Take a moment and listen to Blood Moon and the skillful performances it showcases. Buy it here from the SOTJ store. The recording was released on Verve in May at now resides at the top of the Billboard Jazz chart. For the recording sessions, Diana assembled different musicians in trio and quartet settings.
Krall is the only jazz singer to have eight albums debut at the top of the Billboard Jazz Albums chart.
To date, her albums have garnered five Grammy Awards, eight Juno Awards and have also earned nine gold, three platinum and seven multi-platinum albums.
For more information about Diana Krall and her current touring information, please visit her website at www. Moffett takes the melody at the head before Jordan improvises in an up-tempo arrangement of this classic Davis tune.
This collection of songs and the awesome performances of his ensemble and featured guests are among his most expressive recordings and it certainly deserves to be in your jazz collection.
To learn more about Charnett Moffett, please visit his website. The compositions are lithe and layered and feature exceptional improvisations by each member. Overall, the music is exhilarating, intimate and inspiring. To learn more about the band and their Hudson Tour dates, please visit www. On Rebirth, Billy Childs reaches back to the nexus of his varied musical experiences.
Over fans attended! Click on the CD cover to buy this CD. These rescued songs provide insight into an era of jazz music history during which these artists were at the pinnacle of their success. These songs reflect the standard recording technology available during the time period but the remastering via 21 st century technology gives the listener a prime experience with no-style guards or improvisational boundaries.
She has a great command of phrasing, and this version with lyrics is quite entertaining. Waller was among the greatest combination of improvisational geniuses and show-stopping entertainers of his generation. These six songs provide an important glimpse into his amazing song catalogue which ranges from introspective pieces to the hits by this sextet.
The double disc recording features special guests who introduce and read the speeches. Disc 1 of the recording documents eight memorable speeches given by John F. Disc 2 features an Overture and original music to accompany the speeches.
Other than this glaring omission, the recording is an exceptional production of jazz variations on freedom. The challenges he faced when bringing his musical visions to fruition were deftly met by a group of highly qualified musicians. Among those assisting Manricks, who plays alto, soprano and tenor saxophones, flute, alto flute and clarinet is none other than the highly respected drummer Ari Hoenig.
Overall, each musician in this excellent quartet is at the top of their game and the rhythmic, harmonic and melodic variations as well as a beautiful contrapuntal approach they take makes this recording a must hear. Chamber Jazz is available here. Click on the CD cover to purchase Chamber Jazz. John Beasley has shared stages with some of the most important names in jazz during his three-decade career. Thelonious Monk is a Mount Rushmore figure in the creation of modern jazz.
Buy the CD here. Click on CD cover. Steve has created music with and grown from working with such great musicians as pianist Kenny Barron, bassist Ron Carter and drummer Jimmy Cobb, all of whom make their musicality well-known on this track gem. In addition to writing 5 of the songs on Colors for the Masters, Steve Turre plays the trombone and conch shells with this dynamic trio and special guests Javon Jackson on tenor saxophone and Cyro Baptista on percussion.
Cuban pianists are among the hottest new import in the USA now that relations with the island country are less stressed and more palatable. The music of Cuba has always been accepted by USA audiences but with this new influx of young artists, the music has gained in popularity. His debut for Mack Avenue Records titled El Viaje is a swaying, gentle musical journey that explores various genres and ideas while staying true to his roots. Their music is muscular, elegant, familiar and fresh. Buy it here at SOTJ.
Ronald Bastos wrote the lyrics and Rebecca adds her refreshing vocals to the romantic, hopeful story. Among the artists on the recording are Dennis Angel on flugelhorn, Gottfried Stoger on flute who plays a lyrical solo midway through the song as does Dennis Angel.
The energy and complicated rhythms and harmonic structure give it a jazz-samba-pop sound that is very sophisticated and charming. Click on the CD cover. Warren Wolf. Since graduating from Berklee, Warren Wolf has taken the jazz world by storm, first as a sideman in labelmate Christian McBride's quintet called Inside Straight and subsequently with the release of his self-titled Mack Avenue debut in and Wolfgang in This recording is an A-level masterwork that deserves your undivided attention.
Warren taught private lessons on the Vibraphone and Drums, as well as teach a beginners keyboard class for entering freshman drumset majors. After two years of teaching at Berklee College of Music, Warren headed back to Baltimore to start his main goal of becoming a full time performing musician.
Recording and touring with Rachael, Warren has had the opportunity to tour throughout the entire Unites States of America. With these three groups Warren has traveled the world. For more information about Warren Wolf, please visit his website. Omnivore Recordings in conjunction with the Maynard Ferguson family, has released all of the recordings that made up High Voltage and High Voltage 2 in a great compilation recording titled Complete High Voltage.
The 2-disc package hit retail and online stores July 15, and it making a bold statement about the legendary trumpeter who drew raves as the most celebrated high-note brass player of his generation. Ferguson had tapped into many different musical styles with his big band but here, we have the small group sound that Ferguson also made use of with its big sound.
Complete High Voltage features 18 songs including many written by Ferguson. Amazing song, amazing performance. Buy Life Forum today.
Much of the material is completely re-imagined, played with a muscular, intense, communicative freedom that is innovative and creative. This live recording reflects their ability to communicate the power of music as a universal language and solidifies their roles as musical ambassadors.
This is a very adventurous project that features excellent soloing from all three bandmates. Buy Downbeat today. Renee Rosnes. Helen Sung. Ledisi Sings Nina. Whistling In The Dark. Freedom Over Everything. Vince Mendoza. Back To The Garden. What If? Kristin Korb. All Without Words:. Variations Inspired by Loren. John Daversa Jazz Orchestra. Morell also arranged and orchestrated the concerto. Justin Morell was inspired by the voicings of his autistic son, Loren, when John Daversa commissioned a large-scale orchestra jazz piece.
A core rhythm section of Tal Cohen on piano, Justin Morell on guitars, Dion Kerr on bass and David Chiverton on drums and guest musicians Conrad Fok on piano and Lev Garfein on violin round out this splendid, supporting ensemble. Smoke and Mirrors. On his new album, Smoke and MirrorsSteve Cole offers up an intimately personal reflection of his own true self, free of trickery or sleight of hand. The result is a song collaboration that sets a new standard for a contemporary jazz ensemble produced during a remote gathering.
A Little Driving Music. Mindi Abair. One of the most recognized and sought-after saxophonists, two-time GRAMMY nominee Mindi Abair has been electrifying audiences with her dynamic live performances and sax prowess since her debut album in No one since Junior Walker has brought saxophone and vocals in one package to the forefront of modern music. During her remarkable year recording career, Mindi Abair has built a substantial following among jazz and blues audiences with her soaring melodies and powerhouse style.
Road to the Sun. P at Metheny. Dave Stryker. The Democracy Suite. Jazz at Lincoln Center Orchestra Septet. Bernstein Reimagined Smithsonian Jazz. Masterworks Orchestra. Le Coq Records Presents:.
The Jazz All Stars, Vol. The Le Coq All Stars. Tu Amor. Dave Koz. A Platinum-selling artist, Koz is also known as a humanitarian, entrepreneur, radio host and instrumental music advocate. Dave's newest offering is titled A New DayIt is his 20th album as an artist and the first collection of original material in 10 years.
Check it out at Dave's website and pre-order. You'll definitely love this groove. Billy Childs Billy Childs has emerged as one of the foremost American composers of his era, perhaps the most distinctly American composer since Aaron Copland — for like Copland, he has successfully married the musical products of his heritage with the Western neoclassical traditions of the twentieth century in a powerful symbiosis of style, range, and dynamism.
Luba Mason The multiple talents of Luba Mason are on fully display on her latest recording titled Triangle.
Color of Noize. Derrick Hodge. Ships on June 25, Various Artists Ella Live at the Apollo! The Vagabond. Aaron Diehl. Aaron Diehl is a classically trained pianist and has made an indelible mark on the jazz world as well over the last 15 years. When Diehl performed the music of Philip Glass at Brooklyn Academy of Music, he was exposed to the work of pianist and composer Timo Andres, with whom he plans to collaborate in the future.
Aaron Diehl is a Steinway artist. When he isn't on tour or recording, Diehl enjoys spending time in the sky. As a licensed pilot, one of his favorite planes to fly is the Beechcraft Bonanza. In The Key of Joy. After 30 million albums sold worldwide, 13 No. After selecting the songs, and writing and orchestrating the arrangements, he assembled and conducted the orchestra which features his long-time touring band with additional horns and a full string section.
Stay in touch with Harry Connick, Jr. Sun on Sand. In she earned second place in the Thelonious Monk International Jazz Vocals Competition, the most prestigious contest in the art form. In other words, her command of the vocal-jazz tradition is astounding.
Just as Swift is able to use her research and taste to shine a light on undervalued singers and songwriters, her voice evokes singers beyond the usual triptych of Ella Fitgerald, Sarah Vaughan and Billie Holiday. Veronica Swift is a musician-first kind of leader and arranger, who immerses herself into her accompaniment and lets her players stretch out.
With personnel like this, we should feel thankful she does. Keyboard wizard Jeff Lorber and guitar hero Mike Stern have joined forces on a potent new collaboration for Concord Jazz titled Eleven. Stern, by contrast, was aware of Lorber and had heard many good things about Lorber but they were "not in the same orbit" at the time.
Fast forward to when bassist and co-producer Jimmy Haslip of the Yellowjackets brought Lorber and Stern together in the studio. I'm With You. Wareika Hill Rastamonk Vibrations. Steve Cole Saxophonist Steve Cole is one of the most celebrated players in contemporary jazz and is now showing appreciation for the support he received during a recent health scare in his family via his latest recording titled Gratitude.
Theo Croker. The Complete. Birth of the Cool. Miles Davis Great music flowed from the creative mind of Miles Davis.
Eight Track III. Open Road. Perpetual Optimism. A Little Love. Rubberband EP. John Coltrane New Directions. Facing Dragons. Christian Sands Facing Dragons is Sands' return to the recording studio with an indestructible band and an unwavering allegiance to the groove. The Yellowjackets While the Los Angeles-based Yellowjackets have been a creative force on the jazz scene since when they recorded their eponymous debut, their fourth Mack Avenue Records album, Raising Our Voiceonce again ups the ante with bold new strides by inviting vocalist extraordinaire Luciana Souza to collaborate with the group for seven of its thirteen tunes as well as subtly taking a resistant stand against the status quo of the cultural and political undercurrent of our times.
Dave Koz and Friends. What better way to stroll down memory lane than to do it with Dave Koz and his Friends. The Grammy-nominated saxophonist returns with Summer Horns II from A to Zin a stunning set of 11 timeless classics the ensemble has reimagined.
Alongside Dave Koz, this creative sequel also features Gerald Albright on alto saxophone and tenor saxophonist Richard Elliott both of whom played on the No. Rick Braun and Dave Koz co-produced the album. Dave Koz plays the soprano, alto, tenor and baritone saxes with impeccable ease and makes sure that these 11 songs will bring back a lot of great memories for you. Richard is simply beautiful here with his sensitive but passionate saxophone rendition of the melody Mike sang so well.
With Ashling Cole echoing the questions…"What about us…? Together they bring this song to the point where chills run down your spine and tears stream down your face. Magical Kite. Jazz Latin. Concentric Circles. Honored by The National Endowment for the Arts as a Jazz Master, Kenny Barron has an unmatched ability to mesmerize audiences with his elegant playing, sensitive melodies and infectious rhythms. Inthe esteemed pianist, composer, bandleader and educator will celebrate his 75 th birthday and mark the 50 th year of a remarkable recording career that shows no signs of slowing down.
In fact, the year will be punctuated with yet another milestone: the release of his Blue Note debut Concentric Circlesa sublime song set that finds the time Grammy nominee returning to a dynamic quintet setting. Concentric Circles features his new edition of the Kenny Barron Quinte t -- Kiyoshi Kitagawabas s, Johnathan Blakedrums, Mike Rodriqueztrumpet and flugelhorn, and Dayna Stephenssoprano and tenor saxophone -- on ten of the eleven compositions. The group did not perform on "Reflections," the Thelonius Monk composition which features Barron's mastery as a soloist.
Each song exemplifies Barron's finesse as a songwriter who can write exceptional sections for his band members to shine during their solos and improvisations. These songs also capture the maturity of Barron's musical career which began over 50 years ago.
Kenny Barron is currently touring in support of Concentric Circles so don't miss him when he comes your way. Keep in touch at www. Silver Lining. The long-anticipated release of Songs From the Swinghouse has arrived and the wait was more than worth it.
The disc and video show the world-class musicians at the top of their game as well as spotlighting the compositional integrity and musicality of bandleader Lao Tizer. As a multi-instrumentalist on original compositions as well as three covers. The band is currently on tour so check them out when they visit a city near you. The Junction. The Manhattan Transfer. The Questions. Kurt Elling. Music IS.
Bill Frisell. Into The Light. CAP UCLA presented the award-winning pianist and his octet to a capacity audience who showed their appreciation with a robust standing ovation which spilled out into the ornate lobby as the ensemble completed their encore. Instead of disappearing backstage, the ensemble graciously greeted audience members who were more than happy to congratulate the band members. Wobbly Dance Flower. John Daversa featuring Bob Mintzer. Kyle Eastwood. Accessed September 14, His early years in Teaneck, N.
Before long, Black and [Leonard] Maltin were skipping after-school studies to go watch movies. Accessed November 3, Currently a resident of Teaneck, she lived briefly in Jersey City. Accessed March 18, Accessed August 6, Howard Fast: A Critical companionp.
ISBN Accessed July 16, Accessed August 4, Accessed December 20, Hilferty was a son of Robert and Joan Massa Hilferty. Accessed June 26, The Hoerrs moved to Middleborough in after 33 years in Teaneck. He lives in Teaneck. Accessed July 15, A native of New York City who grew up in Teaneck and Montclair, New Jersey, Lucas has held a variety of positions in the book world, whether publishing Guernica magazine or serving on the literary council of the Brooklyn Book Festival.
Accessed September 10, Accessed July 8, Inthe Williamses left Manhattan for Teaneck; four years later, he accepted a full-time professorship at Rutgers How did you come to Teaneck? We came here because we felt the town would not be inhospitable to a mixed marriage.
Accessed December 6, Accessed October 12, He learned so much about photography from the 'amateurs' in the local camera club that at Marquette in the s he was banned from photog classes on the grounds that he already knew what he was doing". Accessed May 31, Paul, an artist who was known as the dean of science-fiction illustrators, died at his home, Cedar Lane.
He was 79 years old. Accessed June 6, Face to face with the bomb: nuclear reality after the Cold Warp. Johns Hopkins University Press Accessed September 26, Stewart, 83, a widower with three children, lives in the Teaneck house he moved into in Wessel, who was born in Teaneck, N. Accessed March 17, Accessed October 27, Accessed October 25, Accessed February 1, Accessed June 30, As a result, the Ames clan lives a life of contrasts.
His east coast diggings are traditional and solidly conservative. Accessed October 22, His father, Joseph, a businessman, had speaking parts in Quiz Show and Disclosure. Accessed October 19, Accessed March 6, He was Bosco, a native of Jersey City, and his wife, Nancy, who 'nipped a dancing career in the bud to be a wife and mother and made the transition gracefully,' according to Mr. Bosco, have been Teaneck residents for 23 years. Accessed November 14, He grew up in Teaneck, N.
Accessed May 1, Playing Meg Ryan's soap-opera daughter, the Teaneck native raised in Norwood spent parts of the first five years of her life on the set, working alongside actors such as Julianne Moore and Marisa Tomei. Accessed February 10, Cassyd was born in Teaneck, N. Accessed October 17, He discovered theater when he performed in a summer musical program at Teaneck High School.
Accessed January 8, Accessed December 13, Jim Bishop, syndicated columnist, built a fine home in Teaneck. Accessed January 20, Accessed June 17, Jess Harnell: Actually it was Englewood Hospital, but right near Teaneck and that's where I lived so we'll stick with that. Jay Jason's got a million of 'em. And in the Catskills, most of them still work.
Accessed January 4, Accessed December 21, Michelle is a Teaneck, N. Accessed February 26, Accessed March 13, Accessed June 16, Accessed February 3, Accessed March 18, "But during last winter's cold wave, pipes in the Englewood house burst and the Forstes moved to a rented house in nearby Teaneck, where, Miss Parker said, they have decided to stay because, among other things, the town's school system is 'academically very strong.
Accessed November 5, Gale Research Accessed August 16, Reeve was born in in Teaneck, N. Charles Morosini and Helen Morosini, who died of ovarian cancer early last year. Petersburg TimesFebruary 17, Ridgely, a native of Teaneck, N. He is now highly recognized as one of the foremost exponents of a sophisticated style of largely instrumental music that combines elements of lounge music and jazz with Latin flavors.
They're of such a similar qualitative standard that none can be singled out as definitive, or even recommended above the others. The 20 tracks are drawn from RCA releases spanning toincluding both original compositions and oddball versions of standards like "Harlem Nocturne," "Night and Day," "Malaguena," and "Take the 'A' Train.
Kansas City. Posted by Jillem on Thursday, September 30, Essential for all Prince Buster fans. One of the best from the man himself, worth every penny, now that it has been deleted.
Get it if you can. Very rare and amazing selection from the Prince's rarest sides; great sound, great artwork, pure ska and rocksteady masterpieces. Including the best whistling tune ever: "rock and shake", and "Dance Cleopatra", a total scorcher which was a minor hit in Holland in The Album) recording plethoric recording output still begs for a proper reissue job.
Until then, true enthusiasts will carry on an almost archeological quest for scratchy elusive Blue Beat singles. Most of these tunes are worth five or ten times the price of this CD on 45, and not without reason. Get this while you can - its availability in Europe has been patchy to say the least.
Possibly because he was part of a postwar, post-colonial social revolution, Prince Buster seems like some sort of ghetto supe- pioneer: a boxer, soundsystem operator, DJ, producer, live performer, humouristsocial and political commentator, owner of a record shop-label-and-jukebox empire, sharp dresser and all round coolest guy in Kingston, and therefore Jamaica, and therefore quite possibly the world at the time. All his activities complemented and were complemented by the main event, which was his completely unique and inimitable voice, delivery and lyrics.
He pronounced himself Prince, the Voice of the People, and made sure he lived up to his claims by being the best. Just as he apparently made sure he would win every boxing match, he made damn sure he only used the cream of Jamaican musicians, on the hottest and hardest rhythms for his backing tracks and productions. When the time eventually came that he could no longer achieve that, I admire the fact that he largely quit the studio: nothing less than the best was ever going to be good enough for Prince Buster, and that ensured that his incredible output remains undiluted and in tact to this day.
He continued with the occasional live appearance, some of which I saw and which were always of the highest possible standard. I was lucky enough to travel with him to one gig and he really exuded the true meaning of cool a word which has become greatly abused now. It was funny to watch. That ghetto humour was at the heart of a lot of his lyrics and a huge part of his popularity in Jamaica.
It could be brutal, as could the ghetto morality that went hand in hand with it in his lyrics. On the stage when THAT voice was given free rein, it remained completely unspoiled — like his legacy — and came out exactly the same as ever. He had always mixed singing and speaking so seamlessly and tunefully that at times it is almost impossible to say which of those two things he is doing.
You would be very hard pressed to find anyone who has ever mixed those two things together better. He was the first real ambassador of Jamaican music worldwide, he was a voice of the third world — luckily for us, speaking in English, and that made him accessible to anyone in the rest of the world who spoke English and was willing to listen. At first he was picked up in this country largely by working-class kids who could probably relate to the subject matter.
Initially ska and reggae was mainly ignored or ridiculed by the mainstream and rock critics — maybe that was partly because Prince Buster was at the forefront of Jamaican lyricists, blatantly and unashamedly covering subject matter that was more or less unheard of in either Europe or America.
From ghetto violence and crime, to sex in detailfrom black power and black pride, to commenting on social injustice and poverty, from advocating freedom from colonialism and solidarity with Africa, to other important matters like ridiculing his musical rivals or consigning them to the boneyard, or describing the music on his own record itself and how good that was — nothing was off limits. In that way lyrically he influenced hip-hop and a lot that was to follow the world over.
Buster and some of his Jamaican peers were liberating the sort of real language and subject matter years before it would eventually become commonplace not just in music, but in mainstream TV drama and comedy.
Stylisticallythe very idea of reciting over an instrumental backing track, which Buster was a pioneer of, became the basis of hip-hop years later when the Jamaican DJ Cool Herc introduced it to the Bronx. Buster was really the first king of Jamaican music and started an international process which, with the help of its second king, made reggae probably the most popular music in the world, only to be eventually surpassed in popularity by hip-hop, a form which it had itself helped create.
Myself and all the Two Tone bands owe him an enormous debt of gratitude. New York. Drawn from tapes recorded with King Tubby's Soul Syndicate band, the music included on 'Reckless Roots Rockers' is deeply ingrained with fissures of rhythm and dub melodies - bringing a vast array of talent to bear on some fabulously low-end material.
With much of the album recorded in Jamaica, there were plentiful tributaries on which to draw, as the likes of Jah Carlos, Bullwackies Allstars and Joe Morgan all make fierce appearances. Opening through the Reckless Breed's 'Dub Full Of Girls', we're immediately transported to a humid smoke-draped environ - as the familiar melody snakes its way through jaunty rhythms and an overarching sense of light that is a welcoming salve for a dark November night. For those who know about such things, the inclusion of Don Carlos' deadly 'Jah Man' will be of particular note - with this particular slice of dub fortitude crafted over a rhythm double-take of Wayne Jarrett's 'Bubble Up' unavailable anywhere else and now rightly resurrected for appreciative audiences to rediscover, whilst dubs of Wackies' vast Black Harmony rhythm crops up throughout like a welcome friend throughout.
Elsewhere, 'Exposure' from the Sylvesters is a lithe and uncluttered beast, Bullwackies Allstars 'Creation' contains some demon rhythms, whilst 'Chin Chow' from Reckless Breed will have you nodding till Sunday. Posted by Jillem on Wednesday, September 29, Killer heavy roots business.
Jah Lloyd, a. He looked the part of the artist down on his luck, his frame wizened by poor health, his gait slow; but his clothing was flamboyant and his eyes keen. Sitting on a shady porch, he allowed me to turn his attention from his daily struggle for a living to his great works done twenty years before.
He spoke about his songs with great care, almost tenderness. We made plans to meet again, but Six Foot Giant - Pharoah - Six Foot Giant (CD the time I returned to Jamaica he had died. A: Under the name Pat Francis. And then I form a group called Meditators.
A: I was about say 16, We used to sing and practice with the guitar lots of nights before we could go to studio. They used to have audition on Saturday where lot of artists come, then they pick the best from a lot of them. Out of a hundred they might pick 20, or 10 from that.
At the same session I do two for Upsetter label. Q: Back up for a minute. A: Yes. And I find that my voice could able to deejay. A: Jah Scuff. He just do that one song. He was never interested to do more. So I produce songs for a lot of artists like Heptones, Mighty Diamonds. A: Yeah it was my song. Produced by me. North Parade Street. A: No. Douglas Boothe. He always say he was his brother, but then I find out it was not his real brother.
Know ye that the Lord is God, cause He made us and not we ourself. We are His people and the sheep of His pasture. So we take that song from there. And whosever believeth in Him shall never perish but ever live in light. With spiritual rhymes. Of Rastafari. Which we intend might be God or Jesus. But his version was very good. I still admire the way he do it. Shenley Duffus first did that as adapted song, a do-over song, on Upsetter label. I used to sell it in the shop.
So we do that piece from that version. Gillespie recounted: "If I'd let it go like [Chano] 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. Gillespie's collaboration with Pozo brought specific African-based rhythms into bebop. While pushing the boundaries of harmonic improvisation, cu-bop also drew from African rhythm.
Jazz arrangements with a Latin A section and a swung B section, with all choruses swung during solos, became common practice with many Latin tunes of the jazz standard repertoire.
Cuban percussionist Mongo Santamaria first recorded his composition " Afro Blue " in The following example shows the original ostinato "Afro Blue" bass line. The cross noteheads indicate the main beats not bass notes. When John Coltrane covered "Afro Blue" inhe inverted the metric hierarchy, interpreting the tune as a 3 4 jazz waltz with duple cross-beats superimposed Perhaps the most respected Afro-cuban jazz combo of the late s was vibraphonist Cal Tjader 's band.
In the late s, there was a revival of Dixielandharking 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 s.
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 alongsuch as Bob Crosby 's Bobcats, Max KaminskyEddie Condonand Wild Bill Davison.
By the late s, Louis Armstrong's Allstars band became a leading ensemble. Through the s and s, Dixieland was one of the most commercially popular jazz styles in the US, Europe, and Japan, although critics paid little attention to it. Hard bop 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 mids, coalescing in and ; it developed partly in response to the vogue for cool jazz in the early s and paralleled the rise of rhythm and blues.
Miles Davis' performance of "Walkin'" at the first Newport Jazz Festival announced the style to the jazz world.
Modal jazz is a development which began in the later s which takes the modeor musical scale, as the basis of musical structure and improvisation. Previously, a solo was meant to fit into a given chord progressionbut 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 chordand towards a more horizontal approach the scale ,"  explained pianist Mark Levine. The modal theory stems from a work by George Russell. Miles Davis introduced the concept to the greater jazz world with Kind of Bluean exploration of the possibilities of modal jazz which would become the best selling jazz album of all time.
In contrast to Davis' earlier work with hard bop and its complex chord progression and improvisation, Kind of Blue was composed as a series of modal sketches in which the musicians were given scales that defined the parameters of their improvisation and style. Free jazz, and the related form of avant-garde jazzbroke through into an open space of "free tonality" in which meter, beat, and formal symmetry all disappeared, and a range of world music from India, Africa, and Arabia were melded into an intense, even religiously ecstatic or orgiastic style of playing.
The bassist Charles Mingus is also frequently associated with the avant-garde in jazz, although his compositions draw from myriad styles and genres. The first major stirrings came in the s with the early work of Ornette Coleman whose album Free Jazz: A Collective Improvisation coined the term and Cecil Taylor. In developing his late style, Coltrane was especially influenced by the dissonance of Ayler's trio with bassist Gary Peacock and drummer Sunny Murraya rhythm section honed with Cecil Taylor as leader.
In NovemberColtrane played a gig at the Village Vanguard, which resulted in the classic Chasin' the 'Tranewhich Down Beat magazine panned as "anti-jazz". On his tour of France, he was booed, but persevered, signing with the new Impulse!
Records in and turning it into "the house that Trane built", while championing many younger free jazz musicians, notably Archie Sheppwho often played with trumpeter Bill Dixonwho organized the 4-day " October Revolution in Jazz " in Manhattan inthe first free jazz festival. A series of recordings with the Classic Quartet in the first half of show Coltrane's playing becoming increasingly abstract, with greater incorporation of devices like multiphonicsutilization of overtones, and playing in the altissimo register, as well as a mutated return to Coltrane's sheets of sound.
In the studio, he all but abandoned his soprano to concentrate on the tenor saxophone. In addition, the quartet responded to the leader by playing with increasing freedom. In JuneColtrane and 10 other musicians recorded Ascensiona minute-long piece without breaks that included adventurous solos by young avante-garde musicians as well as Coltrane, and was controversial primarily for the collective improvisation sections that separated the solos.
Dave Liebman later called it "the torch that lit the free jazz thing. Six Foot Giant - Pharoah - Six Foot Giant (CD recording with the quartet over the next few months, Coltrane invited Pharoah Sanders to join the band in September While Coltrane used over-blowing frequently as an emotional exclamation-point, Sanders would opt to overblow his entire solo, resulting in a constant screaming and screeching in the altissimo range of the instrument. They were eager to develop approaches to music that reflected their heritage.
Since the s, creative centers of jazz in Europe have developed, such as the creative jazz scene in Amsterdam. Following the work of drummer Han Bennink and pianist Misha Mengelbergmusicians started to explore by improvising collectively until a form melody, rhythm, a famous song is found Jazz critic Kevin Whitehead documented the free jazz scene in Amsterdam and some of its main exponents such as the ICP Instant Composers Pool orchestra in his book New Dutch Swing.
Since the s Keith Jarrett has defended free jazz from criticism. British writer Stuart Nicholson has argued European contemporary jazz has an identity different from American jazz and follows a different trajectory. Latin jazz is jazz that employs Latin American rhythms and is generally understood to have a more specific meaning than simply jazz from Latin America. A more precise term might be Afro-Latin jazzas the jazz subgenre typically employs rhythms that either have a direct analog in Africa or exhibit an African rhythmic influence beyond what is ordinarily heard in other jazz.
The two main categories of Latin jazz are Afro-Cuban jazz and Brazilian jazz. In the s and s, many jazz musicians had only a basic understanding of Cuban and Brazilian music, and jazz compositions which used Cuban or Brazilian elements were often referred to as "Latin tunes", with no distinction between a Cuban son montuno and a Brazilian bossa nova. Even as late asin Mark Gridley's Jazz Styles: History and Analysisa bossa nova bass line is referred to as a "Latin bass figure.
Typically, the band would only play an even-eighth "Latin" feel in the A section of the head and swing throughout all of the solos. Latin jazz specialists like Cal Tjader tended to be the exception. For example, on a live Tjader recording of "A Night in Tunisia", pianist Vince Guaraldi soloed through the entire form over an authentic mambo. For most of its history, Album) jazz had been a matter of superimposing jazz phrasing over Cuban rhythms. But by the end of the s, a new generation of New York City musicians had emerged who were fluent in both salsa dance music and jazz, leading to a new level of integration of jazz and Cuban rhythms.
This era of creativity and vitality is best represented by the Gonzalez brothers Jerry congas and trumpet and Andy bass. He incorporated parallel fourths, with McCoy Tyner-type vamps. This occurred in parallel with developments in Cuba  The first Cuban band of this new wave was Irakere.
It was based on Charlie Parker's composition "Billie's Bounce", jumbled together in a way that fused clave and bebop horn lines. Brazilian jazz, such as bossa novais derived from sambawith 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.
Gilberto's initial releases, and the film Black Orpheusachieved significant popularity in Latin America ; this spread to North America via visiting American jazz musicians. The first jazz standard composed by a non-Latino to use an overt African 12 8 cross-rhythm was Wayne Shorter 's " Footprints " Throughout the piece, the four beats, whether sounded or not, are maintained as the temporal referent.
The following example shows the 12 8 and 4 4 forms of the bass line. The slashed noteheads indicate the main beats not bass noteswhere one ordinarily taps their foot to "keep time. The use of pentatonic scales was another trend associated with Africa. The use of pentatonic scales in Africa probably goes back thousands of years. McCoy Tyner perfected the use of the pentatonic scale in his solos,  and also used parallel fifths and fourths, which are common harmonies in West Africa.
The minor pentatonic scale is often used in blues Six Foot Giant - Pharoah - Six Foot Giant (CD, and like a blues scale, a minor pentatonic scale can be played over all of the chords in a blues.
The following pentatonic lick was played over blues changes by Joe Henderson on Horace Silver 's "African Queen" Jazz pianist, theorist, and educator Mark Levine refers to the scale generated by beginning on the fifth step of a pentatonic scale as the V pentatonic scale.
Levine points out that the V pentatonic scale works for all three chords of the standard II—V—I jazz progression. Accordingly, John Coltrane's " Giant Steps "with its 26 chords per 16 bars, can be played using only three pentatonic scales. Coltrane studied Nicolas Slonimsky 's Thesaurus of Scales and Melodic Patternswhich contains material that is virtually identical to portions of "Giant Steps".
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. As noted above, jazz has incorporated from its inception aspects of African-American sacred music including spirituals and hymns.
Secular jazz musicians often performed renditions of spirituals and hymns as part of their repertoire or isolated compositions such as "Come Sunday," part of "Black and Beige Suite" by Duke Ellington. Later many other jazz artists borrowed from black gospel music.
Since the s, sacred and liturgical music has been performed and recorded by many prominent jazz composers and musicians. Relatively little has been written about sacred and liturgical jazz. In a doctoral dissertation, Angelo Versace examined the development of sacred jazz in the s using disciplines of musicology and history. He noted that the traditions of black gospel music and jazz were combined in the s to produce a new genre, "sacred jazz.
Most prominent in initiating the sacred jazz movement were pianist and composer Mary Lou Williamsknown for her jazz masses in the s and Duke Ellington. The most prominent form of sacred and liturgical jazz is the jazz mass.
Although most often performed in a concert setting rather than church worship setting, this form has many examples. An eminent example of composers of the jazz mass was Mary Lou Williams.
Williams converted to Catholicism inand proceeded to compose three masses in the jazz idiom. However the Catholic church has not embraced jazz as appropriate for worship. A jazz ensemble was joined by soloists and choir using the English text of the Roman Catholic Mass. In the late s and early s, the hybrid form of jazz-rock fusion was developed by combining jazz improvisation with rock rhythms, electric instruments and the highly amplified stage sound of rock musicians such as Jimi Hendrix and Frank Zappa.
Jazz fusion often uses mixed meters, odd time signatures, syncopation, complex chords, and harmonies. InDavis fully embraced the electric instrument approach to jazz with In a Silent Waywhich can be considered his first fusion album. Composed Album) two side-long suites edited heavily by producer Teo Macerothis quiet, static album would be equally influential to the development of ambient music. The music I was really listening to in was James Brownthe great guitar player Jimi Hendrixand a new group who had just come out with a hit record, " Dance to the Music ", Sly and the Family Stone I wanted to make it more like rock.
When we recorded In a Silent Way I just threw out all the chord sheets and told everyone to play off of that. Two contributors to In a Silent Way also joined organist Larry Young to create one of the early acclaimed fusion albums: Emergency! Weather Report 's self-titled electronic and psychedelic Weather Report debut album caused a sensation in the jazz world on its arrival inthanks to the pedigree of the group's members including percussionist Airto Moreiraand their unorthodox approach to music.
The album featured a softer sound than would be the case in later years predominantly using acoustic bass with Shorter exclusively playing soprano saxophoneand with no synthesizers involvedbut is still considered a classic of early fusion.
It built on the avant-garde experiments which Joe Zawinul and Shorter had pioneered with Miles Davis on Bitches Brewincluding 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.
Down Beat described the album as "music beyond category", and awarded it Album of the Year in the magazine's polls that year.
Weather Report 's subsequent releases were creative funk-jazz works. 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 keyboardsfusion also used the powerful amplification, "fuzz" pedalswah-wah pedals and other effects that were used by s-era rock bands.
Jazz fusion was also popular in Japan, where the band Casiopea released more than thirty fusion albums. According to jazz writer Stuart Nicholson, "just as free jazz appeared on the verge of creating a whole new musical language in the s By the mids, the sound known as jazz-funk had developed, characterized by a strong back beat grooveelectrified sounds  and, often, the presence of electronic analog synthesizers.
Jazz-funk also draws influences from traditional African music, Afro-Cuban rhythms and Jamaican reggaenotably Kingston bandleader Sonny Bradshaw. Another feature is the shift of emphasis from improvisation to composition: arrangements, melody and overall writing became important. Early examples are Herbie Hancock's Headhunters band and Miles Davis' On the Corner album, which, inbegan Davis' foray into jazz-funk and was, he claimed, an attempt at reconnecting with the young black audience which had largely forsaken jazz for rock and funk.
While there is a discernible rock and funk influence in the timbres of the instruments employed, other tonal and rhythmic textures, such as the Indian tambora and tablas and Cuban congas and bongos, create a multi-layered soundscape.
The s saw something of a reaction against the fusion and free jazz that had dominated the s. Trumpeter Wynton Marsalis emerged early in the decade, and strove to create music within what he believed was the tradition, rejecting both fusion and free jazz and creating extensions of the small and large forms initially pioneered by artists such as Louis Armstrong and Duke Ellingtonas well as the hard bop of the s.
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 s particularly modal jazz and post-bop ; nonetheless there were many other manifestations of a resurgence of traditionalism, even if fusion and free jazz were by no means abandoned and continued to develop and evolve.
For example, several musicians who had been prominent in the fusion genre during the s began to record acoustic jazz once more, including Chick Corea and Herbie Hancock.
Other musicians who had experimented with electronic instruments in the previous decade had abandoned them by the s; for example, Bill EvansJoe Hendersonand Stan Getz. Even the s music of Miles Davisalthough certainly still fusion, adopted a far more accessible and recognizably jazz-oriented approach than his abstract work of the mids, such as a return to a theme-and-solos approach. The emergence of young jazz talent beginning to perform in older, established musicians' groups further impacted the resurgence of traditionalism in the jazz community.
In the s, the groups of Betty Carter and Art Blakey and the Jazz Messengers retained their conservative jazz approaches in the midst of fusion and jazz-rock, and in addition to difficulty booking their acts, struggled to find younger generations of personnel to authentically play traditional styles such as hard bop and bebop.
In the late s, however, a resurgence of younger jazz players in Blakey's band began to occur. In the s, in addition to Wynton and Branford Marsalisthe emergence of pianists in the Jazz Messengers such as Donald BrownMulgrew Millerand later, Benny Green, bassists such as Charles FambroughLonnie Plaxico and later, Peter Washington and Essiet Essiet horn players such as Bill PierceDonald Harrison and later Javon Jackson and Terence Blanchard emerged as talented jazz musicians, all of whom made significant contributions in the s and s.
These younger rising stars rejected avant-garde approaches and instead championed the acoustic jazz sound of Charlie Parker, Thelonious Monk and early recordings of the first Miles Davis quintet.
This group of "Young Lions" sought to reaffirm jazz as a high art tradition comparable to the discipline of classical music. In addition, Betty Carter 's rotation of young musicians in her group foreshadowed many of New York's preeminent traditional jazz players later in their careers.
A similar reaction [ vague ] took place against free jazz. According to Ted Gioia :. Anthony Braxton began recording standards over familiar chord changes. Cecil Taylor played duets in concert with Mary Lou Williamsand let her set out structured harmonies and familiar jazz vocabulary under his blistering keyboard attack.
And the next generation of progressive players would be even more accommodating, moving inside and outside the changes without thinking twice. Musicians such as David Murray or Don Pullen may have felt the call of free-form jazz, but they never forgot all the other ways one could play African-American music for fun and profit.
Pianist Keith Jarrett —whose bands of the s had played only original compositions with prominent free jazz elements—established his so-called 'Standards Trio' inwhich, although also occasionally exploring collective improvisation, has primarily performed and recorded jazz standards.
Chick Corea similarly began exploring jazz standards in the s, having neglected them for the s. In the early s, a commercial form of jazz fusion called "pop fusion" or "smooth jazz" became successful, garnering significant radio airplay in " quiet storm " time slots at radio stations in urban markets across the U.
In general, smooth jazz is downtempo the most widely played tracks are of 90— beats per minuteand has a lead melody-playing instrument saxophone, especially soprano and tenor, and legato electric guitar are popular.
Critic Aaron J. West has countered the often negative perceptions of smooth jazz, stating:. I challenge the prevalent marginalization and malignment of smooth jazz in the standard jazz narrative.
Furthermore, I question the assumption that smooth jazz is an unfortunate and unwelcomed evolutionary outcome of the jazz-fusion era. Instead, I argue that smooth jazz is a long-lived musical style that merits multi-disciplinary analyses of its origins, critical dialogues, performance practice, and reception.
Acid jazz developed in the UK in the s and s, influenced by jazz-funk and electronic dance music. Acid jazz often contains various types of electronic composition sometimes including sampling or live DJ cutting and scratchingbut it is just as likely to be played live by musicians, who often showcase jazz interpretation as part of their performance. Richard S. Ginell of AllMusic considers Roy Ayers "one of the prophets of acid jazz.
Nu jazz is influenced by jazz harmony and melodies, and there are usually no improvisational aspects. It can be very experimental in nature and can vary widely in sound and concept.
Jazz rap developed in the late s and early s and incorporates jazz influences into hip hop. Rapper Guru 's Jazzmatazz series began in using jazz musicians during the studio recordings.
Although jazz rap had achieved little mainstream success, Miles Davis' final album Doo-Bop released posthumously in was based on hip hop beats and collaborations with producer Easy Mo Bee. Davis' ex-bandmate Herbie Hancock also absorbed hip-hop influences in the mids, releasing the album Dis Is Da Drum in The relaxation of orthodoxy which was concurrent with post-punk in London and New York City led to a new appreciation of jazz.
In London, the Pop Group began to mix free jazz and dub reggae into their brand of punk rock. Examples of this style include Lydia Lunch 's Queen of Siam Gray, the work of James Chance and the Contortions who mixed Soul with free jazz and punk  and the Lounge Lizards  the first group to call themselves " punk jazz ". John Zorn took note of the emphasis on speed and dissonance that was becoming prevalent in punk rock, and incorporated this into free jazz with the release of the Spy vs.
Spy album ina collection of Ornette Coleman tunes done in the contemporary thrashcore style. The M-Base movement started in the s, when a loose collective of young African-American musicians in New York which included Steve ColemanGreg Osbyand Gary Thomas developed a complex but grooving  sound.
In the s, most M-Base participants turned to more conventional music, but Coleman, the most active participant, continued developing his music in accordance with the M-Base concept.
Coleman's audience decreased, but his music and concepts influenced many musicians, according to pianist Vijay Iver and critic Ben Ratlifff of The New York Times. M-Base changed from a movement of a loose collective of young musicians to a kind of informal Coleman "school",  with a much advanced but already originally implied concept. Since the s, jazz has been characterized by a pluralism in which no one style dominates, but rather a wide range of styles and genres are popular.
Individual performers often play in a variety of styles, sometimes in the same performance. Pianist Brad Mehldau and The Bad Plus have explored contemporary rock music within the context of the traditional jazz acoustic piano trio, recording instrumental jazz versions of songs by rock musicians. The Bad Plus have also incorporated elements of free jazz into their music.
A firm avant-garde or free jazz stance has been maintained by some players, such as saxophonists Greg Osby and Charles Gaylewhile others, such as James Carterhave incorporated free jazz elements into a more traditional framework. Harry Connick Jr. Although jazz-rock fusion reached the height of its popularity in the s, the use of electronic instruments and rock-derived musical elements in jazz continued in the s and s.
Since the beginning of the s, electronic music had significant technical improvements that popularized and created new possibilities for the genre. Jazz elements such as improvisation, rhythmic complexities and harmonic textures were introduced to the genre and consequently had a big impact in new listeners and in some ways kept the versatility of jazz relatable to a newer generation that did not necessarily relate to what the traditionalists call real jazz bebop, cool and modal jazz.
It received some criticism, however, for its failure to reflect the many distinctive non-American traditions and styles in jazz that had developed, and its limited representation of US developments in the last quarter of the 20th century.
The album heavily featured prominent contemporary jazz artists such as Thundercat  and redefined jazz rap with a larger focus on improvisation and live soloing rather than simply sampling. In that same year, saxophonist Kamasi Washington released his nearly three-hour long debut, The Epic. Another internet-aided trend of 's jazz was that of extreme reharmonizationinspired by both virtuosic players known for their speed and rhythm such as Art Tatumas well as players known for their ambitious voicings and chords such as Bill Evans.
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