(2nd ed.). Thunder's Mouth Press. p. 42. 5812:and the Norwegian "future jazz" style pioneered by 5739: 4510:LP. Gilberto's initial releases, and the 1959 film 3974:, Mobley, and Morgan all participated on the album 2873:

made her first recordings. Chicago was developing "

1866:and considered it an essential ingredient of jazz. 1131:pattern, but early blues was also improvisational. 10639:. Archived from the original on September 20, 2008 9565: 9318: 7903: 7162:The American Midwest: An Interpretive Encyclopedia 7158: 7070: 6879: 4055:, and two of the musicians who had also played on 3132: 2704: 1764:) gained international popularity. Musicians from 1613:in 1843, featuring tambourine, fiddle, banjo, and 1578:Another influence came from the harmonic style of 1445:broadcasts from such landmark venues as Chicago's 11869:The Swing Era: The Development of Jazz, 1930–1945 11238:Genius grant saxman Steve Coleman redefining jazz 11222:Genius grant saxman Steve Coleman redefining jazz 11169:"Jazz Articles: Steve Coleman: Vital Information" 11075: 9719: 9717: 9156:– 'beyond category' – as a liberating principle." 8202:"Jim Europe's 369th Infantry "Hellfighters" Band" 8121: 7957:. Washington, D.C.: Smithsonian Books. p. 5. 5890:incorporated jazz influences on their 1992 debut 4578:composed by a non-Latino to use an overt African 4488:The bossa nova style was pioneered by Brazilians 4425:soloed through the entire form over an authentic 3675: 3231:This style entered full swing in France with the 2885:. Bix Beiderbecke formed The Wolverines in 1924. 1632:popularized the music internationally, combining 13748: 11379:"UNESCO World Jazz Day Present | TeRra Magazine" 11282: 10917: 10704:: CS1 maint: bot: original URL status unknown ( 10686:. Archived from the original on October 19, 2010 10657:: CS1 maint: bot: original URL status unknown ( 6825:The Jazz Book: From Ragtime to Fusion and Beyond 5860:tended toward jazzy releases: these include the 5842:released "Talkin' All That Jazz", which sampled 4924:The music I was really listening to in 1968 was 4787:(Blueengine Records, 2016) is a recent example. 4744:V pentatonic scale over II–V–I chord progression 4627:figure at 2:20. "Footprints" is not, however, a 3222:tour by the Original Dixieland Jazz Band in 1919 1497:Blended African and European music sensibilities 1022:article about "jas bands". In an interview with 11775:(7th ed.). Frankfurt am Main: S. Fischer. 11484: 11166: 9991:Is Jazz Dead? Or Has it Moved to a New Address? 9637:To Be or Not to Bop: Memoirs of Dizzy Gillespie 9633: 8488: 8195: 8193: 7972:. Petaluma, California: Sher Music. p. 4. 6738: 4210:, utilization of overtones, and playing in the 3026: 1554:structure and reflect African speech patterns. 1055:from the Solomon R. Guggenheim Museum, New York 11403: 10819: 10505:Davis, Miles, with Quincy Troupe (1989: 298), 10053:, p. 59. Washington, D.C.: Smithsonian Books. 9714: 9699:(Mongo Santamaria) Prestige CD 24018-2 (1959). 8867:"Chapter XXI: Negro Music That Stirred France" 8346: 5004:and Shorter had pioneered with Miles Davis on 4898: 4432: 3208: 2147:Many of the rural blues of the Deep South are 972:American jazz composer, lyricist, and pianist 815:and African rhythmic rituals. Since the 1920s 13550: 13399: 11957: 11692:Early Jazz: Its Roots and Musical Development 11349: 9376: 8031: 8029: 8009:. Chicago: Chicago Review Press. p. 125. 7575:. U.S. National Park Service. April 14, 2015. 5375:1987, and in the Senate on November 4, 1987. 4795:, known for her jazz masses in the 1950s and 4763: 3535:were introduced into jazz, and the dissonant 2499: 2190:Handy wrote about his adopting of the blues: 1756:rhythmic motifs in the 19th century when the 1643: 11794:Music Outside: Contemporary Jazz in Britain. 10438: 10420:. Vol. 139, no. 12. pp. 13–15 10286:. Petaluma, CA: Sher Music. ASIN: B004532DEE 10227:"An ancient west central Sudanic stratum of 9342: 9340: 9338: 9336: 9334: 9332: 8808: 8190: 7998: 7897: 7895: 7497: 7206:"NPR's Jazz Profiles: Women In Jazz, Part 1" 7062: 4813:recently assassinated Martin Luther King Jr. 4470:Naná Vasconcelos playing the Afro-Brazilian 3946:, the Horace Silver Quintet, and trumpeters 1527:plantation dancing to percussion and a banjo 858:began in the early 1910s, combining earlier 11734:(1st ed.). New York: Alfred A. Knopf. 11518:The Making of Jazz: A Comprehensive History 11101: 10378: 10376: 9120: 8199: 7803: 7801: 7775: 7773: 7595:The African Americans: Many Rivers to Cross 7468:"Shep Fields Biography" on Books.google.com 6830: 6725:Archived at Observatoire Musical Français, 6602:WJEC & EDUQAS GCSE Music Revision Guide 5948:released his nearly three-hour long debut, 5726:article "The Problem With Jazz Criticism", 5455:, and later, Benny Green, bassists such as 5224:and jazz solos, and sometimes soul vocals. 3726: 3591: 3390:. This musical development became known as 3141:Duke Ellington at the Hurricane Club (1943) 2009: 990:, a slang term dating back to 1860 meaning 954: 13557: 13543: 13406: 13392: 11964: 11950: 11107: 10822:"Opinion: The Problem With Jazz Criticism" 9982: 9408: 9406: 9404: 9402: 8400: 8276:. How To Play Blues Guitar. Archived from 8130: 8026: 7715: 7534: 7179: 6987:Davis, Miles & Troupe, Quincy (1990). 6967:Blues People: Negro Music in White America 6624: 6622: 6234:adopted this trend, allowing players like 4982:'s self-titled electronic and psychedelic 4639:(drums) via the rhythmic sensibilities of 4408:. Even as late as 2000, in Mark Gridley's 3867:In the late 1940s, there was a revival of 3610: 2506: 2492: 1989:and its variants, the habanera rhythm and 11722: 11647: 10981: 10979: 10977: 10768:Guilliatt, Richard (September 13, 1992). 10767: 10670: 9988: 9963: 9885: 9820: 9556: 9554: 9372: 9370: 9368: 9329: 9123:The Cambridge Companion to Duke Ellington 9026: 8917: 8614:Peñalosa, David; Peter Greenwood (2009). 8274:"The Evolution of Differing Blues Styles" 7933: 7931: 7892: 7662: 7573:New Orleans Jazz National Historical Park 7512: 7288:"Nine Jews Who Changed the Sound of Jazz" 7251:"Melba Liston; Jazz Trombonist, Composer" 7165:. Indiana University Press. p. 569. 7114:He is known as the 'Father of White Jazz' 6862: 6860: 6858: 6637:. Oxford University Press. Archived from 6577: 5957: 5092:released more than thirty fusion albums. 5080:, saxophonist Wayne Shorter and bassists 3843:combo of the late 1950s was vibraphonist 3790:The following example shows the original 2573:In New Orleans, a white bandleader named 2550:and African-American musicians played in 11685: 11666: 11554:, edited by Mervyn Cooke and David Horn" 11453: 11252: 11250: 11140:"Undead Jazzfest Roams the West Village" 10985:Bangs, Lester. "Free Jazz / Punk Rock". 10891: 10373: 10330:. PhD Thesis. University of North Texas. 10191:"Brazil's Melgaço: The Music of Silence" 9728: 9708: 9621: 9609: 9598:Mario Bauza and his Afro-Cuban Orchestra 9346: 9096: 9084: 8913: 8911: 8785:"Original Dixieland Jazz Band Biography" 8618:. Redway, CA: Bembe Books. p. 229. 8589: 8340: 8140:. Philadelphia: Temple University Press. 8004: 7992: 7865: 7832: 7807: 7798: 7770: 7601:from the original on September 21, 2015. 7229: 7223: 7199: 7197: 7102:. Rowman & Littlefield. p. 10. 7097: 7091: 6906: 6690: 6571: 6556:Starr, Larry, and Christopher Waterman. 6390:List of jazz venues in the United States 6148: 6099:developed a complex but grooving sound. 6074: 6049:recorded the first album under the name 5961: 5657: 5467:and Essiet Essiet) horn players such as 5273: 5256:had begun to explore in the late 1960s. 4850: 4758:Thesaurus of Scales and Melodic Patterns 4739: 4727: 4560: 4465: 4275: 4072: 3917: 3747: 3679: 3601: 3288: 3136: 3040: 2951: 2788: 2621: 2517: 2171: 1985:African-based rhythmic patterns such as 1879: 1788:. can be thought of as a combination of 1604: 1512: 1500: 1395: 1274: 1041: 967: 13564: 12998: 11814:. Delta Music plc. UPC 4-006408-264637. 11578: 11512: 11323: 11137: 11131: 10865: 10586:Kalouti, Noor, et al. (July 11, 2016), 10410:Corbin, Ian Marcus (December 7, 2012). 10382: 9816: 9814: 9798: 9734: 9723: 9640:. New York: Da Capo Press. p. 77. 9399: 9249: 9224: 9218: 9002: 8987: 8638: 8138:Creolizing Contradance in the Caribbean 8097:"The First Ragtime Records (1897–1903)" 7970:Salsa guidebook: For Piano and Ensemble 7967: 7940:Creolizing Contradance in the Caribbean 7901: 7672:Delphi Complete Works of Lafcadio Hearn 7623: 7422: 7267: 7185: 7152: 7004: 6933: 6921: 6836: 6788: 6619: 6598: 6463:"'The Jazz Book': A Map of Jazz Styles" 4051:Other innovators in this style include 3743: 3634:. The use of clave brought the African 2238:This article is part of a series on the 1738: 1650:Traditional sub-Saharan African harmony 1594:points out, whereas the spirituals are 1355:The International Sweethearts of Rhythm 923:developed in the late 1950s, using the 14: 13749: 11700: 11650:The Freedom Principle: Jazz After 1958 11623: 11547: 11010:""House Of Zorn", Goblin Archives, at" 10974: 10409: 10270: 10154: 10128: 9951: 9909: 9897: 9769: 9767: 9765: 9551: 9532: 9412: 9365: 9227:A History of Jazz in Britain 1919–1950 9149: 9008: 8993: 8696: 8665: 7952: 7946: 7937: 7928: 7779: 7721: 7506:Encyclopedia of African American Music 7373:from the original on November 13, 2021 7298:from the original on November 13, 2021 7248: 7125: 7119: 7068: 6958: 6878:Cooke, Mervyn; Horn, David G. (2002). 6866: 6855: 6768: 6762: 6628: 6134:by some players, such as saxophonists 5259: 4461: 4283:is a key figure in European free jazz. 4271: 4017:The modal theory stems from a work by 3452:, this changed in the post-war years: 2218: 2143:in blues and jazz. As Kubik explains: 1919:recorded a medley of these songs as a 13538: 13387: 11945: 11612: 11600: 11586:. New York: Oxford University Press. 11524: 11490: 11276: 11247: 10742: 10612:"Who Can Keep up with Mark Guiliana?" 10560:Nicholson, Stuart (January 3, 2003), 10360: 10232: 10188: 10091: 9660: 9634:Gillespie, Dizzy; Fraser, Al (1985). 9571: 9560: 9504: 9492: 9450: 9108: 9049: 8971:. The Red Hot Archive. Archived from 8945:. The Red Hot Archive. Archived from 8929: 8908: 8902: 8861: 8809:Martin, Henry; Waters, Keith (2005). 8727: 8551: 8410:. The Red Hot Archive. Archived from 8394: 8354:Father of the Blues: An Autobiography 8310: 8298: 8238: 8226: 8204:. The Red Hot Archive. Archived from 8083: 8048: 8037:The Complete Recordings By Alan Lomax 7961: 7910:. New York: Schirmer Books. pp. 7877: 7764: 7752: 7668: 7611: 7591:"How Many Slaves Landed in the U.S.?" 7585: 7316: 7194: 6981: 6660: 6658: 6656: 6009:(the first group to call themselves " 4717:Jazz pianist, theorist, and educator 4601:" (1967). On the version recorded on 4516:, achieved significant popularity in 4104:Free Jazz: A Collective Improvisation 1680:folk dances performed in New Orleans 11695:. New York: Oxford University Press. 11633:. Petaluma, California: Sher Music. 10787: 10457: 9811: 9661:Perry, Russell (September 1, 2017). 9523:. New York: Oxford University Press. 9325:. New York: Oxford University Press. 9316: 9191: 8935: 7540: 7471: 6490: 6486: 6484: 6460: 6257:, a bassist and bandleader based in 5781:"one of the prophets of acid jazz". 5689:, as well as saxophonists including 5227:Early examples are Herbie Hancock's 4687: 3862: 2026:in 1912. The Baltimore rag style of 1718:is heard prominently in New Orleans 1690:sub-Saharan African music traditions 1460: 1453:and the Starlight Roof at the famed 1378:from the late 1950s into the 1990s. 1206: 896:waltzes) were the prominent styles. 870:, ragtime and blues with collective 11110:"A Saxophonist's Reverberant Sound" 11108:Blumenfeld, Larry (June 11, 2010). 10665:Rhapsody Online — Rhapsody.com 9801:Black Renaissance/Renaissance Noire 9762: 8642:Jazz Styles: History & Analysis 8602:The New Harvard Dictionary of Music 8524:"Marsalis, Wynton (2000: DVD n.1). 8115: 7675:. Delphi Classics. pp. 4079–. 7319:Canadian Review of American Studies 7073:The LeRoi Jones/Amiri Baraka reader 6684: 5111: 5048:, and Herbie Hancock, vibraphonist 4969: 4556: 4111:. In the 1960s, exponents included 4081:Free jazz, and the related form of 3560:African-related tonal sensibilities 2745:The New Harvard Dictionary of Music 1624:dances. In turn, European American 1523:, depicting African-Americans on a 911:, which introduced influences from 907:The mid-1950s saw the emergence of 24: 11757: 11732:Jazz: A History of America's Music 11584:Visions of Jazz: The First Century 11046:. October 19, 2007. Archived from 10871: 10610:Larkin, Cormac (October 13, 2015), 10462:. Digital Journal. Digital Journal 10383:Versace, Angelo (April 30, 2013). 10218:(Miles Davis). Columbia CD (1967). 9229:(4th ed.). London: Northway. 7669:Hearn, Lafcadio (August 3, 2017). 7520:"15 Most Influential Jazz Artists" 6691:Seagrove, Gordon (July 11, 1915). 6653: 6465:. WNUR-FM, Northwestern University 6212:Art Blakey and the Jazz Messengers 5510:and early recordings of the first 5412:Art Blakey and the Jazz Messengers 4890:and did not want to play strictly 4195:, who often played with trumpeter 4034:"I didn't write out the music for 2818: 2258: 2168:W. C. Handy: early published blues 2056: 25: 13808: 13762:African-American cultural history 13319:Album covers of Blue Note Records 11921:Alabama Jazz Hall of Fame website 11875: 11559:Zeitschrift für Musikwissenschaft 11454:Morrison, Allen (July 18, 2022). 11230:A Saxophonist's Reverberant Sound 10793: 10458:Peel, Adrian (December 2, 2015). 10246:Jazz Styles: History and Analysis 10005:Jazz Styles: History and Analysis 9167:"Jazz Musicians – Duke Ellington" 8815:. Thomson Wadsworth. p. 55. 8578:Jazz Styles: History and Analysis 7203: 6693:"Blues is Jazz and Jazz Is Blues" 6481: 6360:List of certified jazz recordings 6119: 6079:Steve Coleman in Paris, July 2004 5934:released his third studio album, 5252:approach that Davis and producer 4974: 4541:Brazilian percussionists such as 4410:Jazz Styles: History and Analysis 3942:/Max Roach Quintet, Art Blakey's 3488:, trumpeters Dizzy Gillespie and 3185:'s lyrics), and "The Mooche" for 2916:. In 1924, Whiteman commissioned 1745:Music of African heritage in Cuba 1666:In the opinion of jazz historian 1264: 1189: 13367: 11447: 11425: 11397: 11371: 11343: 11324:Whiteis, David (July 22, 2020). 11317: 11291: 11287:(DVD). Season 1. Episode 1. PBS. 11256: 11213: 11188: 11167:Michael J. West (June 2, 2010). 11160: 11062: 11040:"Progressive Ears Album Reviews" 11032: 11002: 10942: 10918:Russell Warfield (May 5, 2015). 10911: 10839: 10813: 10712: 10629: 10604: 10580: 10554: 10525: 10512: 10499: 10474: 10451: 10432: 10403: 10354: 10333: 10311: 10298: 10289: 10276: 10251: 10238: 10221: 10208: 10189:Friad, William (March 4, 2004). 10182: 10155:Blount, Jeb (December 9, 1994). 10148: 10129:Palmer, Robert (June 28, 1982). 10122: 10111: 10085: 10063: 10043: 10023: 10020:. Prestige CD. ASIN: B000000ZCY. 10010: 9997: 9969: 9932: 9903: 9857: 9792: 9689: 9680: 9654: 9627: 9590: 9577: 9538: 9482: 9444: 9310: 9280: 9243: 9185: 9159: 9143: 9114: 9066: 9055: 8961: 8855: 8829: 8802: 8777: 8752: 8721: 8690: 8659: 8632: 8607: 8595: 8570: 8557: 8516: 8436:. Quill and Quire. March 3, 2004 8183:Roberts, John Storm (1999: 40). 8061:Catherine Schmidt-Jones (2006). 7249:Oliver, Myrna (April 28, 1999). 6744:""Jazz": A Tale of Three Cities" 6303: 6289: 6275: 5995:James Chance and the Contortions 5740:Acid jazz, nu jazz, and jazz rap 4059:: John Coltrane and Bill Evans. 3760:first recorded his composition " 3662: 3262: 3179:Do Nothing Till You Hear from Me 2856:Problems playing this file? See 2834: 2799:Prohibition in the United States 2725: 2713: 2684: 2651: 2475: 1972: 1829: 1802: 1702: 1569:said of percussive slave music: 1550:pattern, and the rhythms have a 1211: 1100: 769: 13415:Louisiana roots music and dance 11796:2nd edition. London: Northway. 11552:The Cambridge Companion to Jazz 11411:The Australian Financial Review 11381:. April 8, 2019. Archived from 10971:Access date: November 15, 2008. 10820:Stanley Crouch (June 5, 2003). 10509:. New York: Simon and Schuster. 10304:After Mark Levine (1989: 127). 10092:Yanow, Scott (August 5, 1941). 9111:, pp. 56–59, 78–79, 66–70. 8699:"The Origins of Big Band Music" 8462: 8448: 8426: 8363: 8316: 8253: 8244: 8177: 8164: 8143: 8089: 8054: 8013: 7883: 7838: 7785: 7696: 7627:Black American Literature Forum 7617: 7579: 7561: 7438: 7416: 7385: 7353: 7310: 7280: 7261: 7242: 7037: 6939: 6900: 6882:The Cambridge Companion to Jazz 6871: 6837:Berendt, Joachim Ernst (1964). 6732: 6631:"The Baseball Origin of 'Jazz'" 6599:Ventura, David (May 22, 2018). 6217: 6057:, the fusion of free jazz with 6029:tunes done in the contemporary 6025:album in 1986, a collection of 5856:. The groups which made up the 5439:. In the 1980s, in addition to 4221:The John Coltrane Quartet Plays 3233:Quintette du Hot Club de France 3133:The influence of Duke Ellington 2778: 2705:Swing in the early 20th century 1862:called the rhythmic figure the 1517:The late 18th-century painting 1381: 12699:Institutions and organizations 11916:Jazz at the Smithsonian Museum 11404:Michael Bailey (May 1, 2018). 11350:David Hochman (May 15, 2018). 11244:, Philadelphia Media Network). 11138:Ratliff, Ben (June 14, 2010). 10244:Gridley, Mark C. (2000: 270). 10003:Gridley, Mark C. (2000: 444). 9823:The Black Perspective in Music 9519:Floyd, Samuel A., Jr. (1995). 8668:"Recording Technology History" 8174:Chicago: Chicago Review Press. 7522:. Listverse. February 27, 2010 6769:Vitale, Tom (March 19, 2016). 6629:Wilton, Dave (April 6, 2015). 6592: 6550: 6529: 6454: 6432: 6407: 5717:electric guitar are popular). 5647: 5200:, notably Kingston bandleader 4840: 4748:Accordingly, John Coltrane's " 4175:, a rhythm section honed with 3859:on his early recording dates. 3676:Dizzy Gillespie and Chano Pozo 3313:performing at Three Deuces in 3049:The 1930s belonged to popular 2617: 1253:. Others from Chicago such as 13: 1: 12396:Cool jazz and West Coast jazz 11497:. London: Thames and Hudson. 10770:"Jazz: The Young Lions' Roar" 10033:. New York: Greenwood Press. 9169:. Theory Jazz. Archived from 8576:Gridley, Mark C. (2000: 61). 7852:". "Wynton Marsalis part 2." 7569:"Jazz Origins in New Orleans" 6396: 5351:played duets in concert with 4377: 3991: 3002:was also formed in Canada by 2634: 2108:communities of primarily the 11901:Resources in other libraries 11846:Hendler, Maximilian (2023). 11616:Black Music Research Journal 11562:(6): 159–175. Archived from 11485:General and cited references 9379:Jazz: Grove Music Essentials 9028:10.1080/03007766.2014.994320 8331:Handy, Father (1941), p. 99. 8149:Matthiesen, Bill (2008: 8). 7902:Roberts, John Storm (1999). 7844:Wynton Marsalis states that 7728:. New York: Viking. p. 6401: 6206:and studio archives such as 5173: 5028:the powerful amplification, 5022: 4062: 3338:(commonly used for pressing 3173:, "Concerto for Cootie" for 3027:Swing in the 1920s and 1930s 2846:Original Dixieland Jass Band 2761:Original Dixieland Jass Band 2587:Original Dixieland Jass Band 2585:, and future members of the 2132:and rhymed simple narrative 2081: 2066: 1938:Classically trained pianist 1231:Original Dixieland Jazz Band 7: 11299:"Dan Morgenstern: Producer" 10999:Access date: July 20, 2008. 10755:September 18, 2008, at the 9288:"Ed Lang and his Orchestra" 9192:Wynn, Neil A., ed. (2007). 8875:. Chicago: Homewood Press. 8408:"Original Creole Orchestra" 8023:. CBS News (June 26, 2011). 7856:. CBS News (June 26, 2011). 7457:The Big Bands - 4th Edition 6537:America's Musical Landscape 6268: 4899:Miles Davis' new directions 4714:'s "African Queen" (1965). 4433:Afro-Cuban jazz renaissance 4199:, who organized the 4-day " 3907: 3839:Perhaps the most respected 3552:Clark Monroe's Uptown House 3209:Beginnings of European jazz 3161:Ellington called his music 3019:band, where he popularized 2930:, reviewing the concert in 1095: 827:. Jazz is characterized by 10: 13813: 11871:. Oxford University Press. 11706:Ellington: The Early Years 10339:Levine, Mark (1995: 205). 10282:Levine, Mark (1989: 127). 9989:Nicholson, Stuart (2004). 9938:Davis, Miles (1989: 234). 9351:. Routledge. p. 730. 9127:Cambridge University Press 9052:, pp. 82–83, 100–103. 8563:Roberts, John Storm 1979. 8496:"The Legend of Storyville" 8187:. Oxford University Press. 8170:Sublette, Ned (2008:155). 8136:Manuel, Peter (2009: 69). 8019:"Wynton Marsalis part 2." 7704:African American Registry. 7268:Beckett, S. (April 2019). 6578:Hennessey, Thomas (1973). 6355:Timeline of jazz education 6068: 5893:Mecca and the Soul Brother 5743: 5651: 5399: 5395: 5332:. Even the 1980s music of 5263: 5177: 4964:The Tony Williams Lifetime 4928:, the great guitar player 4844: 4767: 4764:Sacred and liturgical jazz 4381: 4201:October Revolution in Jazz 4066: 3995: 3911: 3595: 3472: 3266: 3220:British jazz began with a 3030: 2782: 2560:Pantages Playhouse Theatre 2222: 2049: 1873: 1869: 1742: 1647: 1644:African rhythmic retention 1385: 1268: 1104: 958: 29: 13699: 13635: 13572: 13421: 13363: 13311: 13221: 13105: 13085: 13064: 13048: 12965: 12856: 12801: 12758: 12751: 12725:See Template: Jazz theory 12686: 12608: 12472: 12434: 12378: 12300: 12082: 11979: 11896:Resources in your library 11867:Schuller, Gunther. 1991. 11820:The Great Jazz Interviews 11671:. Redway, CA: Bembe Inc. 11070:Sozialgeschichte des Jazz 10995:January 10, 2021, at the 10617:November 4, 2020, at the 10518:Dan, Morgenstern (1971). 10389:Open Access Dissertations 10259:Studies in African Music. 10049:Acosta, Leonardo (2003). 9735:Gridley, Mark C. (1994), 9462:W.W. Norton & Company 9266:10.1215/00161071-25-1-149 9253:French Historical Studies 9015:Popular Music and Society 8812:Jazz: The First 100 Years 8639:Gridley, Mark C. (2000). 8508:: CS1 maint: unfit URL ( 7953:Acosta, Leonardo (2003). 7709:December 2, 2014, at the 7508:. Greenwood. p. 426. 6951:October 27, 2010, at the 6727:Paris-Sorbonne University 6721:Paris-Sorbonne University 6564:February 3, 2017, at the 6064: 6033:style. In the same year, 5888:Pete Rock & CL Smooth 4609:, the bass switches to a 4569: 3401:, played in more complex 2998:'s favorite "Sweet Jazz" 892:(a style that emphasized 768: 745: 740: 562: 557: 414: 409: 275: 270: 201: 120: 108: 57: 46: 41: 13772:American styles of music 11971: 11667:Peñalosa, David (2010). 11648:Litweiler, John (1984). 11126:does and why he does it. 10326:August 16, 2017, at the 9419:The Sax & Brass Book 8730:"The First Jazz Records" 8375:www.neworleansonline.com 7755:, pp. 14–17, 27–28. 7230:Placksin, Sally (1985). 6993:. Simon & Schuster. 6990:Miles: The Autobiography 6800:American Dialect Society 6142:, while others, such as 5846:. Gang Starr's debut LP 5502:were also influenced by 4938:Sly and the Family Stone 4496:and was made popular by 4477:Brazilian jazz, such as 3592:Afro-Cuban jazz (cu-bop) 3468: 2773:Darktown Strutters' Ball 2199:The publication of his " 2045: 2010:Ragtime in other regions 1037:Word of the 20th Century 1033:American Dialect Society 955:Etymology and definition 841:call and response vocals 95:classical European music 11832:Gridley, Mark C. 2004. 11530:The World of Earl Hines 11234:The Wall Street Journal 11114:The Wall Street Journal 10851:Digital.library.unt.edu 10079:March 26, 2013, at the 9942:. New York: Touchstone. 9742:All Music Guide to Jazz 9424:Hal Leonard Corporation 9383:Oxford University Press 8434:"Such Melodious Racket" 7722:Palmer, Robert (1981). 7423:Goodman, Benny (2006), 7188:The Wall Street Journal 7126:Larkin, Philip (2004). 7100:A Short History of Jazz 6605:. Rhinegold Education. 6586:Northwestern University 6539:. Brown and Benchmark. 6442:. National Park Service 6419:Encyclopædia Britannica 5867:Straight Out the Jungle 5806:The Cinematic Orchestra 5773:or live DJ cutting and 3901:Firehouse Five Plus Two 3752:Mongo Santamaria (1969) 3721:On Green Dolphin Street 3719:", "Tin Tin Deo", and " 3611:Machito and Mario Bauza 3293:The "classic quintet": 2769:"Hellfighters" infantry 2086:download the audio file 2071:download the audio file 1817:Louis Moreau Gottschalk 1638:Louis Moreau Gottschalk 1154:era of the 1920s–'40s, 980:The origin of the word 791:that originated in the 27:Musical style and genre 13767:African-American music 13637:African-American music 11931:Jazz at Lincoln Center 11860:Nairn, Charlie. 1975. 11765:Berendt, Joachim Ernst 11548:Elsdon, Peter (2003). 11514:Collier, James Lincoln 11491:Cooke, Mervyn (1999). 10593:July 13, 2019, at the 10567:July 13, 2019, at the 10317:Bair, Jeff (2003: 5). 9993:. New York: Routledge. 9009:Dunkel, Mario (2015). 8005:Sublette, Ned (2008). 7938:Manuel, Peter (2000). 7808:Sublette, Ned (2008). 7587:Gates, Henry Louis Jr. 7543:"What Is a Jazz Band?" 7427:, AVID Entertainment, 7098:Yurochko, Bob (1993). 7069:Baraka, Amiri (2000). 6964:Baraka, Amiri (1999). 6843:. P. Owen. p. 278 6750:. The Visual Thesaurus 6635:OxfordDictionaries.com 6584:(Ph.D. dissertation). 6475:University of Salzburg 6380:List of jazz standards 6375:List of jazz musicians 6365:List of jazz festivals 6345:International Jazz Day 6335:Victorian Jazz Archive 6162: 6153:Joan Chamorro (bass), 6080: 6047:Ronald Shannon Jackson 5970: 5958:Punk jazz and jazzcore 5767:electronic dance music 5737: 5666: 5557:, Greg Hutchinson and 5361: 5281: 5231:band and Miles Davis' 5129:and the Swedish group 4946: 4896: 4860: 4745: 4733: 4566: 4474: 4284: 4078: 3923: 3753: 3685: 3630:This was the birth of 3607: 3585: 3581:African-American music 3466: 3326: 3142: 3046: 2960: 2823: 2794: 2641: 2526: 2263: 2197: 2180: 2165: 1888: 1858:of New Orleans music. 1750:African-American music 1617: 1576: 1528: 1510: 1404: 1291: 1056: 1052:Composition for "Jazz" 977: 13782:Musical improvisation 11834:Concise Guide to Jazz 10950:Perfect Sound Forever 10391:. University of Miami 9926:10.1093/musqtl/gds006 9913:The Musical Quarterly 9600:. Messidor CD (1992). 9491:, November 14, 1972. 9225:Godbolt, Jim (2010). 8918:Ward & Burns 2000 7331:10.3138/cras.2015.s10 7134:. Continuum. p. 6701:Chicago Daily Tribune 6535:Ferris, Jean (1993). 6152: 6078: 5965: 5917:. Davis' ex-bandmate 5732: 5691:Grover Washington Jr. 5661: 5345: 5277: 4952:also joined organist 4922: 4884: 4854: 4743: 4731: 4564: 4507:Canção do Amor Demais 4469: 4279: 4107:coined the term) and 4076: 3936:Newport Jazz Festival 3921: 3751: 3684:Dizzy Gillespie, 1955 3683: 3605: 3569: 3454: 3364:harmonic substitution 3292: 3177:(which later became " 3140: 3044: 2955: 2822: 2792: 2645:the habanera rhythm. 2625: 2521: 2262: 2192: 2175: 2145: 1883: 1743:Further information: 1692:and the music of the 1608: 1571: 1516: 1504: 1455:Waldorf-Astoria Hotel 1399: 1278: 1073:Joachim-Ernst Berendt 1045: 1024:National Public Radio 1012:Chicago Daily Tribune 971: 32:Jazz (disambiguation) 13113:Bibliography of jazz 12893:Continental European 11936:American Jazz Museum 11630:The Jazz theory book 11606:Africa and the Blues 11303:media.music.txst.edu 10678:"Explore: Jazz-Funk" 10341:The Jazz Theory Book 10016:Tjader, Cal (1959). 9173:on September 3, 2015 8843:on February 16, 2019 8740:on December 28, 2008 8709:on December 28, 2008 8697:Thomas, Bob (1994). 8672:history.sandiego.edu 8666:Schoenherr, Steven. 8456:"Jazz Neighborhoods" 8371:"Birthplace of Jazz" 8200:Floyd Levin (1911). 7848:is the New Orleans " 7369:. February 6, 2018. 7034:, December 23, 1998. 6970:. Harper Perennial. 6823:Joachim E. Berendt. 6350:Bibliography of jazz 6320:Jazz (Henri Matisse) 6311:United States portal 6176:When Harry Met Sally 5993:, Gray, the work of 5872:A Tribe Called Quest 5858:Native Tongues Posse 5849:No More Mr. Nice Guy 5146:and sub genres like 4948:Two contributors to 4494:Antônio Carlos Jobim 4396:and Brazilian jazz. 4317:Zbigniew Namysłowski 4239:New Thing at Newport 3847:'s band. Tjader had 3756:Cuban percussionist 3744:African cross-rhythm 3399:a wider set of notes 3045:Benny Goodman (1943) 2975:in Harlem in 1927), 2462:World Heritage Sites 2447:Pledge of allegiance 2352:Louisiana literature 1752:began incorporating 1739:Afro-Cuban influence 1661:patting juba dancing 1588:origins of the blues 1536:Atlantic slave trade 1509:from a century later 1392:Jewish women in jazz 1332:Lil Hardin Armstrong 30:For other uses, see 13566:American folk music 13519:New Orleans R&B 13509:New Orleans hip hop 13354:Straight, No Chaser 13143:Straight-ahead jazz 12600:Winter & Winter 12049:French horn in jazz 11566:on November 1, 2013 11305:. February 18, 2022 11259:"Harry Connick, Jr" 11240:, October 9, 2014, 11224:, October 9, 2014, 11044:Progressiveears.com 11020:on October 19, 2010 10930:on October 12, 2017 10900:To Pimp a Butterfly 10872:Ginell, Richard S. 10667:(October 20, 2010). 10306:The Jazz Piano Book 10295:Levine (1989: 127). 10284:The Jazz Piano Book 9966:, pp. 120–123. 9888:, pp. 110–111. 9624:, pp. 131–136. 9317:Crow, Bill (1990). 8975:on October 16, 2007 8414:on November 5, 2019 8103:on December 1, 2010 7589:(January 2, 2013). 7485:. February 24, 1981 7028:by Andrew Gilbert, 6711:on January 30, 2012 6672:. February 26, 2018 6385:List of jazz venues 6370:List of jazz genres 6001:with free jazz and 5937:To Pimp a Butterfly 5844:Lonnie Liston Smith 5792:(as exemplified by 5266:Straight-ahead jazz 5260:Straight-ahead jazz 5194:analog synthesizers 4462:Afro-Brazilian jazz 4333:Albert Mangelsdorff 4272:Free jazz in Europe 4248:(August 1965), and 4077:John Coltrane, 1963 3323:Library of Congress 3319:William P. Gottlieb 3259:in the late 1920s. 2971:(who opened at the 2797:From 1920 to 1933, 2765:Livery Stable Blues 2337:Creole Architecture 2329:Arts and literature 2219:New Orleans origins 1815:New Orleans native 379:straight-ahead jazz 121:Typical instruments 112:Late 19th century, 13298:West African music 13123:British dance band 12913:European free jazz 12886:British dance band 12379:Musicians by genre 12159:Free improvisation 11862:Earl 'Fatha' Hines 11848:Prehistory of Jazz 11697:New printing 1986. 11520:. Dell Publishing. 11435:. October 31, 2021 11285:Finding Your Roots 11144:The New York Times 10924:drownedinsound.com 10905:Interscope Records 10853:. October 23, 2010 10135:The New York Times 10118:Allmusic Biography 9779:www.scottyanow.com 8996:The New York Times 8949:on August 27, 2013 8728:Alexander, Scott. 8554:, pp. 38, 56. 8476:on January 4, 2022 8397:, pp. 47, 50. 8322:Palmer (1981: 46). 8261:Dictionary of Jazz 8250:Palmer (1968: 67). 8208:on August 18, 2016 8051:, pp. 28, 47. 7483:The New York Times 6802:. January 13, 2000 6494:American Quarterly 6340:Hogan Jazz Archive 6163: 6107:The New York Times 6081: 5971: 5969:performing in 2006 5883:The Low End Theory 5822:Nils Petter Molvær 5667: 5591:Ralph Peterson Jr. 5531:Ralph Peterson Jr. 5282: 5218:jazz improvisation 5102:(1970) and Davis' 4934:Dance to the Music 4920:As Davis recalls: 4861: 4746: 4734: 4723:V pentatonic scale 4567: 4481:, is derived from 4475: 4285: 4254:(September 1965). 4236:(both June 1965), 4181:Chasin' the 'Trane 4101:(whose 1960 album 4079: 3924: 3798:(not bass notes). 3754: 3717:A Night in Tunisia 3686: 3608: 3340:gramophone records 3327: 3143: 3079:Fletcher Henderson 3047: 2981:Fletcher Henderson 2961: 2947:Nathaniel Shilkret 2932:The New York Times 2824: 2809:The New York Times 2795: 2754:Camelia Brass Band 2642: 2527: 2264: 2229:Music of Louisiana 2181: 2034:'s development of 2016:James Reese Europe 1889: 1770:John Storm Roberts 1618: 1611:Virginia Minstrels 1529: 1520:The Old Plantation 1511: 1405: 1340:Irene Higginbotham 1338:, and songwriters 1292: 1172:chord progressions 1107:Jazz improvisation 1057: 978: 100:West African music 13797:Traditional music 13744: 13743: 13532: 13531: 13497:New Orleans blues 13381: 13380: 13254:New Orleans blues 13101: 13100: 13044: 13043: 12618:Beaches (Toronto) 12029:Swing performance 11882:Library resources 11856:978-3-99012-980-7 11828:978-1-4234-6384-9 11818:Downbeat (2009). 11802:978-0-9550908-6-8 11769:Huesmann, Günther 11751:(2001 miniseries) 11741:978-0-679-76539-4 11724:Ward, Geoffrey C. 11715:978-0-252-06509-5 11687:Schuller, Gunther 11678:978-1-886502-80-2 11659:978-0-306-80377-2 11640:978-1-883217-04-4 11532:. Da Capo Press. 11504:978-0-500-20318-7 11232:, June 11, 2010, 11196:"What Is M-Base?" 11089:on August 5, 2010 10987:Musician Magazine 10961:on April 20, 1999 10952:, February 1999. 10796:"Out of the Blue" 10774:Los Angeles Times 10547:978-0-7201-1822-3 10507:The Autobiography 10482:"Explore: Fusion" 10018:Monterey Concerts 9975:Joachim Berendt. 9940:The Autobiography 9647:978-0-306-80236-2 9583:Joachim Berendt. 9544:Joachim Berendt. 9475:978-0-393-06116-1 9392:978-0-19-026871-8 9358:978-1-317-46235-4 9298:on April 10, 2008 9236:978-0-9557888-1-9 9211:978-1-60473-546-8 9136:978-1-316-19413-3 8882:978-0-243-62721-9 8822:978-0-534-62804-8 8764:apassion4jazz.net 8760:"Jazz Milestones" 8678:on March 12, 2010 8652:978-0-13-021227-6 8625:978-1-886502-80-2 8301:, pp. 11–14. 8241:, pp. 41–42. 8086:, pp. 28–29. 7921:978-0-02-864681-7 7835:, pp. 38–46. 7819:978-1-55652-958-0 7739:978-0-670-49511-5 7682:978-1-78656-090-2 7466:978-0-85712-812-6 7402:978-1-78543-944-5 7255:Los Angeles Times 7172:978-0-253-00349-2 7145:978-0-8264-7699-9 7109:978-0-8304-1595-3 7084:978-1-56025-238-2 6946:Jazz Drum Lessons 6893:978-0-521-66388-5 6840:The New Jazz Book 6612:978-1-78759-098-4 6166:Harry Connick Jr. 5946:Kamasi Washington 5642:Christian McBride 5626:Terence Blanchard 5527:Branford Marsalis 5481:Terence Blanchard 5457:Charles Fambrough 5445:Branford Marsalis 5353:Mary Lou Williams 4994:soprano saxophone 4892:avant-garde music 4855:Fusion trumpeter 4809:Mary Lou Williams 4793:Mary Lou Williams 4754:Nicolas Slonimsky 4694:pentatonic scales 4688:Pentatonic scales 4593:cross-rhythm was 4500:'s recording of " 4251:First Meditations 4008:chord progression 3977:A Blowin' Session 3922:Art Blakey (1973) 3885:Wild Bill Davison 3863:Dixieland revival 3735:," recorded with 3668: 3577:Arnold Schoenberg 3521:substitute chords 3444:, and eventually 3357:, and trombonist 3187:Tricky Sam Nanton 3115:Charlie Christian 2910:Frankie Trumbauer 2839: 2731: 2719: 2690: 2657: 2627:Jelly Roll Morton 2600:Jelly Roll Morton 2516: 2515: 2385:Louisiana cuisine 2292:Roman Catholicism 2249: 2090: 2075: 1978: 1891:The abolition of 1860:Jelly Roll Morton 1835: 1808: 1708: 1548:call-and-response 1461:Early development 1451:Paramount Theater 1207:Diversity in jazz 1129:call-and-response 1003:Los Angeles Times 782: 781: 74:classical ragtime 58:Stylistic origins 16:(Redirected from 13804: 13777:Jazz terminology 13559: 13552: 13545: 13536: 13535: 13514:New Orleans soul 13408: 13401: 13394: 13385: 13384: 13372: 13371: 13138:Continental jazz 13031:Washington, D.C. 12996: 12995: 12898:Czech and Slovak 12756: 12755: 12540:India Navigation 12238:Progressive jazz 12092:Avant-garde jazz 11966: 11959: 11952: 11943: 11942: 11815: 11786: 11745: 11719: 11696: 11682: 11663: 11644: 11620: 11609: 11597: 11575: 11573: 11571: 11543: 11521: 11508: 11479: 11478: 11476: 11474: 11451: 11445: 11444: 11442: 11440: 11429: 11423: 11422: 11420: 11418: 11401: 11395: 11394: 11392: 11390: 11385:on March 5, 2021 11375: 11369: 11368: 11366: 11364: 11347: 11341: 11340: 11338: 11336: 11321: 11315: 11314: 11312: 11310: 11295: 11289: 11288: 11280: 11274: 11273: 11271: 11269: 11254: 11245: 11217: 11211: 11210: 11208: 11206: 11192: 11186: 11185: 11183: 11181: 11164: 11158: 11157: 11152: 11150: 11135: 11129: 11128: 11122: 11120: 11105: 11099: 11098: 11096: 11094: 11085:. Archived from 11083:"All About Jazz" 11079: 11073: 11072:, 2003, p. 377). 11066: 11060: 11059: 11057: 11055: 11036: 11030: 11029: 11027: 11025: 11016:. Archived from 11006: 11000: 10983: 10972: 10970: 10968: 10966: 10957:. Archived from 10946: 10940: 10939: 10937: 10935: 10926:. Archived from 10915: 10909: 10908: 10895: 10889: 10888: 10886: 10884: 10869: 10863: 10862: 10860: 10858: 10843: 10837: 10836: 10834: 10832: 10817: 10811: 10810: 10808: 10806: 10791: 10785: 10784: 10782: 10780: 10765: 10759: 10746: 10740: 10739: 10737: 10735: 10726:. Archived from 10716: 10710: 10709: 10703: 10695: 10693: 10691: 10674: 10668: 10662: 10656: 10648: 10646: 10644: 10633: 10627: 10608: 10602: 10584: 10578: 10558: 10552: 10551: 10529: 10523: 10516: 10510: 10503: 10497: 10496: 10494: 10492: 10478: 10472: 10471: 10469: 10467: 10455: 10449: 10448: 10436: 10430: 10429: 10427: 10425: 10407: 10401: 10400: 10398: 10396: 10380: 10371: 10370: 10358: 10352: 10337: 10331: 10315: 10309: 10302: 10296: 10293: 10287: 10280: 10274: 10268: 10262: 10255: 10249: 10242: 10236: 10225: 10219: 10212: 10206: 10205: 10203: 10201: 10186: 10180: 10179: 10177: 10175: 10152: 10146: 10145: 10143: 10141: 10126: 10120: 10115: 10109: 10108: 10106: 10104: 10089: 10083: 10067: 10061: 10047: 10041: 10027: 10021: 10014: 10008: 10001: 9995: 9994: 9986: 9980: 9979:. 1981. 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Archived from 9284: 9278: 9277: 9247: 9241: 9240: 9222: 9216: 9215: 9199: 9189: 9183: 9182: 9180: 9178: 9163: 9157: 9147: 9141: 9140: 9118: 9112: 9106: 9100: 9094: 9088: 9082: 9076: 9070: 9064: 9059: 9053: 9047: 9041: 9040: 9030: 9006: 9000: 8999: 8991: 8985: 8984: 8982: 8980: 8965: 8959: 8958: 8956: 8954: 8939: 8933: 8927: 8921: 8915: 8906: 8900: 8894: 8893: 8891: 8889: 8863:Scott, Emmett J. 8859: 8853: 8852: 8850: 8848: 8839:. Archived from 8833: 8827: 8826: 8806: 8800: 8799: 8797: 8795: 8781: 8775: 8774: 8772: 8770: 8756: 8750: 8749: 8747: 8745: 8736:. Archived from 8725: 8719: 8718: 8716: 8714: 8705:. Archived from 8694: 8688: 8687: 8685: 8683: 8674:. Archived from 8663: 8657: 8656: 8636: 8630: 8629: 8611: 8605: 8599: 8593: 8587: 8581: 8574: 8568: 8561: 8555: 8549: 8543: 8542: 8540: 8538: 8520: 8514: 8513: 8507: 8499: 8492: 8486: 8485: 8483: 8481: 8472:. Archived from 8470:"The characters" 8466: 8460: 8459: 8452: 8446: 8445: 8443: 8441: 8430: 8424: 8423: 8421: 8419: 8404: 8398: 8392: 8386: 8385: 8383: 8381: 8367: 8361: 8350: 8344: 8338: 8332: 8329: 8323: 8320: 8314: 8308: 8302: 8296: 8290: 8289: 8287: 8285: 8280:on July 19, 2010 8270: 8264: 8257: 8251: 8248: 8242: 8236: 8230: 8224: 8218: 8217: 8215: 8213: 8197: 8188: 8181: 8175: 8168: 8162: 8147: 8141: 8134: 8128: 8127: 8119: 8113: 8112: 8110: 8108: 8099:. Archived from 8093: 8087: 8081: 8075: 8074: 8072: 8070: 8058: 8052: 8046: 8040: 8033: 8024: 8017: 8011: 8010: 8002: 7996: 7990: 7984: 7983: 7968:Mauleon (1999). 7965: 7959: 7958: 7950: 7944: 7943: 7935: 7926: 7925: 7909: 7899: 7890: 7887: 7881: 7875: 7869: 7863: 7857: 7842: 7836: 7830: 7824: 7823: 7805: 7796: 7789: 7783: 7777: 7768: 7762: 7756: 7750: 7744: 7743: 7719: 7713: 7700: 7694: 7693: 7691: 7689: 7666: 7660: 7659: 7621: 7615: 7609: 7603: 7602: 7583: 7577: 7576: 7565: 7559: 7558: 7556: 7554: 7549:on July 28, 2014 7545:. Archived from 7541:Criswell, Chad. 7538: 7532: 7531: 7529: 7527: 7516: 7510: 7509: 7501: 7495: 7494: 7492: 7490: 7475: 7469: 7453: 7447: 7442: 7436: 7435: 7420: 7414: 7413: 7393:The jazz singer. 7389: 7383: 7382: 7380: 7378: 7357: 7351: 7350: 7314: 7308: 7307: 7305: 7303: 7284: 7278: 7277: 7265: 7259: 7258: 7246: 7240: 7239: 7227: 7221: 7220: 7218: 7216: 7201: 7192: 7191: 7183: 7177: 7176: 7156: 7150: 7149: 7133: 7123: 7117: 7116: 7095: 7089: 7088: 7076: 7066: 7060: 7059: 7041: 7035: 7027: 7025: 7023: 7018:on July 20, 2001 7014:. Archived from 7008: 7002: 6985: 6979: 6962: 6956: 6943: 6937: 6931: 6925: 6919: 6913: 6912: 6904: 6898: 6897: 6885: 6875: 6869: 6864: 6853: 6852: 6850: 6848: 6834: 6828: 6821: 6812: 6811: 6809: 6807: 6792: 6786: 6785: 6783: 6781: 6766: 6760: 6759: 6757: 6755: 6742:(June 8, 2009). 6736: 6730: 6724: 6718: 6716: 6710: 6704:. Archived from 6697: 6688: 6682: 6681: 6679: 6677: 6662: 6651: 6650: 6648: 6646: 6641:on April 7, 2015 6626: 6617: 6616: 6596: 6590: 6589: 6575: 6569: 6554: 6548: 6533: 6527: 6526: 6488: 6479: 6478: 6472: 6470: 6458: 6452: 6451: 6449: 6447: 6436: 6430: 6429: 6427: 6425: 6411: 6313: 6308: 6307: 6306: 6299: 6294: 6293: 6292: 6285: 6280: 6279: 6189:Cassandra Wilson 5886:(1991). Rap duo 5814:Bugge Wesseltoft 5711:beats per minute 5614:Kurt Rosenwinkel 5535:Kenny Washington 5465:Peter Washington 5425:Valery Ponomarev 5372:John Conyers Jr. 5249:musique concrète 5123:John Abercrombie 5112:Electronic music 4970:Psychedelic-jazz 4775:Beige Suite" by 4672: 4671: 4670: 4669: 4657: 4656: 4655: 4654: 4623: 4622: 4621: 4620: 4592: 4591: 4590: 4589: 4557:African-inspired 4547:Naná Vasconcelos 4502:Chega de Saudade 4404:and a Brazilian 4372:Stuart Nicholson 4360:Misha Mengelberg 4313:Krzysztof Komeda 4189:Impulse! Records 4083:avant-garde jazz 4047: 4046: 3962:to saxophonists 3849:Mongo Santamaria 3832: 3831: 3826: 3825: 3824: 3823: 3786: 3785: 3784: 3783: 3758:Mongo Santamaria 3670: 3669: 3619:and recorded by 3501:Gunther Schuller 3458:progressive jazz 3436:and saxophonist 3386:, and trumpeter 3329:The outbreak of 3317:. Photograph by 3237:Django Reinhardt 3129:from the 1930s. 3091:Jimmie Lunceford 2923:Rhapsody in Blue 2841: 2840: 2821: 2733: 2732: 2721: 2720: 2692: 2691: 2666:Jelly Roll Blues 2659: 2658: 2639: 2636: 2631:Louisiana Creole 2548:Louisiana Creole 2508: 2501: 2494: 2482:Louisiana portal 2479: 2428: 2309:Louisiana French 2252: 2247: 2239: 2233: 2232: 2205:Gunther Schuller 2106:African-American 2032:James P. Johnson 1980: 1979: 1837: 1836: 1810: 1809: 1725:Gunther Schuller 1710: 1709: 1694:African Diaspora 1542:and the greater 1351:all-female bands 1324:Dinah Washington 1247:Jimmy McPartland 1083: 999: 996: 993: 933:Jazz-rock fusion 913:rhythm and blues 886:Kansas City jazz 862:marches, French 856:New Orleans jazz 793:African-American 773: 772: 731:Washington, D.C. 394:traditional jazz 369:progressive jazz 294:Avant-garde jazz 233:rhythm and blues 202:Derivative forms 109:Cultural origins 39: 38: 21: 13812: 13811: 13807: 13806: 13805: 13803: 13802: 13801: 13747: 13746: 13745: 13740: 13695: 13631: 13607:Native American 13568: 13563: 13533: 13528: 13492:Louisiana blues 13446:Cajun Jitterbug 13417: 13412: 13382: 13377: 13374:Jazz portal 13366: 13359: 13340:The Jazz Singer 13307: 13286:Novelty ragtime 13217: 13097: 13081: 13060: 13040: 12994: 12961: 12852: 12797: 12752:Regional scenes 12747: 12682: 12604: 12530:Groove Merchant 12520:Flying Dutchman 12468: 12430: 12374: 12296: 12228:Orchestral jazz 12208:Mainstream jazz 12196:Afro-Cuban jazz 12078: 11987:Outline of jazz 11975: 11970: 11907: 11906: 11905: 11890: 11889: 11885: 11878: 11806: 11783: 11771:, eds. (2005). 11763: 11760: 11758:Further reading 11742: 11716: 11704:, ed. (1995) . 11679: 11660: 11641: 11594: 11569: 11567: 11540: 11505: 11487: 11482: 11472: 11470: 11452: 11448: 11438: 11436: 11431: 11430: 11426: 11416: 11414: 11402: 11398: 11388: 11386: 11377: 11376: 11372: 11362: 11360: 11348: 11344: 11334: 11332: 11322: 11318: 11308: 11306: 11297: 11296: 11292: 11281: 11277: 11267: 11265: 11255: 11248: 11218: 11214: 11204: 11202: 11194: 11193: 11189: 11179: 11177: 11165: 11161: 11148: 11146: 11136: 11132: 11118: 11116: 11106: 11102: 11092: 11090: 11081: 11080: 11076: 11067: 11063: 11053: 11051: 11050:on June 7, 2011 11038: 11037: 11033: 11023: 11021: 11008: 11007: 11003: 10997:Wayback Machine 10984: 10975: 10964: 10962: 10955:"The Pop Group" 10953: 10947: 10943: 10933: 10931: 10916: 10912: 10903:(Media notes). 10897: 10896: 10892: 10882: 10880: 10870: 10866: 10856: 10854: 10845: 10844: 10840: 10830: 10828: 10818: 10814: 10804: 10802: 10792: 10788: 10778: 10776: 10766: 10762: 10757:Wayback Machine 10747: 10743: 10733: 10731: 10730:on May 17, 2013 10718: 10717: 10713: 10697: 10696: 10689: 10687: 10676: 10675: 10671: 10650: 10649: 10642: 10640: 10635: 10634: 10630: 10623:The Irish Times 10619:Wayback Machine 10609: 10605: 10595:Wayback Machine 10585: 10581: 10569:Wayback Machine 10559: 10555: 10548: 10540:. p. 614. 10530: 10526: 10517: 10513: 10504: 10500: 10490: 10488: 10480: 10479: 10475: 10465: 10463: 10456: 10452: 10437: 10433: 10423: 10421: 10408: 10404: 10394: 10392: 10381: 10374: 10359: 10355: 10338: 10334: 10328:Wayback Machine 10316: 10312: 10303: 10299: 10294: 10290: 10281: 10277: 10269: 10265: 10256: 10252: 10243: 10239: 10226: 10222: 10213: 10209: 10199: 10197: 10187: 10183: 10173: 10171: 10161:Washington Post 10153: 10149: 10139: 10137: 10127: 10123: 10116: 10112: 10102: 10100: 10094:"Airto Moreira" 10090: 10086: 10081:Wayback Machine 10068: 10064: 10048: 10044: 10028: 10024: 10015: 10011: 10002: 9998: 9987: 9983: 9974: 9970: 9962: 9958: 9950: 9946: 9937: 9933: 9908: 9904: 9896: 9892: 9884: 9880: 9871: 9869: 9863: 9862: 9858: 9835:10.2307/1215124 9819: 9812: 9797: 9793: 9783: 9781: 9773: 9772: 9763: 9757: 9733: 9729: 9722: 9715: 9707: 9703: 9694: 9690: 9685: 9681: 9671: 9669: 9659: 9655: 9648: 9632: 9628: 9620: 9616: 9608: 9604: 9595: 9591: 9582: 9578: 9570: 9566: 9559: 9552: 9543: 9539: 9531: 9527: 9518: 9511: 9503: 9499: 9487: 9483: 9476: 9449: 9445: 9438: 9411: 9400: 9393: 9375: 9366: 9359: 9345: 9330: 9315: 9311: 9301: 9299: 9286: 9285: 9281: 9248: 9244: 9237: 9223: 9219: 9212: 9190: 9186: 9176: 9174: 9165: 9164: 9160: 9154:Billy Strayhorn 9148: 9144: 9137: 9119: 9115: 9107: 9103: 9095: 9091: 9083: 9079: 9071: 9067: 9060: 9056: 9048: 9044: 9007: 9003: 8992: 8988: 8978: 8976: 8967: 8966: 8962: 8952: 8950: 8941: 8940: 8936: 8928: 8924: 8916: 8909: 8901: 8897: 8887: 8885: 8883: 8860: 8856: 8846: 8844: 8835: 8834: 8830: 8823: 8807: 8803: 8793: 8791: 8783: 8782: 8778: 8768: 8766: 8758: 8757: 8753: 8743: 8741: 8726: 8722: 8712: 8710: 8695: 8691: 8681: 8679: 8664: 8660: 8653: 8637: 8633: 8626: 8612: 8608: 8600: 8596: 8588: 8584: 8575: 8571: 8562: 8558: 8550: 8546: 8536: 8534: 8522: 8521: 8517: 8501: 8500: 8494: 8493: 8489: 8479: 8477: 8468: 8467: 8463: 8454: 8453: 8449: 8439: 8437: 8432: 8431: 8427: 8417: 8415: 8406: 8405: 8401: 8393: 8389: 8379: 8377: 8369: 8368: 8364: 8351: 8347: 8339: 8335: 8330: 8326: 8321: 8317: 8309: 8305: 8297: 8293: 8283: 8281: 8272: 8271: 8267: 8258: 8254: 8249: 8245: 8237: 8233: 8225: 8221: 8211: 8209: 8198: 8191: 8185:The Latin Tinge 8182: 8178: 8169: 8165: 8148: 8144: 8135: 8131: 8120: 8116: 8106: 8104: 8095: 8094: 8090: 8082: 8078: 8068: 8066: 8059: 8055: 8047: 8043: 8034: 8027: 8018: 8014: 8003: 7999: 7991: 7987: 7980: 7966: 7962: 7951: 7947: 7936: 7929: 7922: 7900: 7893: 7888: 7884: 7876: 7872: 7864: 7860: 7843: 7839: 7831: 7827: 7820: 7806: 7799: 7790: 7786: 7778: 7771: 7763: 7759: 7751: 7747: 7740: 7720: 7716: 7711:Wayback Machine 7701: 7697: 7687: 7685: 7683: 7667: 7663: 7640:10.2307/3041812 7622: 7618: 7614:, pp. 7–9. 7610: 7606: 7584: 7580: 7567: 7566: 7562: 7552: 7550: 7539: 7535: 7525: 7523: 7518: 7517: 7513: 7502: 7498: 7488: 7486: 7477: 7476: 7472: 7454: 7450: 7443: 7439: 7421: 7417: 7403: 7391: 7390: 7386: 7376: 7374: 7366:Chicago Tribune 7359: 7358: 7354: 7315: 7311: 7301: 7299: 7286: 7285: 7281: 7274:Cocosse Journal 7266: 7262: 7247: 7243: 7228: 7224: 7214: 7212: 7202: 7195: 7184: 7180: 7173: 7157: 7153: 7146: 7124: 7120: 7110: 7096: 7092: 7085: 7067: 7063: 7043: 7042: 7038: 7021: 7019: 7010: 7009: 7005: 6986: 6982: 6963: 6959: 6953:Wayback Machine 6944: 6940: 6932: 6928: 6920: 6916: 6905: 6901: 6894: 6876: 6872: 6865: 6856: 6846: 6844: 6835: 6831: 6822: 6815: 6805: 6803: 6794: 6793: 6789: 6779: 6777: 6767: 6763: 6753: 6751: 6740:Benjamin Zimmer 6737: 6733: 6714: 6712: 6708: 6695: 6689: 6685: 6675: 6673: 6664: 6663: 6654: 6644: 6642: 6627: 6620: 6613: 6597: 6593: 6576: 6572: 6566:Wayback Machine 6555: 6551: 6547:. pp. 228, 233. 6534: 6530: 6507:10.2307/3031415 6489: 6482: 6468: 6466: 6461:Germuska, Joe. 6459: 6455: 6445: 6443: 6438: 6437: 6433: 6423: 6421: 6413: 6412: 6408: 6404: 6399: 6394: 6309: 6304: 6302: 6295: 6290: 6288: 6281: 6274: 6271: 6224:reharmonization 6220: 6161:(piano) in 2018 6157:(trumpet), and 6122: 6073: 6067: 6039:Peter Brötzmann 6027:Ornette Coleman 5960: 5862:Jungle Brothers 5756: 5744:Main articles: 5742: 5656: 5650: 5628:, saxophonists 5616:, vibraphonist 5508:Thelonious Monk 5504:Wynton Marsalis 5473:Donald Harrison 5404: 5398: 5382:'s documentary 5291:Louis Armstrong 5286:Wynton Marsalis 5279:Wynton Marsalis 5272: 5264:Main articles: 5262: 5182: 5176: 5114: 5070:John McLaughlin 5040:, keyboardists 5025: 4977: 4972: 4950:In a Silent Way 4942:In a Silent Way 4906:In a Silent Way 4901: 4849: 4843: 4817:Catholic Church 4785:Wynton Marsalis 4772: 4766: 4690: 4683: 4668: 4663: 4662: 4661: 4660: 4659: 4653: 4648: 4647: 4646: 4645: 4644: 4619: 4614: 4613: 4612: 4611: 4610: 4588: 4583: 4582: 4581: 4580: 4579: 4572: 4559: 4532:Ella Fitzgerald 4498:Elizete Cardoso 4464: 4435: 4394:Afro-Cuban jazz 4390:Afro-Latin jazz 4386: 4380: 4368:New Dutch Swing 4364:Kevin Whitehead 4345:Michael Garrick 4305:Peter Brötzmann 4297:Michael Mantler 4281:Peter Brötzmann 4274: 4216:sheets of sound 4161:Pharoah Sanders 4149:Michael Mantler 4099:Ornette Coleman 4071: 4065: 4044: 4043: 4000: 3994: 3952:Freddie Hubbard 3944:Jazz Messengers 3916: 3910: 3865: 3841:Afro-cuban jazz 3829: 3828: 3822: 3817: 3816: 3815: 3814: 3813: 3804: 3782: 3777: 3776: 3775: 3774: 3773: 3746: 3729: 3678: 3671: 3663: 3632:Afro-Cuban jazz 3613: 3600: 3598:Afro-Cuban jazz 3594: 3527:. New forms of 3486:Thelonious Monk 3477: 3471: 3388:Dizzy Gillespie 3368:Thelonious Monk 3321:(August 1947), 3307:Dizzy Gillespie 3287: 3265: 3211: 3175:Cootie Williams 3135: 3109:, vibraphonist 3039: 3031:Main articles: 3029: 3012:George W. Meyer 3008:Coleman Hawkins 2957:Louis Armstrong 2918:George Gershwin 2898:Bix Beiderbecke 2863: 2862: 2854: 2852: 2851: 2850: 2849: 2842: 2835: 2832: 2825: 2819: 2787: 2781: 2737: 2736: 2735: 2734: 2726: 2722: 2714: 2707: 2693: 2685: 2660: 2652: 2637: 2620: 2612:Louis Armstrong 2575:Papa Jack Laine 2556:Freddie Keppard 2523:The Bolden Band 2512: 2480: 2426: 2277:French language 2250: 2246: 2237: 2231: 2223:Main articles: 2221: 2209:St. Louis Blues 2170: 2102: 2101: 2100: 2099:on C, ascending 2093: 2092: 2091: 2089: 2077: 2076: 2074: 2059: 2057:African genesis 2054: 2048: 2012: 1981: 1973: 1929:Mississippi Rag 1927:published his " 1878: 1872: 1844:Wynton Marsalis 1838: 1830: 1811: 1803: 1747: 1741: 1711: 1703: 1668:Ernest Borneman 1652: 1646: 1499: 1463: 1443:Big band remote 1420:The Jazz Singer 1394: 1386:Main articles: 1384: 1353:replaced them. 1300:Ella Fitzgerald 1273: 1267: 1235:Bix Beiderbecke 1227:Papa Jack Laine 1214: 1209: 1192: 1158:relied more on 1148:countermelodies 1133:Classical music 1109: 1103: 1098: 1081: 997: 994: 991: 966: 957: 949:Afro-Cuban jazz 795:communities of 770: 764: 736: 735: 726:U.S. West Coast 566: 565:Regional scenes 558:Regional scenes 553: 552: 418: 400: 399: 398: 359:orchestral jazz 339:mainstream jazz 279: 223:traditional pop 197: 142:electric guitar 104: 35: 28: 23: 22: 15: 12: 11: 5: 13810: 13800: 13799: 13794: 13789: 13784: 13779: 13774: 13769: 13764: 13759: 13742: 13741: 13739: 13738: 13733: 13728: 13723: 13718: 13717: 13716: 13705: 13703: 13697: 13696: 13694: 13693: 13692: 13691: 13681: 13676: 13671: 13670: 13669: 13659: 13658: 13657: 13647: 13641: 13639: 13633: 13632: 13630: 13629: 13624: 13619: 13614: 13609: 13604: 13598: 13597: 13596: 13586: 13585: 13584: 13573: 13570: 13569: 13562: 13561: 13554: 13547: 13539: 13530: 13529: 13527: 13526: 13521: 13516: 13511: 13506: 13505: 13504: 13499: 13489: 13488: 13487: 13482: 13472: 13471: 13470: 13468:Zydeco (dance) 13465: 13455: 13454: 13453: 13448: 13443: 13433: 13428: 13422: 13419: 13418: 13411: 13410: 13403: 13396: 13388: 13379: 13378: 13364: 13361: 13360: 13358: 13357: 13350: 13347:Round Midnight 13343: 13336: 13328: 13321: 13315: 13313: 13309: 13308: 13306: 13305: 13300: 13295: 13290: 13289: 13288: 13278: 13273: 13268: 13263: 13258: 13257: 13256: 13251: 13241: 13236: 13231: 13225: 13223: 13219: 13218: 13216: 13215: 13210: 13205: 13200: 13195: 13190: 13185: 13180: 13175: 13170: 13165: 13160: 13155: 13150: 13145: 13140: 13135: 13130: 13125: 13120: 13115: 13109: 13107: 13103: 13102: 13099: 13098: 13096: 13095: 13089: 13087: 13083: 13082: 13080: 13079: 13077:Latin American 13074: 13068: 13066: 13065:South American 13062: 13061: 13059: 13058: 13052: 13050: 13046: 13045: 13042: 13041: 13039: 13038: 13033: 13028: 13023: 13018: 13013: 13008: 13006:Baltimore jazz 13002: 13000: 12993: 12992: 12991: 12990: 12983:Latin American 12980: 12975: 12969: 12967: 12966:North American 12963: 12962: 12960: 12959: 12954: 12953: 12952: 12942: 12941: 12940: 12930: 12925: 12920: 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12335:Percussionists 12332: 12327: 12322: 12317: 12312: 12306: 12304: 12298: 12297: 12295: 12294: 12289: 12284: 12283: 12282: 12272: 12267: 12266: 12265: 12258:Spiritual jazz 12255: 12250: 12245: 12240: 12235: 12230: 12225: 12220: 12215: 12210: 12205: 12200: 12199: 12198: 12188: 12183: 12178: 12173: 12168: 12167: 12166: 12161: 12156: 12146: 12141: 12136: 12131: 12126: 12121: 12116: 12115: 12114: 12109: 12104: 12094: 12088: 12086: 12080: 12079: 12077: 12076: 12071: 12066: 12061: 12056: 12051: 12046: 12041: 12036: 12031: 12026: 12021: 12016: 12015: 12014: 12004: 11999: 11994: 11989: 11983: 11981: 11980:General topics 11977: 11976: 11969: 11968: 11961: 11954: 11946: 11940: 11939: 11933: 11928: 11926:RedHotJazz.com 11923: 11918: 11913: 11904: 11903: 11898: 11892: 11891: 11880: 11879: 11877: 11876:External links 11874: 11873: 11872: 11865: 11858: 11844: 11830: 11816: 11804: 11787: 11781: 11759: 11756: 11755: 11754: 11740: 11720: 11714: 11698: 11683: 11677: 11664: 11658: 11645: 11639: 11621: 11610: 11602:Kubik, Gerhard 11598: 11592: 11576: 11545: 11538: 11526:Dance, Stanley 11522: 11510: 11503: 11486: 11483: 11481: 11480: 11446: 11424: 11396: 11370: 11342: 11316: 11290: 11275: 11246: 11212: 11187: 11159: 11130: 11100: 11074: 11061: 11031: 11001: 10973: 10941: 10910: 10890: 10864: 10838: 10812: 10794:Yanow, Scott. 10786: 10760: 10741: 10711: 10669: 10628: 10603: 10579: 10553: 10546: 10524: 10511: 10498: 10473: 10450: 10441:Choral Journal 10431: 10402: 10372: 10353: 10343:. Sher Music. 10332: 10310: 10297: 10288: 10275: 10273:, p. 235. 10263: 10250: 10237: 10220: 10207: 10181: 10157:"APPRECIATION" 10147: 10121: 10110: 10084: 10062: 10042: 10022: 10009: 9996: 9981: 9968: 9964:Litweiler 1984 9956: 9944: 9931: 9902: 9890: 9886:Litweiler 1984 9878: 9856: 9810: 9791: 9761: 9755: 9727: 9713: 9701: 9688: 9679: 9653: 9646: 9626: 9614: 9602: 9589: 9587:. 1981, p. 16. 9576: 9564: 9550: 9548:, 1981, p. 15. 9537: 9535:, p. 171. 9525: 9509: 9507:, p. 260. 9497: 9495:, p. 290. 9481: 9474: 9443: 9436: 9398: 9391: 9364: 9357: 9328: 9321:Jazz Anecdotes 9309: 9292:redhotjazz.com 9279: 9260:(1): 149–170. 9242: 9235: 9217: 9210: 9184: 9158: 9142: 9135: 9113: 9101: 9089: 9077: 9065: 9054: 9042: 9021:(2): 122–139. 9001: 8986: 8969:"Bessie Smith" 8960: 8934: 8922: 8907: 8895: 8881: 8854: 8828: 8821: 8801: 8776: 8751: 8734:redhotjazz.com 8720: 8703:redhotjazz.com 8689: 8658: 8651: 8631: 8624: 8606: 8594: 8582: 8569: 8556: 8544: 8515: 8487: 8461: 8447: 8425: 8399: 8387: 8362: 8345: 8333: 8324: 8315: 8303: 8291: 8265: 8252: 8243: 8231: 8219: 8189: 8176: 8163: 8142: 8129: 8114: 8088: 8076: 8053: 8041: 8025: 8012: 7997: 7985: 7978: 7960: 7945: 7927: 7920: 7891: 7882: 7870: 7858: 7837: 7825: 7818: 7797: 7784: 7769: 7767:, p. 112. 7757: 7745: 7738: 7714: 7695: 7681: 7661: 7634:(3): 525–560. 7616: 7604: 7578: 7560: 7533: 7511: 7496: 7470: 7448: 7437: 7415: 7401: 7384: 7352: 7325:(3): 323–353. 7309: 7279: 7260: 7241: 7222: 7193: 7178: 7171: 7151: 7144: 7118: 7108: 7090: 7083: 7061: 7036: 7003: 6980: 6976:978-0688184742 6957: 6955:– Drumbook.org 6938: 6926: 6914: 6899: 6892: 6870: 6854: 6829: 6813: 6787: 6761: 6731: 6683: 6652: 6618: 6611: 6591: 6588:. p. 470. 6570: 6549: 6528: 6480: 6453: 6431: 6405: 6403: 6400: 6398: 6395: 6393: 6392: 6387: 6382: 6377: 6372: 6367: 6362: 6357: 6352: 6347: 6342: 6337: 6332: 6327: 6322: 6316: 6315: 6314: 6300: 6286: 6270: 6267: 6219: 6216: 6171:Ellis Marsalis 6159:Ignasi Terraza 6121: 6120:Jazz pluralism 6118: 6069:Main article: 6066: 6063: 6035:Sonny Sharrock 6007:Lounge Lizards 5959: 5956: 5932:Kendrick Lamar 5924:Dis Is Da Drum 5919:Herbie Hancock 5802:Fila Brazillia 5741: 5738: 5728:Stanley Crouch 5652:Main article: 5649: 5646: 5636:, clarinetist 5595:Billy Drummond 5547:Cyrus Chestnut 5500:Mark Whitfield 5492:Marcus Roberts 5461:Lonnie Plaxico 5453:Mulgrew Miller 5437:James Williams 5400:Main article: 5397: 5394: 5318:Herbie Hancock 5295:Duke Ellington 5261: 5258: 5202:Sonny Bradshaw 5178:Main article: 5175: 5172: 5113: 5110: 5086:Stanley Clarke 5082:Jaco Pastorius 5058:Jean-Luc Ponty 5034:wah-wah pedals 5024: 5021: 4996:, and with no 4985:Weather Report 4980:Weather Report 4976: 4975:Weather Report 4973: 4971: 4968: 4900: 4897: 4845:Main article: 4842: 4839: 4833:forth bassist 4826:Vince Guaraldi 4822:Lalo Schiffrin 4801:Duke Ellington 4797:Duke Ellington 4777:Duke Ellington 4768:Main article: 4765: 4762: 4689: 4686: 4685: 4684: 4664: 4649: 4615: 4584: 4571: 4568: 4558: 4555: 4463: 4460: 4445:Eddie Palmieri 4434: 4431: 4423:Vince Guaraldi 4382:Main article: 4379: 4376: 4349:Mike Westbrook 4341:Graham Collier 4273: 4270: 4092:Charles Mingus 4067:Main article: 4064: 4061: 4019:George Russell 3996:Main article: 3993: 3990: 3972:Johnny Griffin 3960:Tommy Flanagan 3940:Clifford Brown 3912:Main article: 3909: 3906: 3864: 3861: 3853:Armando Peraza 3818: 3806: 3805: 3778: 3745: 3742: 3737:Curley Russell 3728: 3727:"Un Poco Loco" 3725: 3677: 3674: 3673: 3672: 3612: 3609: 3596:Main article: 3593: 3590: 3573:Claude Debussy 3541:rhythm changes 3525:altered chords 3492:, and drummer 3490:Clifford Brown 3473:Main article: 3470: 3467: 3434:Big Joe Turner 3384:Charlie Parker 3382:, saxophonist 3362:language, and 3295:Charlie Parker 3264: 3261: 3215:Lonnie Johnson 3210: 3207: 3165:, rather than 3163:American Music 3147:Duke Ellington 3134: 3131: 3113:and guitarist 3111:Lionel Hampton 3071:Duke Ellington 3028: 3025: 2985:Claude Hopkins 2977:Lionel Hampton 2969:Duke Ellington 2943:Jean Goldkette 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1678:Afro-Caribbean 1645: 1642: 1628:performers in 1609:The blackface 1552:counter-metric 1498: 1495: 1462: 1459: 1383: 1380: 1344:Dorothy Fields 1308:Billie Holiday 1284:Stormy Weather 1269:Main article: 1266: 1265:Roles of women 1263: 1213: 1210: 1208: 1205: 1197:Dixieland jazz 1191: 1190:Traditionalism 1188: 1176:rhythm section 1105:Main article: 1102: 1099: 1097: 1094: 1090:Duke Ellington 1047:Albert Gleizes 1019:Times-Picayune 959:Main article: 956: 953: 780: 779: 766: 765: 763: 762: 757: 752: 746: 743: 742: 738: 737: 734: 733: 728: 723: 718: 713: 708: 698: 693: 688: 683: 678: 673: 668: 663: 658: 653: 648: 643: 638: 633: 628: 623: 618: 613: 608: 603: 598: 593: 583: 578: 573: 567: 564: 563: 560: 559: 555: 554: 551: 550: 545: 540: 535: 530: 525: 520: 515: 510: 505: 500: 495: 490: 485: 480: 475: 470: 465: 460: 455: 450: 445: 440: 435: 430: 425: 419: 416: 415: 412: 411: 407: 406: 397: 396: 391: 386: 381: 376: 371: 366: 361: 356: 351: 346: 341: 336: 331: 326: 321: 316: 311: 306: 301: 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13169: 13166: 13164: 13161: 13159: 13156: 13154: 13151: 13149: 13146: 13144: 13141: 13139: 13136: 13134: 13131: 13129: 13126: 13124: 13121: 13119: 13116: 13114: 13111: 13110: 13108: 13104: 13094: 13091: 13090: 13088: 13084: 13078: 13075: 13073: 13070: 13069: 13067: 13063: 13057: 13054: 13053: 13051: 13047: 13037: 13034: 13032: 13029: 13027: 13026:New York City 13024: 13022: 13019: 13017: 13014: 13012: 13009: 13007: 13004: 13003: 13001: 12997: 12989: 12986: 12985: 12984: 12981: 12979: 12976: 12974: 12971: 12970: 12968: 12964: 12958: 12955: 12951: 12950:Flamenco jazz 12948: 12947: 12946: 12943: 12939: 12936: 12935: 12934: 12931: 12929: 12926: 12924: 12921: 12919: 12916: 12914: 12911: 12909: 12906: 12904: 12901: 12899: 12896: 12894: 12891: 12887: 12884: 12883: 12882: 12879: 12877: 12874: 12870: 12867: 12866: 12865: 12862: 12861: 12859: 12855: 12849: 12846: 12844: 12841: 12837: 12834: 12832: 12829: 12828: 12827: 12824: 12820: 12817: 12816: 12815: 12812: 12810: 12807: 12806: 12804: 12800: 12794: 12791: 12787: 12784: 12782: 12779: 12778: 12777: 12776:South African 12774: 12772: 12769: 12767: 12764: 12763: 12761: 12757: 12754: 12750: 12744: 12741: 12739: 12736: 12734: 12731: 12727: 12726: 12722: 12721: 12720: 12717: 12715: 12712: 12710: 12707: 12705: 12702: 12700: 12697: 12695: 12692: 12691: 12689: 12685: 12679: 12676: 12674: 12671: 12669: 12666: 12664: 12661: 12659: 12656: 12654: 12651: 12649: 12646: 12644: 12641: 12639: 12636: 12634: 12631: 12629: 12626: 12624: 12621: 12619: 12616: 12615: 12613: 12611: 12607: 12601: 12598: 12596: 12593: 12591: 12588: 12586: 12583: 12581: 12578: 12576: 12573: 12571: 12568: 12566: 12563: 12561: 12558: 12556: 12553: 12551: 12548: 12546: 12543: 12541: 12538: 12536: 12533: 12531: 12528: 12526: 12523: 12521: 12518: 12516: 12513: 12511: 12508: 12506: 12503: 12501: 12498: 12496: 12493: 12491: 12488: 12486: 12483: 12481: 12478: 12477: 12475: 12473:Discographies 12471: 12465: 12462: 12460: 12457: 12455: 12452: 12450: 12447: 12445: 12442: 12441: 12439: 12437: 12433: 12427: 12424: 12422: 12419: 12417: 12414: 12412: 12409: 12407: 12404: 12402: 12399: 12397: 12394: 12392: 12389: 12387: 12384: 12383: 12381: 12377: 12371: 12368: 12366: 12363: 12361: 12360:Vibraphonists 12358: 12356: 12353: 12351: 12348: 12346: 12343: 12341: 12338: 12336: 12333: 12331: 12328: 12326: 12323: 12321: 12318: 12316: 12313: 12311: 12308: 12307: 12305: 12303: 12299: 12293: 12290: 12288: 12285: 12281: 12280:Swing revival 12278: 12277: 12276: 12273: 12271: 12268: 12264: 12261: 12260: 12259: 12256: 12254: 12251: 12249: 12246: 12244: 12241: 12239: 12236: 12234: 12231: 12229: 12226: 12224: 12221: 12219: 12216: 12214: 12211: 12209: 12206: 12204: 12201: 12197: 12194: 12193: 12192: 12189: 12187: 12184: 12182: 12179: 12177: 12174: 12172: 12169: 12165: 12162: 12160: 12157: 12155: 12152: 12151: 12150: 12147: 12145: 12142: 12140: 12139:Flamenco jazz 12137: 12135: 12132: 12130: 12127: 12125: 12122: 12120: 12117: 12113: 12110: 12108: 12105: 12103: 12100: 12099: 12098: 12095: 12093: 12090: 12089: 12087: 12085: 12081: 12075: 12074:Women in jazz 12072: 12070: 12067: 12065: 12062: 12060: 12059:Jazz trombone 12057: 12055: 12052: 12050: 12047: 12045: 12042: 12040: 12039:Jazz drumming 12037: 12035: 12032: 12030: 12027: 12025: 12022: 12020: 12017: 12013: 12010: 12009: 12008: 12007:Improvisation 12005: 12003: 12000: 11998: 11995: 11993: 11990: 11988: 11985: 11984: 11982: 11978: 11974: 11967: 11962: 11960: 11955: 11953: 11948: 11947: 11944: 11937: 11934: 11932: 11929: 11927: 11924: 11922: 11919: 11917: 11914: 11912: 11909: 11908: 11902: 11899: 11897: 11894: 11893: 11888: 11883: 11870: 11866: 11863: 11859: 11857: 11853: 11849: 11845: 11843: 11842:0-13-182657-3 11839: 11835: 11831: 11829: 11825: 11821: 11817: 11813: 11809: 11805: 11803: 11799: 11795: 11791: 11788: 11784: 11782:3-10-003802-9 11778: 11774: 11770: 11766: 11762: 11761: 11752: 11750: 11743: 11737: 11733: 11729: 11725: 11721: 11717: 11711: 11707: 11703: 11699: 11694: 11693: 11688: 11684: 11680: 11674: 11670: 11665: 11661: 11655: 11651: 11646: 11642: 11636: 11632: 11631: 11626: 11622: 11618: 11617: 11611: 11607: 11603: 11599: 11595: 11593:0-19-507675-3 11589: 11585: 11581: 11580:Giddins, Gary 11577: 11565: 11561: 11560: 11555: 11553: 11546: 11541: 11539:0-306-80182-5 11535: 11531: 11527: 11523: 11519: 11515: 11511: 11506: 11500: 11496: 11495: 11489: 11488: 11469: 11465: 11461: 11457: 11450: 11434: 11428: 11413: 11412: 11407: 11400: 11384: 11380: 11374: 11359: 11358: 11353: 11346: 11331: 11327: 11320: 11304: 11300: 11294: 11286: 11279: 11264: 11260: 11253: 11251: 11243: 11239: 11235: 11231: 11227: 11223: 11216: 11201: 11197: 11191: 11176: 11175: 11170: 11163: 11156: 11145: 11141: 11134: 11127: 11115: 11111: 11104: 11088: 11084: 11078: 11071: 11065: 11049: 11045: 11041: 11035: 11019: 11015: 11011: 11005: 10998: 10994: 10991: 10988: 10982: 10980: 10978: 10960: 10956: 10951: 10945: 10929: 10925: 10921: 10914: 10906: 10902: 10901: 10894: 10879: 10875: 10868: 10852: 10848: 10842: 10827: 10823: 10816: 10801: 10797: 10790: 10775: 10771: 10764: 10758: 10754: 10751: 10748:HR-57 Center 10745: 10729: 10725: 10721: 10715: 10707: 10701: 10685: 10684: 10679: 10673: 10666: 10660: 10654: 10638: 10632: 10625: 10624: 10620: 10616: 10613: 10607: 10600: 10596: 10592: 10589: 10583: 10576: 10575: 10570: 10566: 10563: 10557: 10549: 10543: 10539: 10538:A&C Black 10535: 10528: 10521: 10515: 10508: 10502: 10487: 10483: 10477: 10461: 10454: 10446: 10442: 10435: 10419: 10418: 10413: 10406: 10390: 10386: 10379: 10377: 10368: 10364: 10363:Music Journal 10357: 10350: 10349:1-883217-04-0 10346: 10342: 10336: 10329: 10325: 10322: 10321: 10314: 10307: 10301: 10292: 10285: 10279: 10272: 10267: 10261:Oxford Press. 10260: 10254: 10247: 10241: 10234: 10230: 10224: 10217: 10214:"Footprints" 10211: 10196: 10192: 10185: 10170: 10166: 10162: 10158: 10151: 10136: 10132: 10125: 10119: 10114: 10099: 10095: 10088: 10082: 10078: 10075: 10073: 10066: 10060: 10059:1-58834-147-X 10056: 10052: 10046: 10040: 10039:0-313-28468-7 10036: 10032: 10026: 10019: 10013: 10006: 10000: 9992: 9985: 9978: 9977:The Jazz Book 9972: 9965: 9960: 9954:, p. 29. 9953: 9948: 9941: 9935: 9927: 9923: 9919: 9915: 9914: 9906: 9900:, p. 30. 9899: 9894: 9887: 9882: 9868: 9867: 9860: 9852: 9848: 9844: 9840: 9836: 9832: 9828: 9824: 9817: 9815: 9806: 9802: 9795: 9780: 9776: 9770: 9768: 9766: 9758: 9756:0-87930-308-5 9752: 9748: 9744: 9743: 9738: 9731: 9725: 9720: 9718: 9711:, p. 26. 9710: 9709:Peñalosa 2010 9705: 9698: 9695:"Afro Blue", 9692: 9683: 9668: 9664: 9657: 9649: 9643: 9639: 9638: 9630: 9623: 9622:Peñalosa 2010 9618: 9612:, p. 56. 9611: 9610:Peñalosa 2010 9606: 9599: 9593: 9586: 9585:The Jazz Book 9580: 9573: 9568: 9562: 9557: 9555: 9547: 9546:The Jazz Book 9541: 9534: 9529: 9522: 9516: 9514: 9506: 9501: 9494: 9490: 9485: 9477: 9471: 9467: 9463: 9459: 9458: 9453: 9447: 9439: 9437:0-87930-737-4 9433: 9429: 9425: 9421: 9420: 9415: 9409: 9407: 9405: 9403: 9394: 9388: 9384: 9380: 9373: 9371: 9369: 9360: 9354: 9350: 9343: 9341: 9339: 9337: 9335: 9333: 9323: 9322: 9313: 9297: 9293: 9289: 9283: 9275: 9271: 9267: 9263: 9259: 9255: 9254: 9246: 9238: 9232: 9228: 9221: 9213: 9207: 9203: 9198: 9197: 9188: 9172: 9168: 9162: 9155: 9151: 9146: 9138: 9132: 9128: 9124: 9117: 9110: 9105: 9099:, p. 93. 9098: 9097:Schuller 1968 9093: 9087:, p. 91. 9086: 9085:Schuller 1968 9081: 9075: 9069: 9063: 9058: 9051: 9046: 9038: 9034: 9029: 9024: 9020: 9016: 9012: 9005: 8998:. p. 16. 8997: 8990: 8974: 8970: 8964: 8948: 8944: 8938: 8932:, p. 54. 8931: 8926: 8919: 8914: 8912: 8905:, p. 44. 8904: 8899: 8884: 8878: 8874: 8873: 8868: 8864: 8858: 8842: 8838: 8832: 8824: 8818: 8814: 8813: 8805: 8790: 8786: 8780: 8765: 8761: 8755: 8739: 8735: 8731: 8724: 8708: 8704: 8700: 8693: 8677: 8673: 8669: 8662: 8654: 8648: 8644: 8643: 8635: 8627: 8621: 8617: 8610: 8603: 8598: 8591: 8590:Schuller 1968 8586: 8579: 8573: 8566: 8560: 8553: 8548: 8533: 8529: 8527: 8519: 8511: 8505: 8497: 8491: 8475: 8471: 8465: 8457: 8451: 8435: 8429: 8413: 8409: 8403: 8396: 8391: 8376: 8372: 8366: 8359: 8358:Arna Bontemps 8355: 8352:W. C. Handy, 8349: 8342: 8341:Schuller 1968 8337: 8328: 8319: 8313:, p. 96. 8312: 8307: 8300: 8295: 8279: 8275: 8269: 8262: 8256: 8247: 8240: 8235: 8229:, p. 78. 8228: 8223: 8207: 8203: 8196: 8194: 8186: 8180: 8173: 8167: 8160: 8159:0-7866-7635-3 8156: 8152: 8146: 8139: 8133: 8125: 8118: 8102: 8098: 8092: 8085: 8080: 8064: 8057: 8050: 8045: 8038: 8032: 8030: 8022: 8016: 8008: 8001: 7995:, p. 42. 7994: 7993:Peñalosa 2010 7989: 7981: 7979:0-9614701-9-4 7975: 7971: 7964: 7956: 7949: 7941: 7934: 7932: 7923: 7917: 7913: 7908: 7907: 7898: 7896: 7886: 7880:, p. 52. 7879: 7874: 7868:, p. 19. 7867: 7866:Schuller 1968 7862: 7855: 7851: 7847: 7841: 7834: 7833:Peñalosa 2010 7829: 7821: 7815: 7811: 7804: 7802: 7794: 7793:Jazz Research 7788: 7782:, p. 39. 7781: 7776: 7774: 7766: 7761: 7754: 7749: 7741: 7735: 7731: 7727: 7726: 7718: 7712: 7708: 7705: 7699: 7684: 7678: 7674: 7673: 7665: 7657: 7653: 7649: 7645: 7641: 7637: 7633: 7629: 7628: 7620: 7613: 7608: 7600: 7596: 7592: 7588: 7582: 7574: 7570: 7564: 7548: 7544: 7537: 7521: 7515: 7507: 7500: 7484: 7480: 7474: 7467: 7463: 7459: 7458: 7452: 7446: 7441: 7434: 7430: 7426: 7419: 7412: 7408: 7404: 7398: 7394: 7388: 7372: 7368: 7367: 7362: 7356: 7348: 7344: 7340: 7336: 7332: 7328: 7324: 7320: 7313: 7297: 7293: 7289: 7283: 7275: 7271: 7264: 7256: 7252: 7245: 7237: 7233: 7226: 7211: 7207: 7204:Murph, John. 7200: 7198: 7189: 7182: 7174: 7168: 7164: 7163: 7155: 7147: 7141: 7137: 7132: 7131: 7130:Jazz Writings 7122: 7115: 7111: 7105: 7101: 7094: 7086: 7080: 7075: 7074: 7065: 7057: 7053: 7049: 7048: 7040: 7033: 7032: 7017: 7013: 7007: 7000: 6999:0-671-63504-2 6996: 6992: 6991: 6984: 6977: 6973: 6969: 6968: 6961: 6954: 6950: 6947: 6942: 6936:, p. 89. 6935: 6930: 6924:, p. 70. 6923: 6918: 6910: 6903: 6895: 6889: 6884: 6883: 6874: 6868: 6863: 6861: 6859: 6842: 6841: 6833: 6826: 6820: 6818: 6801: 6797: 6791: 6776: 6772: 6765: 6749: 6745: 6741: 6735: 6728: 6722: 6707: 6703: 6702: 6694: 6687: 6671: 6667: 6661: 6659: 6657: 6640: 6636: 6632: 6625: 6623: 6614: 6608: 6604: 6603: 6595: 6587: 6583: 6582: 6574: 6567: 6563: 6559: 6553: 6546: 6545:0-697-12516-5 6542: 6538: 6532: 6524: 6520: 6516: 6512: 6508: 6504: 6501:(4): 305–16. 6500: 6496: 6495: 6487: 6485: 6476: 6464: 6457: 6441: 6435: 6420: 6416: 6410: 6406: 6391: 6388: 6386: 6383: 6381: 6378: 6376: 6373: 6371: 6368: 6366: 6363: 6361: 6358: 6356: 6353: 6351: 6348: 6346: 6343: 6341: 6338: 6336: 6333: 6331: 6328: 6326: 6323: 6321: 6318: 6317: 6312: 6301: 6298: 6287: 6284: 6278: 6273: 6266: 6264: 6260: 6256: 6255:Joan Chamorro 6251: 6249: 6245: 6244:Jacob Collier 6241: 6237: 6233: 6229: 6225: 6215: 6213: 6209: 6205: 6200: 6198: 6194: 6190: 6186: 6182: 6178: 6177: 6172: 6167: 6160: 6156: 6151: 6147: 6145: 6141: 6140:Charles Gayle 6137: 6132: 6128: 6117: 6115: 6110: 6108: 6103: 6100: 6098: 6094: 6090: 6089:Steve Coleman 6086: 6077: 6072: 6062: 6060: 6059:hardcore punk 6056: 6052: 6048: 6044: 6040: 6036: 6032: 6028: 6024: 6023: 6018: 6014: 6012: 6008: 6004: 6000: 5996: 5992: 5991:Queen of Siam 5988: 5984: 5980: 5979:the Pop Group 5976: 5968: 5964: 5955: 5953: 5952: 5947: 5943: 5939: 5938: 5933: 5928: 5926: 5925: 5920: 5916: 5912: 5911: 5905: 5903: 5899: 5895: 5894: 5889: 5885: 5884: 5879: 5878: 5873: 5869: 5868: 5863: 5859: 5855: 5851: 5850: 5845: 5841: 5837: 5833: 5829: 5825: 5823: 5819: 5815: 5811: 5807: 5803: 5799: 5795: 5791: 5786: 5782: 5780: 5776: 5772: 5768: 5764: 5760: 5755: 5751: 5747: 5736: 5731: 5729: 5725: 5724: 5718: 5716: 5712: 5708: 5707:David Sanborn 5704: 5700: 5696: 5692: 5688: 5684: 5680: 5676: 5672: 5664: 5663:David Sanborn 5660: 5655: 5645: 5643: 5639: 5638:Ken Peplowski 5635: 5634:Joshua Redman 5631: 5627: 5623: 5620:, trumpeters 5619: 5618:Stefon Harris 5615: 5611: 5607: 5602: 5600: 5596: 5592: 5588: 5584: 5580: 5576: 5575:Kenny Garrett 5572: 5568: 5564: 5563:Taurus Mateen 5560: 5556: 5552: 5548: 5544: 5540: 5536: 5533:, as well as 5532: 5528: 5524: 5520: 5517:In addition, 5515: 5513: 5509: 5505: 5501: 5497: 5496:Wallace Roney 5493: 5489: 5484: 5482: 5478: 5477:Javon Jackson 5474: 5470: 5466: 5462: 5458: 5454: 5450: 5446: 5442: 5438: 5434: 5430: 5426: 5422: 5418: 5413: 5409: 5403: 5393: 5391: 5388:premiered on 5387: 5386: 5381: 5376: 5373: 5368: 5366: 5365:Keith Jarrett 5360: 5358: 5354: 5350: 5344: 5342: 5337: 5335: 5331: 5327: 5326:Joe Henderson 5323: 5319: 5315: 5311: 5306: 5304: 5300: 5296: 5292: 5287: 5280: 5276: 5271: 5270:1980s in jazz 5267: 5257: 5255: 5251: 5250: 5244: 5240: 5236: 5235: 5234:On the Corner 5230: 5225: 5223: 5219: 5215: 5211: 5207: 5203: 5199: 5195: 5191: 5187: 5181: 5171: 5169: 5165: 5164:Mark Guiliana 5161: 5157: 5153: 5152:drum 'n' bass 5149: 5145: 5141: 5137: 5132: 5128: 5127:John Scofield 5124: 5120: 5109: 5107: 5106: 5101: 5100: 5093: 5091: 5087: 5083: 5079: 5075: 5071: 5067: 5063: 5062:Larry Coryell 5060:, guitarists 5059: 5055: 5054:Tony Williams 5051: 5047: 5043: 5039: 5035: 5031: 5030:"fuzz" pedals 5020: 5017: 5015: 5014: 5009: 5008: 5003: 4999: 4995: 4991: 4990:Airto Moreira 4987: 4986: 4981: 4967: 4965: 4961: 4960: 4955: 4951: 4945: 4943: 4939: 4935: 4931: 4927: 4921: 4918: 4916: 4915:ambient music 4912: 4908: 4907: 4895: 4893: 4889: 4883: 4881: 4878:According to 4876: 4874: 4870: 4866: 4858: 4853: 4848: 4838: 4836: 4831: 4827: 4823: 4818: 4814: 4810: 4804: 4802: 4798: 4794: 4788: 4786: 4782: 4778: 4771: 4761: 4759: 4755: 4751: 4742: 4738: 4730: 4726: 4724: 4720: 4715: 4713: 4712:Horace Silver 4709: 4708:Joe Henderson 4703: 4701: 4697: 4695: 4680: 4679: 4678: 4676: 4667: 4652: 4642: 4638: 4637:Tony Williams 4634: 4630: 4626: 4618: 4608: 4604: 4600: 4596: 4595:Wayne Shorter 4587: 4577: 4576:jazz standard 4563: 4554: 4550: 4548: 4544: 4543:Airto Moreira 4539: 4537: 4536:Frank Sinatra 4533: 4529: 4528: 4527:Getz/Gilberto 4523: 4519: 4518:Latin America 4515: 4514: 4513:Black Orpheus 4509: 4508: 4503: 4499: 4495: 4491: 4490:João Gilberto 4486: 4484: 4480: 4473: 4468: 4459: 4457: 4453: 4448: 4446: 4441: 4430: 4428: 4424: 4420: 4415: 4411: 4407: 4403: 4397: 4395: 4391: 4385: 4375: 4373: 4369: 4365: 4361: 4357: 4352: 4350: 4346: 4342: 4338: 4337:Kenny Wheeler 4334: 4330: 4326: 4322: 4321:Tomasz Stanko 4318: 4314: 4310: 4306: 4302: 4298: 4294: 4290: 4282: 4278: 4269: 4266: 4262: 4261: 4255: 4253: 4252: 4247: 4246: 4242:(July 1965), 4241: 4240: 4235: 4234: 4229: 4228: 4223: 4222: 4217: 4213: 4209: 4204: 4202: 4198: 4194: 4190: 4186: 4182: 4178: 4174: 4170: 4166: 4162: 4158: 4154: 4150: 4146: 4142: 4141:Jimmy Giuffre 4138: 4134: 4133:John Coltrane 4130: 4129:Larry Coryell 4126: 4122: 4118: 4117:Gato Barbieri 4114: 4110: 4106: 4105: 4100: 4095: 4093: 4088: 4084: 4075: 4070: 4060: 4058: 4054: 4053:Jackie McLean 4049: 4041: 4037: 4032: 4030: 4026: 4025: 4020: 4015: 4013: 4009: 4005: 3999: 3989: 3987: 3981: 3979: 3978: 3973: 3969: 3965: 3964:Joe Henderson 3961: 3957: 3953: 3949: 3945: 3941: 3937: 3932: 3930: 3920: 3915: 3905: 3902: 3898: 3894: 3890: 3886: 3882: 3878: 3874: 3870: 3860: 3858: 3854: 3850: 3846: 3842: 3837: 3835: 3821: 3811: 3810:John Coltrane 3801: 3800: 3799: 3797: 3793: 3788: 3781: 3771: 3767: 3763: 3759: 3750: 3741: 3738: 3734: 3724: 3722: 3718: 3713: 3708: 3706: 3702: 3698: 3694: 3690: 3682: 3659: 3658: 3657: 3655: 3651: 3647: 3643: 3642: 3637: 3633: 3628: 3626: 3622: 3618: 3604: 3599: 3589: 3584: 3582: 3578: 3574: 3568: 3564: 3561: 3557: 3556:Gerhard Kubik 3553: 3548: 3546: 3542: 3538: 3534: 3530: 3526: 3522: 3516: 3514: 3509: 3505: 3502: 3497: 3495: 3491: 3487: 3483: 3476: 3465: 3463: 3459: 3453: 3451: 3447: 3446:rock and roll 3443: 3439: 3435: 3431: 3427: 3423: 3419: 3418:Frank Sinatra 3415: 3410: 3408: 3404: 3400: 3395: 3393: 3389: 3385: 3381: 3377: 3373: 3369: 3365: 3360: 3356: 3352: 3348: 3343: 3341: 3337: 3332: 3324: 3320: 3316: 3315:New York City 3312: 3308: 3304: 3300: 3296: 3291: 3286: 3282: 3281:1970s in jazz 3278: 3277:1960s in jazz 3274: 3273:1950s in jazz 3270: 3269:1940s in jazz 3263:Post-war jazz 3260: 3258: 3254: 3250: 3246: 3242: 3238: 3234: 3229: 3227: 3226:Fred Elizalde 3223: 3218: 3216: 3206: 3204: 3200: 3196: 3192: 3188: 3184: 3180: 3176: 3172: 3171:Johnny Hodges 3168: 3164: 3159: 3157: 3153: 3148: 3139: 3130: 3128: 3127:boogie-woogie 3124: 3120: 3116: 3112: 3108: 3102: 3100: 3096: 3092: 3088: 3084: 3080: 3076: 3075:Benny Goodman 3072: 3068: 3064: 3060: 3056: 3052: 3043: 3038: 3037:1930s in jazz 3034: 3024: 3022: 3018: 3013: 3009: 3005: 3001: 2997: 2992: 2990: 2986: 2982: 2978: 2974: 2970: 2966: 2958: 2954: 2950: 2948: 2944: 2940: 2935: 2933: 2929: 2925: 2924: 2919: 2915: 2911: 2907: 2903: 2899: 2895: 2891: 2890:Paul Whiteman 2886: 2884: 2880: 2876: 2872: 2868: 2861: 2859: 2847: 2831: 2830:Jazz Me Blues 2814: 2811: 2810: 2805: 2800: 2791: 2786: 2776: 2774: 2770: 2766: 2762: 2757: 2755: 2749: 2746: 2742: 2702: 2700: 2681: 2680: 2679: 2676: 2674: 2673:Spanish tinge 2669: 2667: 2648: 2647: 2646: 2633:jazz artist, 2632: 2628: 2624: 2615: 2613: 2609: 2605: 2601: 2597: 2592: 2588: 2584: 2580: 2576: 2571: 2569: 2565: 2561: 2557: 2553: 2549: 2545: 2544:jazz funerals 2541: 2536: 2532: 2529:The music of 2524: 2520: 2509: 2504: 2502: 2497: 2495: 2490: 2489: 2487: 2486: 2483: 2478: 2474: 2473: 2468: 2465: 2463: 2460: 2458: 2455: 2453: 2450: 2448: 2445: 2443: 2440: 2438: 2435: 2434: 2433: 2432: 2429: 2424: 2423: 2418: 2415: 2413: 2410: 2408: 2405: 2403: 2400: 2396: 2393: 2391: 2388: 2387: 2386: 2383: 2382: 2381: 2380: 2376: 2375: 2368: 2365: 2363: 2360: 2359: 2358: 2355: 2353: 2350: 2348: 2345: 2343: 2340: 2338: 2335: 2334: 2333: 2332: 2328: 2327: 2320: 2317: 2315: 2312: 2310: 2307: 2306: 2305: 2302: 2298: 2295: 2293: 2290: 2289: 2288: 2285: 2283: 2280: 2278: 2275: 2274: 2273: 2272: 2268: 2267: 2261: 2257: 2256: 2253: 2244: 2243: 2240: 2235: 2234: 2230: 2226: 2216: 2214: 2210: 2206: 2202: 2201:Memphis Blues 2196: 2191: 2188: 2185: 2178: 2174: 2161: 2158: 2154: 2153: 2152: 2150: 2149:stylistically 2144: 2142: 2137: 2135: 2131: 2127: 2123: 2122:field hollers 2119: 2115: 2111: 2107: 2098: 2087: 2072: 2053: 2043: 2039: 2037: 2033: 2029: 2025: 2024:Carnegie Hall 2021: 2018:'s symphonic 2017: 2007: 2004: 2000: 1996: 1992: 1988: 1969: 1968: 1967: 1965: 1961: 1957: 1953: 1949: 1945: 1944:Original Rags 1941: 1936: 1934: 1930: 1926: 1925:William Krell 1922: 1918: 1914: 1909: 1907: 1903: 1899: 1894: 1886: 1882: 1877: 1867: 1865: 1864:Spanish tinge 1861: 1857: 1856:guide-pattern 1853: 1849: 1845: 1826: 1825: 1824: 1822: 1818: 1799: 1798: 1797: 1795: 1791: 1787: 1781: 1779: 1775: 1771: 1767: 1763: 1759: 1755: 1751: 1746: 1736: 1734: 1733:cross-rhythms 1728: 1726: 1721: 1717: 1699: 1698: 1697: 1695: 1691: 1687: 1683: 1679: 1675: 1674: 1669: 1664: 1662: 1657: 1651: 1641: 1639: 1635: 1631: 1627: 1626:minstrel show 1623: 1616: 1612: 1607: 1603: 1601: 1597: 1593: 1592:Gerhard Kubik 1589: 1585: 1581: 1575: 1570: 1568: 1567:Robert Palmer 1564: 1559: 1555: 1553: 1549: 1545: 1541: 1537: 1534:By 1866, the 1532: 1526: 1522: 1521: 1515: 1508: 1503: 1494: 1492: 1488: 1484: 1480: 1476: 1472: 1468: 1458: 1456: 1452: 1449:, Broadway's 1448: 1444: 1440: 1436: 1434: 1433:Carnegie Hall 1430: 1429:Benny Goodman 1426: 1422: 1421: 1416: 1412: 1410: 1409:Tin Pan Alley 1402: 1398: 1393: 1389: 1379: 1377: 1372: 1368: 1367:Gerald Wilson 1364: 1360: 1356: 1352: 1347: 1345: 1341: 1337: 1333: 1329: 1325: 1321: 1317: 1316:Abbey Lincoln 1313: 1309: 1305: 1304:Adelaide Hall 1301: 1297: 1289: 1285: 1281: 1277: 1272: 1271:Women in jazz 1262: 1260: 1256: 1255:Benny Goodman 1252: 1248: 1244: 1240: 1236: 1232: 1228: 1224: 1220: 1212:Jazz and race 1204: 1202: 1198: 1187: 1185: 1181: 1177: 1173: 1169: 1165: 1161: 1157: 1153: 1149: 1145: 1140: 1138: 1137:musical score 1134: 1130: 1126: 1125:field hollers 1122: 1118: 1114: 1113:improvisation 1108: 1101:Improvisation 1093: 1091: 1085: 1078: 1074: 1070: 1066: 1062: 1054: 1053: 1048: 1044: 1040: 1038: 1035:named it the 1034: 1029: 1025: 1021: 1020: 1015: 1013: 1007: 1005: 1004: 989: 985: 984: 975: 970: 965: 963: 952: 950: 946: 942: 938: 934: 930: 926: 922: 918: 914: 910: 905: 903: 899: 895: 891: 887: 883: 880: 876: 875:improvisation 873: 869: 865: 861: 857: 852: 850: 849:improvisation 846: 842: 838: 834: 830: 826: 825:popular music 822: 818: 814: 810: 806: 802: 798: 794: 790: 786: 778: 777: 767: 761: 758: 756: 755:Jazz standard 753: 751: 748: 747: 744: 739: 732: 729: 727: 724: 722: 719: 717: 714: 712: 709: 706: 702: 699: 697: 694: 692: 691:New York City 689: 687: 684: 682: 679: 677: 674: 672: 669: 667: 664: 662: 659: 657: 654: 652: 649: 647: 644: 642: 639: 637: 634: 632: 629: 627: 624: 622: 619: 617: 614: 612: 609: 607: 604: 602: 599: 597: 594: 591: 587: 584: 582: 579: 577: 574: 572: 569: 568: 561: 556: 549: 546: 544: 543:Western swing 541: 539: 538:swing revival 536: 534: 531: 529: 526: 524: 521: 519: 516: 514: 511: 509: 506: 504: 501: 499: 496: 494: 491: 489: 486: 484: 481: 479: 476: 474: 471: 469: 466: 464: 461: 459: 456: 454: 451: 449: 446: 444: 441: 439: 436: 434: 431: 429: 426: 424: 421: 420: 417:Fusion genres 413: 410:Fusion genres 408: 404: 403:complete list 395: 392: 390: 387: 385: 382: 380: 377: 375: 372: 370: 367: 365: 362: 360: 357: 355: 352: 350: 347: 345: 342: 340: 337: 335: 332: 330: 327: 325: 322: 320: 317: 315: 312: 310: 307: 305: 302: 300: 297: 295: 292: 290: 287: 285: 282: 281: 274: 269: 264: 261: 259: 256: 254: 251: 249: 246: 244: 241: 239: 236: 234: 231: 229: 226: 224: 221: 219: 216: 214: 211: 209: 208:Rock and roll 206: 205: 204: 200: 194: 191: 189: 188:Hammond organ 186: 184: 181: 179: 176: 174: 171: 169: 166: 164: 161: 159: 156: 154: 151: 149: 146: 143: 139: 136: 134: 131: 129: 126: 125: 123: 119: 115: 111: 107: 101: 98: 96: 93: 91: 88: 86: 83: 81: 78: 75: 71: 68: 66: 63: 62: 60: 56: 53: 49: 45: 40: 37: 33: 19: 13649: 13601:Folk revival 13485:Jazz funeral 13474: 13458:Creole music 13365: 13352: 13345: 13338: 13334:(miniseries) 13331: 13323: 13293:Sophisti-pop 12723: 12714:Jazz royalty 12704:Jazz funeral 12500:Contemporary 12391:Chamber jazz 12345:Saxophonists 12315:Clarinetists 12287:Third stream 12124:Chamber jazz 12024:Scat singing 11972: 11886: 11868: 11861: 11847: 11833: 11819: 11811: 11808:Davis, Miles 11793: 11773:Das Jazzbuch 11772: 11748: 11731: 11705: 11702:Tucker, Mark 11690: 11668: 11649: 11629: 11625:Levine, Mark 11614: 11605: 11583: 11568:. Retrieved 11564:the original 11557: 11551: 11529: 11517: 11493: 11471:. Retrieved 11460:The Guardian 11459: 11449: 11437:. Retrieved 11427: 11415:. Retrieved 11409: 11399: 11387:. Retrieved 11383:the original 11373: 11361:. Retrieved 11355: 11345: 11333:. Retrieved 11329: 11319: 11307:. Retrieved 11302: 11293: 11284: 11278: 11266:. Retrieved 11262: 11257:Bush, John. 11241: 11237: 11233: 11229: 11225: 11221: 11215: 11203:. Retrieved 11199: 11190: 11178:. Retrieved 11172: 11162: 11154: 11147:. Retrieved 11143: 11133: 11124: 11117:. Retrieved 11113: 11103: 11091:. Retrieved 11087:the original 11077: 11069: 11064: 11052:. Retrieved 11048:the original 11043: 11034: 11022:. Retrieved 11018:the original 11013: 11004: 10986: 10963:. Retrieved 10959:the original 10949: 10944: 10932:. Retrieved 10928:the original 10923: 10913: 10899: 10893: 10881:. Retrieved 10877: 10867: 10855:. Retrieved 10850: 10841: 10829:. Retrieved 10825: 10815: 10803:. Retrieved 10799: 10789: 10777:. 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Retrieved 9778: 9740: 9730: 9724:Collier 1978 9704: 9696: 9691: 9682: 9672:November 23, 9670:. Retrieved 9667:WTJU 91.1 FM 9666: 9656: 9636: 9629: 9617: 9605: 9597: 9592: 9584: 9579: 9567: 9545: 9540: 9528: 9520: 9500: 9484: 9456: 9452:James, Clive 9446: 9418: 9414:Trynka, Paul 9378: 9348: 9320: 9312: 9300:. Retrieved 9296:the original 9291: 9282: 9257: 9251: 9245: 9226: 9220: 9195: 9187: 9175:. Retrieved 9171:the original 9161: 9145: 9122: 9116: 9104: 9092: 9080: 9068: 9057: 9045: 9018: 9014: 9004: 8995: 8989: 8977:. Retrieved 8973:the original 8963: 8951:. Retrieved 8947:the original 8937: 8925: 8898: 8886:. Retrieved 8871: 8857: 8845:. Retrieved 8841:the original 8831: 8811: 8804: 8794:December 24, 8792:. Retrieved 8788: 8779: 8769:December 24, 8767:. Retrieved 8763: 8754: 8744:December 24, 8742:. Retrieved 8738:the original 8733: 8723: 8713:December 24, 8711:. Retrieved 8707:the original 8702: 8692: 8682:December 24, 8680:. 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Retrieved 6418: 6409: 6330:Jazz royalty 6297:Music portal 6252: 6232:Snarky Puppy 6221: 6218:Social media 6208:Just Coolin' 6207: 6201: 6197:Jamie Cullum 6174: 6164: 6155:Andrea Motis 6144:James Carter 6131:The Bad Plus 6127:Brad Mehldau 6123: 6111: 6106: 6104: 6101: 6082: 6054: 6043:Bill Laswell 6020: 6015: 5990: 5972: 5949: 5935: 5929: 5922: 5908: 5906: 5891: 5881: 5875: 5870:(1988), and 5865: 5854:Ramsey Lewis 5847: 5826: 5818:Jaga Jazzist 5783: 5757: 5733: 5721: 5719: 5668: 5640:and bassist 5630:Chris Potter 5622:Roy Hargrove 5612:, guitarist 5603: 5599:Robert Hurst 5587:Renee Rosnes 5579:Steve Wilson 5543:Curtis Lundy 5519:Betty Carter 5516: 5488:Roy Hargrove 5485: 5463:(and later, 5449:Donald Brown 5433:Dennis Irwin 5429:Bobby Watson 5408:Betty Carter 5405: 5383: 5377: 5369: 5362: 5349:Cecil Taylor 5346: 5338: 5307: 5283: 5247: 5232: 5226: 5183: 5168:Brad Mehldau 5166:and pianist 5144:Flying Lotus 5136:Squarepusher 5115: 5103: 5097: 5094: 5074:Ryo Kawasaki 5056:, violinist 5038:Eddie Harris 5026: 5018: 5011: 5007:Bitches Brew 5005: 4998:synthesizers 4983: 4978: 4958: 4949: 4947: 4941: 4930:Jimi Hendrix 4923: 4919: 4904: 4902: 4885: 4877: 4869:Jimi Hendrix 4862: 4805: 4789: 4781:gospel music 4773: 4757: 4747: 4735: 4722: 4716: 4704: 4698: 4691: 4665: 4650: 4616: 4603:Miles Smiles 4602: 4585: 4573: 4565:Randy Weston 4551: 4540: 4525: 4522:Charlie Byrd 4511: 4505: 4487: 4476: 4449: 4436: 4409: 4398: 4389: 4387: 4367: 4358:and pianist 4353: 4329:Joe Harriott 4301:John Tchicai 4286: 4265:Dave Liebman 4258: 4256: 4249: 4243: 4237: 4231: 4227:Living Space 4225: 4219: 4208:multiphonics 4205: 4193:Archie Shepp 4184: 4180: 4177:Cecil Taylor 4173:Sunny Murray 4171:and drummer 4169:Gary Peacock 4165:John Tchicai 4157:Roswell Rudd 4113:Albert Ayler 4109:Cecil Taylor 4102: 4096: 4080: 4057:Kind of Blue 4056: 4050: 4036:Kind of Blue 4035: 4033: 4029:Kind of Blue 4028: 4024:Kind of Blue 4022: 4016: 4001: 3982: 3975: 3970:. Coltrane, 3956:Wynton Kelly 3933: 3925: 3897:Ward Kimball 3893:Conrad Janis 3881:Eddie Condon 3877:Max Kaminsky 3875:'s Bobcats, 3866: 3838: 3819: 3807: 3789: 3779: 3766:cross-rhythm 3755: 3733:Un Poco Loco 3730: 3711: 3709: 3703:(Afro-Cuban 3687: 3653: 3649: 3646:cross-rhythm 3639: 3635: 3629: 3614: 3586: 3570: 3565: 3549: 3545:I Got Rhythm 3529:chromaticism 3517: 3510: 3506: 3498: 3478: 3455: 3438:Louis Jordan 3411: 3396: 3380:Kenny Clarke 3355:Bill Davison 3353:, cornetist 3351:George Lewis 3344: 3331:World War II 3328: 3299:Tommy Potter 3257:Okeh Records 3239:popularized 3230: 3219: 3212: 3191:Bubber Miley 3166: 3162: 3160: 3152:musical form 3144: 3119:Lester Young 3107:Teddy Wilson 3103: 3095:Glenn Miller 3067:Tommy Dorsey 3059:Cab Calloway 3048: 3021:scat singing 3004:Guy Lombardo 2993: 2962: 2936: 2931: 2921: 2906:Tommy Dorsey 2902:Jimmy Dorsey 2887: 2883:Bill Johnson 2871:Bessie Smith 2864: 2855: 2807: 2796: 2779:The Jazz Age 2758: 2750: 2744: 2738: 2696: 2677: 2670: 2663: 2643: 2608:Alcide Nunez 2596:Buddy Bolden 2572: 2528: 2467:Fleur-de-lis 2361: 2236: 2198: 2193: 2189: 2182: 2148: 2146: 2138: 2103: 2095:A hexatonic 2040: 2036:stride piano 2013: 2003:Ned Sublette 1984: 1964:syncopations 1940:Scott Joplin 1937: 1913:Ernest Hogan 1910: 1890: 1885:Scott Joplin 1841: 1814: 1782: 1748: 1729: 1714: 1682:Congo Square 1672: 1665: 1653: 1619: 1577: 1572: 1563:Congo Square 1560: 1556: 1533: 1530: 1518: 1507:E. W. Kemble 1464: 1447:Palmer House 1437: 1418: 1417: 1413: 1406: 1388:Jews in jazz 1382:Jews in jazz 1376:Randy Weston 1371:Melba Liston 1363:Woody Herman 1348: 1336:Valaida Snow 1334:, trumpeter 1328:Ethel Waters 1296:Betty Carter 1293: 1280:Ethel Waters 1239:Eddie Condon 1219:Amiri Baraka 1215: 1193: 1160:arrangements 1141: 1110: 1086: 1058: 1050: 1017: 1010: 1008: 1001: 987: 981: 979: 961: 906: 853: 784: 783: 776:2024 in jazz 774: 741:Other topics 701:South Africa 548:world fusion 508:Manila Sound 389:third stream 309:chamber jazz 36: 13603:(1950s–60s) 13577:Appalachian 13524:Second line 13502:Swamp blues 13436:Cajun music 13431:Brass Bands 13276:Quiet storm 13239:Contradanza 13021:New Orleans 13016:Kansas City 12819:Jazz mugham 12814:Azerbaijani 12738:Second line 12733:Rare groove 12719:Jazz theory 12709:Jazz poetry 12694:Contrafacts 12678:Saint Lucia 12658:New Orleans 12590:Strata-East 12565:MPS Records 12495:Cobblestone 12416:Smooth jazz 12406:Jazz fusion 12350:Trombonists 12263:Sacred jazz 12248:Smooth jazz 12181:Jazz fusion 12064:Jazz violin 12044:Jazz guitar 12019:Jam session 11992:Jazz (word) 11652:. Da Capo. 11268:January 14, 11149:January 14, 11119:January 14, 11054:November 7, 11024:November 7, 10965:January 23, 10948:Dave Lang, 10934:October 12, 10874:"Roy Ayers" 10857:November 7, 10805:January 14, 10779:January 14, 10690:October 19, 10491:November 7, 10424:November 1, 10271:Levine 1995 10103:October 22, 9952:Levine 1995 9898:Levine 1995 9533:Levine 1995 9426:. pp. 9150:Tucker 1995 8979:October 29, 8953:October 29, 8847:October 27, 8480:January 13, 8418:October 23, 8343:, 66, 145n. 8212:October 24, 8153:. Mel Bay. 8107:October 18, 8069:October 18, 7780:Palmer 1981 7489:October 28, 7236:Pluto Press 7031:Metro Times 6867:Elsdon 2003 6748:Word Routes 6715:November 4, 6676:February 9, 6283:Jazz portal 6263:Emmet Cohen 6242:phenomenon 6204:Gene Ammons 6193:Kurt Elling 6185:Norah Jones 6181:Diana Krall 6097:Gary Thomas 6022:Spy vs. Spy 5997:(who mixed 5987:Lydia Lunch 5915:Easy Mo Bee 5880:(1990) and 5840:Stetsasonic 5834:. In 1988, 5703:Boney James 5699:Kirk Whalum 5679:Anita Baker 5671:quiet storm 5654:Smooth jazz 5648:Smooth jazz 5606:Jason Moran 5583:Kenny Davis 5555:Craig Handy 5523:Benny Green 5512:Miles Davis 5469:Bill Pierce 5334:Miles Davis 5314:Chick Corea 5229:Headhunters 5119:Pat Metheny 5078:Frank Zappa 5066:Al Di Meola 5050:Gary Burton 5046:Chick Corea 5042:Joe Zawinul 5002:Joe Zawinul 4954:Larry Young 4926:James Brown 4873:Frank Zappa 4857:Miles Davis 4847:Jazz fusion 4841:Jazz fusion 4770:Sacred jazz 4750:Giant Steps 4719:Mark Levine 4700:McCoy Tyner 4692:The use of 4635:(bass) and 4607:Miles Davis 4402:son montuno 4356:Han Bennink 4325:Lars Gullin 4309:John Surman 4293:Eric Dolphy 4087:world music 4012:Mark Levine 3968:Hank Mobley 3857:Willie Bobo 3689:Mario Bauzá 3641:key pattern 3617:Mario Bauza 3513:ride cymbal 3462:Stan Kenton 3450:Paul Trynka 3426:Dick Haymes 3407:Clive James 3374:, drummers 3359:Turk Murphy 3303:Miles Davis 3224:. In 1926, 3183:Bob Russell 3087:Harry James 3055:Count Basie 3033:Swing music 2973:Cotton Club 2939:Fred Waring 2928:Olin Downes 2879:King Oliver 2638: 1917 2618:Syncopation 2604:Lorenzo Tio 2531:New Orleans 2525:around 1905 2347:Cajun Dance 2248:Culture of 2184:W. C. Handy 2179:at 19, 1892 2177:W. C. Handy 2097:blues scale 2030:influenced 2028:Eubie Blake 1950:", a multi- 1917:Vess Ossman 1908:developed. 1762:contradanza 1720:second line 1656:Black Codes 1634:syncopation 1600:heterophony 1544:Congo River 1540:West Africa 1491:dance music 1439:Shep Fields 1320:Anita O'Day 1288:Cotton Club 1243:Bud Freeman 1201:jazz fusion 1180:avant-garde 1028:Eubie Blake 1026:, musician 995:pep, energy 974:Eubie Blake 941:smooth jazz 845:polyrhythms 821:traditional 811:, European 797:New Orleans 789:music genre 760:Jazz (word) 686:New Orleans 681:Netherlands 666:Kansas City 533:smooth jazz 488:jazz fusion 433:Afro fusion 289:jazz poetry 284:jazz fusion 140:(typically 128:Double bass 114:New Orleans 72:(including 52:Jazz (word) 13751:Categories 13731:Rockabilly 13726:Honky-tonk 13714:Roots rock 13684:Spirituals 13612:New Mexico 13261:Brass band 13249:Jump blues 13093:Ethno jazz 13056:Australian 13036:West Coast 12793:Zimbabwean 12633:Copenhagen 12555:Mainstream 12365:Violinists 12355:Trumpeters 12325:Guitarists 12233:Organ trio 12218:Modal jazz 12191:Latin jazz 12171:Gypsy jazz 12069:Vocal jazz 12054:Jazz piano 11911:LinkedJazz 11728:Burns, Ken 11242:Philly.com 11226:Philly.com 11200:M-base.com 10920:"The Epic" 10734:October 2, 10417:Commonweal 10233:Kubik 1999 10229:pentatonic 10007:, 7th edn. 9775:"hardbopz" 9697:Afro Roots 9572:Kubik 2005 9561:Kubik 2005 9505:Dance 1983 9493:Dance 1983 9464:. p. 9109:Cooke 1999 9050:Cooke 1999 8930:Cooke 1999 8920:, p. 8903:Cooke 1999 8580:, 7th edn. 8552:Cooke 1999 8537:October 2, 8440:January 3, 8395:Cooke 1999 8311:Kubik 1999 8299:Cooke 1999 8284:August 11, 8259:Kunzler's 8239:Cooke 1999 8227:Cooke 1999 8084:Cooke 1999 8049:Cooke 1999 8021:60 Minutes 7906:Latin Jazz 7878:Kubik 1999 7854:60 Minutes 7795:I: 99–112. 7765:Kubik 1999 7753:Cooke 1999 7725:Deep Blues 7688:January 2, 7612:Cooke 1999 7234:. London: 6806:January 2, 6780:January 2, 6397:References 6325:Jazz piano 6248:microtones 6236:Cory Henry 6031:thrashcore 6005:) and the 5942:Thundercat 5902:Jazzmatazz 5836:Gang Starr 5794:St Germain 5775:scratching 5683:Chaka Khan 5675:Al Jarreau 5610:Vijay Iyer 5567:Geri Allen 5539:Lewis Nash 5475:and later 5357:Don Pullen 5322:Bill Evans 5299:modal jazz 5254:Teo Macero 5140:Aphex Twin 5099:Emergency! 5052:, drummer 4962:(1969) by 4959:Emergency! 4911:Teo Macero 4633:Ron Carter 4629:Latin jazz 4599:Footprints 4574:The first 4479:bossa nova 4419:Cal Tjader 4406:bossa nova 4384:Latin jazz 4378:Latin jazz 4289:Steve Lacy 4233:Transition 4197:Bill Dixon 4145:Steve Lacy 4137:Bill Dixon 4125:Don Cherry 4121:Carla Bley 3998:Modal jazz 3992:Modal jazz 3948:Lee Morgan 3889:Lu Watters 3873:Bob Crosby 3845:Cal Tjader 3834:pentatonic 3693:Chano Pozo 3533:dissonance 3482:Bud Powell 3442:jump blues 3372:Bud Powell 3267:See also: 3253:Joe Venuti 3249:Eddie Lang 3241:gypsy jazz 3195:Juan Tizol 3123:jump blues 3099:Artie Shaw 3083:Earl Hines 2989:Don Redman 2965:Earl Hines 2914:Joe Venuti 2858:media help 2699:jazz piano 2552:vaudeville 2540:Storyville 2141:blue notes 2118:work songs 2114:spirituals 2110:Deep South 1933:Tom Turpin 1902:vaudeville 1754:Afro-Cuban 1648:See also: 1596:homophonic 1584:spirituals 1483:vaudeville 1471:spirituals 1259:Gene Krupa 1251:Dave Tough 1170:abandoned 1168:Modal jazz 1121:work songs 937:rock music 921:Modal jazz 890:gypsy jazz 872:polyphonic 864:quadrilles 860:brass band 835:, complex 833:blue notes 750:Jazz clubs 581:Azerbaijan 443:bossa nova 344:modal jazz 334:Latin jazz 324:gypsy jazz 218:jump blues 183:vibraphone 80:spirituals 18:Jazz music 13721:Bluegrass 13709:Americana 13655:Dixieland 13594:Swamp pop 13480:Dixieland 13451:Swamp pop 13441:Cajun Jig 13229:Acid jazz 13086:Worldwide 13072:Brazilian 12869:Bulgarian 12831:Indo jazz 12781:Cape jazz 12668:North Sea 12623:Cape Town 12610:Festivals 12585:Riverside 12560:Milestone 12485:Blue Note 12480:Bethlehem 12464:post-1950 12436:Standards 12421:Soul jazz 12370:Vocalists 12330:Organists 12302:Musicians 12292:Trad jazz 12253:Soul jazz 12176:Jazz-funk 12164:Punk jazz 12154:Free funk 12149:Free jazz 12144:Folk jazz 12134:Dixieland 12129:Cool jazz 12119:Cape jazz 12034:Jazz bass 11997:Jazz band 11812:Boplicity 11790:Carr, Ian 11570:April 30, 11550:"Review: 11473:March 11, 11468:0261-3077 11439:March 11, 11330:JazzTimes 11174:JazzTimes 11093:March 13, 11014:Sonic.net 10574:JazzTimes 10466:March 27, 10395:March 28, 10248:, 7th ed. 10169:0190-8286 10072:Timba.com 9872:April 30, 9843:0090-7790 9784:April 30, 9428:45, 48–49 9302:March 28, 9274:161520728 9037:191480580 8943:"Kid Ory" 8567:. Oxford. 8063:"Ragtime" 7648:0148-6179 7433:213466278 7411:970692281 7347:162673161 7339:0007-7720 7232:Jazzwomen 7056:367372060 6847:August 4, 6515:0003-0678 6469:March 19, 6446:March 19, 6402:Citations 6259:Barcelona 6228:Art Tatum 6136:Greg Osby 6093:Greg Osby 6051:Last Exit 6017:John Zorn 6011:punk jazz 5975:post-punk 5967:John Zorn 5927:in 1994. 5896:. Rapper 5798:Jazzanova 5779:Roy Ayers 5763:jazz-funk 5759:Acid jazz 5746:Acid jazz 5559:Marc Cary 5551:Mark Shim 5380:Ken Burns 5378:In 2001, 5341:Ted Gioia 5330:Stan Getz 5186:back beat 5180:Jazz-funk 5174:Jazz-funk 5023:Jazz-rock 4835:Ike Sturm 4830:Will Todd 4504:" on the 4260:Ascension 4212:altissimo 4069:Free jazz 4063:Free jazz 3929:soul jazz 3869:Dixieland 3762:Afro Blue 3705:ostinatos 3654:2–3 clave 3650:3–2 clave 3499:Composer 3494:Max Roach 3430:Doris Day 3422:Peggy Lee 3414:pop music 3376:Max Roach 3347:Stan Getz 3311:Max Roach 3285:album era 3000:Big bands 2996:Armstrong 2865:In 1919, 2535:Louisiana 2412:Mythology 2402:Festivals 2395:Jambalaya 2251:Louisiana 2020:Clef Club 1991:cinquillo 1900:, and in 1821:cinquillo 1630:blackface 1425:Al Jolson 1401:Al Jolson 1312:Peggy Lee 1286:" at the 1223:whiteness 1184:free jazz 1156:big bands 1150:. 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