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Jazz - Wikipedia
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<span>Elements</span> </div> </a> <button aria-controls="toc-Elements-sublist" class="cdx-button cdx-button--weight-quiet cdx-button--icon-only vector-toc-toggle"> <span class="vector-icon mw-ui-icon-wikimedia-expand"></span> <span>Toggle Elements subsection</span> </button> <ul id="toc-Elements-sublist" class="vector-toc-list"> <li id="toc-Improvisation" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Improvisation"> <div class="vector-toc-text"> <span class="vector-toc-numb">2.1</span> <span>Improvisation</span> </div> </a> <ul id="toc-Improvisation-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Traditionalism" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Traditionalism"> <div class="vector-toc-text"> <span class="vector-toc-numb">2.2</span> <span>Traditionalism</span> </div> </a> <ul id="toc-Traditionalism-sublist" class="vector-toc-list"> </ul> </li> </ul> </li> <li id="toc-Diversity_in_jazz" class="vector-toc-list-item vector-toc-level-1"> <a class="vector-toc-link" href="#Diversity_in_jazz"> <div class="vector-toc-text"> <span class="vector-toc-numb">3</span> <span>Diversity in jazz</span> </div> </a> <button aria-controls="toc-Diversity_in_jazz-sublist" class="cdx-button cdx-button--weight-quiet cdx-button--icon-only vector-toc-toggle"> <span class="vector-icon mw-ui-icon-wikimedia-expand"></span> <span>Toggle Diversity in jazz subsection</span> </button> <ul id="toc-Diversity_in_jazz-sublist" class="vector-toc-list"> <li id="toc-Jazz_and_race" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Jazz_and_race"> <div class="vector-toc-text"> <span class="vector-toc-numb">3.1</span> <span>Jazz and race</span> </div> </a> <ul id="toc-Jazz_and_race-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Roles_of_women" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Roles_of_women"> <div class="vector-toc-text"> <span class="vector-toc-numb">3.2</span> <span>Roles of women</span> </div> </a> <ul id="toc-Roles_of_women-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Jews_in_jazz" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Jews_in_jazz"> <div class="vector-toc-text"> <span class="vector-toc-numb">3.3</span> <span>Jews in jazz</span> </div> </a> <ul id="toc-Jews_in_jazz-sublist" class="vector-toc-list"> </ul> </li> </ul> </li> <li id="toc-Early_development" class="vector-toc-list-item vector-toc-level-1"> <a class="vector-toc-link" href="#Early_development"> <div class="vector-toc-text"> <span class="vector-toc-numb">4</span> <span>Early development</span> </div> </a> <button aria-controls="toc-Early_development-sublist" class="cdx-button cdx-button--weight-quiet cdx-button--icon-only vector-toc-toggle"> <span class="vector-icon mw-ui-icon-wikimedia-expand"></span> <span>Toggle Early development subsection</span> </button> <ul id="toc-Early_development-sublist" class="vector-toc-list"> <li id="toc-Blended_African_and_European_music_sensibilities" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Blended_African_and_European_music_sensibilities"> <div class="vector-toc-text"> <span class="vector-toc-numb">4.1</span> <span>Blended African and European music sensibilities</span> </div> </a> <ul id="toc-Blended_African_and_European_music_sensibilities-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-African_rhythmic_retention" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#African_rhythmic_retention"> <div class="vector-toc-text"> <span class="vector-toc-numb">4.2</span> <span>African rhythmic retention</span> </div> </a> <ul id="toc-African_rhythmic_retention-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Afro-Cuban_influence" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Afro-Cuban_influence"> <div class="vector-toc-text"> <span class="vector-toc-numb">4.3</span> <span>Afro-Cuban influence</span> </div> </a> <ul id="toc-Afro-Cuban_influence-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Ragtime" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Ragtime"> <div class="vector-toc-text"> <span class="vector-toc-numb">4.4</span> <span>Ragtime</span> </div> </a> <ul id="toc-Ragtime-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Ragtime_in_other_regions" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Ragtime_in_other_regions"> <div class="vector-toc-text"> <span class="vector-toc-numb">4.5</span> <span>Ragtime in other regions</span> </div> </a> <ul id="toc-Ragtime_in_other_regions-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Blues" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Blues"> <div class="vector-toc-text"> <span class="vector-toc-numb">4.6</span> <span>Blues</span> </div> </a> <ul id="toc-Blues-sublist" class="vector-toc-list"> <li id="toc-African_genesis" class="vector-toc-list-item vector-toc-level-3"> <a class="vector-toc-link" href="#African_genesis"> <div class="vector-toc-text"> <span class="vector-toc-numb">4.6.1</span> <span>African genesis</span> </div> </a> <ul id="toc-African_genesis-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-W._C._Handy:_early_published_blues" class="vector-toc-list-item vector-toc-level-3"> <a class="vector-toc-link" href="#W._C._Handy:_early_published_blues"> <div class="vector-toc-text"> <span class="vector-toc-numb">4.6.2</span> <span>W. C. Handy: early published blues</span> </div> </a> <ul id="toc-W._C._Handy:_early_published_blues-sublist" class="vector-toc-list"> </ul> </li> </ul> </li> <li id="toc-New_Orleans_origins" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#New_Orleans_origins"> <div class="vector-toc-text"> <span class="vector-toc-numb">4.7</span> <span>New Orleans origins</span> </div> </a> <ul id="toc-New_Orleans_origins-sublist" class="vector-toc-list"> <li id="toc-Syncopation" class="vector-toc-list-item vector-toc-level-3"> <a class="vector-toc-link" href="#Syncopation"> <div class="vector-toc-text"> <span class="vector-toc-numb">4.7.1</span> <span>Syncopation</span> </div> </a> <ul id="toc-Syncopation-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Swing_in_the_early_20th_century" class="vector-toc-list-item vector-toc-level-3"> <a class="vector-toc-link" href="#Swing_in_the_early_20th_century"> <div class="vector-toc-text"> <span class="vector-toc-numb">4.7.2</span> <span>Swing in the early 20th century</span> </div> </a> <ul id="toc-Swing_in_the_early_20th_century-sublist" class="vector-toc-list"> </ul> </li> </ul> </li> </ul> </li> <li id="toc-The_Jazz_Age" class="vector-toc-list-item vector-toc-level-1"> <a class="vector-toc-link" href="#The_Jazz_Age"> <div class="vector-toc-text"> <span class="vector-toc-numb">5</span> <span>The Jazz Age</span> </div> </a> <button aria-controls="toc-The_Jazz_Age-sublist" class="cdx-button cdx-button--weight-quiet cdx-button--icon-only vector-toc-toggle"> <span class="vector-icon mw-ui-icon-wikimedia-expand"></span> <span>Toggle The Jazz Age subsection</span> </button> <ul id="toc-The_Jazz_Age-sublist" class="vector-toc-list"> <li id="toc-Swing_in_the_1920s_and_1930s" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Swing_in_the_1920s_and_1930s"> <div class="vector-toc-text"> <span class="vector-toc-numb">5.1</span> <span>Swing in the 1920s and 1930s</span> </div> </a> <ul id="toc-Swing_in_the_1920s_and_1930s-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-The_influence_of_Duke_Ellington" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#The_influence_of_Duke_Ellington"> <div class="vector-toc-text"> <span class="vector-toc-numb">5.2</span> <span>The influence of Duke Ellington</span> </div> </a> <ul id="toc-The_influence_of_Duke_Ellington-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Beginnings_of_European_jazz" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Beginnings_of_European_jazz"> <div class="vector-toc-text"> <span class="vector-toc-numb">5.3</span> <span>Beginnings of European jazz</span> </div> </a> <ul id="toc-Beginnings_of_European_jazz-sublist" class="vector-toc-list"> </ul> </li> </ul> </li> <li id="toc-Post-war_jazz" class="vector-toc-list-item vector-toc-level-1"> <a class="vector-toc-link" href="#Post-war_jazz"> <div class="vector-toc-text"> <span class="vector-toc-numb">6</span> <span>Post-war jazz</span> </div> </a> <button aria-controls="toc-Post-war_jazz-sublist" class="cdx-button cdx-button--weight-quiet cdx-button--icon-only vector-toc-toggle"> <span class="vector-icon mw-ui-icon-wikimedia-expand"></span> <span>Toggle Post-war jazz subsection</span> </button> <ul id="toc-Post-war_jazz-sublist" class="vector-toc-list"> <li id="toc-Bebop" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Bebop"> <div class="vector-toc-text"> <span class="vector-toc-numb">6.1</span> <span>Bebop</span> </div> </a> <ul id="toc-Bebop-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Afro-Cuban_jazz_(cu-bop)" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Afro-Cuban_jazz_(cu-bop)"> <div class="vector-toc-text"> <span class="vector-toc-numb">6.2</span> <span>Afro-Cuban jazz (cu-bop)</span> </div> </a> <ul id="toc-Afro-Cuban_jazz_(cu-bop)-sublist" class="vector-toc-list"> <li id="toc-Machito_and_Mario_Bauza" class="vector-toc-list-item vector-toc-level-3"> <a class="vector-toc-link" href="#Machito_and_Mario_Bauza"> <div class="vector-toc-text"> <span class="vector-toc-numb">6.2.1</span> <span>Machito and Mario Bauza</span> </div> </a> <ul id="toc-Machito_and_Mario_Bauza-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Dizzy_Gillespie_and_Chano_Pozo" class="vector-toc-list-item vector-toc-level-3"> <a class="vector-toc-link" href="#Dizzy_Gillespie_and_Chano_Pozo"> <div class="vector-toc-text"> <span class="vector-toc-numb">6.2.2</span> <span>Dizzy Gillespie and Chano Pozo</span> </div> </a> <ul id="toc-Dizzy_Gillespie_and_Chano_Pozo-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-"Un_Poco_Loco"" class="vector-toc-list-item vector-toc-level-3"> <a class="vector-toc-link" href="#"Un_Poco_Loco""> <div class="vector-toc-text"> <span class="vector-toc-numb">6.2.3</span> <span>"Un Poco Loco"</span> </div> </a> <ul id="toc-"Un_Poco_Loco"-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-African_cross-rhythm" class="vector-toc-list-item vector-toc-level-3"> <a class="vector-toc-link" href="#African_cross-rhythm"> <div class="vector-toc-text"> <span class="vector-toc-numb">6.2.4</span> <span>African cross-rhythm</span> </div> </a> <ul id="toc-African_cross-rhythm-sublist" class="vector-toc-list"> </ul> </li> </ul> </li> <li id="toc-Dixieland_revival" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Dixieland_revival"> <div class="vector-toc-text"> <span class="vector-toc-numb">6.3</span> <span>Dixieland revival</span> </div> </a> <ul id="toc-Dixieland_revival-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Hard_bop" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Hard_bop"> <div class="vector-toc-text"> <span class="vector-toc-numb">6.4</span> <span>Hard bop</span> </div> </a> <ul id="toc-Hard_bop-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Modal_jazz" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Modal_jazz"> <div class="vector-toc-text"> <span class="vector-toc-numb">6.5</span> <span>Modal jazz</span> </div> </a> <ul id="toc-Modal_jazz-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Free_jazz" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Free_jazz"> <div class="vector-toc-text"> <span class="vector-toc-numb">6.6</span> <span>Free jazz</span> </div> </a> <ul id="toc-Free_jazz-sublist" class="vector-toc-list"> <li id="toc-Free_jazz_in_Europe" class="vector-toc-list-item vector-toc-level-3"> <a class="vector-toc-link" href="#Free_jazz_in_Europe"> <div class="vector-toc-text"> <span class="vector-toc-numb">6.6.1</span> <span>Free jazz in Europe</span> </div> </a> <ul id="toc-Free_jazz_in_Europe-sublist" class="vector-toc-list"> </ul> </li> </ul> </li> <li id="toc-Latin_jazz" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Latin_jazz"> <div class="vector-toc-text"> <span class="vector-toc-numb">6.7</span> <span>Latin jazz</span> </div> </a> <ul id="toc-Latin_jazz-sublist" class="vector-toc-list"> <li id="toc-Afro-Cuban_jazz_renaissance" class="vector-toc-list-item vector-toc-level-3"> <a class="vector-toc-link" href="#Afro-Cuban_jazz_renaissance"> <div class="vector-toc-text"> <span class="vector-toc-numb">6.7.1</span> <span>Afro-Cuban jazz renaissance</span> </div> </a> <ul id="toc-Afro-Cuban_jazz_renaissance-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Afro-Brazilian_jazz" class="vector-toc-list-item vector-toc-level-3"> <a class="vector-toc-link" href="#Afro-Brazilian_jazz"> <div class="vector-toc-text"> <span class="vector-toc-numb">6.7.2</span> <span>Afro-Brazilian jazz</span> </div> </a> <ul id="toc-Afro-Brazilian_jazz-sublist" class="vector-toc-list"> </ul> </li> </ul> </li> <li id="toc-African-inspired" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#African-inspired"> <div class="vector-toc-text"> <span class="vector-toc-numb">6.8</span> <span>African-inspired</span> </div> </a> <ul id="toc-African-inspired-sublist" class="vector-toc-list"> <li id="toc-Rhythm" class="vector-toc-list-item vector-toc-level-3"> <a class="vector-toc-link" href="#Rhythm"> <div class="vector-toc-text"> <span class="vector-toc-numb">6.8.1</span> <span>Rhythm</span> </div> </a> <ul id="toc-Rhythm-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Pentatonic_scales" class="vector-toc-list-item vector-toc-level-3"> <a class="vector-toc-link" href="#Pentatonic_scales"> <div class="vector-toc-text"> <span class="vector-toc-numb">6.8.2</span> <span>Pentatonic scales</span> </div> </a> <ul id="toc-Pentatonic_scales-sublist" class="vector-toc-list"> </ul> </li> </ul> </li> <li id="toc-Sacred_and_liturgical_jazz" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Sacred_and_liturgical_jazz"> <div class="vector-toc-text"> <span class="vector-toc-numb">6.9</span> <span>Sacred and liturgical jazz</span> </div> </a> <ul id="toc-Sacred_and_liturgical_jazz-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Jazz_fusion" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Jazz_fusion"> <div class="vector-toc-text"> <span class="vector-toc-numb">6.10</span> <span>Jazz fusion</span> </div> </a> <ul id="toc-Jazz_fusion-sublist" class="vector-toc-list"> <li id="toc-Miles_Davis'_new_directions" class="vector-toc-list-item vector-toc-level-3"> <a class="vector-toc-link" href="#Miles_Davis'_new_directions"> <div class="vector-toc-text"> <span class="vector-toc-numb">6.10.1</span> <span>Miles Davis' new directions</span> </div> </a> <ul id="toc-Miles_Davis'_new_directions-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Psychedelic-jazz" class="vector-toc-list-item vector-toc-level-3"> <a class="vector-toc-link" href="#Psychedelic-jazz"> <div class="vector-toc-text"> <span class="vector-toc-numb">6.10.2</span> <span>Psychedelic-jazz</span> </div> </a> <ul id="toc-Psychedelic-jazz-sublist" class="vector-toc-list"> <li id="toc-Weather_Report" class="vector-toc-list-item vector-toc-level-4"> <a class="vector-toc-link" href="#Weather_Report"> <div class="vector-toc-text"> <span class="vector-toc-numb">6.10.2.1</span> <span>Weather Report</span> </div> </a> <ul id="toc-Weather_Report-sublist" class="vector-toc-list"> </ul> </li> </ul> </li> <li id="toc-Jazz-rock" class="vector-toc-list-item vector-toc-level-3"> <a class="vector-toc-link" href="#Jazz-rock"> <div class="vector-toc-text"> <span class="vector-toc-numb">6.10.3</span> <span>Jazz-rock</span> </div> </a> <ul id="toc-Jazz-rock-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Electronic_music" class="vector-toc-list-item vector-toc-level-3"> <a class="vector-toc-link" href="#Electronic_music"> <div class="vector-toc-text"> <span class="vector-toc-numb">6.10.4</span> <span>Electronic music</span> </div> </a> <ul id="toc-Electronic_music-sublist" class="vector-toc-list"> </ul> </li> </ul> </li> <li id="toc-Jazz-funk" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Jazz-funk"> <div class="vector-toc-text"> <span class="vector-toc-numb">6.11</span> <span>Jazz-funk</span> </div> </a> <ul id="toc-Jazz-funk-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Straight-ahead_jazz" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Straight-ahead_jazz"> <div class="vector-toc-text"> <span class="vector-toc-numb">6.12</span> <span>Straight-ahead jazz</span> </div> </a> <ul id="toc-Straight-ahead_jazz-sublist" class="vector-toc-list"> <li id="toc-Neo-bop" class="vector-toc-list-item vector-toc-level-3"> <a class="vector-toc-link" href="#Neo-bop"> <div class="vector-toc-text"> <span class="vector-toc-numb">6.12.1</span> <span>Neo-bop</span> </div> </a> <ul id="toc-Neo-bop-sublist" class="vector-toc-list"> </ul> </li> </ul> </li> <li id="toc-Smooth_jazz" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Smooth_jazz"> <div class="vector-toc-text"> <span class="vector-toc-numb">6.13</span> <span>Smooth jazz</span> </div> </a> <ul id="toc-Smooth_jazz-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Acid_jazz,_nu_jazz,_and_jazz_rap" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Acid_jazz,_nu_jazz,_and_jazz_rap"> <div class="vector-toc-text"> <span class="vector-toc-numb">6.14</span> <span>Acid jazz, nu jazz, and jazz rap</span> </div> </a> <ul id="toc-Acid_jazz,_nu_jazz,_and_jazz_rap-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Punk_jazz_and_jazzcore" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Punk_jazz_and_jazzcore"> <div class="vector-toc-text"> <span class="vector-toc-numb">6.15</span> <span>Punk jazz and jazzcore</span> </div> </a> <ul id="toc-Punk_jazz_and_jazzcore-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-M-Base" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#M-Base"> <div class="vector-toc-text"> <span class="vector-toc-numb">6.16</span> <span>M-Base</span> </div> </a> <ul id="toc-M-Base-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Jazz_pluralism" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Jazz_pluralism"> <div class="vector-toc-text"> <span class="vector-toc-numb">6.17</span> <span>Jazz pluralism</span> </div> </a> <ul id="toc-Jazz_pluralism-sublist" class="vector-toc-list"> <li id="toc-Social_media" class="vector-toc-list-item vector-toc-level-3"> <a class="vector-toc-link" href="#Social_media"> <div class="vector-toc-text"> <span class="vector-toc-numb">6.17.1</span> <span>Social media</span> </div> </a> <ul id="toc-Social_media-sublist" class="vector-toc-list"> </ul> </li> </ul> </li> </ul> </li> <li id="toc-See_also" class="vector-toc-list-item vector-toc-level-1"> <a class="vector-toc-link" href="#See_also"> <div class="vector-toc-text"> <span class="vector-toc-numb">7</span> <span>See also</span> </div> </a> <ul id="toc-See_also-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-References" class="vector-toc-list-item vector-toc-level-1"> <a class="vector-toc-link" href="#References"> <div class="vector-toc-text"> <span class="vector-toc-numb">8</span> <span>References</span> </div> </a> <button aria-controls="toc-References-sublist" class="cdx-button cdx-button--weight-quiet cdx-button--icon-only vector-toc-toggle"> <span class="vector-icon mw-ui-icon-wikimedia-expand"></span> <span>Toggle References subsection</span> </button> <ul id="toc-References-sublist" class="vector-toc-list"> <li id="toc-Citations" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Citations"> <div class="vector-toc-text"> <span class="vector-toc-numb">8.1</span> <span>Citations</span> </div> </a> <ul id="toc-Citations-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-General_and_cited_references" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#General_and_cited_references"> <div class="vector-toc-text"> <span class="vector-toc-numb">8.2</span> <span>General and cited references</span> </div> </a> <ul id="toc-General_and_cited_references-sublist" class="vector-toc-list"> </ul> </li> </ul> </li> <li id="toc-Further_reading" class="vector-toc-list-item vector-toc-level-1"> <a class="vector-toc-link" href="#Further_reading"> <div class="vector-toc-text"> <span class="vector-toc-numb">9</span> <span>Further reading</span> </div> </a> <ul id="toc-Further_reading-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-External_links" class="vector-toc-list-item vector-toc-level-1"> <a class="vector-toc-link" href="#External_links"> <div class="vector-toc-text"> <span class="vector-toc-numb">10</span> <span>External links</span> </div> </a> <ul id="toc-External_links-sublist" class="vector-toc-list"> </ul> </li> </ul> </div> </div> </nav> </div> </div> <div class="mw-content-container"> <main id="content" class="mw-body"> <header class="mw-body-header vector-page-titlebar"> <nav aria-label="Contents" class="vector-toc-landmark"> <div id="vector-page-titlebar-toc" class="vector-dropdown vector-page-titlebar-toc vector-button-flush-left" > <input type="checkbox" id="vector-page-titlebar-toc-checkbox" role="button" aria-haspopup="true" data-event-name="ui.dropdown-vector-page-titlebar-toc" class="vector-dropdown-checkbox " aria-label="Toggle the table of contents" > <label id="vector-page-titlebar-toc-label" for="vector-page-titlebar-toc-checkbox" class="vector-dropdown-label cdx-button cdx-button--fake-button cdx-button--fake-button--enabled cdx-button--weight-quiet cdx-button--icon-only " aria-hidden="true" ><span class="vector-icon mw-ui-icon-listBullet mw-ui-icon-wikimedia-listBullet"></span> <span class="vector-dropdown-label-text">Toggle the table of contents</span> </label> <div class="vector-dropdown-content"> <div id="vector-page-titlebar-toc-unpinned-container" class="vector-unpinned-container"> </div> </div> </div> </nav> <h1 id="firstHeading" class="firstHeading mw-first-heading"><span class="mw-page-title-main">Jazz</span></h1> <div id="p-lang-btn" class="vector-dropdown mw-portlet mw-portlet-lang" > <input type="checkbox" id="p-lang-btn-checkbox" role="button" aria-haspopup="true" data-event-name="ui.dropdown-p-lang-btn" class="vector-dropdown-checkbox mw-interlanguage-selector" aria-label="Go to an article in another language. Available in 146 languages" > <label id="p-lang-btn-label" for="p-lang-btn-checkbox" class="vector-dropdown-label cdx-button cdx-button--fake-button cdx-button--fake-button--enabled cdx-button--weight-quiet cdx-button--action-progressive mw-portlet-lang-heading-146" aria-hidden="true" ><span class="vector-icon mw-ui-icon-language-progressive mw-ui-icon-wikimedia-language-progressive"></span> <span class="vector-dropdown-label-text">146 languages</span> </label> <div class="vector-dropdown-content"> <div class="vector-menu-content"> <ul class="vector-menu-content-list"> <li class="interlanguage-link interwiki-af mw-list-item"><a href="https://af.wikipedia.org/wiki/Jazz" title="Jazz – Afrikaans" lang="af" hreflang="af" data-title="Jazz" data-language-autonym="Afrikaans" data-language-local-name="Afrikaans" class="interlanguage-link-target"><span>Afrikaans</span></a></li><li class="interlanguage-link interwiki-als mw-list-item"><a href="https://als.wikipedia.org/wiki/Jazz" title="Jazz – Alemannic" lang="gsw" hreflang="gsw" data-title="Jazz" data-language-autonym="Alemannisch" data-language-local-name="Alemannic" class="interlanguage-link-target"><span>Alemannisch</span></a></li><li class="interlanguage-link interwiki-ang mw-list-item"><a href="https://ang.wikipedia.org/wiki/I%C3%A6ssdr%C4%93am" title="Iæssdrēam – Old English" lang="ang" hreflang="ang" data-title="Iæssdrēam" data-language-autonym="Ænglisc" data-language-local-name="Old English" class="interlanguage-link-target"><span>Ænglisc</span></a></li><li class="interlanguage-link interwiki-ab mw-list-item"><a href="https://ab.wikipedia.org/wiki/%D0%90%D1%9F%D1%8C%D0%B0%D0%B7" title="Аџьаз – Abkhazian" lang="ab" hreflang="ab" data-title="Аџьаз" data-language-autonym="Аԥсшәа" data-language-local-name="Abkhazian" class="interlanguage-link-target"><span>Аԥсшәа</span></a></li><li class="interlanguage-link interwiki-ar mw-list-item"><a href="https://ar.wikipedia.org/wiki/%D8%AC%D8%A7%D8%B2" title="جاز – Arabic" lang="ar" hreflang="ar" data-title="جاز" data-language-autonym="العربية" data-language-local-name="Arabic" class="interlanguage-link-target"><span>العربية</span></a></li><li class="interlanguage-link interwiki-an mw-list-item"><a href="https://an.wikipedia.org/wiki/Jazz" title="Jazz – Aragonese" lang="an" hreflang="an" data-title="Jazz" data-language-autonym="Aragonés" data-language-local-name="Aragonese" class="interlanguage-link-target"><span>Aragonés</span></a></li><li class="interlanguage-link interwiki-as mw-list-item"><a href="https://as.wikipedia.org/wiki/%E0%A6%9C%E0%A7%8D%E0%A6%AF%E0%A6%BE%E0%A6%9C_%E0%A6%B8%E0%A6%82%E0%A6%97%E0%A7%80%E0%A6%A4" title="জ্যাজ সংগীত – Assamese" lang="as" hreflang="as" data-title="জ্যাজ সংগীত" data-language-autonym="অসমীয়া" data-language-local-name="Assamese" class="interlanguage-link-target"><span>অসমীয়া</span></a></li><li class="interlanguage-link interwiki-ast mw-list-item"><a href="https://ast.wikipedia.org/wiki/Jazz" title="Jazz – Asturian" lang="ast" hreflang="ast" data-title="Jazz" data-language-autonym="Asturianu" data-language-local-name="Asturian" class="interlanguage-link-target"><span>Asturianu</span></a></li><li class="interlanguage-link interwiki-gn mw-list-item"><a href="https://gn.wikipedia.org/wiki/Jazz" title="Jazz – Guarani" lang="gn" hreflang="gn" data-title="Jazz" data-language-autonym="Avañe'ẽ" data-language-local-name="Guarani" class="interlanguage-link-target"><span>Avañe'ẽ</span></a></li><li class="interlanguage-link interwiki-az mw-list-item"><a href="https://az.wikipedia.org/wiki/Caz" title="Caz – Azerbaijani" lang="az" hreflang="az" data-title="Caz" data-language-autonym="Azərbaycanca" data-language-local-name="Azerbaijani" class="interlanguage-link-target"><span>Azərbaycanca</span></a></li><li class="interlanguage-link interwiki-azb mw-list-item"><a href="https://azb.wikipedia.org/wiki/%D8%AC%D8%A7%D8%B2" title="جاز – South Azerbaijani" lang="azb" hreflang="azb" data-title="جاز" data-language-autonym="تۆرکجه" data-language-local-name="South Azerbaijani" class="interlanguage-link-target"><span>تۆرکجه</span></a></li><li class="interlanguage-link interwiki-bn mw-list-item"><a href="https://bn.wikipedia.org/wiki/%E0%A6%9C%E0%A7%8D%E0%A6%AF%E0%A6%BE%E0%A6%9C" title="জ্যাজ – Bangla" lang="bn" hreflang="bn" data-title="জ্যাজ" data-language-autonym="বাংলা" data-language-local-name="Bangla" class="interlanguage-link-target"><span>বাংলা</span></a></li><li class="interlanguage-link interwiki-zh-min-nan mw-list-item"><a href="https://zh-min-nan.wikipedia.org/wiki/Jazz" title="Jazz – Minnan" lang="nan" hreflang="nan" data-title="Jazz" data-language-autonym="閩南語 / Bân-lâm-gú" data-language-local-name="Minnan" class="interlanguage-link-target"><span>閩南語 / Bân-lâm-gú</span></a></li><li class="interlanguage-link interwiki-map-bms mw-list-item"><a href="https://map-bms.wikipedia.org/wiki/Jazz" title="Jazz – Banyumasan" lang="jv-x-bms" hreflang="jv-x-bms" data-title="Jazz" data-language-autonym="Basa Banyumasan" data-language-local-name="Banyumasan" class="interlanguage-link-target"><span>Basa Banyumasan</span></a></li><li class="interlanguage-link interwiki-ba mw-list-item"><a href="https://ba.wikipedia.org/wiki/%D0%94%D0%B6%D0%B0%D0%B7" title="Джаз – Bashkir" lang="ba" hreflang="ba" data-title="Джаз" data-language-autonym="Башҡортса" data-language-local-name="Bashkir" class="interlanguage-link-target"><span>Башҡортса</span></a></li><li class="interlanguage-link interwiki-be mw-list-item"><a href="https://be.wikipedia.org/wiki/%D0%94%D0%B6%D0%B0%D0%B7" title="Джаз – Belarusian" lang="be" hreflang="be" data-title="Джаз" data-language-autonym="Беларуская" data-language-local-name="Belarusian" class="interlanguage-link-target"><span>Беларуская</span></a></li><li class="interlanguage-link interwiki-be-x-old mw-list-item"><a href="https://be-tarask.wikipedia.org/wiki/%D0%94%D0%B6%D0%B0%D0%B7" title="Джаз – Belarusian (Taraškievica orthography)" lang="be-tarask" hreflang="be-tarask" data-title="Джаз" data-language-autonym="Беларуская (тарашкевіца)" data-language-local-name="Belarusian (Taraškievica orthography)" class="interlanguage-link-target"><span>Беларуская (тарашкевіца)</span></a></li><li class="interlanguage-link interwiki-bg mw-list-item"><a href="https://bg.wikipedia.org/wiki/%D0%94%D0%B6%D0%B0%D0%B7" title="Джаз – Bulgarian" lang="bg" hreflang="bg" data-title="Джаз" data-language-autonym="Български" data-language-local-name="Bulgarian" class="interlanguage-link-target"><span>Български</span></a></li><li class="interlanguage-link interwiki-bar mw-list-item"><a href="https://bar.wikipedia.org/wiki/Jazz" title="Jazz – Bavarian" lang="bar" hreflang="bar" data-title="Jazz" data-language-autonym="Boarisch" data-language-local-name="Bavarian" class="interlanguage-link-target"><span>Boarisch</span></a></li><li class="interlanguage-link interwiki-bs mw-list-item"><a href="https://bs.wikipedia.org/wiki/D%C5%BEez" title="Džez – Bosnian" lang="bs" hreflang="bs" data-title="Džez" data-language-autonym="Bosanski" data-language-local-name="Bosnian" class="interlanguage-link-target"><span>Bosanski</span></a></li><li class="interlanguage-link interwiki-br mw-list-item"><a href="https://br.wikipedia.org/wiki/Jazz" title="Jazz – Breton" lang="br" hreflang="br" data-title="Jazz" data-language-autonym="Brezhoneg" data-language-local-name="Breton" class="interlanguage-link-target"><span>Brezhoneg</span></a></li><li class="interlanguage-link interwiki-ca mw-list-item"><a href="https://ca.wikipedia.org/wiki/Jazz" title="Jazz – Catalan" lang="ca" hreflang="ca" data-title="Jazz" data-language-autonym="Català" data-language-local-name="Catalan" class="interlanguage-link-target"><span>Català</span></a></li><li class="interlanguage-link interwiki-cs mw-list-item"><a href="https://cs.wikipedia.org/wiki/Jazz" title="Jazz – Czech" lang="cs" hreflang="cs" data-title="Jazz" data-language-autonym="Čeština" data-language-local-name="Czech" class="interlanguage-link-target"><span>Čeština</span></a></li><li class="interlanguage-link interwiki-cy mw-list-item"><a href="https://cy.wikipedia.org/wiki/Jazz" title="Jazz – Welsh" lang="cy" hreflang="cy" data-title="Jazz" data-language-autonym="Cymraeg" data-language-local-name="Welsh" class="interlanguage-link-target"><span>Cymraeg</span></a></li><li class="interlanguage-link interwiki-da badge-Q17559452 badge-recommendedarticle mw-list-item" title="recommended article"><a href="https://da.wikipedia.org/wiki/Jazz" title="Jazz – Danish" lang="da" hreflang="da" data-title="Jazz" data-language-autonym="Dansk" data-language-local-name="Danish" class="interlanguage-link-target"><span>Dansk</span></a></li><li class="interlanguage-link interwiki-de mw-list-item"><a href="https://de.wikipedia.org/wiki/Jazz" title="Jazz – German" lang="de" hreflang="de" data-title="Jazz" data-language-autonym="Deutsch" data-language-local-name="German" class="interlanguage-link-target"><span>Deutsch</span></a></li><li class="interlanguage-link interwiki-et mw-list-item"><a href="https://et.wikipedia.org/wiki/D%C5%BE%C3%A4ss" title="Džäss – Estonian" lang="et" hreflang="et" data-title="Džäss" data-language-autonym="Eesti" data-language-local-name="Estonian" class="interlanguage-link-target"><span>Eesti</span></a></li><li class="interlanguage-link interwiki-el mw-list-item"><a href="https://el.wikipedia.org/wiki/%CE%A4%CE%B6%CE%B1%CE%B6" title="Τζαζ – Greek" lang="el" hreflang="el" data-title="Τζαζ" data-language-autonym="Ελληνικά" data-language-local-name="Greek" class="interlanguage-link-target"><span>Ελληνικά</span></a></li><li class="interlanguage-link interwiki-es mw-list-item"><a href="https://es.wikipedia.org/wiki/Jazz" title="Jazz – Spanish" lang="es" hreflang="es" data-title="Jazz" data-language-autonym="Español" data-language-local-name="Spanish" class="interlanguage-link-target"><span>Español</span></a></li><li class="interlanguage-link interwiki-eo mw-list-item"><a href="https://eo.wikipedia.org/wiki/%C4%B4azo" title="Ĵazo – Esperanto" lang="eo" hreflang="eo" data-title="Ĵazo" data-language-autonym="Esperanto" data-language-local-name="Esperanto" class="interlanguage-link-target"><span>Esperanto</span></a></li><li class="interlanguage-link interwiki-eu mw-list-item"><a href="https://eu.wikipedia.org/wiki/Jazz" title="Jazz – Basque" lang="eu" hreflang="eu" data-title="Jazz" data-language-autonym="Euskara" data-language-local-name="Basque" class="interlanguage-link-target"><span>Euskara</span></a></li><li class="interlanguage-link interwiki-fa mw-list-item"><a href="https://fa.wikipedia.org/wiki/%D8%AC%D8%A7%D8%B2" title="جاز – Persian" lang="fa" hreflang="fa" data-title="جاز" data-language-autonym="فارسی" data-language-local-name="Persian" class="interlanguage-link-target"><span>فارسی</span></a></li><li class="interlanguage-link interwiki-hif mw-list-item"><a href="https://hif.wikipedia.org/wiki/Jazz" title="Jazz – Fiji Hindi" lang="hif" hreflang="hif" data-title="Jazz" data-language-autonym="Fiji Hindi" data-language-local-name="Fiji Hindi" class="interlanguage-link-target"><span>Fiji Hindi</span></a></li><li class="interlanguage-link interwiki-fo mw-list-item"><a href="https://fo.wikipedia.org/wiki/Jazz" title="Jazz – Faroese" lang="fo" hreflang="fo" data-title="Jazz" data-language-autonym="Føroyskt" data-language-local-name="Faroese" class="interlanguage-link-target"><span>Føroyskt</span></a></li><li class="interlanguage-link interwiki-fr mw-list-item"><a href="https://fr.wikipedia.org/wiki/Jazz" title="Jazz – French" lang="fr" hreflang="fr" data-title="Jazz" data-language-autonym="Français" data-language-local-name="French" class="interlanguage-link-target"><span>Français</span></a></li><li class="interlanguage-link interwiki-fy mw-list-item"><a href="https://fy.wikipedia.org/wiki/Jazz" title="Jazz – Western Frisian" lang="fy" hreflang="fy" data-title="Jazz" data-language-autonym="Frysk" data-language-local-name="Western Frisian" class="interlanguage-link-target"><span>Frysk</span></a></li><li class="interlanguage-link interwiki-fur mw-list-item"><a href="https://fur.wikipedia.org/wiki/Musiche_jazz" title="Musiche jazz – Friulian" lang="fur" hreflang="fur" data-title="Musiche jazz" data-language-autonym="Furlan" data-language-local-name="Friulian" class="interlanguage-link-target"><span>Furlan</span></a></li><li class="interlanguage-link interwiki-ga mw-list-item"><a href="https://ga.wikipedia.org/wiki/Snagcheol" title="Snagcheol – Irish" lang="ga" hreflang="ga" data-title="Snagcheol" data-language-autonym="Gaeilge" data-language-local-name="Irish" class="interlanguage-link-target"><span>Gaeilge</span></a></li><li class="interlanguage-link interwiki-gd mw-list-item"><a href="https://gd.wikipedia.org/wiki/Jazz" title="Jazz – Scottish Gaelic" lang="gd" hreflang="gd" data-title="Jazz" data-language-autonym="Gàidhlig" data-language-local-name="Scottish Gaelic" class="interlanguage-link-target"><span>Gàidhlig</span></a></li><li class="interlanguage-link interwiki-gl mw-list-item"><a href="https://gl.wikipedia.org/wiki/Jazz" title="Jazz – Galician" lang="gl" hreflang="gl" data-title="Jazz" data-language-autonym="Galego" data-language-local-name="Galician" class="interlanguage-link-target"><span>Galego</span></a></li><li class="interlanguage-link interwiki-gan mw-list-item"><a href="https://gan.wikipedia.org/wiki/%E7%88%B5%E5%A3%AB%E6%A8%82" title="爵士樂 – Gan" lang="gan" hreflang="gan" data-title="爵士樂" data-language-autonym="贛語" data-language-local-name="Gan" class="interlanguage-link-target"><span>贛語</span></a></li><li class="interlanguage-link interwiki-ko mw-list-item"><a href="https://ko.wikipedia.org/wiki/%EC%9E%AC%EC%A6%88" title="재즈 – Korean" lang="ko" hreflang="ko" data-title="재즈" data-language-autonym="한국어" data-language-local-name="Korean" class="interlanguage-link-target"><span>한국어</span></a></li><li class="interlanguage-link interwiki-hy mw-list-item"><a href="https://hy.wikipedia.org/wiki/%D5%8B%D5%A1%D5%A6" title="Ջազ – Armenian" lang="hy" hreflang="hy" data-title="Ջազ" data-language-autonym="Հայերեն" data-language-local-name="Armenian" class="interlanguage-link-target"><span>Հայերեն</span></a></li><li class="interlanguage-link interwiki-hi mw-list-item"><a href="https://hi.wikipedia.org/wiki/%E0%A4%9C%E0%A5%88%E0%A4%9C%E0%A4%BC_%E0%A4%B8%E0%A4%82%E0%A4%97%E0%A5%80%E0%A4%A4" title="जैज़ संगीत – Hindi" lang="hi" hreflang="hi" data-title="जैज़ संगीत" data-language-autonym="हिन्दी" data-language-local-name="Hindi" class="interlanguage-link-target"><span>हिन्दी</span></a></li><li class="interlanguage-link interwiki-hr mw-list-item"><a href="https://hr.wikipedia.org/wiki/Jazz" title="Jazz – Croatian" lang="hr" hreflang="hr" data-title="Jazz" data-language-autonym="Hrvatski" data-language-local-name="Croatian" class="interlanguage-link-target"><span>Hrvatski</span></a></li><li class="interlanguage-link interwiki-io mw-list-item"><a href="https://io.wikipedia.org/wiki/Jazo" title="Jazo – Ido" lang="io" hreflang="io" data-title="Jazo" data-language-autonym="Ido" data-language-local-name="Ido" class="interlanguage-link-target"><span>Ido</span></a></li><li class="interlanguage-link interwiki-id mw-list-item"><a href="https://id.wikipedia.org/wiki/Musik_jaz" title="Musik jaz – Indonesian" lang="id" hreflang="id" data-title="Musik jaz" data-language-autonym="Bahasa Indonesia" data-language-local-name="Indonesian" class="interlanguage-link-target"><span>Bahasa Indonesia</span></a></li><li class="interlanguage-link interwiki-ia mw-list-item"><a href="https://ia.wikipedia.org/wiki/Jazz" title="Jazz – Interlingua" lang="ia" hreflang="ia" data-title="Jazz" data-language-autonym="Interlingua" data-language-local-name="Interlingua" class="interlanguage-link-target"><span>Interlingua</span></a></li><li class="interlanguage-link interwiki-is mw-list-item"><a href="https://is.wikipedia.org/wiki/Djass" title="Djass – Icelandic" lang="is" hreflang="is" data-title="Djass" data-language-autonym="Íslenska" data-language-local-name="Icelandic" class="interlanguage-link-target"><span>Íslenska</span></a></li><li class="interlanguage-link interwiki-it mw-list-item"><a href="https://it.wikipedia.org/wiki/Jazz" title="Jazz – Italian" lang="it" hreflang="it" data-title="Jazz" data-language-autonym="Italiano" data-language-local-name="Italian" class="interlanguage-link-target"><span>Italiano</span></a></li><li class="interlanguage-link interwiki-he mw-list-item"><a href="https://he.wikipedia.org/wiki/%D7%92%27%D7%90%D7%96" title="ג'אז – Hebrew" lang="he" hreflang="he" data-title="ג'אז" data-language-autonym="עברית" data-language-local-name="Hebrew" class="interlanguage-link-target"><span>עברית</span></a></li><li class="interlanguage-link interwiki-jv mw-list-item"><a href="https://jv.wikipedia.org/wiki/Jazz" title="Jazz – Javanese" lang="jv" hreflang="jv" data-title="Jazz" data-language-autonym="Jawa" data-language-local-name="Javanese" class="interlanguage-link-target"><span>Jawa</span></a></li><li class="interlanguage-link interwiki-kbp mw-list-item"><a href="https://kbp.wikipedia.org/wiki/Jazz" title="Jazz – Kabiye" lang="kbp" hreflang="kbp" data-title="Jazz" data-language-autonym="Kabɩyɛ" data-language-local-name="Kabiye" class="interlanguage-link-target"><span>Kabɩyɛ</span></a></li><li class="interlanguage-link interwiki-kn mw-list-item"><a href="https://kn.wikipedia.org/wiki/%E0%B2%9C%E0%B2%BE%E0%B2%9D%E0%B3%8D_%E0%B2%B8%E0%B2%82%E0%B2%97%E0%B3%80%E0%B2%A4" title="ಜಾಝ್ ಸಂಗೀತ – Kannada" lang="kn" hreflang="kn" data-title="ಜಾಝ್ ಸಂಗೀತ" data-language-autonym="ಕನ್ನಡ" data-language-local-name="Kannada" class="interlanguage-link-target"><span>ಕನ್ನಡ</span></a></li><li class="interlanguage-link interwiki-ka mw-list-item"><a href="https://ka.wikipedia.org/wiki/%E1%83%AF%E1%83%90%E1%83%96%E1%83%98" title="ჯაზი – Georgian" lang="ka" hreflang="ka" data-title="ჯაზი" data-language-autonym="ქართული" data-language-local-name="Georgian" class="interlanguage-link-target"><span>ქართული</span></a></li><li class="interlanguage-link interwiki-kk mw-list-item"><a href="https://kk.wikipedia.org/wiki/%D0%94%D0%B6%D0%B0%D0%B7" title="Джаз – Kazakh" lang="kk" hreflang="kk" data-title="Джаз" data-language-autonym="Қазақша" data-language-local-name="Kazakh" class="interlanguage-link-target"><span>Қазақша</span></a></li><li class="interlanguage-link interwiki-kw mw-list-item"><a href="https://kw.wikipedia.org/wiki/Jazz" title="Jazz – Cornish" lang="kw" hreflang="kw" data-title="Jazz" data-language-autonym="Kernowek" data-language-local-name="Cornish" class="interlanguage-link-target"><span>Kernowek</span></a></li><li class="interlanguage-link interwiki-sw mw-list-item"><a href="https://sw.wikipedia.org/wiki/Jazz" title="Jazz – Swahili" lang="sw" hreflang="sw" data-title="Jazz" data-language-autonym="Kiswahili" data-language-local-name="Swahili" class="interlanguage-link-target"><span>Kiswahili</span></a></li><li class="interlanguage-link interwiki-ht mw-list-item"><a href="https://ht.wikipedia.org/wiki/Djaz" title="Djaz – Haitian Creole" lang="ht" hreflang="ht" data-title="Djaz" data-language-autonym="Kreyòl ayisyen" data-language-local-name="Haitian Creole" class="interlanguage-link-target"><span>Kreyòl ayisyen</span></a></li><li class="interlanguage-link interwiki-gcr mw-list-item"><a href="https://gcr.wikipedia.org/wiki/Jazz" title="Jazz – Guianan Creole" lang="gcr" hreflang="gcr" data-title="Jazz" data-language-autonym="Kriyòl gwiyannen" data-language-local-name="Guianan Creole" class="interlanguage-link-target"><span>Kriyòl gwiyannen</span></a></li><li class="interlanguage-link interwiki-ku mw-list-item"><a href="https://ku.wikipedia.org/wiki/Cez" title="Cez – Kurdish" lang="ku" hreflang="ku" data-title="Cez" data-language-autonym="Kurdî" data-language-local-name="Kurdish" class="interlanguage-link-target"><span>Kurdî</span></a></li><li class="interlanguage-link interwiki-ky mw-list-item"><a href="https://ky.wikipedia.org/wiki/%D0%96%D0%B0%D0%B7_(%D0%BC%D1%83%D0%B7%D1%8B%D0%BA%D0%B0)" title="Жаз (музыка) – Kyrgyz" lang="ky" hreflang="ky" data-title="Жаз (музыка)" data-language-autonym="Кыргызча" data-language-local-name="Kyrgyz" class="interlanguage-link-target"><span>Кыргызча</span></a></li><li class="interlanguage-link interwiki-mrj mw-list-item"><a href="https://mrj.wikipedia.org/wiki/%D0%94%D0%B6%D0%B0%D0%B7" title="Джаз – Western Mari" lang="mrj" hreflang="mrj" data-title="Джаз" data-language-autonym="Кырык мары" data-language-local-name="Western Mari" class="interlanguage-link-target"><span>Кырык мары</span></a></li><li class="interlanguage-link interwiki-la mw-list-item"><a href="https://la.wikipedia.org/wiki/Jazz" title="Jazz – Latin" lang="la" hreflang="la" data-title="Jazz" data-language-autonym="Latina" data-language-local-name="Latin" class="interlanguage-link-target"><span>Latina</span></a></li><li class="interlanguage-link interwiki-lv mw-list-item"><a href="https://lv.wikipedia.org/wiki/D%C5%BEezs" title="Džezs – Latvian" lang="lv" hreflang="lv" data-title="Džezs" data-language-autonym="Latviešu" data-language-local-name="Latvian" class="interlanguage-link-target"><span>Latviešu</span></a></li><li class="interlanguage-link interwiki-lb mw-list-item"><a href="https://lb.wikipedia.org/wiki/Jazz" title="Jazz – Luxembourgish" lang="lb" hreflang="lb" data-title="Jazz" data-language-autonym="Lëtzebuergesch" data-language-local-name="Luxembourgish" class="interlanguage-link-target"><span>Lëtzebuergesch</span></a></li><li class="interlanguage-link interwiki-lt mw-list-item"><a href="https://lt.wikipedia.org/wiki/D%C5%BEiazas" title="Džiazas – Lithuanian" lang="lt" hreflang="lt" data-title="Džiazas" data-language-autonym="Lietuvių" data-language-local-name="Lithuanian" class="interlanguage-link-target"><span>Lietuvių</span></a></li><li class="interlanguage-link interwiki-lij mw-list-item"><a href="https://lij.wikipedia.org/wiki/Jazz" title="Jazz – Ligurian" lang="lij" hreflang="lij" data-title="Jazz" data-language-autonym="Ligure" data-language-local-name="Ligurian" class="interlanguage-link-target"><span>Ligure</span></a></li><li class="interlanguage-link interwiki-li mw-list-item"><a href="https://li.wikipedia.org/wiki/Jazz" title="Jazz – Limburgish" lang="li" hreflang="li" data-title="Jazz" data-language-autonym="Limburgs" data-language-local-name="Limburgish" class="interlanguage-link-target"><span>Limburgs</span></a></li><li class="interlanguage-link interwiki-ln mw-list-item"><a href="https://ln.wikipedia.org/wiki/Jazz" title="Jazz – Lingala" lang="ln" hreflang="ln" data-title="Jazz" data-language-autonym="Lingála" data-language-local-name="Lingala" class="interlanguage-link-target"><span>Lingála</span></a></li><li class="interlanguage-link interwiki-lfn mw-list-item"><a href="https://lfn.wikipedia.org/wiki/Jaz" title="Jaz – Lingua Franca Nova" lang="lfn" hreflang="lfn" data-title="Jaz" data-language-autonym="Lingua Franca Nova" data-language-local-name="Lingua Franca Nova" class="interlanguage-link-target"><span>Lingua Franca Nova</span></a></li><li class="interlanguage-link interwiki-olo mw-list-item"><a href="https://olo.wikipedia.org/wiki/Jazz" title="Jazz – Livvi-Karelian" lang="olo" hreflang="olo" data-title="Jazz" data-language-autonym="Livvinkarjala" data-language-local-name="Livvi-Karelian" class="interlanguage-link-target"><span>Livvinkarjala</span></a></li><li class="interlanguage-link interwiki-jbo mw-list-item"><a href="https://jbo.wikipedia.org/wiki/zgirjazu" title="zgirjazu – Lojban" lang="jbo" hreflang="jbo" data-title="zgirjazu" data-language-autonym="La .lojban." data-language-local-name="Lojban" class="interlanguage-link-target"><span>La .lojban.</span></a></li><li class="interlanguage-link interwiki-lmo mw-list-item"><a href="https://lmo.wikipedia.org/wiki/Jazz" title="Jazz – Lombard" lang="lmo" hreflang="lmo" data-title="Jazz" data-language-autonym="Lombard" data-language-local-name="Lombard" class="interlanguage-link-target"><span>Lombard</span></a></li><li class="interlanguage-link interwiki-hu mw-list-item"><a href="https://hu.wikipedia.org/wiki/Dzsessz" title="Dzsessz – Hungarian" lang="hu" hreflang="hu" data-title="Dzsessz" data-language-autonym="Magyar" data-language-local-name="Hungarian" class="interlanguage-link-target"><span>Magyar</span></a></li><li class="interlanguage-link interwiki-mk mw-list-item"><a href="https://mk.wikipedia.org/wiki/%D0%8F%D0%B5%D0%B7" title="Џез – Macedonian" lang="mk" hreflang="mk" data-title="Џез" data-language-autonym="Македонски" data-language-local-name="Macedonian" class="interlanguage-link-target"><span>Македонски</span></a></li><li class="interlanguage-link interwiki-ml mw-list-item"><a href="https://ml.wikipedia.org/wiki/%E0%B4%9C%E0%B4%BE%E0%B4%B8%E0%B5%8D" title="ജാസ് – Malayalam" lang="ml" hreflang="ml" data-title="ജാസ്" data-language-autonym="മലയാളം" data-language-local-name="Malayalam" class="interlanguage-link-target"><span>മലയാളം</span></a></li><li class="interlanguage-link interwiki-arz mw-list-item"><a href="https://arz.wikipedia.org/wiki/%D8%AC%D8%A7%D8%B2" title="جاز – Egyptian Arabic" lang="arz" hreflang="arz" data-title="جاز" data-language-autonym="مصرى" data-language-local-name="Egyptian Arabic" class="interlanguage-link-target"><span>مصرى</span></a></li><li class="interlanguage-link interwiki-ms mw-list-item"><a href="https://ms.wikipedia.org/wiki/Jaz" title="Jaz – Malay" lang="ms" hreflang="ms" data-title="Jaz" data-language-autonym="Bahasa Melayu" data-language-local-name="Malay" class="interlanguage-link-target"><span>Bahasa Melayu</span></a></li><li class="interlanguage-link interwiki-mn mw-list-item"><a href="https://mn.wikipedia.org/wiki/%D0%96%D0%B0%D0%B0%D0%B7_%D1%85%D3%A9%D0%B3%D0%B6%D0%B8%D0%BC" title="Жааз хөгжим – Mongolian" lang="mn" hreflang="mn" data-title="Жааз хөгжим" data-language-autonym="Монгол" data-language-local-name="Mongolian" class="interlanguage-link-target"><span>Монгол</span></a></li><li class="interlanguage-link interwiki-my mw-list-item"><a href="https://my.wikipedia.org/wiki/%E1%80%82%E1%80%BB%E1%80%80%E1%80%BA%E1%80%85%E1%80%BA%E1%80%82%E1%80%AE%E1%80%90" title="ဂျက်စ်ဂီတ – Burmese" lang="my" hreflang="my" data-title="ဂျက်စ်ဂီတ" data-language-autonym="မြန်မာဘာသာ" data-language-local-name="Burmese" class="interlanguage-link-target"><span>မြန်မာဘာသာ</span></a></li><li class="interlanguage-link interwiki-nah mw-list-item"><a href="https://nah.wikipedia.org/wiki/Jazz" title="Jazz – Nahuatl" lang="nah" hreflang="nah" data-title="Jazz" data-language-autonym="Nāhuatl" data-language-local-name="Nahuatl" class="interlanguage-link-target"><span>Nāhuatl</span></a></li><li class="interlanguage-link interwiki-fj mw-list-item"><a href="https://fj.wikipedia.org/wiki/Jazz" title="Jazz – Fijian" lang="fj" hreflang="fj" data-title="Jazz" data-language-autonym="Na Vosa Vakaviti" data-language-local-name="Fijian" class="interlanguage-link-target"><span>Na Vosa Vakaviti</span></a></li><li class="interlanguage-link interwiki-nl mw-list-item"><a href="https://nl.wikipedia.org/wiki/Jazz" title="Jazz – Dutch" lang="nl" hreflang="nl" data-title="Jazz" data-language-autonym="Nederlands" data-language-local-name="Dutch" class="interlanguage-link-target"><span>Nederlands</span></a></li><li class="interlanguage-link interwiki-nds-nl mw-list-item"><a href="https://nds-nl.wikipedia.org/wiki/Jazz" title="Jazz – Low Saxon" lang="nds-NL" hreflang="nds-NL" data-title="Jazz" data-language-autonym="Nedersaksies" data-language-local-name="Low Saxon" class="interlanguage-link-target"><span>Nedersaksies</span></a></li><li class="interlanguage-link interwiki-new mw-list-item"><a href="https://new.wikipedia.org/wiki/%E0%A4%9C%E0%A5%8D%E0%A4%AF%E0%A4%BE%E0%A4%9C%E0%A5%8D" title="ज्याज् – Newari" lang="new" hreflang="new" data-title="ज्याज्" data-language-autonym="नेपाल भाषा" data-language-local-name="Newari" class="interlanguage-link-target"><span>नेपाल भाषा</span></a></li><li class="interlanguage-link interwiki-ja mw-list-item"><a href="https://ja.wikipedia.org/wiki/%E3%82%B8%E3%83%A3%E3%82%BA" title="ジャズ – Japanese" lang="ja" hreflang="ja" data-title="ジャズ" data-language-autonym="日本語" data-language-local-name="Japanese" class="interlanguage-link-target"><span>日本語</span></a></li><li class="interlanguage-link interwiki-frr mw-list-item"><a href="https://frr.wikipedia.org/wiki/Jazz" title="Jazz – Northern Frisian" lang="frr" hreflang="frr" data-title="Jazz" data-language-autonym="Nordfriisk" data-language-local-name="Northern Frisian" class="interlanguage-link-target"><span>Nordfriisk</span></a></li><li class="interlanguage-link interwiki-no mw-list-item"><a href="https://no.wikipedia.org/wiki/Jazz" title="Jazz – Norwegian Bokmål" lang="nb" hreflang="nb" data-title="Jazz" data-language-autonym="Norsk bokmål" data-language-local-name="Norwegian Bokmål" class="interlanguage-link-target"><span>Norsk bokmål</span></a></li><li class="interlanguage-link interwiki-nn mw-list-item"><a href="https://nn.wikipedia.org/wiki/Jazz" title="Jazz – Norwegian Nynorsk" lang="nn" hreflang="nn" data-title="Jazz" data-language-autonym="Norsk nynorsk" data-language-local-name="Norwegian Nynorsk" class="interlanguage-link-target"><span>Norsk nynorsk</span></a></li><li class="interlanguage-link interwiki-nrm mw-list-item"><a href="https://nrm.wikipedia.org/wiki/Jazz" title="Jazz – Norman" lang="nrf" hreflang="nrf" data-title="Jazz" data-language-autonym="Nouormand" data-language-local-name="Norman" class="interlanguage-link-target"><span>Nouormand</span></a></li><li class="interlanguage-link interwiki-oc mw-list-item"><a href="https://oc.wikipedia.org/wiki/Jazz" title="Jazz – Occitan" lang="oc" hreflang="oc" data-title="Jazz" data-language-autonym="Occitan" data-language-local-name="Occitan" class="interlanguage-link-target"><span>Occitan</span></a></li><li class="interlanguage-link interwiki-uz mw-list-item"><a href="https://uz.wikipedia.org/wiki/Jaz" title="Jaz – Uzbek" lang="uz" hreflang="uz" data-title="Jaz" data-language-autonym="Oʻzbekcha / ўзбекча" data-language-local-name="Uzbek" class="interlanguage-link-target"><span>Oʻzbekcha / ўзбекча</span></a></li><li class="interlanguage-link interwiki-pa mw-list-item"><a href="https://pa.wikipedia.org/wiki/%E0%A8%9C%E0%A9%88%E0%A8%9C%E0%A8%BC" title="ਜੈਜ਼ – Punjabi" lang="pa" hreflang="pa" data-title="ਜੈਜ਼" data-language-autonym="ਪੰਜਾਬੀ" data-language-local-name="Punjabi" class="interlanguage-link-target"><span>ਪੰਜਾਬੀ</span></a></li><li class="interlanguage-link interwiki-pfl mw-list-item"><a href="https://pfl.wikipedia.org/wiki/Jazz" title="Jazz – Palatine German" lang="pfl" hreflang="pfl" data-title="Jazz" data-language-autonym="Pälzisch" data-language-local-name="Palatine German" class="interlanguage-link-target"><span>Pälzisch</span></a></li><li class="interlanguage-link interwiki-pag mw-list-item"><a href="https://pag.wikipedia.org/wiki/Jazz" title="Jazz – Pangasinan" lang="pag" hreflang="pag" data-title="Jazz" data-language-autonym="Pangasinan" data-language-local-name="Pangasinan" class="interlanguage-link-target"><span>Pangasinan</span></a></li><li class="interlanguage-link interwiki-pnb mw-list-item"><a href="https://pnb.wikipedia.org/wiki/%D8%AC%D8%A7%D8%B2" title="جاز – Western Punjabi" lang="pnb" hreflang="pnb" data-title="جاز" data-language-autonym="پنجابی" data-language-local-name="Western Punjabi" class="interlanguage-link-target"><span>پنجابی</span></a></li><li class="interlanguage-link interwiki-pap mw-list-item"><a href="https://pap.wikipedia.org/wiki/Jazz" title="Jazz – Papiamento" lang="pap" hreflang="pap" data-title="Jazz" data-language-autonym="Papiamentu" data-language-local-name="Papiamento" class="interlanguage-link-target"><span>Papiamentu</span></a></li><li class="interlanguage-link interwiki-ps mw-list-item"><a href="https://ps.wikipedia.org/wiki/%D8%AC%D9%8E%D8%B2" title="جَز – Pashto" lang="ps" hreflang="ps" data-title="جَز" data-language-autonym="پښتو" data-language-local-name="Pashto" class="interlanguage-link-target"><span>پښتو</span></a></li><li class="interlanguage-link interwiki-jam mw-list-item"><a href="https://jam.wikipedia.org/wiki/Jaz" title="Jaz – Jamaican Creole English" lang="jam" hreflang="jam" data-title="Jaz" data-language-autonym="Patois" data-language-local-name="Jamaican Creole English" class="interlanguage-link-target"><span>Patois</span></a></li><li class="interlanguage-link interwiki-pcd mw-list-item"><a href="https://pcd.wikipedia.org/wiki/Djazz" title="Djazz – Picard" lang="pcd" hreflang="pcd" data-title="Djazz" data-language-autonym="Picard" data-language-local-name="Picard" class="interlanguage-link-target"><span>Picard</span></a></li><li class="interlanguage-link interwiki-nds mw-list-item"><a href="https://nds.wikipedia.org/wiki/Jazz" title="Jazz – Low German" lang="nds" hreflang="nds" data-title="Jazz" data-language-autonym="Plattdüütsch" data-language-local-name="Low German" class="interlanguage-link-target"><span>Plattdüütsch</span></a></li><li class="interlanguage-link interwiki-pl mw-list-item"><a href="https://pl.wikipedia.org/wiki/Jazz" title="Jazz – Polish" lang="pl" hreflang="pl" data-title="Jazz" data-language-autonym="Polski" data-language-local-name="Polish" class="interlanguage-link-target"><span>Polski</span></a></li><li class="interlanguage-link interwiki-pt mw-list-item"><a href="https://pt.wikipedia.org/wiki/Jazz" title="Jazz – Portuguese" lang="pt" hreflang="pt" data-title="Jazz" data-language-autonym="Português" data-language-local-name="Portuguese" class="interlanguage-link-target"><span>Português</span></a></li><li class="interlanguage-link interwiki-crh mw-list-item"><a href="https://crh.wikipedia.org/wiki/Caz" title="Caz – Crimean Tatar" lang="crh" hreflang="crh" data-title="Caz" data-language-autonym="Qırımtatarca" data-language-local-name="Crimean Tatar" class="interlanguage-link-target"><span>Qırımtatarca</span></a></li><li class="interlanguage-link interwiki-ro mw-list-item"><a href="https://ro.wikipedia.org/wiki/Jazz" title="Jazz – Romanian" lang="ro" hreflang="ro" data-title="Jazz" data-language-autonym="Română" data-language-local-name="Romanian" class="interlanguage-link-target"><span>Română</span></a></li><li class="interlanguage-link interwiki-rm mw-list-item"><a href="https://rm.wikipedia.org/wiki/Jazz" title="Jazz – Romansh" lang="rm" hreflang="rm" data-title="Jazz" data-language-autonym="Rumantsch" data-language-local-name="Romansh" class="interlanguage-link-target"><span>Rumantsch</span></a></li><li class="interlanguage-link interwiki-qu mw-list-item"><a href="https://qu.wikipedia.org/wiki/Jazz" title="Jazz – Quechua" lang="qu" hreflang="qu" data-title="Jazz" data-language-autonym="Runa Simi" data-language-local-name="Quechua" class="interlanguage-link-target"><span>Runa Simi</span></a></li><li class="interlanguage-link interwiki-rue mw-list-item"><a href="https://rue.wikipedia.org/wiki/%D0%94%D0%B6%D0%B5%D0%B7" title="Джез – Rusyn" lang="rue" hreflang="rue" data-title="Джез" data-language-autonym="Русиньскый" data-language-local-name="Rusyn" class="interlanguage-link-target"><span>Русиньскый</span></a></li><li class="interlanguage-link interwiki-ru mw-list-item"><a href="https://ru.wikipedia.org/wiki/%D0%94%D0%B6%D0%B0%D0%B7" title="Джаз – Russian" lang="ru" hreflang="ru" data-title="Джаз" data-language-autonym="Русский" data-language-local-name="Russian" class="interlanguage-link-target"><span>Русский</span></a></li><li class="interlanguage-link interwiki-sah mw-list-item"><a href="https://sah.wikipedia.org/wiki/%D0%94%D1%8C%D0%B0%D0%B7" title="Дьаз – Yakut" lang="sah" hreflang="sah" data-title="Дьаз" data-language-autonym="Саха тыла" data-language-local-name="Yakut" class="interlanguage-link-target"><span>Саха тыла</span></a></li><li class="interlanguage-link interwiki-sc mw-list-item"><a href="https://sc.wikipedia.org/wiki/Jazz" title="Jazz – Sardinian" lang="sc" hreflang="sc" data-title="Jazz" data-language-autonym="Sardu" data-language-local-name="Sardinian" class="interlanguage-link-target"><span>Sardu</span></a></li><li class="interlanguage-link interwiki-stq mw-list-item"><a href="https://stq.wikipedia.org/wiki/Jazz" title="Jazz – Saterland Frisian" lang="stq" hreflang="stq" data-title="Jazz" data-language-autonym="Seeltersk" data-language-local-name="Saterland Frisian" class="interlanguage-link-target"><span>Seeltersk</span></a></li><li class="interlanguage-link interwiki-sq mw-list-item"><a href="https://sq.wikipedia.org/wiki/Jazz" title="Jazz – Albanian" lang="sq" hreflang="sq" data-title="Jazz" data-language-autonym="Shqip" data-language-local-name="Albanian" class="interlanguage-link-target"><span>Shqip</span></a></li><li class="interlanguage-link interwiki-scn mw-list-item"><a href="https://scn.wikipedia.org/wiki/Jazz" title="Jazz – Sicilian" lang="scn" hreflang="scn" data-title="Jazz" data-language-autonym="Sicilianu" data-language-local-name="Sicilian" class="interlanguage-link-target"><span>Sicilianu</span></a></li><li class="interlanguage-link interwiki-simple mw-list-item"><a href="https://simple.wikipedia.org/wiki/Jazz" title="Jazz – Simple English" lang="en-simple" hreflang="en-simple" data-title="Jazz" data-language-autonym="Simple English" data-language-local-name="Simple English" class="interlanguage-link-target"><span>Simple English</span></a></li><li class="interlanguage-link interwiki-sk mw-list-item"><a href="https://sk.wikipedia.org/wiki/D%C5%BEez" title="Džez – Slovak" lang="sk" hreflang="sk" data-title="Džez" data-language-autonym="Slovenčina" data-language-local-name="Slovak" class="interlanguage-link-target"><span>Slovenčina</span></a></li><li class="interlanguage-link interwiki-sl mw-list-item"><a href="https://sl.wikipedia.org/wiki/Jazz" title="Jazz – Slovenian" lang="sl" hreflang="sl" data-title="Jazz" data-language-autonym="Slovenščina" data-language-local-name="Slovenian" class="interlanguage-link-target"><span>Slovenščina</span></a></li><li class="interlanguage-link interwiki-szl mw-list-item"><a href="https://szl.wikipedia.org/wiki/D%C5%BCez" title="Dżez – Silesian" lang="szl" hreflang="szl" data-title="Dżez" data-language-autonym="Ślůnski" data-language-local-name="Silesian" class="interlanguage-link-target"><span>Ślůnski</span></a></li><li class="interlanguage-link interwiki-ckb mw-list-item"><a href="https://ckb.wikipedia.org/wiki/%D8%AC%D8%A7%D8%B2" title="جاز – Central Kurdish" lang="ckb" hreflang="ckb" data-title="جاز" data-language-autonym="کوردی" data-language-local-name="Central Kurdish" class="interlanguage-link-target"><span>کوردی</span></a></li><li class="interlanguage-link interwiki-sr mw-list-item"><a href="https://sr.wikipedia.org/wiki/%D0%8F%D0%B5%D0%B7" title="Џез – Serbian" lang="sr" hreflang="sr" data-title="Џез" data-language-autonym="Српски / srpski" data-language-local-name="Serbian" class="interlanguage-link-target"><span>Српски / srpski</span></a></li><li class="interlanguage-link interwiki-sh mw-list-item"><a href="https://sh.wikipedia.org/wiki/Jazz" title="Jazz – Serbo-Croatian" lang="sh" hreflang="sh" data-title="Jazz" data-language-autonym="Srpskohrvatski / српскохрватски" data-language-local-name="Serbo-Croatian" class="interlanguage-link-target"><span>Srpskohrvatski / српскохрватски</span></a></li><li class="interlanguage-link interwiki-su mw-list-item"><a href="https://su.wikipedia.org/wiki/Jazz" title="Jazz – Sundanese" lang="su" hreflang="su" data-title="Jazz" data-language-autonym="Sunda" data-language-local-name="Sundanese" class="interlanguage-link-target"><span>Sunda</span></a></li><li class="interlanguage-link interwiki-fi mw-list-item"><a href="https://fi.wikipedia.org/wiki/Jazz" title="Jazz – Finnish" lang="fi" hreflang="fi" data-title="Jazz" data-language-autonym="Suomi" data-language-local-name="Finnish" class="interlanguage-link-target"><span>Suomi</span></a></li><li class="interlanguage-link interwiki-sv mw-list-item"><a href="https://sv.wikipedia.org/wiki/Jazz" title="Jazz – Swedish" lang="sv" hreflang="sv" data-title="Jazz" data-language-autonym="Svenska" data-language-local-name="Swedish" class="interlanguage-link-target"><span>Svenska</span></a></li><li class="interlanguage-link interwiki-tl mw-list-item"><a href="https://tl.wikipedia.org/wiki/Jazz" title="Jazz – Tagalog" lang="tl" hreflang="tl" data-title="Jazz" data-language-autonym="Tagalog" data-language-local-name="Tagalog" class="interlanguage-link-target"><span>Tagalog</span></a></li><li class="interlanguage-link interwiki-ta mw-list-item"><a href="https://ta.wikipedia.org/wiki/%E0%AE%9C%E0%AE%BE%E0%AE%B8%E0%AF%8D" title="ஜாஸ் – Tamil" lang="ta" hreflang="ta" data-title="ஜாஸ்" data-language-autonym="தமிழ்" data-language-local-name="Tamil" class="interlanguage-link-target"><span>தமிழ்</span></a></li><li class="interlanguage-link interwiki-tt mw-list-item"><a href="https://tt.wikipedia.org/wiki/%D0%94%D0%B6%D0%B0%D0%B7" title="Джаз – Tatar" lang="tt" hreflang="tt" data-title="Джаз" data-language-autonym="Татарча / tatarça" data-language-local-name="Tatar" class="interlanguage-link-target"><span>Татарча / tatarça</span></a></li><li class="interlanguage-link interwiki-te mw-list-item"><a href="https://te.wikipedia.org/wiki/%E0%B0%9C%E0%B0%BE%E0%B0%9C%E0%B1%8D" title="జాజ్ – Telugu" lang="te" hreflang="te" data-title="జాజ్" data-language-autonym="తెలుగు" data-language-local-name="Telugu" class="interlanguage-link-target"><span>తెలుగు</span></a></li><li class="interlanguage-link interwiki-th mw-list-item"><a href="https://th.wikipedia.org/wiki/%E0%B9%81%E0%B8%88%E0%B9%8A%E0%B8%AA" title="แจ๊ส – Thai" lang="th" hreflang="th" data-title="แจ๊ส" data-language-autonym="ไทย" data-language-local-name="Thai" class="interlanguage-link-target"><span>ไทย</span></a></li><li class="interlanguage-link interwiki-tr mw-list-item"><a href="https://tr.wikipedia.org/wiki/Caz" title="Caz – Turkish" lang="tr" hreflang="tr" data-title="Caz" data-language-autonym="Türkçe" data-language-local-name="Turkish" class="interlanguage-link-target"><span>Türkçe</span></a></li><li class="interlanguage-link interwiki-tyv mw-list-item"><a href="https://tyv.wikipedia.org/wiki/%D0%94%D0%B6%D0%B0%D0%B7" title="Джаз – Tuvinian" lang="tyv" hreflang="tyv" data-title="Джаз" data-language-autonym="Тыва дыл" data-language-local-name="Tuvinian" class="interlanguage-link-target"><span>Тыва дыл</span></a></li><li class="interlanguage-link interwiki-uk mw-list-item"><a href="https://uk.wikipedia.org/wiki/%D0%94%D0%B6%D0%B0%D0%B7" title="Джаз – Ukrainian" lang="uk" hreflang="uk" data-title="Джаз" data-language-autonym="Українська" data-language-local-name="Ukrainian" class="interlanguage-link-target"><span>Українська</span></a></li><li class="interlanguage-link interwiki-ur mw-list-item"><a href="https://ur.wikipedia.org/wiki/%D8%AC%D8%A7%D8%B2" title="جاز – Urdu" lang="ur" hreflang="ur" data-title="جاز" data-language-autonym="اردو" data-language-local-name="Urdu" class="interlanguage-link-target"><span>اردو</span></a></li><li class="interlanguage-link interwiki-vep mw-list-item"><a href="https://vep.wikipedia.org/wiki/D%C5%BEaz" title="Džaz – Veps" lang="vep" hreflang="vep" data-title="Džaz" data-language-autonym="Vepsän kel’" data-language-local-name="Veps" class="interlanguage-link-target"><span>Vepsän kel’</span></a></li><li class="interlanguage-link interwiki-vi mw-list-item"><a href="https://vi.wikipedia.org/wiki/Jazz" title="Jazz – Vietnamese" lang="vi" hreflang="vi" data-title="Jazz" data-language-autonym="Tiếng Việt" data-language-local-name="Vietnamese" class="interlanguage-link-target"><span>Tiếng Việt</span></a></li><li class="interlanguage-link interwiki-fiu-vro mw-list-item"><a href="https://fiu-vro.wikipedia.org/wiki/Ts%C3%A4ss" title="Tsäss – Võro" lang="vro" hreflang="vro" data-title="Tsäss" data-language-autonym="Võro" data-language-local-name="Võro" class="interlanguage-link-target"><span>Võro</span></a></li><li class="interlanguage-link interwiki-war mw-list-item"><a href="https://war.wikipedia.org/wiki/Jazz" title="Jazz – Waray" lang="war" hreflang="war" data-title="Jazz" data-language-autonym="Winaray" data-language-local-name="Waray" class="interlanguage-link-target"><span>Winaray</span></a></li><li class="interlanguage-link interwiki-wuu mw-list-item"><a href="https://wuu.wikipedia.org/wiki/%E7%88%B5%E5%A3%AB%E4%B9%90" title="爵士乐 – Wu" lang="wuu" hreflang="wuu" data-title="爵士乐" data-language-autonym="吴语" data-language-local-name="Wu" class="interlanguage-link-target"><span>吴语</span></a></li><li class="interlanguage-link interwiki-yi mw-list-item"><a href="https://yi.wikipedia.org/wiki/%D7%93%D7%96%D7%A9%D7%A2%D7%96" title="דזשעז – Yiddish" lang="yi" hreflang="yi" data-title="דזשעז" data-language-autonym="ייִדיש" data-language-local-name="Yiddish" class="interlanguage-link-target"><span>ייִדיש</span></a></li><li class="interlanguage-link interwiki-yo mw-list-item"><a href="https://yo.wikipedia.org/wiki/Jazz" title="Jazz – Yoruba" lang="yo" hreflang="yo" data-title="Jazz" data-language-autonym="Yorùbá" data-language-local-name="Yoruba" class="interlanguage-link-target"><span>Yorùbá</span></a></li><li class="interlanguage-link interwiki-zh-yue mw-list-item"><a href="https://zh-yue.wikipedia.org/wiki/%E7%88%B5%E5%A3%AB%E6%A8%82" title="爵士樂 – Cantonese" lang="yue" hreflang="yue" data-title="爵士樂" data-language-autonym="粵語" data-language-local-name="Cantonese" class="interlanguage-link-target"><span>粵語</span></a></li><li class="interlanguage-link interwiki-diq mw-list-item"><a href="https://diq.wikipedia.org/wiki/Caz" title="Caz – Zazaki" lang="diq" hreflang="diq" data-title="Caz" data-language-autonym="Zazaki" data-language-local-name="Zazaki" class="interlanguage-link-target"><span>Zazaki</span></a></li><li class="interlanguage-link interwiki-bat-smg mw-list-item"><a href="https://bat-smg.wikipedia.org/wiki/D%C5%BE%C4%93zos" title="Džēzos – Samogitian" lang="sgs" hreflang="sgs" data-title="Džēzos" data-language-autonym="Žemaitėška" data-language-local-name="Samogitian" class="interlanguage-link-target"><span>Žemaitėška</span></a></li><li class="interlanguage-link interwiki-zh mw-list-item"><a href="https://zh.wikipedia.org/wiki/%E7%88%B5%E5%A3%AB%E4%B9%90" title="爵士乐 – Chinese" lang="zh" hreflang="zh" data-title="爵士乐" data-language-autonym="中文" data-language-local-name="Chinese" class="interlanguage-link-target"><span>中文</span></a></li><li class="interlanguage-link interwiki-tly mw-list-item"><a href="https://tly.wikipedia.org/wiki/%C4%8Caz" title="Čaz – Talysh" lang="tly" hreflang="tly" data-title="Čaz" data-language-autonym="Tolışi" data-language-local-name="Talysh" class="interlanguage-link-target"><span>Tolışi</span></a></li> </ul> <div class="after-portlet after-portlet-lang"><span class="wb-langlinks-edit wb-langlinks-link"><a href="https://www.wikidata.org/wiki/Special:EntityPage/Q8341#sitelinks-wikipedia" title="Edit interlanguage links" class="wbc-editpage">Edit links</a></span></div> </div> </div> </div> </header> <div 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<div class="mw-indicators"> <div id="mw-indicator-pp-default" class="mw-indicator"><div class="mw-parser-output"><span typeof="mw:File"><a href="/wiki/Wikipedia:Protection_policy#semi" title="This article is semi-protected."><img alt="Page semi-protected" src="//upload.wikimedia.org/wikipedia/en/thumb/1/1b/Semi-protection-shackle.svg/20px-Semi-protection-shackle.svg.png" decoding="async" width="20" height="20" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/en/thumb/1/1b/Semi-protection-shackle.svg/30px-Semi-protection-shackle.svg.png 1.5x, //upload.wikimedia.org/wikipedia/en/thumb/1/1b/Semi-protection-shackle.svg/40px-Semi-protection-shackle.svg.png 2x" data-file-width="512" data-file-height="512" /></a></span></div></div> </div> <div id="siteSub" class="noprint">From Wikipedia, the free encyclopedia</div> </div> <div id="contentSub"><div id="mw-content-subtitle"></div></div> <div id="mw-content-text" class="mw-body-content"><div class="mw-content-ltr mw-parser-output" lang="en" dir="ltr"><div class="shortdescription nomobile noexcerpt noprint searchaux" style="display:none">Musical style and genre</div> <style data-mw-deduplicate="TemplateStyles:r1236090951">.mw-parser-output .hatnote{font-style:italic}.mw-parser-output div.hatnote{padding-left:1.6em;margin-bottom:0.5em}.mw-parser-output .hatnote i{font-style:normal}.mw-parser-output .hatnote+link+.hatnote{margin-top:-0.5em}@media print{body.ns-0 .mw-parser-output .hatnote{display:none!important}}</style><div role="note" class="hatnote navigation-not-searchable">For other uses, see <a href="/wiki/Jazz_(disambiguation)" class="mw-disambig" title="Jazz (disambiguation)">Jazz (disambiguation)</a>.</div> <p class="mw-empty-elt"> </p> <style data-mw-deduplicate="TemplateStyles:r1129693374">.mw-parser-output .hlist dl,.mw-parser-output .hlist ol,.mw-parser-output .hlist ul{margin:0;padding:0}.mw-parser-output .hlist dd,.mw-parser-output .hlist dt,.mw-parser-output .hlist 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.infobox-table>caption{display:table-caption!important}body.skin--responsive .mw-parser-output .infobox-table>tbody{display:table-row-group}body.skin--responsive .mw-parser-output .infobox-table tr{display:table-row!important}body.skin--responsive .mw-parser-output .infobox-table th,body.skin--responsive .mw-parser-output .infobox-table td{padding-left:inherit;padding-right:inherit}}</style><table class="infobox nowraplinks"><tbody><tr><th colspan="2" class="infobox-above">Jazz</th></tr><tr><th scope="row" class="infobox-label">Etymology</th><td class="infobox-data">See: <a href="/wiki/Jazz_(word)" title="Jazz (word)">Jazz (word)</a></td></tr><tr><th scope="row" class="infobox-label">Stylistic origins</th><td class="infobox-data hlist"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1129693374"><div class="hlist"> <ul><li><a href="/wiki/Blues" title="Blues">Blues</a></li> <li><a href="/wiki/Ragtime" title="Ragtime">ragtime</a> (including <a href="/wiki/Classical_ragtime" class="mw-redirect" title="Classical ragtime">classical ragtime</a>)</li> <li><a href="/wiki/Spirituals" title="Spirituals">spirituals</a></li> <li><a href="/wiki/Folk_music" title="Folk music">folk</a></li> <li><a href="/wiki/American_march_music" title="American march music">marches</a></li> <li><a href="/wiki/Classical_music" title="Classical music">classical European music</a></li> <li><a href="/wiki/West_African_music" class="mw-redirect" title="West African music">West African music</a></li></ul> </div></td></tr><tr><th scope="row" class="infobox-label">Cultural origins</th><td class="infobox-data hlist">Late 19th century, <a href="/wiki/New_Orleans" title="New Orleans">New Orleans</a>, U.S.</td></tr><tr><th scope="row" class="infobox-label">Typical instruments</th><td class="infobox-data hlist"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1129693374"><div class="hlist"><ul><li><a href="/wiki/Double_bass" title="Double bass">Double bass</a></li><li><a href="/wiki/Drum_kit" title="Drum kit">drums</a></li><li><a href="/wiki/Guitar" title="Guitar">guitar</a> (typically <a href="/wiki/Electric_guitar" title="Electric guitar">electric guitar</a>)</li><li><a href="/wiki/Piano" title="Piano">piano</a></li><li><a href="/wiki/Saxophone" title="Saxophone">saxophone</a></li><li><a href="/wiki/Trumpet" title="Trumpet">trumpet</a></li><li><a href="/wiki/Clarinet" title="Clarinet">clarinet</a></li><li><a href="/wiki/Trombone" title="Trombone">trombone</a></li><li><a href="/wiki/Tuba" title="Tuba">tuba</a></li><li><a href="/wiki/Singing" title="Singing">vocals</a></li><li><a href="/wiki/Vibraphone" title="Vibraphone">vibraphone</a></li><li><a href="/wiki/Hammond_organ" title="Hammond organ">Hammond organ</a></li><li><a href="/wiki/Harmonica" title="Harmonica">harmonica</a></li></ul></div></td></tr><tr><th scope="row" class="infobox-label">Derivative forms</th><td class="infobox-data hlist"> <ul><li><a href="/wiki/Rock_and_roll" title="Rock and roll">Rock and roll</a></li> <li><a href="/wiki/Rock_music" title="Rock music">rock</a></li> <li><a href="/wiki/Jump_blues" title="Jump blues">jump blues</a></li> <li><a href="/wiki/Traditional_pop" title="Traditional pop">traditional pop</a></li> <li><a href="/wiki/Reggae" title="Reggae">reggae</a></li> <li><a href="/wiki/Rhythm_and_blues" title="Rhythm and blues">rhythm and blues</a></li> <li><a href="/wiki/Ska" title="Ska">ska</a></li> <li><a href="/wiki/Funk" title="Funk">funk</a></li> <li><a href="/wiki/Hip_hop_music" title="Hip hop music">hip hop</a></li> <li><a href="/wiki/House_music" title="House music">house</a></li> <li><a href="/wiki/Neo_soul" title="Neo soul">neo soul</a></li> <li><a href="/wiki/Lounge_music" title="Lounge music">lounge</a></li></ul> </td></tr><tr><th colspan="2" class="infobox-header">Subgenres</th></tr><tr><td colspan="2" class="infobox-full-data hlist"><style data-mw-deduplicate="TemplateStyles:r1214851843">.mw-parser-output .hidden-begin{box-sizing:border-box;width:100%;padding:5px;border:none;font-size:95%}.mw-parser-output .hidden-title{font-weight:bold;line-height:1.6;text-align:left}.mw-parser-output .hidden-content{text-align:left}@media all and (max-width:500px){.mw-parser-output .hidden-begin{width:auto!important;clear:none!important;float:none!important}}</style><div class="hidden-begin mw-collapsible mw-collapsed" style=""><div class="hidden-title skin-nightmode-reset-color" style="text-align:center;">Subgenres</div><div class="hidden-content mw-collapsible-content" style=""> <ul><li><a href="/wiki/Jazz_fusion" title="Jazz fusion">jazz fusion</a></li> <li><a href="/wiki/Jazz_poetry" title="Jazz poetry">jazz poetry</a></li> <li><a href="/wiki/Avant-garde_jazz" title="Avant-garde jazz">Avant-garde jazz</a></li> <li><a href="/wiki/Bebop" title="Bebop">bebop</a></li> <li><a href="/wiki/Big_band" title="Big band">big band</a></li> <li><a href="/wiki/Chamber_jazz" title="Chamber jazz">chamber jazz</a></li> <li><a href="/wiki/Cool_jazz" title="Cool jazz">cool jazz</a></li> <li><a href="/wiki/Free_jazz" title="Free jazz">free jazz</a></li> <li><a href="/wiki/Gypsy_jazz" title="Gypsy jazz">gypsy jazz</a></li> <li><a href="/wiki/Hard_bop" title="Hard bop">hard bop</a></li> <li><a href="/wiki/Latin_jazz" title="Latin jazz">Latin jazz</a></li> <li><a href="/wiki/Mainstream_jazz" title="Mainstream jazz">mainstream jazz</a></li> <li><a href="/wiki/Modal_jazz" title="Modal jazz">modal jazz</a></li> <li><a href="/wiki/M-Base" title="M-Base">M-Base</a></li> <li><a href="/wiki/Neo-bop_jazz" class="mw-redirect" title="Neo-bop jazz">neo-bop</a></li> <li><a href="/wiki/Orchestral_jazz" title="Orchestral jazz">orchestral jazz</a></li> <li><a href="/wiki/Post-bop" title="Post-bop">post-bop</a></li> <li><a href="/wiki/Progressive_jazz" class="mw-redirect" title="Progressive jazz">progressive jazz</a></li> <li><a href="/wiki/Soul_jazz" title="Soul jazz">soul jazz</a></li> <li><a href="/wiki/Straight-ahead_jazz" title="Straight-ahead jazz">straight-ahead jazz</a></li> <li><a href="/wiki/Swing_music" title="Swing music">swing</a></li> <li><a href="/wiki/Third_stream" title="Third stream">third stream</a></li> <li><a href="/wiki/Trad_jazz" title="Trad jazz">traditional jazz</a></li></ul></div></div><br />(<a href="/wiki/List_of_jazz_genres" title="List of jazz genres">complete list</a>) </td></tr><tr><th colspan="2" class="infobox-header">Fusion genres</th></tr><tr><td colspan="2" class="infobox-full-data hlist"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1214851843"><div class="hidden-begin mw-collapsible mw-collapsed" style=""><div class="hidden-title skin-nightmode-reset-color" style="text-align:center;">Fusion genres</div><div class="hidden-content mw-collapsible-content" style=""> <ul><li><a href="/wiki/Acid_jazz" title="Acid jazz">Acid jazz</a></li> <li><a href="/wiki/Afrobeat" title="Afrobeat">Afrobeat</a></li> <li><a href="/wiki/Afro_fusion" title="Afro fusion">Afro fusion</a></li> <li><a href="/wiki/Bluegrass_music" title="Bluegrass music">bluegrass</a></li> <li><a href="/wiki/Bossa_nova" title="Bossa nova">bossa nova</a></li> <li><a href="/wiki/Dansband" title="Dansband">dansband</a></li> <li><a href="/wiki/Folk_jazz" title="Folk jazz">folk jazz</a></li> <li><a href="/wiki/Free_funk" title="Free funk">free funk</a></li> <li><a href="/wiki/Humppa" title="Humppa">humppa</a></li> <li><a href="/wiki/Indo_jazz" title="Indo jazz">Indo jazz</a></li> <li><a href="/wiki/Jam_band" title="Jam band">jam band</a></li> <li><a href="/wiki/Jazzcore" class="mw-redirect" title="Jazzcore">jazzcore</a></li> <li><a href="/wiki/Jazz-funk" title="Jazz-funk">jazz-funk</a></li> <li><a href="/wiki/Jazz_fusion" title="Jazz fusion">jazz fusion</a></li> <li><a href="/wiki/Jazz_rap" title="Jazz rap">jazz rap</a></li> <li><a href="/wiki/Kwela" title="Kwela">kwela</a></li> <li><a href="/wiki/Mambo_(music)" title="Mambo (music)">Mambo</a></li> <li><a href="/wiki/Manila_Sound" class="mw-redirect" title="Manila Sound">Manila Sound</a></li> <li><a href="/wiki/Nu_jazz" title="Nu jazz">nu jazz</a></li> <li><a href="/wiki/Neo_soul" title="Neo soul">neo soul</a></li> <li><a href="/wiki/Punk_jazz" title="Punk jazz">punk jazz</a></li> <li><a href="/wiki/Ska_jazz" title="Ska jazz">ska jazz</a></li> <li><a href="/wiki/Smooth_jazz" title="Smooth jazz">smooth jazz</a></li> <li><a href="/wiki/Swing_revival" title="Swing revival">swing revival</a></li> <li><a href="/wiki/Western_swing" title="Western swing">Western swing</a></li> <li><a href="/wiki/World_fusion" class="mw-redirect" title="World fusion">world fusion</a></li></ul></div></div> </td></tr><tr><th colspan="2" class="infobox-header">Regional scenes</th></tr><tr><td colspan="2" class="infobox-full-data hlist"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1214851843"><div class="hidden-begin mw-collapsible mw-collapsed" style=""><div class="hidden-title skin-nightmode-reset-color" style="text-align:center;">Regional scenes</div><div class="hidden-content mw-collapsible-content" style=""> <ul><li><a href="/wiki/Australian_jazz" title="Australian jazz">Australia</a></li> <li><a href="/wiki/Armenian_jazz" title="Armenian jazz">Armenia</a></li> <li><a href="/wiki/Azerbaijani_jazz" title="Azerbaijani jazz">Azerbaijan</a></li> <li><a href="/wiki/Balkan_jazz" title="Balkan jazz">Balkans</a> (<a href="/wiki/Bulgarian_jazz" title="Bulgarian jazz">Bulgaria</a>)</li> <li><a href="/wiki/Baltimore_jazz" class="mw-redirect" title="Baltimore jazz">Baltimore</a></li> <li><a href="/wiki/Belgian_jazz" title="Belgian jazz">Belgium</a></li> <li><a href="/wiki/Brazilian_jazz" title="Brazilian jazz">Brazil</a></li> <li><a href="/wiki/Canadian_jazz" title="Canadian jazz">Canada</a></li> <li><a href="/wiki/Dixieland#Chicago_style" class="mw-redirect" title="Dixieland">Chicago</a></li> <li><a href="/wiki/Cuban_jazz" class="mw-redirect" title="Cuban jazz">Cuba</a></li> <li><a href="/wiki/Danish_jazz" title="Danish jazz">Denmark</a></li> <li><a href="/wiki/French_jazz" title="French jazz">France</a></li> <li><a href="/wiki/German_jazz" title="German jazz">Germany</a></li> <li><a href="/wiki/Mini-jazz" title="Mini-jazz">Haiti</a></li> <li><a href="/wiki/Indian_jazz" class="mw-redirect" title="Indian jazz">India</a></li> <li><a href="/wiki/Iranian_jazz" title="Iranian jazz">Iran</a></li> <li><a href="/wiki/Italian_jazz" title="Italian jazz">Italy</a></li> <li><a href="/wiki/Japanese_jazz" title="Japanese jazz">Japan</a></li> <li><a href="/wiki/Kansas_City_jazz" title="Kansas City jazz">Kansas City</a></li> <li><a href="/wiki/Music_of_Malawi" title="Music of Malawi">Malawi</a></li> <li><a href="/wiki/Mexican_jazz" class="mw-redirect" title="Mexican jazz">Mexico</a></li> <li><a href="/wiki/Dutch_jazz" title="Dutch jazz">Netherlands</a></li> <li><a href="/wiki/Dixieland" class="mw-redirect" title="Dixieland">New Orleans</a></li> <li><a href="/wiki/Orchestral_jazz" title="Orchestral jazz">New York City</a></li> <li><a href="/wiki/Polish_jazz" title="Polish jazz">Poland</a></li> <li><a href="/wiki/South_African_jazz" title="South African jazz">South Africa</a> (<a href="/wiki/Cape_jazz" title="Cape jazz">Cape jazz</a>)</li> <li><a href="/wiki/Spanish_jazz" title="Spanish jazz">Spain</a></li> <li><a href="/wiki/Swedish_jazz" title="Swedish jazz">Sweden</a></li> <li><a href="/wiki/British_jazz" title="British jazz">UK</a></li> <li><a href="/wiki/West_Coast_jazz" title="West Coast jazz">U.S. West Coast</a></li> <li><a href="/wiki/Music_of_Washington,_D.C." title="Music of Washington, D.C.">Washington, D.C.</a></li></ul></div></div> </td></tr><tr><th colspan="2" class="infobox-header">Other topics</th></tr><tr><td colspan="2" class="infobox-full-data hlist"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1129693374"><div class="hlist"> <ul><li><a href="/wiki/List_of_jazz_clubs" class="mw-redirect" title="List of jazz clubs">Jazz clubs</a></li> <li><a href="/wiki/Jazz_standard" title="Jazz standard">Jazz standard</a></li> <li><a href="/wiki/Jazz_(word)" title="Jazz (word)">Jazz (word)</a></li></ul> </div></td></tr><tr><td colspan="2" class="infobox-below" style="border-top: solid 1px #aaa; text-align: center;"><span typeof="mw:File"><span><img alt="" src="//upload.wikimedia.org/wikipedia/commons/thumb/9/98/Ambox_current_red.svg/31px-Ambox_current_red.svg.png" decoding="async" width="31" height="25" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/9/98/Ambox_current_red.svg/47px-Ambox_current_red.svg.png 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/9/98/Ambox_current_red.svg/62px-Ambox_current_red.svg.png 2x" data-file-width="360" data-file-height="290" /></span></span> <i><a href="/wiki/2024_in_jazz" title="2024 in jazz">2024 in jazz</a></i></td></tr></tbody></table> <p><b>Jazz</b> is a <a href="/wiki/Music_genre" title="Music genre">music genre</a> that originated in the <a href="/wiki/African_Americans" title="African Americans">African-American</a> communities of <a href="/wiki/New_Orleans" title="New Orleans">New Orleans</a>, <a href="/wiki/Louisiana" title="Louisiana">Louisiana</a>, in the late 19th and early 20th centuries, with its roots in <a href="/wiki/Blues" title="Blues">blues</a>, <a href="/wiki/Ragtime" title="Ragtime">ragtime</a>, European <a href="/wiki/Harmony" title="Harmony">harmony</a>, African rhythmic rituals, <a href="/wiki/Spirituals" title="Spirituals">spirituals</a>, <a href="/wiki/Hymns" class="mw-redirect" title="Hymns">hymns</a>, <a href="/wiki/March_(music)" title="March (music)">marches</a>, <a href="/wiki/Vaudeville" title="Vaudeville">vaudeville</a> song, and <a href="/wiki/Dance_music" title="Dance music">dance music</a>. Since the 1920s <a href="/wiki/Jazz_Age" title="Jazz Age">Jazz Age</a>, it has been recognized as a major form of musical expression in <a href="/wiki/Traditional_music" class="mw-redirect" title="Traditional music">traditional</a> and <a href="/wiki/Popular_music" title="Popular music">popular music</a>. Jazz is characterized by <a href="/wiki/Swung_note" class="mw-redirect" title="Swung note">swing</a> and <a href="/wiki/Blue_note" title="Blue note">blue notes</a>, complex <a href="/wiki/Chord_(music)" title="Chord (music)">chords</a>, <a href="/wiki/Call_and_response_(music)" title="Call and response (music)">call and response vocals</a>, <a href="/wiki/Polyrhythm" title="Polyrhythm">polyrhythms</a> and <a href="/wiki/Jazz_improvisation" title="Jazz improvisation">improvisation</a>. </p><p>As jazz spread around the world, it drew on national, regional, and local musical cultures, which gave rise to different styles. <a href="/wiki/Dixieland" class="mw-redirect" title="Dixieland">New Orleans jazz</a> began in the early 1910s, combining earlier <a href="/wiki/Brass_band" title="Brass band">brass band</a> marches, French <a href="/wiki/Quadrille" title="Quadrille">quadrilles</a>, <a href="/wiki/Biguine" title="Biguine">biguine</a>, ragtime and blues with collective <a href="/wiki/Polyphony" title="Polyphony">polyphonic</a> <a href="/wiki/Musical_improvisation" title="Musical improvisation">improvisation</a>. However, jazz did not begin as a single musical tradition in New Orleans or elsewhere.<sup id="cite_ref-Hennessey_1-0" class="reference"><a href="#cite_note-Hennessey-1"><span class="cite-bracket">[</span>1<span class="cite-bracket">]</span></a></sup> In the 1930s, arranged dance-oriented <a href="/wiki/Swing_(music)" class="mw-redirect" title="Swing (music)">swing</a> <a href="/wiki/Big_band" title="Big band">big bands</a>, <a href="/wiki/Kansas_City_jazz" title="Kansas City jazz">Kansas City jazz</a> (a hard-swinging, bluesy, improvisational style), and <a href="/wiki/Gypsy_jazz" title="Gypsy jazz">gypsy jazz</a> (a style that emphasized <a href="/wiki/Bal-musette" title="Bal-musette">musette</a> waltzes) were the prominent styles. <a href="/wiki/Bebop" title="Bebop">Bebop</a> 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. <a href="/wiki/Cool_jazz" title="Cool jazz">Cool jazz</a> developed near the end of the 1940s, introducing calmer, smoother sounds and long, linear melodic lines.<sup id="cite_ref-2" class="reference"><a href="#cite_note-2"><span class="cite-bracket">[</span>2<span class="cite-bracket">]</span></a></sup> </p><p>The mid-1950s saw the emergence of <a href="/wiki/Hard_bop" title="Hard bop">hard bop</a>, which introduced influences from <a href="/wiki/Rhythm_and_blues" title="Rhythm and blues">rhythm and blues</a>, <a href="/wiki/Gospel_music" title="Gospel music">gospel</a>, and blues to small groups and particularly to saxophone and piano. <a href="/wiki/Modal_jazz" title="Modal jazz">Modal jazz</a> developed in the late 1950s, using the <a href="/wiki/Musical_mode" class="mw-redirect" title="Musical mode">mode</a>, or musical scale, as the basis of musical structure and improvisation, as did <a href="/wiki/Free_jazz" title="Free jazz">free jazz</a>, which explored playing without regular meter, beat and formal structures. <a href="/wiki/Jazz_fusion" title="Jazz fusion">Jazz-rock fusion</a> appeared in the late 1960s and early 1970s, combining jazz improvisation with <a href="/wiki/Rock_music" title="Rock music">rock music</a>'s rhythms, electric instruments, and highly amplified stage sound. In the early 1980s, a commercial form of jazz fusion called <a href="/wiki/Smooth_jazz" title="Smooth jazz">smooth jazz</a> became successful, garnering significant radio airplay. Other styles and genres abound in the 21st century, such as <a href="/wiki/Latin_jazz" title="Latin jazz">Latin</a> and <a href="/wiki/Afro-Cuban_jazz" title="Afro-Cuban jazz">Afro-Cuban jazz</a>. </p> <style data-mw-deduplicate="TemplateStyles:r886046785">.mw-parser-output .toclimit-2 .toclevel-1 ul,.mw-parser-output .toclimit-3 .toclevel-2 ul,.mw-parser-output .toclimit-4 .toclevel-3 ul,.mw-parser-output .toclimit-5 .toclevel-4 ul,.mw-parser-output .toclimit-6 .toclevel-5 ul,.mw-parser-output .toclimit-7 .toclevel-6 ul{display:none}</style><div class="toclimit-3"><meta property="mw:PageProp/toc" /></div> <div class="mw-heading mw-heading2"><h2 id="Etymology_and_definition"><span id="Definition"></span> Etymology and definition</h2></div> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1236090951"><div role="note" class="hatnote navigation-not-searchable">Main article: <a href="/wiki/Jazz_(word)" title="Jazz (word)"><i>Jazz</i> (word)</a></div> <figure class="mw-default-size" typeof="mw:File/Thumb"><a href="/wiki/File:EubieBlake.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/e/eb/EubieBlake.jpg" decoding="async" width="200" height="244" class="mw-file-element" data-file-width="200" data-file-height="244" /></a><figcaption>American jazz composer, lyricist, and pianist <a href="/wiki/Eubie_Blake" title="Eubie Blake">Eubie Blake</a> made an early contribution to the genre's etymology.</figcaption></figure> <p>The origin of the word <i><a href="/wiki/Jazz_(word)" title="Jazz (word)">jazz</a></i> has resulted in considerable research, and its history is well documented. It is believed to be related to <i>jasm</i>, a slang term dating back to 1860 meaning <span class="gloss-quot">'</span><span class="gloss-text">pep, energy</span><span class="gloss-quot">'</span>.<sup id="cite_ref-baseball_3-0" class="reference"><a href="#cite_note-baseball-3"><span class="cite-bracket">[</span>3<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-:2_4-0" class="reference"><a href="#cite_note-:2-4"><span class="cite-bracket">[</span>4<span class="cite-bracket">]</span></a></sup> The earliest written record of the word is in a 1912 article in the <i><a href="/wiki/Los_Angeles_Times" title="Los Angeles Times">Los Angeles Times</a></i> 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".<sup id="cite_ref-baseball_3-1" class="reference"><a href="#cite_note-baseball-3"><span class="cite-bracket">[</span>3<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-:2_4-1" class="reference"><a href="#cite_note-:2-4"><span class="cite-bracket">[</span>4<span class="cite-bracket">]</span></a></sup> </p><p>The use of the word in a musical context was documented as early as 1915 in the <i><a href="/wiki/Chicago_Daily_Tribune" class="mw-redirect" title="Chicago Daily Tribune">Chicago Daily Tribune</a>.</i><sup id="cite_ref-:2_4-2" class="reference"><a href="#cite_note-:2-4"><span class="cite-bracket">[</span>4<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-CDT_5-0" class="reference"><a href="#cite_note-CDT-5"><span class="cite-bracket">[</span>5<span class="cite-bracket">]</span></a></sup> Its first documented use in a musical context in New Orleans was in a November 14, 1916, <i><a href="/wiki/Times-Picayune" class="mw-redirect" title="Times-Picayune">Times-Picayune</a></i> article about "jas bands".<sup id="cite_ref-6" class="reference"><a href="#cite_note-6"><span class="cite-bracket">[</span>6<span class="cite-bracket">]</span></a></sup> In an interview with <a href="/wiki/National_Public_Radio" class="mw-redirect" title="National Public Radio">National Public Radio</a>, musician <a href="/wiki/Eubie_Blake" title="Eubie Blake">Eubie Blake</a> 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."<sup id="cite_ref-Vitale_7-0" class="reference"><a href="#cite_note-Vitale-7"><span class="cite-bracket">[</span>7<span class="cite-bracket">]</span></a></sup> The <a href="/wiki/American_Dialect_Society" title="American Dialect Society">American Dialect Society</a> named it the <a href="/wiki/Word_of_the_year" title="Word of the year">Word of the 20th Century</a>.<sup id="cite_ref-century_8-0" class="reference"><a href="#cite_note-century-8"><span class="cite-bracket">[</span>8<span class="cite-bracket">]</span></a></sup> </p> <figure class="mw-default-size" typeof="mw:File/Thumb"><a href="/wiki/File:Albert_Gleizes,_1915,_Composition_pour_Jazz,_oil_on_cardboard,_73_x_73_cm,_Solomon_R._Guggenheim_Museum,_New_York.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/0/03/Albert_Gleizes%2C_1915%2C_Composition_pour_Jazz%2C_oil_on_cardboard%2C_73_x_73_cm%2C_Solomon_R._Guggenheim_Museum%2C_New_York.jpg/220px-Albert_Gleizes%2C_1915%2C_Composition_pour_Jazz%2C_oil_on_cardboard%2C_73_x_73_cm%2C_Solomon_R._Guggenheim_Museum%2C_New_York.jpg" decoding="async" width="220" height="220" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/0/03/Albert_Gleizes%2C_1915%2C_Composition_pour_Jazz%2C_oil_on_cardboard%2C_73_x_73_cm%2C_Solomon_R._Guggenheim_Museum%2C_New_York.jpg/330px-Albert_Gleizes%2C_1915%2C_Composition_pour_Jazz%2C_oil_on_cardboard%2C_73_x_73_cm%2C_Solomon_R._Guggenheim_Museum%2C_New_York.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/0/03/Albert_Gleizes%2C_1915%2C_Composition_pour_Jazz%2C_oil_on_cardboard%2C_73_x_73_cm%2C_Solomon_R._Guggenheim_Museum%2C_New_York.jpg/440px-Albert_Gleizes%2C_1915%2C_Composition_pour_Jazz%2C_oil_on_cardboard%2C_73_x_73_cm%2C_Solomon_R._Guggenheim_Museum%2C_New_York.jpg 2x" data-file-width="3993" data-file-height="3999" /></a><figcaption><a href="/wiki/Albert_Gleizes" title="Albert Gleizes">Albert Gleizes</a>, 1915, <i><a href="/wiki/Composition_for_%22Jazz%22" title="Composition for "Jazz"">Composition for "Jazz"</a></i> from the Solomon R. Guggenheim Museum, New York</figcaption></figure> <p>Jazz is difficult to define because it encompasses a wide range of music spanning a period of over 100 years, from <a href="/wiki/Ragtime" title="Ragtime">ragtime</a> to <a href="/wiki/Rock_music" title="Rock music">rock</a>-infused <a href="/wiki/Jazz_fusion" title="Jazz fusion">fusion</a>. Attempts have been made to define jazz from the perspective of other musical traditions, such as European music history or African music. But critic <a href="/wiki/Joachim-Ernst_Berendt" title="Joachim-Ernst Berendt">Joachim-Ernst Berendt</a> argues that its terms of reference and its definition should be broader,<sup id="cite_ref-Joachim_E._Berendt_1981._Page_371_9-0" class="reference"><a href="#cite_note-Joachim_E._Berendt_1981._Page_371-9"><span class="cite-bracket">[</span>9<span class="cite-bracket">]</span></a></sup> defining jazz as a "form of <a href="/wiki/Art_music" title="Art music">art music</a> which originated in the United States through the confrontation of the Negro with European music"<sup id="cite_ref-Berendt1964_10-0" class="reference"><a href="#cite_note-Berendt1964-10"><span class="cite-bracket">[</span>10<span class="cite-bracket">]</span></a></sup> and arguing that it differs from European music in that jazz has a "special relationship to time defined as 'swing<span style="padding-right:.15em;">'</span>". 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".<sup id="cite_ref-Joachim_E._Berendt_1981._Page_371_9-1" class="reference"><a href="#cite_note-Joachim_E._Berendt_1981._Page_371-9"><span class="cite-bracket">[</span>9<span class="cite-bracket">]</span></a></sup> </p><p>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".<sup id="cite_ref-Elsdon_11-0" class="reference"><a href="#cite_note-Elsdon-11"><span class="cite-bracket">[</span>11<span class="cite-bracket">]</span></a></sup> Krin Gibbard argued that "jazz is a construct" which designates "a number of musics with enough in common to be understood as part of a coherent tradition".<sup id="cite_ref-12" class="reference"><a href="#cite_note-12"><span class="cite-bracket">[</span>12<span class="cite-bracket">]</span></a></sup> <a href="/wiki/Duke_Ellington" title="Duke Ellington">Duke Ellington</a>, one of jazz's most famous figures, said, "It's all music."<sup id="cite_ref-13" class="reference"><a href="#cite_note-13"><span class="cite-bracket">[</span>13<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading2"><h2 id="Elements">Elements</h2></div> <div class="mw-heading mw-heading3"><h3 id="Improvisation">Improvisation</h3></div> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1236090951"><div role="note" class="hatnote navigation-not-searchable">Main article: <a href="/wiki/Jazz_improvisation" title="Jazz improvisation">Jazz improvisation</a></div> <p>Although jazz is considered difficult to define, in part because it contains many subgenres, <a href="/wiki/Musical_improvisation" title="Musical improvisation">improvisation</a> is one of its defining elements. The centrality of improvisation is attributed to the influence of earlier forms of music such as <a href="/wiki/Blues" title="Blues">blues</a>, a form of folk music which arose in part from the <a href="/wiki/Work_song" title="Work song">work songs</a> and <a href="/wiki/Field_holler" title="Field holler">field hollers</a> of African-American slaves on plantations. These work songs were commonly structured around a repetitive <a href="/wiki/Call_and_response_(music)" title="Call and response (music)">call-and-response</a> pattern, but early blues was also improvisational. <a href="/wiki/Classical_music" title="Classical music">Classical music</a> performance is evaluated more by its fidelity to the <a href="/wiki/Sheet_music" title="Sheet music">musical score</a>, 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.<sup id="cite_ref-FOOTNOTEGiddins199870_14-0" class="reference"><a href="#cite_note-FOOTNOTEGiddins199870-14"><span class="cite-bracket">[</span>14<span class="cite-bracket">]</span></a></sup> 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.<sup id="cite_ref-FOOTNOTEGiddins199889_15-0" class="reference"><a href="#cite_note-FOOTNOTEGiddins199889-15"><span class="cite-bracket">[</span>15<span class="cite-bracket">]</span></a></sup> </p><p>In early <a href="/wiki/Dixieland" class="mw-redirect" title="Dixieland">Dixieland</a>, a.k.a. New Orleans jazz, performers took turns playing melodies and improvising <a href="/wiki/Countermelodies" class="mw-redirect" title="Countermelodies">countermelodies</a>. In the <a href="/wiki/Swing_music" title="Swing music">swing</a> era of the 1920s–40s, <a href="/wiki/Big_bands" class="mw-redirect" title="Big bands">big bands</a> relied more on <a href="/wiki/Arrangements" class="mw-redirect" title="Arrangements">arrangements</a> which were written or learned by ear and memorized. Soloists improvised within these arrangements. In the <a href="/wiki/Bebop" title="Bebop">bebop</a> 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. <a href="/wiki/Modal_jazz" title="Modal jazz">Modal jazz</a> abandoned <a href="/wiki/Chord_progressions" class="mw-redirect" title="Chord progressions">chord progressions</a> to allow musicians to improvise even more. In many forms of jazz, a soloist is supported by a <a href="/wiki/Rhythm_section" title="Rhythm section">rhythm section</a> 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.<sup id="cite_ref-16" class="reference"><a href="#cite_note-16"><span class="cite-bracket">[</span>16<span class="cite-bracket">]</span></a></sup> In <a href="/wiki/Avant-garde_jazz" title="Avant-garde jazz">avant-garde</a> and <a href="/wiki/Free_jazz" title="Free jazz">free jazz</a>, the separation of soloist and band is reduced, and there is license, or even a requirement, for the abandoning of chords, scales, and meters. </p> <div class="mw-heading mw-heading3"><h3 id="Traditionalism">Traditionalism</h3></div> <p>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".<sup id="cite_ref-Elsdon_11-1" class="reference"><a href="#cite_note-Elsdon-11"><span class="cite-bracket">[</span>11<span class="cite-bracket">]</span></a></sup> Regarding the <a href="/wiki/Dixieland_jazz" title="Dixieland jazz">Dixieland jazz</a> revival of the 1940s, Black musicians rejected it as being shallow nostalgia entertainment for white audiences.<sup id="cite_ref-Baraka_17-0" class="reference"><a href="#cite_note-Baraka-17"><span class="cite-bracket">[</span>17<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-Davis_18-0" class="reference"><a href="#cite_note-Davis-18"><span class="cite-bracket">[</span>18<span class="cite-bracket">]</span></a></sup> On the other hand, traditional jazz enthusiasts have dismissed bebop, free jazz, and <a href="/wiki/Jazz_fusion" title="Jazz fusion">jazz fusion</a> as forms of debasement and betrayal. An alternative view is that jazz can absorb and transform diverse musical styles.<sup id="cite_ref-gilbert_19-0" class="reference"><a href="#cite_note-gilbert-19"><span class="cite-bracket">[</span>19<span class="cite-bracket">]</span></a></sup> By avoiding the creation of norms, jazz allows avant-garde styles to emerge.<sup id="cite_ref-Elsdon_11-2" class="reference"><a href="#cite_note-Elsdon-11"><span class="cite-bracket">[</span>11<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading2"><h2 id="Diversity_in_jazz">Diversity in jazz</h2></div> <div class="mw-heading mw-heading3"><h3 id="Jazz_and_race">Jazz and race</h3></div> <p>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".<sup id="cite_ref-20" class="reference"><a href="#cite_note-20"><span class="cite-bracket">[</span>20<span class="cite-bracket">]</span></a></sup> <a href="/wiki/Amiri_Baraka" title="Amiri Baraka">Amiri Baraka</a> argues that there is a "white jazz" genre that expresses <a href="/wiki/Whiteness_studies" title="Whiteness studies">whiteness</a>.<sup id="cite_ref-BarakaReader_21-0" class="reference"><a href="#cite_note-BarakaReader-21"><span class="cite-bracket">[</span>21<span class="cite-bracket">]</span></a></sup> White jazz musicians appeared in the Midwest and in other areas throughout the U.S. <a href="/wiki/Papa_Jack_Laine" title="Papa Jack Laine">Papa Jack Laine</a>, who ran the Reliance band in New Orleans in the 1910s, was called "the father of white jazz".<sup id="cite_ref-Yurochko_22-0" class="reference"><a href="#cite_note-Yurochko-22"><span class="cite-bracket">[</span>22<span class="cite-bracket">]</span></a></sup> The <a href="/wiki/Original_Dixieland_Jazz_Band" class="mw-redirect" title="Original Dixieland Jazz Band">Original Dixieland Jazz Band</a>, whose members were white, were the first jazz group to record, and <a href="/wiki/Bix_Beiderbecke" title="Bix Beiderbecke">Bix Beiderbecke</a> was one of the most prominent jazz soloists of the 1920s.<sup id="cite_ref-Larkin_23-0" class="reference"><a href="#cite_note-Larkin-23"><span class="cite-bracket">[</span>23<span class="cite-bracket">]</span></a></sup> The Chicago Style was developed by white musicians such as <a href="/wiki/Eddie_Condon" title="Eddie Condon">Eddie Condon</a>, <a href="/wiki/Bud_Freeman" title="Bud Freeman">Bud Freeman</a>, <a href="/wiki/Jimmy_McPartland" title="Jimmy McPartland">Jimmy McPartland</a>, and <a href="/wiki/Dave_Tough" title="Dave Tough">Dave Tough</a>. Others from Chicago such as <a href="/wiki/Benny_Goodman" title="Benny Goodman">Benny Goodman</a> and <a href="/wiki/Gene_Krupa" title="Gene Krupa">Gene Krupa</a> became leading members of swing during the 1930s.<sup id="cite_ref-midwest_24-0" class="reference"><a href="#cite_note-midwest-24"><span class="cite-bracket">[</span>24<span class="cite-bracket">]</span></a></sup> Many bands included both Black and white musicians. These musicians helped change attitudes toward race in the U.S.<sup id="cite_ref-HowHentoff_25-0" class="reference"><a href="#cite_note-HowHentoff-25"><span class="cite-bracket">[</span>25<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading3"><h3 id="Roles_of_women">Roles of women</h3></div> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1236090951"><div role="note" class="hatnote navigation-not-searchable">Main article: <a href="/wiki/Women_in_jazz" title="Women in jazz">Women in jazz</a></div> <figure class="mw-halign-right" typeof="mw:File/Thumb"><a href="/wiki/File:Ethel_Waters_-_William_P._Gottlieb.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/a/ae/Ethel_Waters_-_William_P._Gottlieb.jpg/175px-Ethel_Waters_-_William_P._Gottlieb.jpg" decoding="async" width="175" height="183" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/a/ae/Ethel_Waters_-_William_P._Gottlieb.jpg/263px-Ethel_Waters_-_William_P._Gottlieb.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/a/ae/Ethel_Waters_-_William_P._Gottlieb.jpg/350px-Ethel_Waters_-_William_P._Gottlieb.jpg 2x" data-file-width="4915" data-file-height="5149" /></a><figcaption><a href="/wiki/Ethel_Waters" title="Ethel Waters">Ethel Waters</a> sang "<a href="/wiki/Stormy_Weather_(song)" title="Stormy Weather (song)">Stormy Weather</a>" at the <a href="/wiki/Cotton_Club" title="Cotton Club">Cotton Club</a>. </figcaption></figure> <p>Female jazz performers and composers have contributed to jazz throughout its history. Although <a href="/wiki/Betty_Carter" title="Betty Carter">Betty Carter</a>, <a href="/wiki/Ella_Fitzgerald" title="Ella Fitzgerald">Ella Fitzgerald</a>, <a href="/wiki/Adelaide_Hall" title="Adelaide Hall">Adelaide Hall</a>, <a href="/wiki/Billie_Holiday" title="Billie Holiday">Billie Holiday</a>, <a href="/wiki/Peggy_Lee" title="Peggy Lee">Peggy Lee</a>, <a href="/wiki/Abbey_Lincoln" title="Abbey Lincoln">Abbey Lincoln</a>, <a href="/wiki/Anita_O%27Day" title="Anita O'Day">Anita O'Day</a>, <a href="/wiki/Dinah_Washington" title="Dinah Washington">Dinah Washington</a>, and <a href="/wiki/Ethel_Waters" title="Ethel Waters">Ethel Waters</a> were recognized for their vocal talent, less familiar were bandleaders, composers, and instrumentalists such as pianist <a href="/wiki/Lil_Hardin_Armstrong" title="Lil Hardin Armstrong">Lil Hardin Armstrong</a>, trumpeter <a href="/wiki/Valaida_Snow" title="Valaida Snow">Valaida Snow</a>, and songwriters <a href="/wiki/Irene_Higginbotham" title="Irene Higginbotham">Irene Higginbotham</a> and <a href="/wiki/Dorothy_Fields" title="Dorothy Fields">Dorothy Fields</a>. Women began playing instruments in jazz in the early 1920s, drawing particular recognition on piano.<sup id="cite_ref-Murph_26-0" class="reference"><a href="#cite_note-Murph-26"><span class="cite-bracket">[</span>26<span class="cite-bracket">]</span></a></sup> </p><p>When male jazz musicians were drafted during World War II, many <a href="/wiki/All-female_bands" class="mw-redirect" title="All-female bands">all-female bands</a> replaced them.<sup id="cite_ref-Murph_26-1" class="reference"><a href="#cite_note-Murph-26"><span class="cite-bracket">[</span>26<span class="cite-bracket">]</span></a></sup> <a href="/wiki/The_International_Sweethearts_of_Rhythm" class="mw-redirect" title="The International Sweethearts of Rhythm">The International Sweethearts of Rhythm</a>, 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 <a href="/wiki/USO" class="mw-redirect" title="USO">USO</a>, touring Europe in 1945. Women were members of the big bands of <a href="/wiki/Woody_Herman" title="Woody Herman">Woody Herman</a> and <a href="/wiki/Gerald_Wilson" title="Gerald Wilson">Gerald Wilson</a>. 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.<sup id="cite_ref-Placksin_27-0" class="reference"><a href="#cite_note-Placksin-27"><span class="cite-bracket">[</span>27<span class="cite-bracket">]</span></a></sup> Trombonist <a href="/wiki/Melba_Liston" title="Melba Liston">Melba Liston</a> 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 <a href="/wiki/Randy_Weston" title="Randy Weston">Randy Weston</a> from the late 1950s into the 1990s.<sup id="cite_ref-28" class="reference"><a href="#cite_note-28"><span class="cite-bracket">[</span>28<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-29" class="reference"><a href="#cite_note-29"><span class="cite-bracket">[</span>29<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading3"><h3 id="Jews_in_jazz">Jews in jazz</h3></div> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1236090951"><div role="note" class="hatnote navigation-not-searchable">Main articles: <a href="/wiki/Jews_in_jazz" title="Jews in jazz">Jews in jazz</a> and <a href="/wiki/Jewish_women_in_jazz" title="Jewish women in jazz">Jewish women in jazz</a></div> <figure class="mw-halign-right" typeof="mw:File/Thumb"><a href="/wiki/File:Al_Jolson_-_publicity.JPG" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/9/9e/Al_Jolson_-_publicity.JPG/175px-Al_Jolson_-_publicity.JPG" decoding="async" width="175" height="219" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/9/9e/Al_Jolson_-_publicity.JPG/263px-Al_Jolson_-_publicity.JPG 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/9/9e/Al_Jolson_-_publicity.JPG/350px-Al_Jolson_-_publicity.JPG 2x" data-file-width="667" data-file-height="833" /></a><figcaption><a href="/wiki/Al_Jolson" title="Al Jolson">Al Jolson</a> in 1929</figcaption></figure> <p>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 <a href="/wiki/Tin_Pan_Alley" title="Tin Pan Alley">Tin Pan Alley</a> helped shape the many different sounds that jazz came to incorporate.<sup id="cite_ref-30" class="reference"><a href="#cite_note-30"><span class="cite-bracket">[</span>30<span class="cite-bracket">]</span></a></sup> </p><p>Jewish Americans were able to thrive in Jazz because of the probationary whiteness that they were allotted at the time.<sup id="cite_ref-31" class="reference"><a href="#cite_note-31"><span class="cite-bracket">[</span>31<span class="cite-bracket">]</span></a></sup> 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 popular music saw themselves as natural allies with African Americans.<sup id="cite_ref-32" class="reference"><a href="#cite_note-32"><span class="cite-bracket">[</span>32<span class="cite-bracket">]</span></a></sup> </p><p><i><a href="/wiki/The_Jazz_Singer" title="The Jazz Singer">The Jazz Singer</a></i> with <a href="/wiki/Al_Jolson" title="Al Jolson">Al Jolson</a> is one example of how Jewish Americans were able to bring jazz, music that African Americans developed, into popular culture.<sup id="cite_ref-33" class="reference"><a href="#cite_note-33"><span class="cite-bracket">[</span>33<span class="cite-bracket">]</span></a></sup> <a href="/wiki/Benny_Goodman" title="Benny Goodman">Benny Goodman</a> 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 <a href="/wiki/Carnegie_Hall" title="Carnegie Hall">Carnegie Hall</a> 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".<sup id="cite_ref-34" class="reference"><a href="#cite_note-34"><span class="cite-bracket">[</span>34<span class="cite-bracket">]</span></a></sup> </p><p><a href="/wiki/Shep_Fields" title="Shep Fields">Shep Fields</a> also helped to popularize "Sweet" Jazz music through his appearances and <a href="/wiki/Big_band_remote" title="Big band remote">Big band remote</a> broadcasts from such landmark venues as Chicago's <a href="/wiki/Palmer_House_Hilton" class="mw-redirect" title="Palmer House Hilton">Palmer House</a>, Broadway's <a href="/wiki/Paramount_Theater_(New_York_City)" class="mw-redirect" title="Paramount Theater (New York City)">Paramount Theater</a> and the Starlight Roof at the famed <a href="/wiki/Waldorf-Astoria_Hotel" class="mw-redirect" title="Waldorf-Astoria Hotel">Waldorf-Astoria Hotel</a>. 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.<sup id="cite_ref-35" class="reference"><a href="#cite_note-35"><span class="cite-bracket">[</span>35<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-The_Big_Bands_-_4th_Edition_36-0" class="reference"><a href="#cite_note-The_Big_Bands_-_4th_Edition-36"><span class="cite-bracket">[</span>36<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-nyt1_37-0" class="reference"><a href="#cite_note-nyt1-37"><span class="cite-bracket">[</span>37<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading2"><h2 id="Early_development">Early development</h2></div> <p>Jazz originated in the late-19th to early-20th century. It developed out of many forms of music, including <a href="/wiki/Blues" title="Blues">blues</a>, <a href="/wiki/Ragtime" title="Ragtime">ragtime</a>, European <a href="/wiki/Harmony" title="Harmony">harmony</a>, African rhythmic rituals, <a href="/wiki/Spirituals" title="Spirituals">spirituals</a>, <a href="/wiki/Hymns" class="mw-redirect" title="Hymns">hymns</a>, <a href="/wiki/March_(music)" title="March (music)">marches</a>, <a href="/wiki/Vaudeville" title="Vaudeville">vaudeville</a> song, and <a href="/wiki/Dance_music" title="Dance music">dance music</a>.<sup id="cite_ref-38" class="reference"><a href="#cite_note-38"><span class="cite-bracket">[</span>38<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-39" class="reference"><a href="#cite_note-39"><span class="cite-bracket">[</span>39<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-40" class="reference"><a href="#cite_note-40"><span class="cite-bracket">[</span>40<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-:0_41-0" class="reference"><a href="#cite_note-:0-41"><span class="cite-bracket">[</span>41<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-42" class="reference"><a href="#cite_note-42"><span class="cite-bracket">[</span>42<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-43" class="reference"><a href="#cite_note-43"><span class="cite-bracket">[</span>43<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-encyclopedia_44-0" class="reference"><a href="#cite_note-encyclopedia-44"><span class="cite-bracket">[</span>44<span class="cite-bracket">]</span></a></sup><sup class="noprint Inline-Template Template-Fact" style="white-space:nowrap;">[<i><a href="/wiki/Wikipedia:Citing_sources#Bundling_citations" title="Wikipedia:Citing sources"><span title="This claim has too many footnotes for reading to be smooth. (November 2024)">excessive citations</span></a></i>]</sup> It also incorporated interpretations of American and European classical music, entwined with African and slave folk songs and the influences of West African culture.<sup id="cite_ref-listverse_45-0" class="reference"><a href="#cite_note-listverse-45"><span class="cite-bracket">[</span>45<span class="cite-bracket">]</span></a></sup> 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.<sup id="cite_ref-definejazz_46-0" class="reference"><a href="#cite_note-definejazz-46"><span class="cite-bracket">[</span>46<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading3"><h3 id="Blended_African_and_European_music_sensibilities">Blended African and European music sensibilities</h3></div> <figure class="mw-default-size mw-halign-right" typeof="mw:File/Thumb"><a href="/wiki/File:Dancing_in_Congo_Square_-_Edward_Winsor_Kemble,_1886.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/a/a7/Dancing_in_Congo_Square_-_Edward_Winsor_Kemble%2C_1886.jpg/220px-Dancing_in_Congo_Square_-_Edward_Winsor_Kemble%2C_1886.jpg" decoding="async" width="220" height="108" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/a/a7/Dancing_in_Congo_Square_-_Edward_Winsor_Kemble%2C_1886.jpg/330px-Dancing_in_Congo_Square_-_Edward_Winsor_Kemble%2C_1886.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/a/a7/Dancing_in_Congo_Square_-_Edward_Winsor_Kemble%2C_1886.jpg/440px-Dancing_in_Congo_Square_-_Edward_Winsor_Kemble%2C_1886.jpg 2x" data-file-width="837" data-file-height="412" /></a><figcaption>Dance in Congo Square in the late 1700s, artist's conception by <a href="/wiki/E._W._Kemble" title="E. W. Kemble">E. W. Kemble</a> from a century later</figcaption></figure> <figure class="mw-default-size mw-halign-right" typeof="mw:File/Thumb"><a href="/wiki/File:Slave_dance_to_banjo,_1780s.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/9/98/Slave_dance_to_banjo%2C_1780s.jpg/220px-Slave_dance_to_banjo%2C_1780s.jpg" decoding="async" width="220" height="146" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/9/98/Slave_dance_to_banjo%2C_1780s.jpg/330px-Slave_dance_to_banjo%2C_1780s.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/9/98/Slave_dance_to_banjo%2C_1780s.jpg/440px-Slave_dance_to_banjo%2C_1780s.jpg 2x" data-file-width="982" data-file-height="651" /></a><figcaption>The late 18th-century painting <i><a href="/wiki/The_Old_Plantation" title="The Old Plantation">The Old Plantation</a></i>, depicting African-Americans on a <a href="/wiki/Virginia" title="Virginia">Virginia</a> plantation dancing to percussion and a banjo</figcaption></figure> <p>By the 18th century, slaves in the New Orleans area gathered socially at a special market, in an area which later became known as <a href="/wiki/Congo_Square" title="Congo Square">Congo Square</a>, famous for its African dances.<sup id="cite_ref-47" class="reference"><a href="#cite_note-47"><span class="cite-bracket">[</span>47<span class="cite-bracket">]</span></a></sup> </p><p>By 1866, the <a href="/wiki/Atlantic_slave_trade" title="Atlantic slave trade">Atlantic slave trade</a> had brought nearly 400,000 Africans to North America.<sup id="cite_ref-48" class="reference"><a href="#cite_note-48"><span class="cite-bracket">[</span>48<span class="cite-bracket">]</span></a></sup> The slaves came largely from <a href="/wiki/West_Africa" title="West Africa">West Africa</a> and the greater <a href="/wiki/Congo_River" title="Congo River">Congo River</a> basin and brought strong musical traditions with them.<sup id="cite_ref-FOOTNOTECooke19997–9_49-0" class="reference"><a href="#cite_note-FOOTNOTECooke19997–9-49"><span class="cite-bracket">[</span>49<span class="cite-bracket">]</span></a></sup> The African traditions primarily use a single-line melody and <a href="/wiki/Call_and_response_(music)" title="Call and response (music)">call-and-response</a> pattern, and the rhythms have a <a href="/wiki/Cross-beat" title="Cross-beat">counter-metric</a> structure and reflect African speech patterns.<sup id="cite_ref-50" class="reference"><a href="#cite_note-50"><span class="cite-bracket">[</span>50<span class="cite-bracket">]</span></a></sup> </p><p>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.<sup id="cite_ref-:0_41-1" class="reference"><a href="#cite_note-:0-41"><span class="cite-bracket">[</span>41<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-Hearn2017_51-0" class="reference"><a href="#cite_note-Hearn2017-51"><span class="cite-bracket">[</span>51<span class="cite-bracket">]</span></a></sup> </p><p>Lavish festivals with African-based dances to drums were organized on Sundays at Place Congo, or Congo Square, in New Orleans until 1843.<sup id="cite_ref-52" class="reference"><a href="#cite_note-52"><span class="cite-bracket">[</span>52<span class="cite-bracket">]</span></a></sup> There are historical accounts of other music and dance gatherings elsewhere in the southern United States. <a href="/wiki/Robert_Palmer_(American_writer)" title="Robert Palmer (American writer)">Robert Palmer</a> said of percussive slave music: </p> <blockquote><p>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 sheepskin-covered "gumbo box", apparently a frame drum; triangles and jawbones furnished the auxiliary percussion. There are quite a few [accounts] from the southeastern states and Louisiana dating from the period 1820–1850. Some of the earliest [Mississippi] 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.<sup id="cite_ref-FOOTNOTEPalmer198137_53-0" class="reference"><a href="#cite_note-FOOTNOTEPalmer198137-53"><span class="cite-bracket">[</span>53<span class="cite-bracket">]</span></a></sup> </p></blockquote> <p>Another influence came from the harmonic style of <a href="/wiki/Hymn" title="Hymn">hymns</a> of the church, which black slaves had learned and incorporated into their own music as <a href="/wiki/Spirituals" title="Spirituals">spirituals</a>.<sup id="cite_ref-FOOTNOTECooke199914–17,_27–28_54-0" class="reference"><a href="#cite_note-FOOTNOTECooke199914–17,_27–28-54"><span class="cite-bracket">[</span>54<span class="cite-bracket">]</span></a></sup> The <a href="/wiki/Origins_of_the_blues" title="Origins of the blues">origins of the blues</a> are undocumented, though they can be seen as the secular counterpart of the spirituals. However, as <a href="/wiki/Gerhard_Kubik" title="Gerhard Kubik">Gerhard Kubik</a> points out, whereas the spirituals are <a href="/wiki/Homophony" title="Homophony">homophonic</a>, rural blues and early jazz "was largely based on concepts of <a href="/wiki/Heterophony" title="Heterophony">heterophony</a>".<sup id="cite_ref-FOOTNOTEKubik1999112_55-0" class="reference"><a href="#cite_note-FOOTNOTEKubik1999112-55"><span class="cite-bracket">[</span>55<span class="cite-bracket">]</span></a></sup> </p> <figure class="mw-default-size mw-halign-right" typeof="mw:File/Thumb"><a href="/wiki/File:Virginia_Minstrels,_1843.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/b/b8/Virginia_Minstrels%2C_1843.jpg/220px-Virginia_Minstrels%2C_1843.jpg" decoding="async" width="220" height="180" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/b/b8/Virginia_Minstrels%2C_1843.jpg/330px-Virginia_Minstrels%2C_1843.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/b/b8/Virginia_Minstrels%2C_1843.jpg/440px-Virginia_Minstrels%2C_1843.jpg 2x" data-file-width="1000" data-file-height="817" /></a><figcaption>The blackface <a href="/wiki/Virginia_Minstrels" title="Virginia Minstrels">Virginia Minstrels</a> in 1843, featuring tambourine, fiddle, banjo, and <a href="/wiki/Bones_(instrument)" title="Bones (instrument)">bones</a></figcaption></figure> <p>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 <a href="/wiki/Cakewalk" title="Cakewalk">cakewalk</a> dances. In turn, European American <a href="/wiki/Minstrel_show" title="Minstrel show">minstrel show</a> performers in <a href="/wiki/Blackface" title="Blackface">blackface</a> popularized the music internationally, combining <a href="/wiki/Syncopation" title="Syncopation">syncopation</a> with European harmonic accompaniment. In the mid-1800s the white New Orleans composer <a href="/wiki/Louis_Moreau_Gottschalk" title="Louis Moreau Gottschalk">Louis Moreau Gottschalk</a> 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. </p> <div class="mw-heading mw-heading3"><h3 id="African_rhythmic_retention">African rhythmic retention</h3></div> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1236090951"><div role="note" class="hatnote navigation-not-searchable">See also: <a href="/wiki/Traditional_sub-Saharan_African_harmony" title="Traditional sub-Saharan African harmony">Traditional sub-Saharan African harmony</a></div> <p>The <a href="/wiki/Black_Codes_(United_States)" title="Black Codes (United States)">Black Codes</a> 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 <a href="/wiki/Juba_dance" title="Juba dance">patting juba dancing</a>.<sup id="cite_ref-FOOTNOTEPalmer198139_56-0" class="reference"><a href="#cite_note-FOOTNOTEPalmer198139-56"><span class="cite-bracket">[</span>56<span class="cite-bracket">]</span></a></sup>. </p><p>In the opinion of jazz historian <a href="/wiki/Ernest_Borneman" title="Ernest Borneman">Ernest Borneman</a>, what preceded New Orleans jazz before 1890 was "Afro-Latin music", similar to what was played in the Caribbean at the time.<sup id="cite_ref-57" class="reference"><a href="#cite_note-57"><span class="cite-bracket">[</span>57<span class="cite-bracket">]</span></a></sup> A three-stroke pattern known in Cuban music as <a href="/wiki/Tresillo_(rhythm)" title="Tresillo (rhythm)"><i>tresillo</i></a> is a fundamental rhythmic figure heard in many different slave musics of the Caribbean, as well as the <a href="/wiki/Afro-Caribbean_music" title="Afro-Caribbean music">Afro-Caribbean</a> folk dances performed in New Orleans Congo Square and Gottschalk's compositions (for example "Souvenirs From Havana" (1859)). Tresillo (shown below) is the most basic and most prevalent duple-pulse rhythmic <a href="/wiki/Cell_(music)" title="Cell (music)">cell</a> in <a href="/wiki/Sub-Saharan_African_music_traditions" title="Sub-Saharan African music traditions">sub-Saharan African music traditions</a> and the music of the <a href="/wiki/African_Diaspora" class="mw-redirect" title="African Diaspora">African Diaspora</a>.<sup id="cite_ref-Sublette_58-0" class="reference"><a href="#cite_note-Sublette-58"><span class="cite-bracket">[</span>58<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-FOOTNOTEPeñalosa201038–46_59-0" class="reference"><a href="#cite_note-FOOTNOTEPeñalosa201038–46-59"><span class="cite-bracket">[</span>59<span class="cite-bracket">]</span></a></sup> </p> <dl><dd><div class="mw-ext-score noresize" data-midi="//upload.wikimedia.org/score/c/l/clpo3cchxlz6u5xxgbibd8bi5y6md0u/clpo3cch.midi"><img src="//upload.wikimedia.org/score/c/l/clpo3cchxlz6u5xxgbibd8bi5y6md0u/clpo3cch.png" width="144" height="39" alt=" \new RhythmicStaff { \clef percussion \time 2/4 \repeat volta 2 { c8. c16 r8[ c] } } " /><span class="mw-default-size" typeof="mw:File"><span><audio id="mwe_player_0" controls="" preload="none" data-mw-tmh="" class="mw-file-element" width="220" style="width:220px;" data-durationhint="3" data-mwtitle="Tresillo_divisive.mid" data-mwprovider="wikimediacommons"><source src="//upload.wikimedia.org/wikipedia/commons/transcoded/8/8c/Tresillo_divisive.mid/Tresillo_divisive.mid.mp3" type="audio/mpeg" data-transcodekey="mp3" data-width="0" data-height="0" /><source src="//upload.wikimedia.org/wikipedia/commons/transcoded/8/8c/Tresillo_divisive.mid/Tresillo_divisive.mid.ogg" type="audio/ogg; codecs="vorbis"" data-transcodekey="ogg" data-width="0" data-height="0" /><source src="//upload.wikimedia.org/wikipedia/commons/8/8c/Tresillo_divisive.mid" type="audio/midi" data-width="0" data-height="0" /></audio></span></span></div></dd></dl> <p><a href="/wiki/Tresillo_(rhythm)" title="Tresillo (rhythm)">Tresillo</a> is heard prominently in New Orleans <a href="/wiki/Second_line_(parades)" title="Second line (parades)">second line</a> music and in other forms of popular music from that city from the turn of the 20th century to present.<sup id="cite_ref-60" class="reference"><a href="#cite_note-60"><span class="cite-bracket">[</span>60<span class="cite-bracket">]</span></a></sup> "By and large the simpler African rhythmic patterns survived in jazz ... because they could be adapted more readily to European rhythmic conceptions," jazz historian <a href="/wiki/Gunther_Schuller" title="Gunther Schuller">Gunther Schuller</a> observed. "Some survived, others were discarded as the Europeanization progressed."<sup id="cite_ref-FOOTNOTESchuller196819_61-0" class="reference"><a href="#cite_note-FOOTNOTESchuller196819-61"><span class="cite-bracket">[</span>61<span class="cite-bracket">]</span></a></sup> </p><p>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.<sup id="cite_ref-FOOTNOTEKubik199952_62-0" class="reference"><a href="#cite_note-FOOTNOTEKubik199952-62"><span class="cite-bracket">[</span>62<span class="cite-bracket">]</span></a></sup> This was a drumming tradition that was distinct from its Caribbean counterparts, expressing a uniquely African-American sensibility. "The snare and bass drummers played syncopated <a href="/wiki/Cross_beat" class="mw-redirect" title="Cross beat">cross-rhythms</a>," 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."<sup id="cite_ref-FOOTNOTEPalmer198139_56-1" class="reference"><a href="#cite_note-FOOTNOTEPalmer198139-56"><span class="cite-bracket">[</span>56<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading3"><h3 id="Afro-Cuban_influence">Afro-Cuban influence</h3></div> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1236090951"><div role="note" class="hatnote navigation-not-searchable">Further information: <a href="/wiki/Music_of_African_heritage_in_Cuba" title="Music of African heritage in Cuba">Music of African heritage in Cuba</a></div> <p><a href="/wiki/African-American_music" title="African-American music">African-American music</a> began incorporating <a href="/wiki/Afro-Cuban" class="mw-redirect" title="Afro-Cuban">Afro-Cuban</a> rhythmic motifs in the 19th century when the <a href="/wiki/Habanera_(music)" class="mw-redirect" title="Habanera (music)">habanera</a> (Cuban <a href="/wiki/Contradanza" title="Contradanza">contradanza</a>) gained international popularity.<sup id="cite_ref-63" class="reference"><a href="#cite_note-63"><span class="cite-bracket">[</span>63<span class="cite-bracket">]</span></a></sup> Musicians from <a href="/wiki/Havana" title="Havana">Havana</a> 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. <a href="/wiki/John_Storm_Roberts" title="John Storm Roberts">John Storm Roberts</a> states that the musical genre habanera "reached the U.S. twenty years before the first rag was published."<sup id="cite_ref-JSRoberts_64-0" class="reference"><a href="#cite_note-JSRoberts-64"><span class="cite-bracket">[</span>64<span class="cite-bracket">]</span></a></sup> For the more than quarter-century in which the <a href="/wiki/Cakewalk" title="Cakewalk">cakewalk</a>, <a href="/wiki/Ragtime" title="Ragtime">ragtime</a>, and proto-jazz were forming and developing, the habanera was a consistent part of African-American popular music.<sup id="cite_ref-JSRoberts_64-1" class="reference"><a href="#cite_note-JSRoberts-64"><span class="cite-bracket">[</span>64<span class="cite-bracket">]</span></a></sup> </p><p>Habaneras were widely available as sheet music and were the first written music which was rhythmically based on an African motif (1803).<sup id="cite_ref-Manuel_65-0" class="reference"><a href="#cite_note-Manuel-65"><span class="cite-bracket">[</span>65<span class="cite-bracket">]</span></a></sup> From the perspective of African-American music, the "habanera rhythm" (also known as "congo"),<sup id="cite_ref-Manuel_65-1" class="reference"><a href="#cite_note-Manuel-65"><span class="cite-bracket">[</span>65<span class="cite-bracket">]</span></a></sup> "tango-congo",<sup id="cite_ref-Acosta_66-0" class="reference"><a href="#cite_note-Acosta-66"><span class="cite-bracket">[</span>66<span class="cite-bracket">]</span></a></sup> or <a href="/wiki/Tango_(music)" class="mw-redirect" title="Tango (music)">tango</a>.<sup id="cite_ref-Salsa_67-0" class="reference"><a href="#cite_note-Salsa-67"><span class="cite-bracket">[</span>67<span class="cite-bracket">]</span></a></sup> can be thought of as a combination of <a href="/wiki/Tresillo_(rhythm)" title="Tresillo (rhythm)">tresillo</a> and the <a href="/wiki/Beat_(music)" title="Beat (music)">backbeat</a>.<sup id="cite_ref-FOOTNOTEPeñalosa201042_68-0" class="reference"><a href="#cite_note-FOOTNOTEPeñalosa201042-68"><span class="cite-bracket">[</span>68<span class="cite-bracket">]</span></a></sup> 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. </p> <dl><dd><div class="mw-ext-score noresize" data-midi="//upload.wikimedia.org/score/c/r/cre08sn2d1zsf4q0adfpv6hmsfskbne/cre08sn2.midi"><img src="//upload.wikimedia.org/score/c/r/cre08sn2d1zsf4q0adfpv6hmsfskbne/cre08sn2.png" width="170" height="38" alt=" \new Staff << \relative c' { \clef percussion \time 2/4 \repeat volta 2 { g8. g16 d'8 g, } } >> " /><span class="mw-default-size" typeof="mw:File"><span><audio id="mwe_player_1" controls="" preload="none" data-mw-tmh="" class="mw-file-element" width="220" style="width:220px;" data-mwtitle="Tresillo+_backbeat.mid" data-mwprovider="wikimediacommons"><source src="//upload.wikimedia.org/wikipedia/commons/c/c6/Tresillo%2B_backbeat.mid" type="audio/midi" data-width="0" data-height="0" /><source src="//upload.wikimedia.org/wikipedia/commons/transcoded/c/c6/Tresillo%2B_backbeat.mid/Tresillo%2B_backbeat.mid.ogg" type="audio/ogg; codecs="vorbis"" data-transcodekey="ogg" data-width="0" data-height="0" /><source src="//upload.wikimedia.org/wikipedia/commons/transcoded/c/c6/Tresillo%2B_backbeat.mid/Tresillo%2B_backbeat.mid.mp3" type="audio/mpeg" data-transcodekey="mp3" data-width="0" data-height="0" /></audio></span></span></div></dd></dl> <p>New Orleans native <a href="/wiki/Louis_Moreau_Gottschalk" title="Louis Moreau Gottschalk">Louis Moreau Gottschalk</a>'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.<sup id="cite_ref-Sublette_58-1" class="reference"><a href="#cite_note-Sublette-58"><span class="cite-bracket">[</span>58<span class="cite-bracket">]</span></a></sup><sup class="reference nowrap"><span title="Page / location: 125">: 125 </span></sup> In Gottschalk's symphonic work "A Night in the Tropics" (1859), the tresillo variant <a href="/wiki/Cinquillo" title="Cinquillo">cinquillo</a> appears extensively.<sup id="cite_ref-SubletteCuba_69-0" class="reference"><a href="#cite_note-SubletteCuba-69"><span class="cite-bracket">[</span>69<span class="cite-bracket">]</span></a></sup> The figure was later used by Scott Joplin and other ragtime composers. </p> <dl><dd><div class="mw-ext-score noresize" data-midi="//upload.wikimedia.org/score/9/4/940h4o3frjny4ctb9lbt9sl1wv1xkpg/940h4o3f.midi"><img src="//upload.wikimedia.org/score/9/4/940h4o3frjny4ctb9lbt9sl1wv1xkpg/940h4o3f.png" width="176" height="40" alt=" \new RhythmicStaff { \clef percussion \time 2/4 \repeat volta 2 { c8 c16 c r[ c c r] } } " /><span class="mw-default-size" typeof="mw:File"><span><audio id="mwe_player_2" controls="" preload="none" data-mw-tmh="" class="mw-file-element" width="220" style="width:220px;" data-mwtitle="Cinquillo.mid" data-mwprovider="wikimediacommons"><source src="//upload.wikimedia.org/wikipedia/commons/6/67/Cinquillo.mid" type="audio/midi" data-width="0" data-height="0" /><source src="//upload.wikimedia.org/wikipedia/commons/transcoded/6/67/Cinquillo.mid/Cinquillo.mid.ogg" type="audio/ogg; codecs="vorbis"" data-transcodekey="ogg" data-width="0" data-height="0" /><source src="//upload.wikimedia.org/wikipedia/commons/transcoded/6/67/Cinquillo.mid/Cinquillo.mid.mp3" type="audio/mpeg" data-transcodekey="mp3" data-width="0" data-height="0" /></audio></span></span></div></dd></dl> <p>Comparing the music of New Orleans with the music of Cuba, <a href="/wiki/Wynton_Marsalis" title="Wynton Marsalis">Wynton Marsalis</a> observes that <a href="/wiki/Tresillo_(rhythm)" title="Tresillo (rhythm)">tresillo</a> is the New Orleans "clavé", a Spanish word meaning "code" or "key", as in the key to a puzzle, or mystery.<sup id="cite_ref-70" class="reference"><a href="#cite_note-70"><span class="cite-bracket">[</span>70<span class="cite-bracket">]</span></a></sup> Although the pattern is only half a <a href="/wiki/Clave_(rhythm)" title="Clave (rhythm)">clave</a>, Marsalis makes the point that the single-celled figure is the <a href="/wiki/Bell_pattern" title="Bell pattern">guide-pattern</a> of New Orleans music. <a href="/wiki/Jelly_Roll_Morton" title="Jelly Roll Morton">Jelly Roll Morton</a> called the rhythmic figure the <a href="/wiki/Spanish_tinge" title="Spanish tinge">Spanish tinge</a> and considered it an essential ingredient of jazz.<sup id="cite_ref-ReferenceB_71-0" class="reference"><a href="#cite_note-ReferenceB-71"><span class="cite-bracket">[</span>71<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading3"><h3 id="Ragtime">Ragtime</h3></div> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1236090951"><div role="note" class="hatnote navigation-not-searchable">Main article: <a href="/wiki/Ragtime" title="Ragtime">Ragtime</a></div> <figure class="mw-default-size mw-halign-right" typeof="mw:File/Thumb"><a href="/wiki/File:Scott_Joplin_19072.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/c/ca/Scott_Joplin_19072.jpg/170px-Scott_Joplin_19072.jpg" decoding="async" width="170" height="221" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/c/ca/Scott_Joplin_19072.jpg 1.5x" data-file-width="200" data-file-height="260" /></a><figcaption><a href="/wiki/Scott_Joplin" title="Scott Joplin">Scott Joplin</a> in 1903</figcaption></figure> <p>The abolition of <a href="/wiki/Slavery" title="Slavery">slavery</a> 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, <a href="/wiki/Minstrel_show" title="Minstrel show">minstrel shows</a>, and in <a href="/wiki/Vaudeville" title="Vaudeville">vaudeville</a>, during which time many marching bands were formed. Black pianists played in bars, clubs, and brothels, as <a href="/wiki/Ragtime" title="Ragtime">ragtime</a> developed.<sup id="cite_ref-FOOTNOTECooke199928,_47_72-0" class="reference"><a href="#cite_note-FOOTNOTECooke199928,_47-72"><span class="cite-bracket">[</span>72<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-73" class="reference"><a href="#cite_note-73"><span class="cite-bracket">[</span>73<span class="cite-bracket">]</span></a></sup> </p><p>Ragtime appeared as sheet music, popularized by African-American musicians such as the entertainer <a href="/wiki/Ernest_Hogan" title="Ernest Hogan">Ernest Hogan</a>, whose hit songs appeared in 1895. Two years later, <a href="/wiki/Vess_Ossman" title="Vess Ossman">Vess Ossman</a> recorded a medley of these songs as a <a href="/wiki/Banjo" title="Banjo">banjo</a> solo known as "Rag Time Medley".<sup id="cite_ref-FOOTNOTECooke199928–29_74-0" class="reference"><a href="#cite_note-FOOTNOTECooke199928–29-74"><span class="cite-bracket">[</span>74<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-75" class="reference"><a href="#cite_note-75"><span class="cite-bracket">[</span>75<span class="cite-bracket">]</span></a></sup> Also in 1897, the white composer <a href="/wiki/William_Krell" title="William Krell">William Krell</a> published his "<a href="/wiki/Mississippi_Rag" class="mw-redirect" title="Mississippi Rag">Mississippi Rag</a>" as the first written piano instrumental ragtime piece, and <a href="/wiki/Tom_Turpin" title="Tom Turpin">Tom Turpin</a> published his "Harlem Rag", the first rag published by an African-American. </p><p>Classically trained pianist <a href="/wiki/Scott_Joplin" title="Scott Joplin">Scott Joplin</a> produced his "<a href="/wiki/Original_Rags" title="Original Rags">Original Rags</a>" in 1898 and, in 1899, had an international hit with "<a href="/wiki/Maple_Leaf_Rag" title="Maple Leaf Rag">Maple Leaf Rag</a>", a multi-<a href="/wiki/Strain_(music)" title="Strain (music)">strain</a> ragtime <a href="/wiki/March_(music)" title="March (music)">march</a> with four parts that feature recurring themes and a bass line with copious <a href="/wiki/Seventh_chord" title="Seventh chord">seventh chords</a>. Its structure was the basis for many other rags, and the <a href="/wiki/Syncopation" title="Syncopation">syncopations</a> in the right hand, especially in the transition between the first and second strain, were novel at the time.<sup id="cite_ref-TMG_76-0" class="reference"><a href="#cite_note-TMG-76"><span class="cite-bracket">[</span>76<span class="cite-bracket">]</span></a></sup> The last four measures of Scott Joplin's "Maple Leaf Rag" (1899) are shown below. </p> <dl><dd><div class="mw-ext-score noresize" data-midi="//upload.wikimedia.org/score/d/v/dvtm4x2uf33dvxyjputslc0lvbuaka8/dvtm4x2u.midi"><img src="//upload.wikimedia.org/score/d/v/dvtm4x2uf33dvxyjputslc0lvbuaka8/dvtm4x2u.png" width="602" height="136" alt=" { \new PianoStaff << \new Staff << \new Voice \relative c' { \clef treble \key aes \major \time 2/4 <f aes>16 bes <f aes>8 <fes aes> <fes bes>16 <es aes>~ <es aes> bes' <es, c'> aes bes <es, c'>8 <d aes'>16~ <d aes'> bes' <d, c'> aes' r <des, bes'>8 es16 <c aes'>8 <g' des' es> <aes c es aes> } >> \new Staff << \relative c, { \clef bass \key aes \major \time 2/4 <des des'>8 <des des'> <bes bes'> <d d'> <es es'> <es' aes c> <es, es'> <e e'> <f f'> <f f'> <g g'> <g g'> <aes aes'> <es es'> <aes, aes'> \bar "|." } >> >> } " /><span class="mw-default-size" typeof="mw:File"><span><audio id="mwe_player_3" controls="" preload="none" data-mw-tmh="" class="mw-file-element" width="220" style="width:220px;" data-durationhint="6" data-mwtitle="Maple_Leaf_Rag_seventh_chord_resolution.mid" data-mwprovider="wikimediacommons"><source src="//upload.wikimedia.org/wikipedia/commons/a/a8/Maple_Leaf_Rag_seventh_chord_resolution.mid" type="audio/midi" data-width="0" data-height="0" /><source src="//upload.wikimedia.org/wikipedia/commons/transcoded/a/a8/Maple_Leaf_Rag_seventh_chord_resolution.mid/Maple_Leaf_Rag_seventh_chord_resolution.mid.ogg" type="audio/ogg; codecs="vorbis"" data-transcodekey="ogg" data-width="0" data-height="0" /><source src="//upload.wikimedia.org/wikipedia/commons/transcoded/a/a8/Maple_Leaf_Rag_seventh_chord_resolution.mid/Maple_Leaf_Rag_seventh_chord_resolution.mid.mp3" type="audio/mpeg" data-transcodekey="mp3" data-width="0" data-height="0" /></audio></span></span></div></dd></dl> <p>African-based rhythmic patterns such as <a href="/wiki/Tresillo_(rhythm)" title="Tresillo (rhythm)">tresillo</a> and its variants, the habanera rhythm and <a href="/wiki/Cinquillo" title="Cinquillo">cinquillo</a>, are heard in the ragtime compositions of Joplin and Turpin. Joplin's "<a href="/wiki/Solace_(Joplin)" title="Solace (Joplin)">Solace</a>" (1909) is generally considered to be in the habanera genre:<sup id="cite_ref-ReferenceA_77-0" class="reference"><a href="#cite_note-ReferenceA-77"><span class="cite-bracket">[</span>77<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-78" class="reference"><a href="#cite_note-78"><span class="cite-bracket">[</span>78<span class="cite-bracket">]</span></a></sup> both of the pianist's hands play in a syncopated fashion, completely abandoning any sense of a <a href="/wiki/March_(music)" title="March (music)">march</a> rhythm. <a href="/wiki/Ned_Sublette" title="Ned Sublette">Ned Sublette</a> postulates that the tresillo/habanera rhythm "found its way into ragtime and the cakewalk,"<sup id="cite_ref-79" class="reference"><a href="#cite_note-79"><span class="cite-bracket">[</span>79<span class="cite-bracket">]</span></a></sup> whilst Roberts suggests that "the habanera influence may have been part of what freed black music from ragtime's European bass".<sup id="cite_ref-80" class="reference"><a href="#cite_note-80"><span class="cite-bracket">[</span>80<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading3"><h3 id="Ragtime_in_other_regions">Ragtime in other regions</h3></div> <p>In the northeastern United States, a "hot" style of playing ragtime had developed, notably <a href="/wiki/James_Reese_Europe" title="James Reese Europe">James Reese Europe</a>'s symphonic <a href="/wiki/Clef_Club" title="Clef Club">Clef Club</a> orchestra in New York City, which played a benefit concert at <a href="/wiki/Carnegie_Hall" title="Carnegie Hall">Carnegie Hall</a> in 1912.<sup id="cite_ref-hellfighters_81-0" class="reference"><a href="#cite_note-hellfighters-81"><span class="cite-bracket">[</span>81<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-FOOTNOTECooke199978_82-0" class="reference"><a href="#cite_note-FOOTNOTECooke199978-82"><span class="cite-bracket">[</span>82<span class="cite-bracket">]</span></a></sup> The Baltimore rag style of <a href="/wiki/Eubie_Blake" title="Eubie Blake">Eubie Blake</a> influenced <a href="/wiki/James_P._Johnson" title="James P. Johnson">James P. Johnson</a>'s development of <a href="/wiki/Stride_piano" class="mw-redirect" title="Stride piano">stride piano</a> playing, in which the right hand plays the melody, while the left hand provides the rhythm and bassline.<sup id="cite_ref-FOOTNOTECooke199941–42_83-0" class="reference"><a href="#cite_note-FOOTNOTECooke199941–42-83"><span class="cite-bracket">[</span>83<span class="cite-bracket">]</span></a></sup> </p><p>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 heard in jazz in the gut-bucket cabarets, which were generally looked down upon by the Black middle-class.<sup id="cite_ref-FOOTNOTEPalmer196867_84-0" class="reference"><a href="#cite_note-FOOTNOTEPalmer196867-84"><span class="cite-bracket">[</span>84<span class="cite-bracket">]</span></a></sup><sup class="noprint Inline-Template" style="white-space:nowrap;">[<i><a href="/wiki/Wikipedia:Citing_sources#What_information_to_include" title="Wikipedia:Citing sources"><span title="A complete citation is needed. (November 2024)">full citation needed</span></a></i>]</sup> </p> <div class="mw-heading mw-heading3"><h3 id="Blues">Blues</h3></div> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1236090951"><div role="note" class="hatnote navigation-not-searchable">Main article: <a href="/wiki/Blues" title="Blues">Blues</a></div> <div class="mw-heading mw-heading4"><h4 id="African_genesis">African genesis</h4></div> <div class="thumb tright" style=""><div class="thumbinner" style="width:302px"><div class="thumbimage noresize" style="width:300px;"> <div class="mw-ext-score noresize" data-midi="//upload.wikimedia.org/score/o/s/oskrw0rbn1il1pydfxhqprxvrqtfruw/oskrw0rb.midi"><img src="//upload.wikimedia.org/score/o/s/oskrw0rbn1il1pydfxhqprxvrqtfruw/oskrw0rb.png" width="210" height="55" alt=" { \override Score.TimeSignature #'stencil = ##f \relative c' { \clef treble \time 6/4 c4^\markup { "C blues scale" } es f fis g bes c2 } } " /><div style="margin-top: 3px;"><audio controls=""><source src="//upload.wikimedia.org/score/o/s/oskrw0rbn1il1pydfxhqprxvrqtfruw/oskrw0rb.mp3" type="audio/mpeg" /><div>Audio playback is not supported in your browser. You can <a href="//upload.wikimedia.org/score/o/s/oskrw0rbn1il1pydfxhqprxvrqtfruw/oskrw0rb.mp3">download the audio file</a>.</div></audio></div></div> <div class="mw-ext-score noresize" data-midi="//upload.wikimedia.org/score/d/7/d74czl67ctqn9k636axwdfnw4v4j5s3/d74czl67.midi"><img src="//upload.wikimedia.org/score/d/7/d74czl67ctqn9k636axwdfnw4v4j5s3/d74czl67.png" width="218" height="57" alt=" { \override Score.TimeSignature #'stencil = ##f \relative c' { \clef treble \time 5/4 c4^\markup { "C minor pentatonic scale" } es f g bes c2 } } " /><div style="margin-top: 3px;"><audio controls=""><source src="//upload.wikimedia.org/score/d/7/d74czl67ctqn9k636axwdfnw4v4j5s3/d74czl67.mp3" type="audio/mpeg" /><div>Audio playback is not supported in your browser. You can <a href="//upload.wikimedia.org/score/d/7/d74czl67ctqn9k636axwdfnw4v4j5s3/d74czl67.mp3">download the audio file</a>.</div></audio></div></div></div><div class="thumbcaption">A hexatonic <a href="/wiki/Blues_scale" title="Blues scale">blues scale</a> on C, ascending</div></div></div><p>Blues is the name given to both a musical form and a music genre,<sup id="cite_ref-85" class="reference"><a href="#cite_note-85"><span class="cite-bracket">[</span>85<span class="cite-bracket">]</span></a></sup> which originated in <a href="/wiki/African-American" class="mw-redirect" title="African-American">African-American</a> communities of primarily the <a href="/wiki/Deep_South" title="Deep South">Deep South</a> of the United States at the end of the 19th century from their <a href="/wiki/Spiritual_(music)" class="mw-redirect" title="Spiritual (music)">spirituals</a>, <a href="/wiki/Work_song" title="Work song">work songs</a>, <a href="/wiki/Field_holler" title="Field holler">field hollers</a>, <a href="/wiki/Ring_shout" title="Ring shout">shouts</a> and <a href="/wiki/Chant" title="Chant">chants</a> and rhymed simple narrative <a href="/wiki/Ballad_(music)" class="mw-redirect" title="Ballad (music)">ballads</a>.<sup id="cite_ref-The_Evolution_of_Differing_Blues_Styles_86-0" class="reference"><a href="#cite_note-The_Evolution_of_Differing_Blues_Styles-86"><span class="cite-bracket">[</span>86<span class="cite-bracket">]</span></a></sup> </p><p>The African use of pentatonic scales contributed to the development of <a href="/wiki/Blue_note" title="Blue note">blue notes</a> in blues and jazz.<sup id="cite_ref-FOOTNOTECooke199911–14_87-0" class="reference"><a href="#cite_note-FOOTNOTECooke199911–14-87"><span class="cite-bracket">[</span>87<span class="cite-bracket">]</span></a></sup> As Kubik explains: </p> <blockquote><p>Many of the rural blues of the Deep South are <i>stylistically</i> an extension and merger of basically two broad accompanied song-style traditions in the west central Sudanic belt: </p><ul><li>A strongly Arabic/Islamic song style, as found for example among the <a href="/wiki/Hausa_people" title="Hausa people">Hausa</a>. It is characterized by melisma, wavy intonation, pitch instabilities within a pentatonic framework, and a declamatory voice.</li> <li>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.<sup id="cite_ref-FOOTNOTEKubik199996_88-0" class="reference"><a href="#cite_note-FOOTNOTEKubik199996-88"><span class="cite-bracket">[</span>88<span class="cite-bracket">]</span></a></sup></li></ul></blockquote> <div class="mw-heading mw-heading4"><h4 id="W._C._Handy:_early_published_blues">W. C. Handy: early published blues</h4></div> <figure class="mw-default-size mw-halign-right" typeof="mw:File/Thumb"><a href="/wiki/File:WC_Handy_age_19_handyphoto10.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/2/2a/WC_Handy_age_19_handyphoto10.jpg" decoding="async" width="160" height="239" class="mw-file-element" data-file-width="160" data-file-height="239" /></a><figcaption><a href="/wiki/W._C._Handy" title="W. C. Handy">W. C. Handy</a> at 19, 1892</figcaption></figure> <p><a href="/wiki/W._C._Handy" title="W. C. Handy">W. C. Handy</a> 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 which responded in syncopated accents, functioning as another "voice".<sup id="cite_ref-FOOTNOTEPalmer198146_89-0" class="reference"><a href="#cite_note-FOOTNOTEPalmer198146-89"><span class="cite-bracket">[</span>89<span class="cite-bracket">]</span></a></sup> 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. </p><p>Handy wrote about his adopting of the blues: </p> <blockquote><p>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 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.<sup id="cite_ref-FOOTNOTEHandy194199_90-0" class="reference"><a href="#cite_note-FOOTNOTEHandy194199-90"><span class="cite-bracket">[</span>90<span class="cite-bracket">]</span></a></sup></p></blockquote> <p>The publication of his "<a href="/wiki/The_Memphis_Blues" title="The Memphis Blues">Memphis Blues</a>" sheet music in 1912 introduced the 12-bar blues to the world (although <a href="/wiki/Gunther_Schuller" title="Gunther Schuller">Gunther Schuller</a> argues that it is not really a blues, but "more like a cakewalk").<sup id="cite_ref-FOOTNOTESchuller196866,_145n_91-0" class="reference"><a href="#cite_note-FOOTNOTESchuller196866,_145n-91"><span class="cite-bracket">[</span>91<span class="cite-bracket">]</span></a></sup> This composition, as well as his later "<a href="/wiki/St._Louis_Blues_(song)" class="mw-redirect" title="St. Louis Blues (song)">St. Louis Blues</a>" and others, included the habanera rhythm,<sup id="cite_ref-FOOTNOTEHandy194199–100_92-0" class="reference"><a href="#cite_note-FOOTNOTEHandy194199–100-92"><span class="cite-bracket">[</span>92<span class="cite-bracket">]</span></a></sup> and would become <a href="/wiki/Jazz_standard" title="Jazz standard">jazz standards</a>. 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. </p> <div class="mw-heading mw-heading3"><h3 id="New_Orleans_origins">New Orleans origins</h3></div> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1236090951"><div role="note" class="hatnote navigation-not-searchable">Main articles: <a href="/wiki/Dixieland_jazz" title="Dixieland jazz">Dixieland jazz</a> and <a href="/wiki/Music_of_Louisiana" title="Music of Louisiana">Music of Louisiana</a></div> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1129693374"><style data-mw-deduplicate="TemplateStyles:r1246091330">.mw-parser-output .sidebar{width:22em;float:right;clear:right;margin:0.5em 0 1em 1em;background:var(--background-color-neutral-subtle,#f8f9fa);border:1px solid var(--border-color-base,#a2a9b1);padding:0.2em;text-align:center;line-height:1.4em;font-size:88%;border-collapse:collapse;display:table}body.skin-minerva .mw-parser-output .sidebar{display:table!important;float:right!important;margin:0.5em 0 1em 1em!important}.mw-parser-output .sidebar-subgroup{width:100%;margin:0;border-spacing:0}.mw-parser-output .sidebar-left{float:left;clear:left;margin:0.5em 1em 1em 0}.mw-parser-output .sidebar-none{float:none;clear:both;margin:0.5em 1em 1em 0}.mw-parser-output .sidebar-outer-title{padding:0 0.4em 0.2em;font-size:125%;line-height:1.2em;font-weight:bold}.mw-parser-output .sidebar-top-image{padding:0.4em}.mw-parser-output .sidebar-top-caption,.mw-parser-output .sidebar-pretitle-with-top-image,.mw-parser-output .sidebar-caption{padding:0.2em 0.4em 0;line-height:1.2em}.mw-parser-output .sidebar-pretitle{padding:0.4em 0.4em 0;line-height:1.2em}.mw-parser-output .sidebar-title,.mw-parser-output .sidebar-title-with-pretitle{padding:0.2em 0.8em;font-size:145%;line-height:1.2em}.mw-parser-output .sidebar-title-with-pretitle{padding:0.1em 0.4em}.mw-parser-output .sidebar-image{padding:0.2em 0.4em 0.4em}.mw-parser-output .sidebar-heading{padding:0.1em 0.4em}.mw-parser-output .sidebar-content{padding:0 0.5em 0.4em}.mw-parser-output .sidebar-content-with-subgroup{padding:0.1em 0.4em 0.2em}.mw-parser-output .sidebar-above,.mw-parser-output .sidebar-below{padding:0.3em 0.8em;font-weight:bold}.mw-parser-output .sidebar-collapse .sidebar-above,.mw-parser-output .sidebar-collapse .sidebar-below{border-top:1px solid #aaa;border-bottom:1px solid #aaa}.mw-parser-output .sidebar-navbar{text-align:right;font-size:115%;padding:0 0.4em 0.4em}.mw-parser-output .sidebar-list-title{padding:0 0.4em;text-align:left;font-weight:bold;line-height:1.6em;font-size:105%}.mw-parser-output .sidebar-list-title-c{padding:0 0.4em;text-align:center;margin:0 3.3em}@media(max-width:640px){body.mediawiki .mw-parser-output .sidebar{width:100%!important;clear:both;float:none!important;margin-left:0!important;margin-right:0!important}}body.skin--responsive .mw-parser-output .sidebar a>img{max-width:none!important}@media screen{html.skin-theme-clientpref-night .mw-parser-output .sidebar:not(.notheme) .sidebar-list-title,html.skin-theme-clientpref-night .mw-parser-output .sidebar:not(.notheme) .sidebar-title-with-pretitle{background:transparent!important}html.skin-theme-clientpref-night .mw-parser-output .sidebar:not(.notheme) .sidebar-title-with-pretitle a{color:var(--color-progressive)!important}}@media screen and (prefers-color-scheme:dark){html.skin-theme-clientpref-os .mw-parser-output .sidebar:not(.notheme) .sidebar-list-title,html.skin-theme-clientpref-os .mw-parser-output .sidebar:not(.notheme) .sidebar-title-with-pretitle{background:transparent!important}html.skin-theme-clientpref-os .mw-parser-output .sidebar:not(.notheme) .sidebar-title-with-pretitle a{color:var(--color-progressive)!important}}@media print{body.ns-0 .mw-parser-output .sidebar{display:none!important}}</style><table class="sidebar sidebar-collapse nomobile nowraplinks vcard hlist" style="width:22.0em; border: 4px double #d69d36; background:#FFFFFF;"><tbody><tr><td class="sidebar-pretitle"><b><span style="color:#000000;">This article is part of a series on the</span></b></td></tr><tr><th class="sidebar-title-with-pretitle" style="background:#002868; border: 1px double #8C959A;"><a href="/wiki/Culture_of_Louisiana" title="Culture of Louisiana"><span style="color:#FFFFFF;"><small>Culture of </small><br />Louisiana</span></a></th></tr><tr><td class="sidebar-image"><figure class="mw-halign-center" typeof="mw:File"><a href="/wiki/File:Flag_Map_of_Louisiana_accurate.png" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/e/ee/Flag_Map_of_Louisiana_accurate.png/70px-Flag_Map_of_Louisiana_accurate.png" decoding="async" width="70" height="63" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/e/ee/Flag_Map_of_Louisiana_accurate.png/105px-Flag_Map_of_Louisiana_accurate.png 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/e/ee/Flag_Map_of_Louisiana_accurate.png/140px-Flag_Map_of_Louisiana_accurate.png 2x" data-file-width="2000" data-file-height="1800" /></a><figcaption></figcaption></figure></td></tr><tr><th class="sidebar-heading" style="background:#F4BB44; color:#FFF; border: 1px double #8C959A;"> Society</th></tr><tr><td class="sidebar-content"> <ul><li><a href="/wiki/Louisiana_French" title="Louisiana French">French language</a></li> <li><a href="/wiki/History_of_Louisiana" title="History of Louisiana">History</a></li> <li><a href="/wiki/Culture_of_Louisiana#Religion" title="Culture of Louisiana">Religion</a> <ul><li><a href="/wiki/Roman_Catholicism" class="mw-redirect" title="Roman Catholicism">Roman Catholicism</a></li> <li><a href="/wiki/Louisiana_Voodoo" title="Louisiana Voodoo">Voodoo</a></li></ul></li> <li><a href="/wiki/Demographics_of_Louisiana" title="Demographics of Louisiana">People</a> <ul><li><a href="/wiki/Louisiana_French_people" class="mw-redirect" title="Louisiana French people">Louisiana French</a></li> <li><a href="/wiki/Louisiana_Cajuns" class="mw-redirect" title="Louisiana Cajuns">Cajuns</a></li> <li><a href="/wiki/Louisiana_Creoles" class="mw-redirect" title="Louisiana Creoles">Creoles</a></li></ul></li></ul></td> </tr><tr><th class="sidebar-heading" style="background:#F4BB44; color:#FFF; border: 1px double #8C959A;"> Arts and literature</th></tr><tr><td class="sidebar-content"> <ul><li><a href="/wiki/Creole_architecture_in_the_United_States" title="Creole architecture in the United States">Creole Architecture</a></li> <li><a href="/wiki/New_Orleans_Museum_of_Art" title="New Orleans Museum of Art">Art</a></li> <li><a href="/wiki/Cajun_jig" title="Cajun jig">Cajun Dance</a></li> <li><a href="/wiki/Louisiana_literature" title="Louisiana literature">Louisiana literature</a></li> <li><a href="/wiki/Music_of_Louisiana" title="Music of Louisiana">Music</a> <ul><li><a class="mw-selflink selflink">Jazz</a></li> <li><a href="/wiki/Zydeco" title="Zydeco">Zydeco</a></li></ul></li></ul></td> </tr><tr><th class="sidebar-heading" style="background:#F4BB44; color:#FFF; border: 1px double #8C959A;"> Other</th></tr><tr><td class="sidebar-content"> <ul><li><a href="/wiki/Louisiana_cuisine" class="mw-redirect" title="Louisiana cuisine">Louisiana cuisine</a> <ul><li><a href="/wiki/Gumbo" title="Gumbo">Gumbo</a></li> <li><a href="/wiki/Jambalaya" title="Jambalaya">Jambalaya</a></li></ul></li> <li><a href="/wiki/List_of_festivals_in_Louisiana" title="List of festivals in Louisiana">Festivals</a></li> <li><a href="/wiki/History_of_New_Orleans" title="History of New Orleans">Folklore</a></li> <li><a href="/wiki/The_Grandissimes:_A_Story_of_Creole_Life" title="The Grandissimes: A Story of Creole Life">Mythology</a></li> <li><a href="/wiki/Sports_in_New_Orleans" title="Sports in New Orleans">Sports</a></li></ul></td> </tr><tr><th class="sidebar-heading" style="background:#F4BB44; color:#FFF; border: 1px double #8C959A;"> <a href="/wiki/National_symbols_of_the_United_States" title="National symbols of the United States"><span style="color:#FFFFFF;">Symbols</span></a></th></tr><tr><td class="sidebar-content"> <ul><li><a href="/wiki/Flag_of_Louisiana" title="Flag of Louisiana">Flag</a></li> <li><a href="/wiki/Seal_of_Louisiana" title="Seal of Louisiana">Seal</a></li> <li><a href="/wiki/Flag_of_Louisiana#Pledge_of_allegiance" title="Flag of Louisiana">Pledge of allegiance</a></li> <li><a href="/wiki/Give_Me_Louisiana" title="Give Me Louisiana">Anthem</a></li> <li><a href="/wiki/Pelican" title="Pelican">Bird</a></li> <li><a href="/wiki/French_Quarter" title="French Quarter">World Heritage Sites</a></li> <li><a href="/wiki/Fleur-de-lis" title="Fleur-de-lis">Fleur-de-lis</a></li></ul></td> </tr><tr><td class="sidebar-below"> <span typeof="mw:File"><a href="/wiki/File:Flag_of_Louisiana.svg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/e/e0/Flag_of_Louisiana.svg/20px-Flag_of_Louisiana.svg.png" decoding="async" width="20" height="13" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/e/e0/Flag_of_Louisiana.svg/30px-Flag_of_Louisiana.svg.png 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/e/e0/Flag_of_Louisiana.svg/40px-Flag_of_Louisiana.svg.png 2x" data-file-width="7040" data-file-height="4556" /></a></span><br /><a href="/wiki/Portal:Louisiana" title="Portal:Louisiana">Louisiana portal</a></td></tr><tr><td class="sidebar-navbar"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1129693374"><style data-mw-deduplicate="TemplateStyles:r1239400231">.mw-parser-output .navbar{display:inline;font-size:88%;font-weight:normal}.mw-parser-output .navbar-collapse{float:left;text-align:left}.mw-parser-output .navbar-boxtext{word-spacing:0}.mw-parser-output .navbar ul{display:inline-block;white-space:nowrap;line-height:inherit}.mw-parser-output .navbar-brackets::before{margin-right:-0.125em;content:"[ "}.mw-parser-output .navbar-brackets::after{margin-left:-0.125em;content:" ]"}.mw-parser-output .navbar li{word-spacing:-0.125em}.mw-parser-output .navbar a>span,.mw-parser-output .navbar a>abbr{text-decoration:inherit}.mw-parser-output .navbar-mini abbr{font-variant:small-caps;border-bottom:none;text-decoration:none;cursor:inherit}.mw-parser-output .navbar-ct-full{font-size:114%;margin:0 7em}.mw-parser-output .navbar-ct-mini{font-size:114%;margin:0 4em}html.skin-theme-clientpref-night .mw-parser-output .navbar li a abbr{color:var(--color-base)!important}@media(prefers-color-scheme:dark){html.skin-theme-clientpref-os .mw-parser-output .navbar li a abbr{color:var(--color-base)!important}}@media print{.mw-parser-output .navbar{display:none!important}}</style><div class="navbar plainlinks hlist navbar-mini"><ul><li class="nv-view"><a href="/wiki/Template:Culture_of_Louisiana" title="Template:Culture of Louisiana"><abbr title="View this template">v</abbr></a></li><li class="nv-talk"><a href="/wiki/Template_talk:Culture_of_Louisiana" title="Template talk:Culture of Louisiana"><abbr title="Discuss this template">t</abbr></a></li><li class="nv-edit"><a href="/wiki/Special:EditPage/Template:Culture_of_Louisiana" title="Special:EditPage/Template:Culture of Louisiana"><abbr title="Edit this template">e</abbr></a></li></ul></div></td></tr></tbody></table> <figure class="mw-default-size mw-halign-left" typeof="mw:File/Thumb"><a href="/wiki/File:Bolden_band.gif" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/d/d7/Bolden_band.gif/220px-Bolden_band.gif" decoding="async" width="220" height="149" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/d/d7/Bolden_band.gif/330px-Bolden_band.gif 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/d/d7/Bolden_band.gif/440px-Bolden_band.gif 2x" data-file-width="590" data-file-height="399" /></a><figcaption><a href="/wiki/Buddy_Bolden" title="Buddy Bolden">The Bolden Band</a> around 1905</figcaption></figure> <p>The music of <a href="/wiki/New_Orleans" title="New Orleans">New Orleans</a>, <a href="/wiki/Louisiana" title="Louisiana">Louisiana</a> 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.<sup id="cite_ref-93" class="reference"><a href="#cite_note-93"><span class="cite-bracket">[</span>93<span class="cite-bracket">]</span></a></sup> Many early jazz musicians played in the bars and brothels of the red-light district around Basin Street called <a href="/wiki/Storyville,_New_Orleans" title="Storyville, New Orleans">Storyville</a>.<sup id="cite_ref-FOOTNOTECooke199947,_50_94-0" class="reference"><a href="#cite_note-FOOTNOTECooke199947,_50-94"><span class="cite-bracket">[</span>94<span class="cite-bracket">]</span></a></sup> In addition to dance bands, there were marching bands which played at lavish funerals (later called <a href="/wiki/Jazz_funeral" title="Jazz funeral">jazz funerals</a>). 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, <a href="/wiki/Louisiana_Creole_people" title="Louisiana Creole people">Louisiana Creole</a> and African-American musicians played in <a href="/wiki/Vaudeville" title="Vaudeville">vaudeville</a> shows which carried jazz to cities in the northern and western parts of the U.S.<sup id="cite_ref-creoleorch_95-0" class="reference"><a href="#cite_note-creoleorch-95"><span class="cite-bracket">[</span>95<span class="cite-bracket">]</span></a></sup> Jazz became international in 1914, when the Creole Band with cornettist <a href="/wiki/Freddie_Keppard" title="Freddie Keppard">Freddie Keppard</a> performed the first ever jazz concert outside the United States, at the <a href="/wiki/Pantages_Playhouse_Theatre" title="Pantages Playhouse Theatre">Pantages Playhouse Theatre</a> in <a href="/wiki/Winnipeg" title="Winnipeg">Winnipeg</a>, Canada.<sup id="cite_ref-96" class="reference"><a href="#cite_note-96"><span class="cite-bracket">[</span>96<span class="cite-bracket">]</span></a></sup> </p><p>In New Orleans, a white bandleader named <a href="/wiki/Papa_Jack_Laine" title="Papa Jack Laine">Papa Jack Laine</a> 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 <a href="/wiki/George_Brunies" title="George Brunies">George Brunies</a>, <a href="/wiki/Sharkey_Bonano" title="Sharkey Bonano">Sharkey Bonano</a>, and future members of the <a href="/wiki/Original_Dixieland_Jass_Band" title="Original Dixieland Jass Band">Original Dixieland Jass Band</a>. During the early 1900s, jazz was mostly performed in African-American and <a href="/wiki/Mulatto" title="Mulatto">mulatto</a> communities due to segregation laws. Storyville brought jazz to a wider audience through tourists who visited the port city of New Orleans.<sup id="cite_ref-97" class="reference"><a href="#cite_note-97"><span class="cite-bracket">[</span>97<span class="cite-bracket">]</span></a></sup> Many jazz musicians from African-American communities were hired to perform in bars and brothels. These included <a href="/wiki/Buddy_Bolden" title="Buddy Bolden">Buddy Bolden</a> and <a href="/wiki/Jelly_Roll_Morton" title="Jelly Roll Morton">Jelly Roll Morton</a> in addition to those from other communities, such as <a href="/wiki/Lorenzo_Tio" title="Lorenzo Tio">Lorenzo Tio</a> and <a href="/wiki/Alcide_Nunez" title="Alcide Nunez">Alcide Nunez</a>. <a href="/wiki/Louis_Armstrong" title="Louis Armstrong">Louis Armstrong</a> started his career in Storyville<sup id="cite_ref-98" class="reference"><a href="#cite_note-98"><span class="cite-bracket">[</span>98<span class="cite-bracket">]</span></a></sup> and found success in Chicago. Storyville was shut down by the U.S. government in 1917.<sup id="cite_ref-web.archive.org_99-0" class="reference"><a href="#cite_note-web.archive.org-99"><span class="cite-bracket">[</span>99<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading4"><h4 id="Syncopation">Syncopation</h4></div> <figure class="mw-default-size mw-halign-right" typeof="mw:File/Thumb"><a href="/wiki/File:MortonBricktopRowCropMortonFace.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/3/35/MortonBricktopRowCropMortonFace.jpg/200px-MortonBricktopRowCropMortonFace.jpg" decoding="async" width="200" height="232" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/3/35/MortonBricktopRowCropMortonFace.jpg/300px-MortonBricktopRowCropMortonFace.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/3/35/MortonBricktopRowCropMortonFace.jpg 2x" data-file-width="336" data-file-height="389" /></a><figcaption><a href="/wiki/Jelly_Roll_Morton" title="Jelly Roll Morton">Jelly Roll Morton</a>, a <a href="/wiki/Louisiana_Creole_people" title="Louisiana Creole people">Louisiana Creole</a> jazz artist, <abbr title="circa">c.</abbr><span style="white-space:nowrap;"> 1917</span> or 1918</figcaption></figure> <p>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.<sup id="cite_ref-100" class="reference"><a href="#cite_note-100"><span class="cite-bracket">[</span>100<span class="cite-bracket">]</span></a></sup> As the example below shows, the second half of the big four pattern is the habanera rhythm. </p> <dl><dd><div class="mw-ext-score noresize" data-midi="//upload.wikimedia.org/score/a/h/ahv6uru6mzxhr0v0qvqgf1ys0viygcq/ahv6uru6.midi"><img src="//upload.wikimedia.org/score/a/h/ahv6uru6mzxhr0v0qvqgf1ys0viygcq/ahv6uru6.png" width="672" height="57" alt=" \new Staff << \relative c' { \clef percussion \time 4/4 \repeat volta 2 { g8 \xNote a' g, \xNote a' g, \xNote a'16. g,32 g8 <g \xNote a'> } \repeat volta 2 { r8 \xNote a'\noBeam g, \xNote a' g, \xNote a'16. g,32 g8 <g \xNote a'> } } >> " /><span class="mw-default-size" typeof="mw:File"><span><audio id="mwe_player_4" controls="" preload="none" data-mw-tmh="" class="mw-file-element" width="220" style="width:220px;" data-mwtitle="Big_four_Buddy_Bolden.mid" data-mwprovider="wikimediacommons"><source src="//upload.wikimedia.org/wikipedia/commons/7/71/Big_four_Buddy_Bolden.mid" type="audio/midi" data-width="0" data-height="0" /><source src="//upload.wikimedia.org/wikipedia/commons/transcoded/7/71/Big_four_Buddy_Bolden.mid/Big_four_Buddy_Bolden.mid.ogg" type="audio/ogg; codecs="vorbis"" data-transcodekey="ogg" data-width="0" data-height="0" /><source src="//upload.wikimedia.org/wikipedia/commons/transcoded/7/71/Big_four_Buddy_Bolden.mid/Big_four_Buddy_Bolden.mid.mp3" type="audio/mpeg" data-transcodekey="mp3" data-width="0" data-height="0" /></audio></span></span></div></dd></dl> <p>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 "<a href="/wiki/Jelly_Roll_Blues" title="Jelly Roll Blues">Jelly Roll Blues</a>", which became the first jazz arrangement in print when it was published in 1915. It introduced more musicians to the New Orleans style.<sup id="cite_ref-FOOTNOTECooke199938,_56_101-0" class="reference"><a href="#cite_note-FOOTNOTECooke199938,_56-101"><span class="cite-bracket">[</span>101<span class="cite-bracket">]</span></a></sup> </p><p>Morton considered the tresillo/habanera, which he called the <a href="/wiki/Spanish_tinge" title="Spanish tinge">Spanish tinge</a>, an essential ingredient of jazz.<sup id="cite_ref-102" class="reference"><a href="#cite_note-102"><span class="cite-bracket">[</span>102<span class="cite-bracket">]</span></a></sup> "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."<sup id="cite_ref-ReferenceB_71-1" class="reference"><a href="#cite_note-ReferenceB-71"><span class="cite-bracket">[</span>71<span class="cite-bracket">]</span></a></sup> </p><p>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. </p> <dl><dd><div class="mw-ext-score noresize" data-midi="//upload.wikimedia.org/score/j/e/je93na3r73hbvynmwsyg7pxcpnma0y8/je93na3r.midi"><img src="//upload.wikimedia.org/score/j/e/je93na3r73hbvynmwsyg7pxcpnma0y8/je93na3r.png" width="520" height="128" alt=" { \new PianoStaff << \new Staff << \relative c'' { \clef treble \key bes \major \time 2/2 f8 <f, f'> <g g'> <f~ cis'> <f d'> <f f'> <g d' g>4 r8 <f f'> <g g'> <f~ cis'> <f d'> <f f'> <g d' g>4 r8 <f d' f> <g d' g> <f~ cis'> <f d'> <f d' f> <g d' g> <f d' f> } >> \new Staff << \relative c { \clef bass \key bes \major \time 2/2 <bes bes'>4. <f' d'>8~ <f d'>4 <f, f'>4 <bes f' bes>4. <f' d'>8~ <f d'>4 <f, f'>4 <bes f' bes>4. <f' d'>8~ <f d'>4 <f, f'>4 } >> >> } " /><span class="mw-default-size" typeof="mw:File"><span><audio id="mwe_player_5" controls="" preload="none" data-mw-tmh="" class="mw-file-element" width="220" style="width:220px;" data-durationhint="7" data-mwtitle="New_orleans_blues_corrected.mid" data-mwprovider="local"><source src="//upload.wikimedia.org/wikipedia/en/transcoded/d/d8/New_orleans_blues_corrected.mid/New_orleans_blues_corrected.mid.mp3" type="audio/mpeg" data-transcodekey="mp3" data-width="0" data-height="0" /><source src="//upload.wikimedia.org/wikipedia/en/transcoded/d/d8/New_orleans_blues_corrected.mid/New_orleans_blues_corrected.mid.ogg" type="audio/ogg; codecs="vorbis"" data-transcodekey="ogg" data-width="0" data-height="0" /><source src="//upload.wikimedia.org/wikipedia/en/d/d8/New_orleans_blues_corrected.mid" type="audio/midi" data-width="0" data-height="0" /></audio></span></span></div></dd></dl> <p>Morton was a crucial innovator in the evolution from the early jazz form known as ragtime to <a href="/wiki/Jazz_piano" title="Jazz piano">jazz piano</a>, 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. </p> <div class="mw-heading mw-heading4"><h4 id="Swing_in_the_early_20th_century">Swing in the early 20th century</h4></div> <div class="thumb tright" style=""><div class="thumbinner" style="width:387px"><div class="thumbimage noresize" style="width:385px;"> <div class="mw-ext-score noresize" data-midi="//upload.wikimedia.org/score/g/e/ge91iymv5tgmk1dcj6h71ldrqmohsvx/ge91iymv.midi"><img src="//upload.wikimedia.org/score/g/e/ge91iymv5tgmk1dcj6h71ldrqmohsvx/ge91iymv.png" width="291" height="47" alt=" \new RhythmicStaff { \clef percussion \time 4/4 \repeat volta 2 { c8^\markup { "Even subdivisions" } c16 c c8 c16 c c8 c16 c c8 c16 c } } " /><span class="mw-default-size" typeof="mw:File"><span><audio id="mwe_player_6" controls="" preload="none" data-mw-tmh="" class="mw-file-element" width="220" style="width:220px;" data-mwtitle="Shuffle_feel_straight.mid" data-mwprovider="wikimediacommons"><source src="//upload.wikimedia.org/wikipedia/commons/d/de/Shuffle_feel_straight.mid" type="audio/midi" data-width="0" data-height="0" /><source src="//upload.wikimedia.org/wikipedia/commons/transcoded/d/de/Shuffle_feel_straight.mid/Shuffle_feel_straight.mid.ogg" type="audio/ogg; codecs="vorbis"" data-transcodekey="ogg" data-width="0" data-height="0" /><source src="//upload.wikimedia.org/wikipedia/commons/transcoded/d/de/Shuffle_feel_straight.mid/Shuffle_feel_straight.mid.mp3" type="audio/mpeg" data-transcodekey="mp3" data-width="0" data-height="0" /></audio></span></span></div> <div class="mw-ext-score noresize" data-midi="//upload.wikimedia.org/score/a/j/ajyovpjogpo1xa1yfvndpug3xqmn3y6/ajyovpjo.midi"><img src="//upload.wikimedia.org/score/a/j/ajyovpjogpo1xa1yfvndpug3xqmn3y6/ajyovpjo.png" width="377" height="66" alt=" \new RhythmicStaff { \clef percussion \time 4/4 \repeat volta 2 { c8[^\markup { "Swung correlative" } \tuplet 3/2 { c16 r c] } c8[ \tuplet 3/2 { c16 r c] } c8[ \tuplet 3/2 { c16 r c] } c8[ \tuplet 3/2 { c16 r c] } } } " /><span class="mw-default-size" typeof="mw:File"><span><audio id="mwe_player_7" controls="" preload="none" data-mw-tmh="" class="mw-file-element" width="220" style="width:220px;" data-mwtitle="Shuffle_feel.mid" data-mwprovider="wikimediacommons"><source src="//upload.wikimedia.org/wikipedia/commons/0/07/Shuffle_feel.mid" type="audio/midi" data-width="0" data-height="0" /><source src="//upload.wikimedia.org/wikipedia/commons/transcoded/0/07/Shuffle_feel.mid/Shuffle_feel.mid.ogg" type="audio/ogg; codecs="vorbis"" data-transcodekey="ogg" data-width="0" data-height="0" /><source src="//upload.wikimedia.org/wikipedia/commons/transcoded/0/07/Shuffle_feel.mid/Shuffle_feel.mid.mp3" type="audio/mpeg" data-transcodekey="mp3" data-width="0" data-height="0" /></audio></span></span></div></div></div></div><p>Morton loosened ragtime's rigid rhythmic feeling, decreasing its embellishments and employing a <a href="/wiki/Swing_(jazz_performance_style)" class="mw-redirect" title="Swing (jazz performance style)">swing</a> feeling.<sup id="cite_ref-103" class="reference"><a href="#cite_note-103"><span class="cite-bracket">[</span>103<span class="cite-bracket">]</span></a></sup> 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."<sup id="cite_ref-FOOTNOTESchuller19686_104-0" class="reference"><a href="#cite_note-FOOTNOTESchuller19686-104"><span class="cite-bracket">[</span>104<span class="cite-bracket">]</span></a></sup> <i>The New Harvard Dictionary of Music</i> 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:<sup id="cite_ref-105" class="reference"><a href="#cite_note-105"><span class="cite-bracket">[</span>105<span class="cite-bracket">]</span></a></sup> swing superimposes six 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".<sup id="cite_ref-106" class="reference"><a href="#cite_note-106"><span class="cite-bracket">[</span>106<span class="cite-bracket">]</span></a></sup> </p><p>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' <a href="/wiki/Camelia_Brass_Band" title="Camelia Brass Band">Camelia Brass Band</a>, 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.<sup id="cite_ref-107" class="reference"><a href="#cite_note-107"><span class="cite-bracket">[</span>107<span class="cite-bracket">]</span></a></sup> </p><p>The <a href="/wiki/Original_Dixieland_Jass_Band" title="Original Dixieland Jass Band">Original Dixieland Jass Band</a> made the music's first recordings early in 1917, and their "<a href="/wiki/Livery_Stable_Blues" title="Livery Stable Blues">Livery Stable Blues</a>" became the earliest released jazz record.<sup id="cite_ref-108" class="reference"><a href="#cite_note-108"><span class="cite-bracket">[</span>108<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-109" class="reference"><a href="#cite_note-109"><span class="cite-bracket">[</span>109<span class="cite-bracket">]</span></a></sup> 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 <a href="/wiki/369th_Infantry_Regiment_(United_States)" title="369th Infantry Regiment (United States)">"Hellfighters" infantry</a> band took ragtime to Europe,<sup id="cite_ref-110" class="reference"><a href="#cite_note-110"><span class="cite-bracket">[</span>110<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-FOOTNOTECooke199944_111-0" class="reference"><a href="#cite_note-FOOTNOTECooke199944-111"><span class="cite-bracket">[</span>111<span class="cite-bracket">]</span></a></sup> then on their return recorded Dixieland standards including "<a href="/wiki/Darktown_Strutters%27_Ball" title="Darktown Strutters' Ball">Darktown Strutters' Ball</a>".<sup id="cite_ref-hellfighters_81-1" class="reference"><a href="#cite_note-hellfighters-81"><span class="cite-bracket">[</span>81<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading2"><h2 id="The_Jazz_Age">The Jazz Age</h2></div> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1236090951"><div role="note" class="hatnote navigation-not-searchable">Main article: <a href="/wiki/Jazz_Age" title="Jazz Age">Jazz Age</a></div> <figure class="mw-default-size mw-halign-right" typeof="mw:File/Thumb"><a href="/wiki/File:Jazzing_orchestra_1921.png" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/b/bd/Jazzing_orchestra_1921.png/220px-Jazzing_orchestra_1921.png" decoding="async" width="220" height="149" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/b/bd/Jazzing_orchestra_1921.png/330px-Jazzing_orchestra_1921.png 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/b/bd/Jazzing_orchestra_1921.png/440px-Jazzing_orchestra_1921.png 2x" data-file-width="780" data-file-height="529" /></a><figcaption>The King & Carter Jazzing Orchestra photographed in Houston, Texas, January 1921</figcaption></figure> <p>From 1920 to 1933, <a href="/wiki/Prohibition_in_the_United_States" title="Prohibition in the United States">Prohibition in the United States</a> 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 cultural values by promoting the decadent values of the Roaring 20s. <a href="/wiki/Henry_van_Dyke" class="mw-redirect" title="Henry van Dyke">Henry van Dyke</a> 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."<sup id="cite_ref-ward_112-0" class="reference"><a href="#cite_note-ward-112"><span class="cite-bracket">[</span>112<span class="cite-bracket">]</span></a></sup> <i><a href="/wiki/The_New_York_Times" title="The New York Times">The New York Times</a></i> 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.<sup id="cite_ref-ward_112-1" class="reference"><a href="#cite_note-ward-112"><span class="cite-bracket">[</span>112<span class="cite-bracket">]</span></a></sup> </p> <style data-mw-deduplicate="TemplateStyles:r1235681985">.mw-parser-output .side-box{margin:4px 0;box-sizing:border-box;border:1px solid #aaa;font-size:88%;line-height:1.25em;background-color:var(--background-color-interactive-subtle,#f8f9fa);display:flow-root}.mw-parser-output .side-box-abovebelow,.mw-parser-output .side-box-text{padding:0.25em 0.9em}.mw-parser-output .side-box-image{padding:2px 0 2px 0.9em;text-align:center}.mw-parser-output .side-box-imageright{padding:2px 0.9em 2px 0;text-align:center}@media(min-width:500px){.mw-parser-output .side-box-flex{display:flex;align-items:center}.mw-parser-output .side-box-text{flex:1;min-width:0}}@media(min-width:720px){.mw-parser-output .side-box{width:238px}.mw-parser-output .side-box-right{clear:right;float:right;margin-left:1em}.mw-parser-output .side-box-left{margin-right:1em}}</style><style data-mw-deduplicate="TemplateStyles:r1096940132">.mw-parser-output .listen .side-box-text{line-height:1.1em}.mw-parser-output .listen-plain{border:none;background:transparent}.mw-parser-output .listen-embedded{width:100%;margin:0;border-width:1px 0 0 0;background:transparent}.mw-parser-output .listen-header{padding:2px}.mw-parser-output .listen-embedded .listen-header{padding:2px 0}.mw-parser-output .listen-file-header{padding:4px 0}.mw-parser-output .listen .description{padding-top:2px}.mw-parser-output .listen .mw-tmh-player{max-width:100%}@media(max-width:719px){.mw-parser-output .listen{clear:both}}@media(min-width:720px){.mw-parser-output .listen:not(.listen-noimage){width:320px}.mw-parser-output .listen-left{overflow:visible;float:left}.mw-parser-output .listen-center{float:none;margin-left:auto;margin-right:auto}}</style><div class="side-box side-box-right listen noprint"><style data-mw-deduplicate="TemplateStyles:r1126788409">.mw-parser-output .plainlist ol,.mw-parser-output .plainlist ul{line-height:inherit;list-style:none;margin:0;padding:0}.mw-parser-output .plainlist ol li,.mw-parser-output .plainlist ul li{margin-bottom:0}</style> <div class="side-box-flex"> <div class="side-box-image"><figure class="mw-halign-center" typeof="mw:File"><span><img alt="" src="//upload.wikimedia.org/wikipedia/commons/thumb/c/cb/Gnome-mime-audio-openclipart.svg/50px-Gnome-mime-audio-openclipart.svg.png" decoding="async" width="50" height="50" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/c/cb/Gnome-mime-audio-openclipart.svg/75px-Gnome-mime-audio-openclipart.svg.png 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/c/cb/Gnome-mime-audio-openclipart.svg/100px-Gnome-mime-audio-openclipart.svg.png 2x" data-file-width="160" data-file-height="160" /></span><figcaption></figcaption></figure></div> <div class="side-box-text plainlist"><div class="haudio"> <div class="listen-file-header"><a href="/wiki/File:OriginalDixielandJassBand-JazzMeBlues.ogg" title="File:OriginalDixielandJassBand-JazzMeBlues.ogg">Jazz Me Blues</a></div> <div><span typeof="mw:File"><span><audio id="mwe_player_9" controls="" preload="none" data-mw-tmh="" class="mw-file-element" width="232" style="width:232px;" data-durationhint="179" data-mwtitle="OriginalDixielandJassBand-JazzMeBlues.ogg" data-mwprovider="wikimediacommons"><source src="//upload.wikimedia.org/wikipedia/commons/6/62/OriginalDixielandJassBand-JazzMeBlues.ogg" type="audio/ogg; codecs="vorbis"" data-width="0" data-height="0" /><source src="//upload.wikimedia.org/wikipedia/commons/transcoded/6/62/OriginalDixielandJassBand-JazzMeBlues.ogg/OriginalDixielandJassBand-JazzMeBlues.ogg.mp3" type="audio/mpeg" data-transcodekey="mp3" data-width="0" data-height="0" /></audio></span></span></div> <div class="description">The <a href="/wiki/Original_Dixieland_Jass_Band" title="Original Dixieland Jass Band">Original Dixieland Jass Band</a> performing "Jazz Me Blues", an example of a jazz piece from 1921</div></div></div></div> <div class="side-box-abovebelow"><hr /><i class="selfreference">Problems playing this file? See <a href="/wiki/Help:Media" title="Help:Media">media help</a>.</i></div> </div> <p>In 1919, <a href="/wiki/Kid_Ory" title="Kid Ory">Kid Ory</a>'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.<sup id="cite_ref-FOOTNOTECooke199954_113-0" class="reference"><a href="#cite_note-FOOTNOTECooke199954-113"><span class="cite-bracket">[</span>113<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-ory_114-0" class="reference"><a href="#cite_note-ory-114"><span class="cite-bracket">[</span>114<span class="cite-bracket">]</span></a></sup> During the same year, <a href="/wiki/Bessie_Smith" title="Bessie Smith">Bessie Smith</a> made her first recordings.<sup id="cite_ref-115" class="reference"><a href="#cite_note-115"><span class="cite-bracket">[</span>115<span class="cite-bracket">]</span></a></sup> Chicago was developing "<a href="/wiki/Hot_Jazz" class="mw-redirect" title="Hot Jazz">Hot Jazz</a>", and <a href="/wiki/Joe_%22King%22_Oliver" class="mw-redirect" title="Joe "King" Oliver">King Oliver</a> joined <a href="/wiki/Bill_Johnson_(double-bassist)" class="mw-redirect" title="Bill Johnson (double-bassist)">Bill Johnson</a>. Bix Beiderbecke formed The Wolverines in 1924. </p><p>Despite its Southern black origins, there was a larger market for jazzy dance music played by white orchestras. In 1918, <a href="/wiki/Paul_Whiteman" title="Paul Whiteman">Paul Whiteman</a> and his orchestra became a hit in San Francisco. He signed a contract with <a href="/wiki/Victor_Talking_Machine_Company" title="Victor Talking Machine Company">Victor</a> and became the top bandleader of the 1920s, giving hot jazz a white component, hiring white musicians such as <a href="/wiki/Bix_Beiderbecke" title="Bix Beiderbecke">Bix Beiderbecke</a>, <a href="/wiki/Jimmy_Dorsey" title="Jimmy Dorsey">Jimmy Dorsey</a>, <a href="/wiki/Tommy_Dorsey" title="Tommy Dorsey">Tommy Dorsey</a>, <a href="/wiki/Frankie_Trumbauer" title="Frankie Trumbauer">Frankie Trumbauer</a>, and <a href="/wiki/Joe_Venuti" title="Joe Venuti">Joe Venuti</a>. In 1924, Whiteman commissioned <a href="/wiki/George_Gershwin" title="George Gershwin">George Gershwin</a>'s <i><a href="/wiki/Rhapsody_in_Blue" title="Rhapsody in Blue">Rhapsody in Blue</a></i>, which was premiered by his orchestra. Jazz began to be recognized as a notable musical form. <a href="/wiki/Olin_Downes" title="Olin Downes">Olin Downes</a>, reviewing the concert in <i>The New York Times</i>, 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."<sup id="cite_ref-Downes_116-0" class="reference"><a href="#cite_note-Downes-116"><span class="cite-bracket">[</span>116<span class="cite-bracket">]</span></a></sup> </p><p>After Whiteman's band successfully toured Europe, huge hot jazz orchestras in theater pits caught on with other whites, including <a href="/wiki/Fred_Waring" title="Fred Waring">Fred Waring</a>, <a href="/wiki/Jean_Goldkette" title="Jean Goldkette">Jean Goldkette</a>, and <a href="/wiki/Nathaniel_Shilkret" title="Nathaniel Shilkret">Nathaniel Shilkret</a>. 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.<sup id="cite_ref-Dunkel_117-0" class="reference"><a href="#cite_note-Dunkel-117"><span class="cite-bracket">[</span>117<span class="cite-bracket">]</span></a></sup> </p> <figure class="mw-default-size mw-halign-right" typeof="mw:File/Thumb"><a href="/wiki/File:Louis_Armstrong_restored.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/0/0e/Louis_Armstrong_restored.jpg/220px-Louis_Armstrong_restored.jpg" decoding="async" width="220" height="171" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/0/0e/Louis_Armstrong_restored.jpg/330px-Louis_Armstrong_restored.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/0/0e/Louis_Armstrong_restored.jpg/440px-Louis_Armstrong_restored.jpg 2x" data-file-width="3738" data-file-height="2912" /></a><figcaption><a href="/wiki/Louis_Armstrong" title="Louis Armstrong">Louis Armstrong</a> began his career in New Orleans and became one of jazz's most recognizable performers.</figcaption></figure> <p>Whiteman's success caused black artists to follow suit, including <a href="/wiki/Earl_Hines" title="Earl Hines">Earl Hines</a> (who opened in The Grand Terrace Cafe in Chicago in 1928), Washington, D.C.-native <a href="/wiki/Duke_Ellington" title="Duke Ellington">Duke Ellington</a> (who opened at the <a href="/wiki/Cotton_Club" title="Cotton Club">Cotton Club</a> in Harlem in 1927), <a href="/wiki/Lionel_Hampton" title="Lionel Hampton">Lionel Hampton</a>, <a href="/wiki/Fletcher_Henderson" title="Fletcher Henderson">Fletcher Henderson</a>, <a href="/wiki/Claude_Hopkins" title="Claude Hopkins">Claude Hopkins</a>, and <a href="/wiki/Don_Redman" title="Don Redman">Don Redman</a>, with Henderson and Redman developing the "talking to one another" formula for "hot" swing music.<sup id="cite_ref-FOOTNOTECooke199982–83,_100–103_118-0" class="reference"><a href="#cite_note-FOOTNOTECooke199982–83,_100–103-118"><span class="cite-bracket">[</span>118<span class="cite-bracket">]</span></a></sup> </p><p>In 1924, Louis Armstrong joined the Fletcher Henderson dance band for a year, as featured soloist. By 1924, one of <a href="/wiki/Louis_Armstrong" title="Louis Armstrong">Armstrong</a>'s favorite "Sweet Jazz" <a href="/wiki/Big_bands" class="mw-redirect" title="Big bands">Big bands</a> was also formed in Canada by <a href="/wiki/Guy_Lombardo" title="Guy Lombardo">Guy Lombardo</a>. His Royal Canadians Orchestra specialized in performances of "the Sweetest music this side of Heaven" which transcended racial boundaries.<sup id="cite_ref-119" class="reference"><a href="#cite_note-119"><span class="cite-bracket">[</span>119<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-120" class="reference"><a href="#cite_note-120"><span class="cite-bracket">[</span>120<span class="cite-bracket">]</span></a></sup> 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 <a href="/wiki/Coleman_Hawkins" title="Coleman Hawkins">Coleman Hawkins</a>), sounded "stiff, stodgy", with "jerky rhythms and a grey undistinguished tone quality".<sup id="cite_ref-FOOTNOTESchuller196891_121-0" class="reference"><a href="#cite_note-FOOTNOTESchuller196891-121"><span class="cite-bracket">[</span>121<span class="cite-bracket">]</span></a></sup> The following example shows a short excerpt of the straight melody of "Mandy, Make Up Your Mind" by <a href="/wiki/George_W._Meyer" title="George W. Meyer">George W. Meyer</a> and Arthur Johnston (top), compared with Armstrong's solo improvisations (below) (recorded 1924).<sup id="cite_ref-FOOTNOTESchuller196893_122-0" class="reference"><a href="#cite_note-FOOTNOTESchuller196893-122"><span class="cite-bracket">[</span>122<span class="cite-bracket">]</span></a></sup> Armstrong's solos were a significant factor in making jazz a true 20th-century language. After leaving Henderson's group, Armstrong formed his <a href="/wiki/Louis_Armstrong_and_his_Hot_Five" class="mw-redirect" title="Louis Armstrong and his Hot Five">Hot Five</a> band, where he popularized <a href="/wiki/Scat_singing" title="Scat singing">scat singing</a>.<sup id="cite_ref-FOOTNOTECooke199956–59,_78–79,_66–70_123-0" class="reference"><a href="#cite_note-FOOTNOTECooke199956–59,_78–79,_66–70-123"><span class="cite-bracket">[</span>123<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading3"><h3 id="Swing_in_the_1920s_and_1930s">Swing in the 1920s and 1930s</h3></div> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1236090951"><div role="note" class="hatnote navigation-not-searchable">Main articles: <a href="/wiki/Swing_music" title="Swing music">Swing music</a> and <a href="/wiki/1930s_in_jazz" title="1930s in jazz">1930s in jazz</a></div> <figure class="mw-default-size mw-halign-left" typeof="mw:File/Thumb"><a href="/wiki/File:BennyGoodmanStageDoorCanteen.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/1/1d/BennyGoodmanStageDoorCanteen.jpg/220px-BennyGoodmanStageDoorCanteen.jpg" decoding="async" width="220" height="165" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/1/1d/BennyGoodmanStageDoorCanteen.jpg/330px-BennyGoodmanStageDoorCanteen.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/1/1d/BennyGoodmanStageDoorCanteen.jpg/440px-BennyGoodmanStageDoorCanteen.jpg 2x" data-file-width="448" data-file-height="336" /></a><figcaption>Benny Goodman (1943)</figcaption></figure> <p>The 1930s belonged to popular <a href="/wiki/Swing_(music)" class="mw-redirect" title="Swing (music)">swing</a> 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 <a href="/wiki/Count_Basie" title="Count Basie">Count Basie</a>, <a href="/wiki/Cab_Calloway" title="Cab Calloway">Cab Calloway</a>, <a href="/wiki/Jimmy_Dorsey" title="Jimmy Dorsey">Jimmy</a> and <a href="/wiki/Tommy_Dorsey" title="Tommy Dorsey">Tommy Dorsey</a>, <a href="/wiki/Duke_Ellington" title="Duke Ellington">Duke Ellington</a>, <a href="/wiki/Benny_Goodman" title="Benny Goodman">Benny Goodman</a>, <a href="/wiki/Fletcher_Henderson" title="Fletcher Henderson">Fletcher Henderson</a>, <a href="/wiki/Earl_Hines" title="Earl Hines">Earl Hines</a>, <a href="/wiki/Harry_James" title="Harry James">Harry James</a>, <a href="/wiki/Jimmie_Lunceford" title="Jimmie Lunceford">Jimmie Lunceford</a>, <a href="/wiki/Glenn_Miller" title="Glenn Miller">Glenn Miller</a> and <a href="/wiki/Artie_Shaw" title="Artie Shaw">Artie Shaw</a>. 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. </p><p>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 <a href="/wiki/Teddy_Wilson" title="Teddy Wilson">Teddy Wilson</a>, vibraphonist <a href="/wiki/Lionel_Hampton" title="Lionel Hampton">Lionel Hampton</a> and guitarist <a href="/wiki/Charlie_Christian" title="Charlie Christian">Charlie Christian</a> to join small groups. In the 1930s, Kansas City Jazz as exemplified by tenor saxophonist <a href="/wiki/Lester_Young" title="Lester Young">Lester Young</a> marked the transition from big bands to the bebop influence of the 1940s. An early 1940s style known as "jumping the blues" or <a href="/wiki/Jump_blues" title="Jump blues">jump blues</a> used small combos, uptempo music and blues chord progressions, drawing on <a href="/wiki/Boogie_woogie_(music)" class="mw-redirect" title="Boogie woogie (music)">boogie-woogie</a> from the 1930s. </p> <div class="mw-heading mw-heading3"><h3 id="The_influence_of_Duke_Ellington">The influence of Duke Ellington</h3></div> <figure class="mw-default-size" typeof="mw:File/Thumb"><a href="/wiki/File:Duke_Ellington_at_the_Hurricane_Club_1943.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/0/0f/Duke_Ellington_at_the_Hurricane_Club_1943.jpg/170px-Duke_Ellington_at_the_Hurricane_Club_1943.jpg" decoding="async" width="170" height="214" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/0/0f/Duke_Ellington_at_the_Hurricane_Club_1943.jpg/255px-Duke_Ellington_at_the_Hurricane_Club_1943.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/0/0f/Duke_Ellington_at_the_Hurricane_Club_1943.jpg/340px-Duke_Ellington_at_the_Hurricane_Club_1943.jpg 2x" data-file-width="595" data-file-height="750" /></a><figcaption>Duke Ellington at the Hurricane Club (1943)</figcaption></figure> <p>While swing was reaching the height of its popularity, <a href="/wiki/Duke_Ellington" title="Duke Ellington">Duke Ellington</a> 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 <a href="/wiki/Musical_form" title="Musical form">musical form</a> with complex compositions that still translated well for popular audiences; some of his tunes became <a href="/wiki/Hit_single" class="mw-redirect" title="Hit single">hits</a>, and his own popularity spanned from the United States to Europe.<sup id="cite_ref-124" class="reference"><a href="#cite_note-124"><span class="cite-bracket">[</span>124<span class="cite-bracket">]</span></a></sup> </p><p>Ellington called his music <i>American Music</i>, rather than <i>jazz</i>, and liked to describe those who impressed him as "beyond category".<sup id="cite_ref-125" class="reference"><a href="#cite_note-125"><span class="cite-bracket">[</span>125<span class="cite-bracket">]</span></a></sup> 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 <a href="/wiki/Johnny_Hodges" title="Johnny Hodges">Johnny Hodges</a>, "Concerto for Cootie" for <a href="/wiki/Cootie_Williams" title="Cootie Williams">Cootie Williams</a> (which later became "<a href="/wiki/Do_Nothing_Till_You_Hear_from_Me" class="mw-redirect" title="Do Nothing Till You Hear from Me">Do Nothing Till You Hear from Me</a>" with <a href="/wiki/Bob_Russell_(songwriter)" title="Bob Russell (songwriter)">Bob Russell</a>'s lyrics), and "The Mooche" for <a href="/wiki/Tricky_Sam_Nanton" title="Tricky Sam Nanton">Tricky Sam Nanton</a> and <a href="/wiki/Bubber_Miley" class="mw-redirect" title="Bubber Miley">Bubber Miley</a>. He also recorded compositions written by his bandsmen, such as <a href="/wiki/Juan_Tizol" title="Juan Tizol">Juan Tizol</a>'s "<a href="/wiki/Caravan_(1937_song)" class="mw-redirect" title="Caravan (1937 song)">Caravan</a>" and "<a href="/wiki/Perdido_(song)" title="Perdido (song)">Perdido</a>", 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.<sup id="cite_ref-126" class="reference"><a href="#cite_note-126"><span class="cite-bracket">[</span>126<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading3"><h3 id="Beginnings_of_European_jazz">Beginnings of European jazz</h3></div> <p>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 <a href="/wiki/Lonnie_Johnson_(musician)" title="Lonnie Johnson (musician)">Lonnie Johnson</a>, 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.<sup id="cite_ref-127" class="reference"><a href="#cite_note-127"><span class="cite-bracket">[</span>127<span class="cite-bracket">]</span></a></sup> The beginnings of a distinct European style of jazz began to emerge in this interwar period. </p><p>British jazz began with a <a href="/wiki/Original_Dixieland_Jass_Band#London_tour" title="Original Dixieland Jass Band">tour by the Original Dixieland Jazz Band in 1919</a>. In 1926, <a href="/wiki/Fred_Elizalde" title="Fred Elizalde">Fred Elizalde</a> 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.<sup id="cite_ref-Godolt_128-0" class="reference"><a href="#cite_note-Godolt-128"><span class="cite-bracket">[</span>128<span class="cite-bracket">]</span></a></sup> </p><p>This style entered full swing in France with the <a href="/wiki/Quintette_du_Hot_Club_de_France" title="Quintette du Hot Club de France">Quintette du Hot Club de France</a>, 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.<sup id="cite_ref-129" class="reference"><a href="#cite_note-129"><span class="cite-bracket">[</span>129<span class="cite-bracket">]</span></a></sup> Belgian guitarist <a href="/wiki/Django_Reinhardt" title="Django Reinhardt">Django Reinhardt</a> popularized <a href="/wiki/Gypsy_jazz" title="Gypsy jazz">gypsy jazz</a>, a mix of 1930s American swing, French dance hall "<a href="/wiki/Bal-musette" title="Bal-musette">musette</a>", 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 <a href="/wiki/Eddie_Lang" title="Eddie Lang">Eddie Lang</a> and <a href="/wiki/Joe_Venuti" title="Joe Venuti">Joe Venuti</a> pioneered the guitar-violin partnership characteristic of the genre,<sup id="cite_ref-130" class="reference"><a href="#cite_note-130"><span class="cite-bracket">[</span>130<span class="cite-bracket">]</span></a></sup> which was brought to France after they had been heard live or on <a href="/wiki/Okeh_Records" title="Okeh Records">Okeh Records</a> in the late 1920s.<sup id="cite_ref-131" class="reference"><a href="#cite_note-131"><span class="cite-bracket">[</span>131<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading2"><h2 id="Post-war_jazz">Post-war jazz</h2></div> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1236090951"><div role="note" class="hatnote navigation-not-searchable">See also: <a href="/wiki/1940s_in_jazz" title="1940s in jazz">1940s in jazz</a>, <a href="/wiki/1950s_in_jazz" title="1950s in jazz">1950s in jazz</a>, <a href="/wiki/1960s_in_jazz" title="1960s in jazz">1960s in jazz</a>, <a href="/wiki/1970s_in_jazz" title="1970s in jazz">1970s in jazz</a>, and <a href="/wiki/Album_era" title="Album era">album era</a></div> <figure class="mw-default-size mw-halign-left" typeof="mw:File/Thumb"><a href="/wiki/File:Charlie_Parker,_Tommy_Potter,_Miles_Davis,_Max_Roach_(Gottlieb_06941).jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/6/61/Charlie_Parker%2C_Tommy_Potter%2C_Miles_Davis%2C_Max_Roach_%28Gottlieb_06941%29.jpg/220px-Charlie_Parker%2C_Tommy_Potter%2C_Miles_Davis%2C_Max_Roach_%28Gottlieb_06941%29.jpg" decoding="async" width="220" height="303" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/6/61/Charlie_Parker%2C_Tommy_Potter%2C_Miles_Davis%2C_Max_Roach_%28Gottlieb_06941%29.jpg/330px-Charlie_Parker%2C_Tommy_Potter%2C_Miles_Davis%2C_Max_Roach_%28Gottlieb_06941%29.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/6/61/Charlie_Parker%2C_Tommy_Potter%2C_Miles_Davis%2C_Max_Roach_%28Gottlieb_06941%29.jpg/440px-Charlie_Parker%2C_Tommy_Potter%2C_Miles_Davis%2C_Max_Roach_%28Gottlieb_06941%29.jpg 2x" data-file-width="912" data-file-height="1256" /></a><figcaption>The "classic quintet": <a href="/wiki/Charlie_Parker" title="Charlie Parker">Charlie Parker</a>, <a href="/wiki/Tommy_Potter" title="Tommy Potter">Tommy Potter</a>, <a href="/wiki/Miles_Davis" title="Miles Davis">Miles Davis</a>, <a href="/wiki/Dizzy_Gillespie" title="Dizzy Gillespie">Dizzy Gillespie</a>, and <a href="/wiki/Max_Roach" title="Max Roach">Max Roach</a> performing at Three Deuces in <a href="/wiki/New_York_City" title="New York City">New York City</a>. Photograph by <a href="/wiki/William_P._Gottlieb" title="William P. Gottlieb">William P. Gottlieb</a> (August 1947), <a href="/wiki/Library_of_Congress" title="Library of Congress">Library of Congress</a>.</figcaption></figure> <p>The outbreak of <a href="/wiki/World_War_II" title="World War II">World War II</a> 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 Europe, where it also became popular.<sup id="cite_ref-Burchett_132-0" class="reference"><a href="#cite_note-Burchett-132"><span class="cite-bracket">[</span>132<span class="cite-bracket">]</span></a></sup> Stateside, however, the war presented difficulties for the big-band format: conscription shortened the number of musicians available; the military's need for <a href="/wiki/Shellac" title="Shellac">shellac</a> (commonly used for pressing <a href="/wiki/Gramophone_records" class="mw-redirect" title="Gramophone records">gramophone records</a>) 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.<sup id="cite_ref-grove_133-0" class="reference"><a href="#cite_note-grove-133"><span class="cite-bracket">[</span>133<span class="cite-bracket">]</span></a></sup> </p><p>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 <a href="/wiki/Stan_Getz" title="Stan Getz">Stan Getz</a>'s entry in a band as a teenager.<sup id="cite_ref-Trynka_134-0" class="reference"><a href="#cite_note-Trynka-134"><span class="cite-bracket">[</span>134<span class="cite-bracket">]</span></a></sup> This coincided with a nationwide resurgence in the Dixieland style of pre-swing jazz; performers such as clarinetist <a href="/wiki/George_Lewis_(clarinetist)" title="George Lewis (clarinetist)">George Lewis</a>, cornetist <a href="/wiki/Bill_Davison" title="Bill Davison">Bill Davison</a>, and trombonist <a href="/wiki/Turk_Murphy" title="Turk Murphy">Turk Murphy</a> were hailed by conservative jazz critics as more authentic than the big bands.<sup id="cite_ref-grove_133-1" class="reference"><a href="#cite_note-grove-133"><span class="cite-bracket">[</span>133<span class="cite-bracket">]</span></a></sup> Elsewhere, with the limitations on recording, small groups of young musicians developed a more uptempo, improvisational style of jazz,<sup id="cite_ref-Burchett_132-1" class="reference"><a href="#cite_note-Burchett-132"><span class="cite-bracket">[</span>132<span class="cite-bracket">]</span></a></sup> collaborating and experimenting with new ideas for melodic development, rhythmic language, and <a href="/wiki/Harmonic_substitution" class="mw-redirect" title="Harmonic substitution">harmonic substitution</a>, 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 <a href="/wiki/Thelonious_Monk" title="Thelonious Monk">Thelonious Monk</a> and <a href="/wiki/Bud_Powell" title="Bud Powell">Bud Powell</a>, drummers <a href="/wiki/Max_Roach" title="Max Roach">Max Roach</a> and <a href="/wiki/Kenny_Clarke" title="Kenny Clarke">Kenny Clarke</a>, saxophonist <a href="/wiki/Charlie_Parker" title="Charlie Parker">Charlie Parker</a>, and trumpeter <a href="/wiki/Dizzy_Gillespie" title="Dizzy Gillespie">Dizzy Gillespie</a>.<sup id="cite_ref-grove_133-2" class="reference"><a href="#cite_note-grove-133"><span class="cite-bracket">[</span>133<span class="cite-bracket">]</span></a></sup> This musical development became known as <a href="/wiki/Bebop" title="Bebop">bebop</a>.<sup id="cite_ref-Burchett_132-2" class="reference"><a href="#cite_note-Burchett-132"><span class="cite-bracket">[</span>132<span class="cite-bracket">]</span></a></sup> </p><p>Bebop and subsequent post-war jazz developments featured <a href="/wiki/Bebop_scale" title="Bebop scale">a wider set of notes</a>, played in more complex <a href="/wiki/Melodic_pattern" title="Melodic pattern">patterns</a> and at faster tempos than previous jazz.<sup id="cite_ref-Trynka_134-1" class="reference"><a href="#cite_note-Trynka-134"><span class="cite-bracket">[</span>134<span class="cite-bracket">]</span></a></sup> According to <a href="/wiki/Clive_James" title="Clive James">Clive James</a>, 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."<sup id="cite_ref-135" class="reference"><a href="#cite_note-135"><span class="cite-bracket">[</span>135<span class="cite-bracket">]</span></a></sup> 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.<sup id="cite_ref-Burchett_132-3" class="reference"><a href="#cite_note-Burchett-132"><span class="cite-bracket">[</span>132<span class="cite-bracket">]</span></a></sup> </p><p>With the rise of bebop and the end of the swing era after the war, jazz lost its cachet as <a href="/wiki/Pop_music" title="Pop music">pop music</a>. Vocalists of the famous big bands moved on to being marketed and performing as solo pop singers; these included <a href="/wiki/Frank_Sinatra" title="Frank Sinatra">Frank Sinatra</a>, <a href="/wiki/Peggy_Lee" title="Peggy Lee">Peggy Lee</a>, <a href="/wiki/Dick_Haymes" title="Dick Haymes">Dick Haymes</a>, and <a href="/wiki/Doris_Day" title="Doris Day">Doris Day</a>.<sup id="cite_ref-Trynka_134-2" class="reference"><a href="#cite_note-Trynka-134"><span class="cite-bracket">[</span>134<span class="cite-bracket">]</span></a></sup> 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 <a href="/wiki/Big_Joe_Turner" title="Big Joe Turner">Big Joe Turner</a> and saxophonist <a href="/wiki/Louis_Jordan" title="Louis Jordan">Louis Jordan</a>, who were discouraged by bebop's increasing complexity, pursued more lucrative endeavors in rhythm and blues, <a href="/wiki/Jump_blues" title="Jump blues">jump blues</a>, and eventually <a href="/wiki/Rock_and_roll" title="Rock and roll">rock and roll</a>.<sup id="cite_ref-Burchett_132-4" class="reference"><a href="#cite_note-Burchett-132"><span class="cite-bracket">[</span>132<span class="cite-bracket">]</span></a></sup> 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."<sup id="cite_ref-Burchett_132-5" class="reference"><a href="#cite_note-Burchett-132"><span class="cite-bracket">[</span>132<span class="cite-bracket">]</span></a></sup> During its swing period, jazz had been an uncomplicated musical scene; according to <a href="/wiki/Paul_Trynka" title="Paul Trynka">Paul Trynka</a>, this changed in the post-war years: </p> <style data-mw-deduplicate="TemplateStyles:r1244412712">.mw-parser-output .templatequote{overflow:hidden;margin:1em 0;padding:0 32px}.mw-parser-output .templatequotecite{line-height:1.5em;text-align:left;margin-top:0}@media(min-width:500px){.mw-parser-output .templatequotecite{padding-left:1.6em}}</style><blockquote class="templatequote"><p>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 <a href="/wiki/Progressive_jazz" class="mw-redirect" title="Progressive jazz">progressive jazz</a> of <a href="/wiki/Stan_Kenton" title="Stan Kenton">Stan Kenton</a>, 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.<sup id="cite_ref-Trynka_134-3" class="reference"><a href="#cite_note-Trynka-134"><span class="cite-bracket">[</span>134<span class="cite-bracket">]</span></a></sup></p></blockquote> <div class="mw-heading mw-heading3"><h3 id="Bebop">Bebop</h3></div> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1236090951"><div role="note" class="hatnote navigation-not-searchable">Main article: <a href="/wiki/Bebop" title="Bebop">Bebop</a></div> <p>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 <a href="/wiki/Bud_Powell" title="Bud Powell">Bud Powell</a> and <a href="/wiki/Thelonious_Monk" title="Thelonious Monk">Thelonious Monk</a>, trumpeters Dizzy Gillespie and <a href="/wiki/Clifford_Brown" title="Clifford Brown">Clifford Brown</a>, and drummer <a href="/wiki/Max_Roach" title="Max Roach">Max Roach</a>. Divorcing itself from dance music, bebop established itself more as an art form, thus lessening its potential popular and commercial appeal. </p><p>Composer <a href="/wiki/Gunther_Schuller" title="Gunther Schuller">Gunther Schuller</a> 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' and the beginning of modern jazz ... but the band never made recordings."<sup id="cite_ref-136" class="reference"><a href="#cite_note-136"><span class="cite-bracket">[</span>136<span class="cite-bracket">]</span></a></sup> </p><p>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 music. The difference was in how you got from here to here to here...naturally each age has got its own shit."<sup id="cite_ref-FOOTNOTEDance1983260_137-0" class="reference"><a href="#cite_note-FOOTNOTEDance1983260-137"><span class="cite-bracket">[</span>137<span class="cite-bracket">]</span></a></sup> </p><p>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 <a href="/wiki/Ride_cymbal" title="Ride cymbal">ride cymbal</a> 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.<sup id="cite_ref-Floyd,_Samuel_A._1995_138-0" class="reference"><a href="#cite_note-Floyd,_Samuel_A._1995-138"><span class="cite-bracket">[</span>138<span class="cite-bracket">]</span></a></sup> </p><p>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;<sup id="cite_ref-FOOTNOTELevine1995171_139-0" class="reference"><a href="#cite_note-FOOTNOTELevine1995171-139"><span class="cite-bracket">[</span>139<span class="cite-bracket">]</span></a></sup> bebop also uses "passing" chords, <a href="/wiki/Substitute_chord" class="mw-redirect" title="Substitute chord">substitute chords</a>, and <a href="/wiki/Altered_chord" title="Altered chord">altered chords</a>. New forms of <a href="/wiki/Chromaticism" title="Chromaticism">chromaticism</a> and <a href="/wiki/Consonance_and_dissonance" title="Consonance and dissonance">dissonance</a> were introduced into jazz, and the dissonant <a href="/wiki/Tritone" title="Tritone">tritone</a> (or "flatted fifth") interval became the "most important interval of bebop"<sup id="cite_ref-140" class="reference"><a href="#cite_note-140"><span class="cite-bracket">[</span>140<span class="cite-bracket">]</span></a></sup> 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 "<a href="/wiki/Rhythm_changes" title="Rhythm changes">rhythm changes</a>" (I-vi-ii-V) – the chords to the 1930s pop standard "<a href="/wiki/I_Got_Rhythm" title="I Got Rhythm">I Got Rhythm</a>". Late bop also moved towards extended forms that represented a departure from pop and show tunes. </p><p>The harmonic development in bebop is often traced back to a moment experienced by Charlie Parker while performing "Cherokee" at <a href="/wiki/Clark_Monroe%27s_Uptown_House" title="Clark Monroe's Uptown House">Clark Monroe's Uptown House</a>, 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."<sup id="cite_ref-Kubik_141-0" class="reference"><a href="#cite_note-Kubik-141"><span class="cite-bracket">[</span>141<span class="cite-bracket">]</span></a></sup> <a href="/wiki/Gerhard_Kubik" title="Gerhard Kubik">Gerhard Kubik</a> postulates that harmonic development in bebop sprang from blues and <a href="/wiki/Traditional_sub-Saharan_African_harmony" title="Traditional sub-Saharan African harmony">African-related tonal sensibilities</a> rather than 20th-century Western classical music. "Auditory inclinations were the African legacy in [Parker's] 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 music while retaining the strong central tonality of the blues as a basis for drawing upon various African matrices."<sup id="cite_ref-Kubik_141-1" class="reference"><a href="#cite_note-Kubik-141"><span class="cite-bracket">[</span>141<span class="cite-bracket">]</span></a></sup> </p><p>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 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.<sup id="cite_ref-Floyd,_Samuel_A._1995_138-1" class="reference"><a href="#cite_note-Floyd,_Samuel_A._1995-138"><span class="cite-bracket">[</span>138<span class="cite-bracket">]</span></a></sup> Kubik wrote: </p> <blockquote><p>While for an outside observer, the harmonic innovations in bebop would appear to be inspired by experiences in Western "serious" music, from <a href="/wiki/Claude_Debussy" title="Claude Debussy">Claude Debussy</a> to <a href="/wiki/Arnold_Schoenberg" title="Arnold Schoenberg">Arnold Schoenberg</a>, 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 <a href="/wiki/African-American_music" title="African-American music">African-American music</a> several structural principles and techniques rooted in African traditions.<sup id="cite_ref-FOOTNOTEKubik2005_142-0" class="reference"><a href="#cite_note-FOOTNOTEKubik2005-142"><span class="cite-bracket">[</span>142<span class="cite-bracket">]</span></a></sup></p></blockquote> <p>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".<sup id="cite_ref-143" class="reference"><a href="#cite_note-143"><span class="cite-bracket">[</span>143<span class="cite-bracket">]</span></a></sup> But despite the friction, by the 1950s bebop had become an accepted part of the jazz vocabulary. </p> <div class="mw-heading mw-heading3"><h3 id="Afro-Cuban_jazz_(cu-bop)"><span id="Afro-Cuban_jazz_.28cu-bop.29"></span>Afro-Cuban jazz (cu-bop)</h3></div> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1236090951"><div role="note" class="hatnote navigation-not-searchable">Main article: <a href="/wiki/Afro-Cuban_jazz" title="Afro-Cuban jazz">Afro-Cuban jazz</a></div> <figure class="mw-default-size" typeof="mw:File/Thumb"><a href="/wiki/File:Machito_and_his_sister_Graciella_Grillo.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/2/2a/Machito_and_his_sister_Graciella_Grillo.jpg/170px-Machito_and_his_sister_Graciella_Grillo.jpg" decoding="async" width="170" height="171" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/2/2a/Machito_and_his_sister_Graciella_Grillo.jpg/255px-Machito_and_his_sister_Graciella_Grillo.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/2/2a/Machito_and_his_sister_Graciella_Grillo.jpg/340px-Machito_and_his_sister_Graciella_Grillo.jpg 2x" data-file-width="911" data-file-height="919" /></a><figcaption>Machito (maracas) and his sister Graciella Grillo (claves)</figcaption></figure> <div class="mw-heading mw-heading4"><h4 id="Machito_and_Mario_Bauza">Machito and Mario Bauza</h4></div> <p>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 <a href="/wiki/Mario_Bauza" class="mw-redirect" title="Mario Bauza">Mario Bauza</a> and recorded by <a href="/wiki/Machito" title="Machito">Machito</a> and his Afro-Cubans in New York City. "Tanga" began as a spontaneous <a href="/wiki/Descarga" title="Descarga">descarga</a> (Cuban jam session), with jazz solos superimposed on top.<sup id="cite_ref-144" class="reference"><a href="#cite_note-144"><span class="cite-bracket">[</span>144<span class="cite-bracket">]</span></a></sup> </p><p>This was the birth of <a href="/wiki/Afro-Cuban_jazz" title="Afro-Cuban jazz">Afro-Cuban jazz</a>. The use of clave brought the African <i>timeline</i>, or <i><a href="/wiki/Bell_pattern" title="Bell pattern">key pattern</a></i>, into jazz. Music organized around key patterns convey a two-celled (binary) structure, which is a complex level of African <a href="/wiki/Cross_beat" class="mw-redirect" title="Cross beat">cross-rhythm</a>.<sup id="cite_ref-FOOTNOTEPeñalosa201056_145-0" class="reference"><a href="#cite_note-FOOTNOTEPeñalosa201056-145"><span class="cite-bracket">[</span>145<span class="cite-bracket">]</span></a></sup> 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 <i>3–2 clave</i> (shown below). If the progression begins on the "two-side", it is in <i>2–3 clave</i>.<sup id="cite_ref-FOOTNOTEPeñalosa2010131–136_146-0" class="reference"><a href="#cite_note-FOOTNOTEPeñalosa2010131–136-146"><span class="cite-bracket">[</span>146<span class="cite-bracket">]</span></a></sup> </p> <dl><dd><div class="mw-ext-score noresize" data-midi="//upload.wikimedia.org/score/j/s/jskj952grv5l29xucgs7yhv2amths6f/jskj952g.midi"><img src="//upload.wikimedia.org/score/j/s/jskj952grv5l29xucgs7yhv2amths6f/jskj952g.png" width="229" height="33" alt=" \new RhythmicStaff { \clef percussion \time 4/4 \repeat volta 2 { c8. c16 r8[ c] r[ c] c4 } } " /><span class="mw-default-size" typeof="mw:File"><span><audio id="mwe_player_8" controls="" preload="none" data-mw-tmh="" class="mw-file-element" width="220" style="width:220px;" data-durationhint="8" data-mwtitle="3-2_son_clave.mid" data-mwprovider="wikimediacommons"><source src="//upload.wikimedia.org/wikipedia/commons/transcoded/c/c4/3-2_son_clave.mid/3-2_son_clave.mid.mp3" type="audio/mpeg" data-transcodekey="mp3" data-width="0" data-height="0" /><source src="//upload.wikimedia.org/wikipedia/commons/transcoded/c/c4/3-2_son_clave.mid/3-2_son_clave.mid.ogg" type="audio/ogg; codecs="vorbis"" data-transcodekey="ogg" data-width="0" data-height="0" /><source src="//upload.wikimedia.org/wikipedia/commons/c/c4/3-2_son_clave.mid" type="audio/midi" data-width="0" data-height="0" /></audio></span></span></div></dd></dl> <div class="mw-heading mw-heading4"><h4 id="Dizzy_Gillespie_and_Chano_Pozo">Dizzy Gillespie and Chano Pozo</h4></div> <figure class="mw-default-size" typeof="mw:File/Thumb"><a href="/wiki/File:Dizzy_Gillespie_playing_horn_1955.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/c/cb/Dizzy_Gillespie_playing_horn_1955.jpg/170px-Dizzy_Gillespie_playing_horn_1955.jpg" decoding="async" width="170" height="238" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/c/cb/Dizzy_Gillespie_playing_horn_1955.jpg/255px-Dizzy_Gillespie_playing_horn_1955.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/c/cb/Dizzy_Gillespie_playing_horn_1955.jpg/340px-Dizzy_Gillespie_playing_horn_1955.jpg 2x" data-file-width="654" data-file-height="916" /></a><figcaption>Dizzy Gillespie, 1955</figcaption></figure> <p><a href="/wiki/Mario_Bauz%C3%A1" title="Mario Bauzá">Mario Bauzá</a> introduced bebop innovator Dizzy Gillespie to Cuban conga drummer and composer <a href="/wiki/Chano_Pozo" title="Chano Pozo">Chano Pozo</a>. Gillespie and Pozo's brief collaboration produced some of the most enduring Afro-Cuban jazz standards. "<a href="/wiki/Manteca_(song)" title="Manteca (song)">Manteca</a>" (1947) is the first jazz standard to be rhythmically based on clave. According to Gillespie, Pozo composed the layered, contrapuntal <a href="/wiki/Guajeo" title="Guajeo">guajeos</a> (Afro-Cuban <a href="/wiki/Ostinato" title="Ostinato">ostinatos</a>) of the A section and the introduction, while Gillespie wrote the bridge. 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."<sup id="cite_ref-147" class="reference"><a href="#cite_note-147"><span class="cite-bracket">[</span>147<span class="cite-bracket">]</span></a></sup> The bridge gave "Manteca" a typical jazz harmonic structure, setting the piece apart from Bauza's modal "Tanga" of a few years earlier. </p><p>Gillespie's collaboration with Pozo brought specific African-based rhythms into bebop. While pushing the boundaries of harmonic improvisation, <i>cu-bop</i> 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", "<a href="/wiki/A_Night_in_Tunisia" title="A Night in Tunisia">A Night in Tunisia</a>", "Tin Tin Deo", and "<a href="/wiki/On_Green_Dolphin_Street_(song)" title="On Green Dolphin Street (song)">On Green Dolphin Street</a>". </p> <div class="mw-heading mw-heading4"><h4 id=""Un_Poco_Loco""><span id=".22Un_Poco_Loco.22"></span>"Un Poco Loco"</h4></div> <p>Another jazz composition critical to the development of Afro-Cuban jazz was Bud Powell's "<a href="/wiki/Un_Poco_Loco" title="Un Poco Loco">Un Poco Loco</a>," recorded with <a href="/wiki/Curley_Russell" title="Curley Russell">Curley Russell</a> on bass and Max Roach on drums. Noted for its "frenetic energy" and "clanging cowbell and polyrhythmic accompaniment,"<sup id="cite_ref-148" class="reference"><a href="#cite_note-148"><span class="cite-bracket">[</span>148<span class="cite-bracket">]</span></a></sup> the composition combined Afro-Cuban rhythm with polytonality and preceded further use of modality and avant-garde harmony in Latin jazz.<sup id="cite_ref-149" class="reference"><a href="#cite_note-149"><span class="cite-bracket">[</span>149<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading4"><h4 id="African_cross-rhythm">African cross-rhythm</h4></div> <figure class="mw-default-size" typeof="mw:File/Thumb"><a href="/wiki/File:Mongo_Santamaria_1969.JPG" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/c/cb/Mongo_Santamaria_1969.JPG/170px-Mongo_Santamaria_1969.JPG" decoding="async" width="170" height="194" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/c/cb/Mongo_Santamaria_1969.JPG/255px-Mongo_Santamaria_1969.JPG 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/c/cb/Mongo_Santamaria_1969.JPG/340px-Mongo_Santamaria_1969.JPG 2x" data-file-width="626" data-file-height="716" /></a><figcaption>Mongo Santamaria (1969)</figcaption></figure> <p>Cuban percussionist <a href="/wiki/Mongo_Santamaria" class="mw-redirect" title="Mongo Santamaria">Mongo Santamaria</a> first recorded his composition "<a href="/wiki/Afro_Blue" title="Afro Blue">Afro Blue</a>" in 1959.<sup id="cite_ref-150" class="reference"><a href="#cite_note-150"><span class="cite-bracket">[</span>150<span class="cite-bracket">]</span></a></sup> "Afro Blue" was the first jazz standard built upon a typical African three-against-two (3:2) <a href="/wiki/Cross-rhythm" class="mw-redirect" title="Cross-rhythm">cross-rhythm</a>, or <a href="/wiki/Hemiola" title="Hemiola">hemiola</a>.<sup id="cite_ref-FOOTNOTEPeñalosa201026_151-0" class="reference"><a href="#cite_note-FOOTNOTEPeñalosa201026-151"><span class="cite-bracket">[</span>151<span class="cite-bracket">]</span></a></sup> The piece begins with the bass repeatedly playing 6 cross-beats per each measure of <span class="music-symbol" style="font-family: Arial Unicode MS, Lucida Sans Unicode;"><span class="serif-fonts" style="font-family: 'Georgia Pro', Georgia, 'DejaVu Serif', Times, 'Times New Roman', FreeSerif, 'DejaVu Math TeX', 'URW Bookman L', serif;"><span class="nowrap"><span style="display:inline-block;margin-bottom:-0.3em;vertical-align:-0.4em;line-height:0.85em;font-size:80%;text-align:center"><sup style="font-size:inherit;line-height:inherit;vertical-align:baseline"><b>12</b></sup><br /><sub style="font-size:inherit;line-height:inherit;vertical-align:baseline"><b>8</b></sub></span></span></span></span>, or 6 cross-beats per 4 main beats—6:4 (two cells of 3:2). </p><p>The following example shows the original <a href="/wiki/Ostinato" title="Ostinato">ostinato</a> "Afro Blue" bass line. The cross noteheads indicate the main <a href="/wiki/Beat_music" title="Beat music">beats</a> (not bass notes). </p> <dl><dd><div class="mw-ext-score noresize" data-midi="//upload.wikimedia.org/score/b/t/btl6q0hzl858ydlq8rmo69vnas3icj2/btl6q0hz.midi"><img src="//upload.wikimedia.org/score/b/t/btl6q0hzl858ydlq8rmo69vnas3icj2/btl6q0hz.png" width="259" height="76" alt=" \new Staff << \new voice \relative c { \set Staff.midiInstrument = #"acoustic bass" \set Score.tempoHideNote = ##t \tempo 4 = 105 \time 12/8 \clef bass \stemUp \repeat volta 2 { d4 a'8~ a d4 d,4 a'8~ a d4 } } \new voice \relative c { \override NoteHead.style = #'cross \stemDown \repeat volta 2 { g4. g g g } } >> " /></div></dd></dl> <p>When <a href="/wiki/John_Coltrane" title="John Coltrane">John Coltrane</a> covered "Afro Blue" in 1963, he inverted the metric hierarchy, interpreting the tune as a <span class="music-symbol" style="font-family: Arial Unicode MS, Lucida Sans Unicode;"><span class="serif-fonts" style="font-family: 'Georgia Pro', Georgia, 'DejaVu Serif', Times, 'Times New Roman', FreeSerif, 'DejaVu Math TeX', 'URW Bookman L', serif;"><span class="nowrap"><span style="display:inline-block;margin-bottom:-0.3em;vertical-align:-0.4em;line-height:0.85em;font-size:80%;text-align:center"><sup style="font-size:inherit;line-height:inherit;vertical-align:baseline"><b>3</b></sup><br /><sub style="font-size:inherit;line-height:inherit;vertical-align:baseline"><b>4</b></sub></span></span></span></span> jazz waltz with duple cross-beats superimposed (2:3). Originally a B<span class="music-symbol" style="font-family: Arial Unicode MS, Lucida Sans Unicode;"><span class="music-flat">♭</span></span> <a href="/wiki/Pentatonic_scale" title="Pentatonic scale">pentatonic</a> blues, Coltrane expanded the harmonic structure of "Afro Blue". </p><p>Perhaps the most respected <a href="/wiki/Afro-cuban_jazz" class="mw-redirect" title="Afro-cuban jazz">Afro-cuban jazz</a> combo of the late 1950s was vibraphonist <a href="/wiki/Cal_Tjader" title="Cal Tjader">Cal Tjader</a>'s band. Tjader had <a href="/wiki/Mongo_Santamaria" class="mw-redirect" title="Mongo Santamaria">Mongo Santamaria</a>, <a href="/wiki/Armando_Peraza" title="Armando Peraza">Armando Peraza</a>, and <a href="/wiki/Willie_Bobo" title="Willie Bobo">Willie Bobo</a> on his early recording dates. </p> <div class="mw-heading mw-heading3"><h3 id="Dixieland_revival">Dixieland revival</h3></div> <p>In the late 1940s, there was a revival of <a href="/wiki/Dixieland" class="mw-redirect" title="Dixieland">Dixieland</a>, 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 <a href="/wiki/Bob_Crosby" title="Bob Crosby">Bob Crosby</a>'s Bobcats, <a href="/wiki/Max_Kaminsky_(musician)" title="Max Kaminsky (musician)">Max Kaminsky</a>, <a href="/wiki/Eddie_Condon" title="Eddie Condon">Eddie Condon</a>, and <a href="/wiki/Wild_Bill_Davison" class="mw-redirect" title="Wild Bill Davison">Wild Bill Davison</a>.<sup id="cite_ref-Collier,_1978_152-0" class="reference"><a href="#cite_note-Collier,_1978-152"><span class="cite-bracket">[</span>152<span class="cite-bracket">]</span></a></sup> 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 <a href="/wiki/Lu_Watters" title="Lu Watters">Lu Watters</a> band, <a href="/wiki/Conrad_Janis" title="Conrad Janis">Conrad Janis</a>, and <a href="/wiki/Ward_Kimball" title="Ward Kimball">Ward Kimball</a> and his <a href="/wiki/Firehouse_Five_Plus_Two" title="Firehouse Five Plus Two">Firehouse Five Plus Two</a> 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.<sup id="cite_ref-Collier,_1978_152-1" class="reference"><a href="#cite_note-Collier,_1978-152"><span class="cite-bracket">[</span>152<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading3"><h3 id="Hard_bop">Hard bop</h3></div> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1236090951"><div role="note" class="hatnote navigation-not-searchable">Main article: <a href="/wiki/Hard_bop" title="Hard bop">Hard bop</a></div> <figure class="mw-default-size" typeof="mw:File/Thumb"><a href="/wiki/File:Art_Blakey_1973.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/8/8a/Art_Blakey_1973.jpg/220px-Art_Blakey_1973.jpg" decoding="async" width="220" height="146" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/8/8a/Art_Blakey_1973.jpg/330px-Art_Blakey_1973.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/8/8a/Art_Blakey_1973.jpg/440px-Art_Blakey_1973.jpg 2x" data-file-width="2048" data-file-height="1358" /></a><figcaption>Art Blakey (1973)</figcaption></figure> <p>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 early 1950s and paralleled the rise of rhythm and blues. It has been described as "funky" and can be considered a relative of <a href="/wiki/Soul_jazz" title="Soul jazz">soul jazz</a>.<sup id="cite_ref-gridley_153-0" class="reference"><a href="#cite_note-gridley-153"><span class="cite-bracket">[</span>153<span class="cite-bracket">]</span></a></sup> Some elements of the genre were simplified from their bebop roots.<sup id="cite_ref-:1_154-0" class="reference"><a href="#cite_note-:1-154"><span class="cite-bracket">[</span>154<span class="cite-bracket">]</span></a></sup> </p><p>Miles Davis' 1954 performance of "Walkin'" at the first <a href="/wiki/Newport_Jazz_Festival" title="Newport Jazz Festival">Newport Jazz Festival</a> introduced the style to the jazz world.<sup id="cite_ref-155" class="reference"><a href="#cite_note-155"><span class="cite-bracket">[</span>155<span class="cite-bracket">]</span></a></sup> Further leaders of hard bop's development included the <a href="/wiki/Clifford_Brown" title="Clifford Brown">Clifford Brown</a>/Max Roach Quintet, Art Blakey's <a href="/wiki/The_Jazz_Messengers" title="The Jazz Messengers">Jazz Messengers</a>, the Horace Silver Quintet, and trumpeters <a href="/wiki/Lee_Morgan" title="Lee Morgan">Lee Morgan</a> and <a href="/wiki/Freddie_Hubbard" title="Freddie Hubbard">Freddie Hubbard</a>. 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 <a href="/wiki/Wynton_Kelly" title="Wynton Kelly">Wynton Kelly</a> and <a href="/wiki/Tommy_Flanagan" title="Tommy Flanagan">Tommy Flanagan</a><sup id="cite_ref-:02_156-0" class="reference"><a href="#cite_note-:02-156"><span class="cite-bracket">[</span>156<span class="cite-bracket">]</span></a></sup> to saxophonists <a href="/wiki/Joe_Henderson" title="Joe Henderson">Joe Henderson</a> and <a href="/wiki/Hank_Mobley" title="Hank Mobley">Hank Mobley</a>. Coltrane, <a href="/wiki/Johnny_Griffin" title="Johnny Griffin">Johnny Griffin</a>, Mobley, and Morgan all participated on the album <i><a href="/wiki/A_Blowin%27_Session" class="mw-redirect" title="A Blowin' Session">A Blowin' Session</a></i> (1957), considered by Al Campbell to have been one of the high points of the hard bop era.<sup id="cite_ref-157" class="reference"><a href="#cite_note-157"><span class="cite-bracket">[</span>157<span class="cite-bracket">]</span></a></sup> </p><p>Hard bop was prevalent within jazz for about a decade spanning from 1955 to 1965,<sup id="cite_ref-:02_156-1" class="reference"><a href="#cite_note-:02-156"><span class="cite-bracket">[</span>156<span class="cite-bracket">]</span></a></sup> but has remained highly influential on mainstream<sup id="cite_ref-:1_154-1" class="reference"><a href="#cite_note-:1-154"><span class="cite-bracket">[</span>154<span class="cite-bracket">]</span></a></sup> 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 following the Young Lions Movement and the emergence of <a href="/wiki/Neo-bop" title="Neo-bop">neo-bop</a>.<sup id="cite_ref-:1_154-2" class="reference"><a href="#cite_note-:1-154"><span class="cite-bracket">[</span>154<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading3"><h3 id="Modal_jazz">Modal jazz</h3></div> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1236090951"><div role="note" class="hatnote navigation-not-searchable">Main article: <a href="/wiki/Modal_jazz" title="Modal jazz">Modal jazz</a></div> <p>Modal jazz is a development which began in the later 1950s which takes the <a href="/wiki/Musical_mode" class="mw-redirect" title="Musical mode">mode</a>, or musical scale, as the basis of musical structure and improvisation. Previously, a solo was meant to fit into a given <a href="/wiki/Chord_progression" title="Chord progression">chord progression</a>, 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:<sup id="cite_ref-FOOTNOTELitweiler1984110–111_158-0" class="reference"><a href="#cite_note-FOOTNOTELitweiler1984110–111-158"><span class="cite-bracket">[</span>158<span class="cite-bracket">]</span></a></sup> "Historically, this caused a seismic shift among jazz musicians, away from thinking vertically (the chord), and towards a more horizontal approach (the scale)",<sup id="cite_ref-FOOTNOTELevine199530_159-0" class="reference"><a href="#cite_note-FOOTNOTELevine199530-159"><span class="cite-bracket">[</span>159<span class="cite-bracket">]</span></a></sup> explained pianist <a href="/wiki/Mark_Levine_(musician)" title="Mark Levine (musician)">Mark Levine</a>. </p><p>The modal theory stems from a work by <a href="/wiki/George_Russell_(composer)" title="George Russell (composer)">George Russell</a>. Miles Davis introduced the concept to the greater jazz world with <i><a href="/wiki/Kind_of_Blue" title="Kind of Blue">Kind of Blue</a></i> (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, <i>Kind of Blue</i> was composed as a series of modal sketches in which the musicians were given scales that defined the parameters of their improvisation and style.<sup id="cite_ref-160" class="reference"><a href="#cite_note-160"><span class="cite-bracket">[</span>160<span class="cite-bracket">]</span></a></sup> </p><p>"I didn't write out the music for <i>Kind of Blue</i>, but brought in sketches for what everybody was supposed to play because I wanted a lot of spontaneity,"<sup id="cite_ref-161" class="reference"><a href="#cite_note-161"><span class="cite-bracket">[</span>161<span class="cite-bracket">]</span></a></sup> recalled Davis. The track "So What" has only two chords: <a href="/wiki/Dominant_seventh_chord" title="Dominant seventh chord">D-7</a> and E<span class="music-symbol" style="font-family: Arial Unicode MS, Lucida Sans Unicode;"><span class="music-flat">♭</span></span>-7.<sup id="cite_ref-FOOTNOTELevine199529_162-0" class="reference"><a href="#cite_note-FOOTNOTELevine199529-162"><span class="cite-bracket">[</span>162<span class="cite-bracket">]</span></a></sup> </p><p>Other innovators in this style include <a href="/wiki/Jackie_McLean" title="Jackie McLean">Jackie McLean</a>,<sup id="cite_ref-FOOTNOTELitweiler1984120–123_163-0" class="reference"><a href="#cite_note-FOOTNOTELitweiler1984120–123-163"><span class="cite-bracket">[</span>163<span class="cite-bracket">]</span></a></sup> and two of the musicians who had also played on <i>Kind of Blue</i>: John Coltrane and Bill Evans. </p> <div class="mw-heading mw-heading3"><h3 id="Free_jazz">Free jazz</h3></div> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1236090951"><div role="note" class="hatnote navigation-not-searchable">Main article: <a href="/wiki/Free_jazz" title="Free jazz">Free jazz</a></div> <figure class="mw-default-size" typeof="mw:File/Thumb"><a href="/wiki/File:John_Coltrane_1963.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/6/66/John_Coltrane_1963.jpg/170px-John_Coltrane_1963.jpg" decoding="async" width="170" height="251" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/6/66/John_Coltrane_1963.jpg/255px-John_Coltrane_1963.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/6/66/John_Coltrane_1963.jpg/340px-John_Coltrane_1963.jpg 2x" data-file-width="2051" data-file-height="3025" /></a><figcaption>John Coltrane, 1963</figcaption></figure> <p>Free jazz, and the related form of <a href="/wiki/Avant-garde_jazz" title="Avant-garde jazz">avant-garde jazz</a>, broke through into an open space of "free tonality" in which meter, beat, and formal symmetry all disappeared, and a range of <a href="/wiki/World_music" title="World music">world music</a> from India, Africa, and Arabia were melded into an intense, even religiously ecstatic or orgiastic style of playing.<sup id="cite_ref-164" class="reference"><a href="#cite_note-164"><span class="cite-bracket">[</span>164<span class="cite-bracket">]</span></a></sup> 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 bassist <a href="/wiki/Charles_Mingus" title="Charles Mingus">Charles Mingus</a> is also frequently associated with the avant-garde in jazz, although his compositions draw from myriad styles and genres. </p><p>The first major stirrings came in the 1950s with the early work of <a href="/wiki/Ornette_Coleman" title="Ornette Coleman">Ornette Coleman</a> (whose 1960 album <i><a href="/wiki/Free_Jazz:_A_Collective_Improvisation" title="Free Jazz: A Collective Improvisation">Free Jazz: A Collective Improvisation</a></i> coined the term) and <a href="/wiki/Cecil_Taylor" title="Cecil Taylor">Cecil Taylor</a>. In the 1960s, exponents included <a href="/wiki/Albert_Ayler" title="Albert Ayler">Albert Ayler</a>, <a href="/wiki/Gato_Barbieri" title="Gato Barbieri">Gato Barbieri</a>, <a href="/wiki/Carla_Bley" title="Carla Bley">Carla Bley</a>, <a href="/wiki/Don_Cherry_(trumpeter)" title="Don Cherry (trumpeter)">Don Cherry</a>, <a href="/wiki/Larry_Coryell" title="Larry Coryell">Larry Coryell</a>, <a href="/wiki/John_Coltrane" title="John Coltrane">John Coltrane</a>, <a href="/wiki/Bill_Dixon" title="Bill Dixon">Bill Dixon</a>, <a href="/wiki/Jimmy_Giuffre" title="Jimmy Giuffre">Jimmy Giuffre</a>, <a href="/wiki/Steve_Lacy_(saxophonist)" title="Steve Lacy (saxophonist)">Steve Lacy</a>, <a href="/wiki/Michael_Mantler" title="Michael Mantler">Michael Mantler</a>, <a href="/wiki/Sun_Ra" title="Sun Ra">Sun Ra</a>, <a href="/wiki/Roswell_Rudd" title="Roswell Rudd">Roswell Rudd</a>, <a href="/wiki/Pharoah_Sanders" title="Pharoah Sanders">Pharoah Sanders</a>, and <a href="/wiki/John_Tchicai" title="John Tchicai">John Tchicai</a>. In developing his late style, Coltrane was especially influenced by the dissonance of Ayler's trio with bassist <a href="/wiki/Gary_Peacock" title="Gary Peacock">Gary Peacock</a> and drummer <a href="/wiki/Sunny_Murray" title="Sunny Murray">Sunny Murray</a>, a rhythm section honed with <a href="/wiki/Cecil_Taylor" title="Cecil Taylor">Cecil Taylor</a> as leader. In November 1961, Coltrane played a gig at the Village Vanguard, which resulted in the classic <i>Chasin' the 'Trane</i>, which <i>DownBeat</i> magazine panned as "anti-jazz". On his 1961 tour of France, he was booed, but persevered, signing with the new <a href="/wiki/Impulse!_Records" title="Impulse! Records">Impulse! Records</a> in 1960 and turning it into "the house that Trane built", while championing many younger free jazz musicians, notably <a href="/wiki/Archie_Shepp" title="Archie Shepp">Archie Shepp</a>, who often played with trumpeter <a href="/wiki/Bill_Dixon" title="Bill Dixon">Bill Dixon</a>, who organized the 4-day "<a href="/wiki/October_Revolution_in_Jazz" title="October Revolution in Jazz">October Revolution in Jazz</a>" in Manhattan in 1964, the first free jazz festival. </p><p>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 <a href="/wiki/Multiphonics" class="mw-redirect" title="Multiphonics">multiphonics</a>, utilization of overtones, and playing in the <a href="/wiki/Altissimo" title="Altissimo">altissimo</a> register, as well as a mutated return to Coltrane's <a href="/wiki/Sheets_of_sound" title="Sheets of sound">sheets of sound</a>. 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. The group's evolution can be traced through the recordings <i><a href="/wiki/The_John_Coltrane_Quartet_Plays" title="The John Coltrane Quartet Plays">The John Coltrane Quartet Plays</a></i>, <i><a href="/wiki/Living_Space_(album)" title="Living Space (album)">Living Space</a></i> and <i><a href="/wiki/Transition_(John_Coltrane_album)" title="Transition (John Coltrane album)">Transition</a></i> (both June 1965), <i><a href="/wiki/New_Thing_at_Newport" title="New Thing at Newport">New Thing at Newport</a></i> (July 1965), <i><a href="/wiki/Sun_Ship" title="Sun Ship">Sun Ship</a></i> (August 1965), and <i><a href="/wiki/First_Meditations" class="mw-redirect" title="First Meditations">First Meditations</a></i> (September 1965). </p><p>In June 1965, Coltrane and 10 other musicians recorded <i><a href="/wiki/Ascension_(John_Coltrane_album)" title="Ascension (John Coltrane album)">Ascension</a></i>, a 40-minute-long piece without breaks that included adventurous solos by young avant-garde musicians as well as Coltrane, and was controversial primarily for the collective improvisation sections that separated the solos. <a href="/wiki/Dave_Liebman" title="Dave Liebman">Dave Liebman</a> 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 entire solo, resulting in a constant screaming and screeching in the altissimo range of the instrument. </p> <div class="mw-heading mw-heading4"><h4 id="Free_jazz_in_Europe">Free jazz in Europe</h4></div> <figure class="mw-default-size mw-halign-left" typeof="mw:File/Thumb"><a href="/wiki/File:Peter-broetzmann.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/b/b9/Peter-broetzmann.jpg/170px-Peter-broetzmann.jpg" decoding="async" width="170" height="255" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/b/b9/Peter-broetzmann.jpg/255px-Peter-broetzmann.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/b/b9/Peter-broetzmann.jpg/340px-Peter-broetzmann.jpg 2x" data-file-width="420" data-file-height="630" /></a><figcaption><a href="/wiki/Peter_Br%C3%B6tzmann" title="Peter Brötzmann">Peter Brötzmann</a> is a key figure in European free jazz.</figcaption></figure> <p>Free jazz was played in Europe in part because musicians such as Ayler, Taylor, <a href="/wiki/Steve_Lacy_(saxophonist)" title="Steve Lacy (saxophonist)">Steve Lacy</a>, and <a href="/wiki/Eric_Dolphy" title="Eric Dolphy">Eric Dolphy</a> spent extended periods of time there, and European musicians such as <a href="/wiki/Michael_Mantler" title="Michael Mantler">Michael Mantler</a> and <a href="/wiki/John_Tchicai" title="John Tchicai">John Tchicai</a> traveled to the U.S. to experience American music firsthand. European contemporary jazz was shaped by <a href="/wiki/Peter_Br%C3%B6tzmann" title="Peter Brötzmann">Peter Brötzmann</a>, <a href="/wiki/John_Surman" title="John Surman">John Surman</a>, <a href="/wiki/Krzysztof_Komeda" title="Krzysztof Komeda">Krzysztof Komeda</a>, <a href="/wiki/Zbigniew_Namys%C5%82owski" title="Zbigniew Namysłowski">Zbigniew Namysłowski</a>, <a href="/wiki/Tomasz_Stanko" class="mw-redirect" title="Tomasz Stanko">Tomasz Stanko</a>, <a href="/wiki/Lars_Gullin" title="Lars Gullin">Lars Gullin</a>, <a href="/wiki/Joe_Harriott" title="Joe Harriott">Joe Harriott</a>, <a href="/wiki/Albert_Mangelsdorff" title="Albert Mangelsdorff">Albert Mangelsdorff</a>, <a href="/wiki/Kenny_Wheeler" title="Kenny Wheeler">Kenny Wheeler</a>, <a href="/wiki/Graham_Collier" title="Graham Collier">Graham Collier</a>, <a href="/wiki/Michael_Garrick" title="Michael Garrick">Michael Garrick</a> and <a href="/wiki/Mike_Westbrook" title="Mike Westbrook">Mike Westbrook</a>. They were eager to develop approaches to music that reflected their heritage. </p><p>Since the 1960s, creative centers of jazz in Europe have developed, such as the creative jazz scene in Amsterdam. Following the work of drummer <a href="/wiki/Han_Bennink" title="Han Bennink">Han Bennink</a> and pianist <a href="/wiki/Misha_Mengelberg" title="Misha Mengelberg">Misha Mengelberg</a>, musicians started to explore by improvising collectively until a form (melody, rhythm, a famous song) is found Jazz critic <a href="/wiki/Kevin_Whitehead" title="Kevin Whitehead">Kevin Whitehead</a> documented the free jazz scene in Amsterdam and some of its main exponents such as the ICP (Instant Composers Pool) orchestra in his book <i>New Dutch Swing</i>. Since the 1990s Keith Jarrett has defended free jazz from criticism. British writer <a href="/wiki/Stuart_Nicholson_(jazz_historian)" title="Stuart Nicholson (jazz historian)">Stuart Nicholson</a> has argued European contemporary jazz has an identity different from American jazz and follows a different trajectory.<sup id="cite_ref-Nicholson_165-0" class="reference"><a href="#cite_note-Nicholson-165"><span class="cite-bracket">[</span>165<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading3"><h3 id="Latin_jazz">Latin jazz</h3></div> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1236090951"><div role="note" class="hatnote navigation-not-searchable">Main article: <a href="/wiki/Latin_jazz" title="Latin jazz">Latin jazz</a></div> <p>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 <i>Afro-Latin jazz</i>, 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 <a href="/wiki/Afro-Cuban_jazz" title="Afro-Cuban jazz">Afro-Cuban jazz</a> and Brazilian jazz. </p><p>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 <a href="/wiki/Son_montuno" title="Son montuno">son montuno</a> and a Brazilian <a href="/wiki/Bossa_nova" title="Bossa nova">bossa nova</a>. Even as late as 2000, in Mark Gridley's <i>Jazz Styles: History and Analysis</i>, a bossa nova bass line is referred to as a "Latin bass figure".<sup id="cite_ref-166" class="reference"><a href="#cite_note-166"><span class="cite-bracket">[</span>166<span class="cite-bracket">]</span></a></sup> It was not uncommon during the 1960s and 1970s to hear a conga playing a Cuban <a href="/wiki/Tumbao" title="Tumbao">tumbao</a> 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 swing throughout all of the solos. Latin jazz specialists like <a href="/wiki/Cal_Tjader" title="Cal Tjader">Cal Tjader</a> tended to be the exception. For example, on a 1959 live Tjader recording of "A Night in Tunisia", pianist <a href="/wiki/Vince_Guaraldi" title="Vince Guaraldi">Vince Guaraldi</a> soloed through the entire form over an authentic <a href="/wiki/Mambo_(music)" title="Mambo (music)">mambo</a>.<sup id="cite_ref-167" class="reference"><a href="#cite_note-167"><span class="cite-bracket">[</span>167<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading4"><h4 id="Afro-Cuban_jazz_renaissance">Afro-Cuban jazz renaissance</h4></div> <p>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 <a href="/wiki/Salsa_(music)" class="mw-redirect" title="Salsa (music)">salsa</a> 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).<sup id="cite_ref-168" class="reference"><a href="#cite_note-168"><span class="cite-bracket">[</span>168<span class="cite-bracket">]</span></a></sup> During 1974–1976, they were members of one of <a href="/wiki/Eddie_Palmieri" title="Eddie Palmieri">Eddie Palmieri</a>'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. </p><p>This occurred in parallel with developments in Cuba<sup id="cite_ref-169" class="reference"><a href="#cite_note-169"><span class="cite-bracket">[</span>169<span class="cite-bracket">]</span></a></sup> The first Cuban band of this new wave was <a href="/wiki/Irakere" title="Irakere">Irakere</a>. 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.<sup id="cite_ref-170" class="reference"><a href="#cite_note-170"><span class="cite-bracket">[</span>170<span class="cite-bracket">]</span></a></sup> 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 <a href="/wiki/Timba" title="Timba">timba</a>. </p> <div class="mw-heading mw-heading4"><h4 id="Afro-Brazilian_jazz">Afro-Brazilian jazz</h4></div> <figure class="mw-default-size" typeof="mw:File/Thumb"><a href="/wiki/File:Nan%C3%A1_Vasconcelos.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/a/a5/Nan%C3%A1_Vasconcelos.jpg/170px-Nan%C3%A1_Vasconcelos.jpg" decoding="async" width="170" height="257" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/a/a5/Nan%C3%A1_Vasconcelos.jpg/255px-Nan%C3%A1_Vasconcelos.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/a/a5/Nan%C3%A1_Vasconcelos.jpg/340px-Nan%C3%A1_Vasconcelos.jpg 2x" data-file-width="678" data-file-height="1024" /></a><figcaption>Naná Vasconcelos playing the Afro-Brazilian <a href="/wiki/Berimbau" title="Berimbau">Berimbau</a></figcaption></figure> <p>Brazilian jazz, such as <a href="/wiki/Bossa_nova" title="Bossa nova">bossa nova</a>, is derived from <a href="/wiki/Samba" title="Samba">samba</a>, 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. </p><p>The bossa nova style was pioneered by Brazilians <a href="/wiki/Jo%C3%A3o_Gilberto" title="João Gilberto">João Gilberto</a> and <a href="/wiki/Ant%C3%B4nio_Carlos_Jobim" title="Antônio Carlos Jobim">Antônio Carlos Jobim</a> and was made popular by <a href="/wiki/Elizete_Cardoso" class="mw-redirect" title="Elizete Cardoso">Elizete Cardoso</a>'s recording of "<a href="/wiki/Chega_de_Saudade" title="Chega de Saudade">Chega de Saudade</a>" on the <i><a href="/wiki/Can%C3%A7%C3%A3o_do_Amor_Demais" title="Canção do Amor Demais">Canção do Amor Demais</a></i> LP. Gilberto's initial releases, and the 1959 film <i><a href="/wiki/Black_Orpheus" title="Black Orpheus">Black Orpheus</a></i>, achieved significant popularity in <a href="/wiki/Latin_America" title="Latin America">Latin America</a>; this spread to North America via visiting American jazz musicians. The resulting recordings by <a href="/wiki/Charlie_Byrd" title="Charlie Byrd">Charlie Byrd</a> and Stan Getz cemented bossa nova's popularity and led to a worldwide boom, with 1963's <i><a href="/wiki/Getz/Gilberto" title="Getz/Gilberto">Getz/Gilberto</a></i>, numerous recordings by famous jazz performers such as <a href="/wiki/Ella_Fitzgerald" title="Ella Fitzgerald">Ella Fitzgerald</a> and <a href="/wiki/Frank_Sinatra" title="Frank Sinatra">Frank Sinatra</a>, and the eventual entrenchment of the bossa nova style as a lasting influence in world music. </p><p>Brazilian percussionists such as <a href="/wiki/Airto_Moreira" title="Airto Moreira">Airto Moreira</a> and <a href="/wiki/Nan%C3%A1_Vasconcelos" title="Naná Vasconcelos">Naná Vasconcelos</a> 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.<sup id="cite_ref-171" class="reference"><a href="#cite_note-171"><span class="cite-bracket">[</span>171<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-172" class="reference"><a href="#cite_note-172"><span class="cite-bracket">[</span>172<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-173" class="reference"><a href="#cite_note-173"><span class="cite-bracket">[</span>173<span class="cite-bracket">]</span></a></sup> </p><p>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."<sup id="cite_ref-174" class="reference"><a href="#cite_note-174"><span class="cite-bracket">[</span>174<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-175" class="reference"><a href="#cite_note-175"><span class="cite-bracket">[</span>175<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading3"><h3 id="African-inspired">African-inspired</h3></div> <figure class="mw-default-size" typeof="mw:File/Thumb"><a href="/wiki/File:Randy_Weston.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/d/d9/Randy_Weston.jpg/170px-Randy_Weston.jpg" decoding="async" width="170" height="227" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/d/d9/Randy_Weston.jpg/255px-Randy_Weston.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/d/d9/Randy_Weston.jpg/340px-Randy_Weston.jpg 2x" data-file-width="1944" data-file-height="2592" /></a><figcaption>Randy Weston</figcaption></figure> <div class="mw-heading mw-heading4"><h4 id="Rhythm">Rhythm</h4></div> <p>The first <a href="/wiki/Jazz_standard" title="Jazz standard">jazz standard</a> composed by a non-Latino to use an overt African <span class="music-symbol" style="font-family: Arial Unicode MS, Lucida Sans Unicode;"><span class="serif-fonts" style="font-family: 'Georgia Pro', Georgia, 'DejaVu Serif', Times, 'Times New Roman', FreeSerif, 'DejaVu Math TeX', 'URW Bookman L', serif;"><span class="nowrap"><span style="display:inline-block;margin-bottom:-0.3em;vertical-align:-0.4em;line-height:0.85em;font-size:80%;text-align:center"><sup style="font-size:inherit;line-height:inherit;vertical-align:baseline"><b>12</b></sup><br /><sub style="font-size:inherit;line-height:inherit;vertical-align:baseline"><b>8</b></sub></span></span></span></span> cross-rhythm was <a href="/wiki/Wayne_Shorter" title="Wayne Shorter">Wayne Shorter</a>'s "<a href="/wiki/Footprints_(composition)" title="Footprints (composition)">Footprints</a>" (1967).<sup id="cite_ref-176" class="reference"><a href="#cite_note-176"><span class="cite-bracket">[</span>176<span class="cite-bracket">]</span></a></sup> On the version recorded on <i>Miles Smiles</i> by <a href="/wiki/Miles_Davis" title="Miles Davis">Miles Davis</a>, the bass switches to a <span class="music-symbol" style="font-family: Arial Unicode MS, Lucida Sans Unicode;"><span class="serif-fonts" style="font-family: 'Georgia Pro', Georgia, 'DejaVu Serif', Times, 'Times New Roman', FreeSerif, 'DejaVu Math TeX', 'URW Bookman L', serif;"><span class="nowrap"><span style="display:inline-block;margin-bottom:-0.3em;vertical-align:-0.4em;line-height:0.85em;font-size:80%;text-align:center"><sup style="font-size:inherit;line-height:inherit;vertical-align:baseline"><b>4</b></sup><br /><sub style="font-size:inherit;line-height:inherit;vertical-align:baseline"><b>4</b></sub></span></span></span></span> <a href="/wiki/Tresillo_(rhythm)" title="Tresillo (rhythm)">tresillo</a> figure at 2:20. "Footprints" is not, however, a <a href="/wiki/Latin_jazz" title="Latin jazz">Latin jazz</a> tune: African rhythmic structures are accessed directly by <a href="/wiki/Ron_Carter" title="Ron Carter">Ron Carter</a> (bass) and <a href="/wiki/Tony_Williams_(drummer)" title="Tony Williams (drummer)">Tony Williams</a> (drums) via the rhythmic sensibilities of <a href="/wiki/Swing_(jazz_performance_style)" class="mw-redirect" title="Swing (jazz performance style)">swing</a>. Throughout the piece, the four beats, whether sounded or not, are maintained as the temporal referent. The following example shows the <span class="music-symbol" style="font-family: Arial Unicode MS, Lucida Sans Unicode;"><span class="serif-fonts" style="font-family: 'Georgia Pro', Georgia, 'DejaVu Serif', Times, 'Times New Roman', FreeSerif, 'DejaVu Math TeX', 'URW Bookman L', serif;"><span class="nowrap"><span style="display:inline-block;margin-bottom:-0.3em;vertical-align:-0.4em;line-height:0.85em;font-size:80%;text-align:center"><sup style="font-size:inherit;line-height:inherit;vertical-align:baseline"><b>12</b></sup><br /><sub style="font-size:inherit;line-height:inherit;vertical-align:baseline"><b>8</b></sub></span></span></span></span> and <span class="music-symbol" style="font-family: Arial Unicode MS, Lucida Sans Unicode;"><span class="serif-fonts" style="font-family: 'Georgia Pro', Georgia, 'DejaVu Serif', Times, 'Times New Roman', FreeSerif, 'DejaVu Math TeX', 'URW Bookman L', serif;"><span class="nowrap"><span style="display:inline-block;margin-bottom:-0.3em;vertical-align:-0.4em;line-height:0.85em;font-size:80%;text-align:center"><sup style="font-size:inherit;line-height:inherit;vertical-align:baseline"><b>4</b></sup><br /><sub style="font-size:inherit;line-height:inherit;vertical-align:baseline"><b>4</b></sub></span></span></span></span> forms of the bass line. The slashed noteheads indicate the main <a href="/wiki/Beat_music" title="Beat music">beats</a> (not bass notes), where one ordinarily taps their foot to "keep time". </p> <dl><dd><div class="mw-ext-score noresize" data-midi="//upload.wikimedia.org/score/d/1/d1kaqrg1d0af0cr89ofguud58z7j795/d1kaqrg1.midi"><img src="//upload.wikimedia.org/score/d/1/d1kaqrg1d0af0cr89ofguud58z7j795/d1kaqrg1.png" width="297" height="166" alt=" { \relative c, << \new Staff << \new voice { \clef bass \time 12/8 \key c \minor \set Score.tempoHideNote = ##t \tempo 4 = 100 \stemDown \override NoteHead.style = #'cross \repeat volta 2 { es4. es es es } } \new voice { \set Score.tempoHideNote = ##t \tempo 4 = 100 \time 12/8 \stemUp \repeat volta 2 { c'4 g'8~ g c4 es4.~ es4 g,8 } \bar ":|." } >> \new Staff << \new voice { \clef bass \time 12/8 \key c \minor \set Staff.timeSignatureFraction = 4/4 \scaleDurations 3/2 { \set Score.tempoHideNote = ##t \tempo 8 = 100 \stemDown \override NoteHead.style = #'cross \repeat volta 2 { es,4 es es es } } } \new voice \relative c' { \time 12/8 \set Staff.timeSignatureFraction = 4/4 \scaleDurations 3/2 { \set Score.tempoHideNote = ##t \tempo 4 = 100 \stemUp \repeat volta 2 { c,8. g'16~ g8 c es4~ es8. g,16 } \bar ":|." } } >> >> } " /></div></dd></dl> <div class="mw-heading mw-heading4"><h4 id="Pentatonic_scales">Pentatonic scales</h4></div> <p>The use of <a href="/wiki/Pentatonic_scale" title="Pentatonic scale">pentatonic scales</a> was another trend associated with Africa. The use of pentatonic scales in Africa probably goes back thousands of years.<sup id="cite_ref-177" class="reference"><a href="#cite_note-177"><span class="cite-bracket">[</span>177<span class="cite-bracket">]</span></a></sup> </p><p><a href="/wiki/McCoy_Tyner" title="McCoy Tyner">McCoy Tyner</a> perfected the use of the pentatonic scale in his solos,<sup id="cite_ref-178" class="reference"><a href="#cite_note-178"><span class="cite-bracket">[</span>178<span class="cite-bracket">]</span></a></sup> and also used parallel fifths and fourths, which are common harmonies in West Africa.<sup id="cite_ref-179" class="reference"><a href="#cite_note-179"><span class="cite-bracket">[</span>179<span class="cite-bracket">]</span></a></sup> </p><p>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 <a href="/wiki/Joe_Henderson" title="Joe Henderson">Joe Henderson</a> on <a href="/wiki/Horace_Silver" title="Horace Silver">Horace Silver</a>'s "African Queen" (1965).<sup id="cite_ref-FOOTNOTELevine1995235_180-0" class="reference"><a href="#cite_note-FOOTNOTELevine1995235-180"><span class="cite-bracket">[</span>180<span class="cite-bracket">]</span></a></sup> </p><p>Jazz pianist, theorist, and educator <a href="/wiki/Mark_Levine_(musician)" title="Mark Levine (musician)">Mark Levine</a> refers to the scale generated by beginning on the fifth step of a pentatonic scale as the <i>V pentatonic scale</i>.<sup id="cite_ref-181" class="reference"><a href="#cite_note-181"><span class="cite-bracket">[</span>181<span class="cite-bracket">]</span></a></sup> </p> <figure class="mw-default-size mw-halign-center" typeof="mw:File/Thumb"><a href="/wiki/File:I_IV_V_pentatonic.tiff" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/4/4b/I_IV_V_pentatonic.tiff/lossy-page1-450px-I_IV_V_pentatonic.tiff.jpg" decoding="async" width="450" height="81" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/4/4b/I_IV_V_pentatonic.tiff/lossy-page1-675px-I_IV_V_pentatonic.tiff.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/4/4b/I_IV_V_pentatonic.tiff/lossy-page1-900px-I_IV_V_pentatonic.tiff.jpg 2x" data-file-width="1017" data-file-height="182" /></a><figcaption>C pentatonic scale beginning on the I (C pentatonic), IV (F pentatonic), and V (G pentatonic) steps of the scale.<sup class="noprint Inline-Template" style="margin-left:0.1em; white-space:nowrap;">[<i><a href="/wiki/Wikipedia:Please_clarify" title="Wikipedia:Please clarify"><span title="The text near this tag may need clarification or removal of jargon. (August 2012)">clarification needed</span></a></i>]</sup></figcaption></figure> <p>Levine points out that the V pentatonic scale works for all three chords of the standard II–V–I jazz progression.<sup id="cite_ref-182" class="reference"><a href="#cite_note-182"><span class="cite-bracket">[</span>182<span class="cite-bracket">]</span></a></sup> 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.<sup id="cite_ref-183" class="reference"><a href="#cite_note-183"><span class="cite-bracket">[</span>183<span class="cite-bracket">]</span></a></sup> </p> <figure class="mw-default-size mw-halign-center" typeof="mw:File/Thumb"><a href="/wiki/File:II_V_I.tiff" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/c/c7/II_V_I.tiff/lossy-page1-450px-II_V_I.tiff.jpg" decoding="async" width="450" height="134" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/c/c7/II_V_I.tiff/lossy-page1-675px-II_V_I.tiff.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/c/c7/II_V_I.tiff/lossy-page1-900px-II_V_I.tiff.jpg 2x" data-file-width="1135" data-file-height="338" /></a><figcaption>V pentatonic scale over II–V–I chord progression</figcaption></figure> <p>Accordingly, John Coltrane's "<a href="/wiki/Giant_Steps" title="Giant Steps">Giant Steps</a>" (1960), with its 26 chords per 16 bars, can be played using only three pentatonic scales. Coltrane studied <a href="/wiki/Nicolas_Slonimsky" title="Nicolas Slonimsky">Nicolas Slonimsky</a>'s <i>Thesaurus of Scales and Melodic Patterns</i>, which contains material that is virtually identical to portions of "Giant Steps".<sup id="cite_ref-184" class="reference"><a href="#cite_note-184"><span class="cite-bracket">[</span>184<span class="cite-bracket">]</span></a></sup> 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".<sup id="cite_ref-185" class="reference"><a href="#cite_note-185"><span class="cite-bracket">[</span>185<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading3"><h3 id="Sacred_and_liturgical_jazz">Sacred and liturgical jazz</h3></div> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1236090951"><div role="note" class="hatnote navigation-not-searchable">Main article: <a href="/wiki/Sacred_jazz" title="Sacred jazz">Sacred jazz</a></div> <p>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 <a href="/wiki/Duke_Ellington" title="Duke Ellington">Duke Ellington</a>. Later many other jazz artists borrowed from black <a href="/wiki/Gospel_music" title="Gospel music">gospel music</a>. 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.<sup id="cite_ref-186" class="reference"><a href="#cite_note-186"><span class="cite-bracket">[</span>186<span class="cite-bracket">]</span></a></sup> The "Abyssinian Mass" by <a href="/wiki/Wynton_Marsalis" title="Wynton Marsalis">Wynton Marsalis</a> (Blueengine Records, 2016) is a recent example. </p><p>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 to produce a new genre, "sacred jazz".<sup id="cite_ref-Versace_187-0" class="reference"><a href="#cite_note-Versace-187"><span class="cite-bracket">[</span>187<span class="cite-bracket">]</span></a></sup> Versace maintained that the religious intent separates sacred from secular jazz. Most prominent in initiating the sacred jazz movement were pianist and composer <a href="/wiki/Mary_Lou_Williams" title="Mary Lou Williams">Mary Lou Williams</a>, known for her jazz masses in the 1950s and <a href="/wiki/Duke_Ellington" title="Duke Ellington">Duke Ellington</a>. Prior to his death in 1974 in response to contacts from Grace Cathedral in San Francisco, <a href="/wiki/Duke_Ellington" title="Duke Ellington">Duke Ellington</a> wrote three Sacred Concerts: 1965 – A Concert of Sacred Music; 1968 – Second Sacred Concert; 1973 – Third Sacred Concert. </p><p>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 <a href="/wiki/Mary_Lou_Williams" title="Mary Lou Williams">Mary Lou Williams</a>. Williams converted to Catholicism in 1957, and proceeded to compose three masses in the jazz idiom.<sup id="cite_ref-188" class="reference"><a href="#cite_note-188"><span class="cite-bracket">[</span>188<span class="cite-bracket">]</span></a></sup> One was composed in 1968 to honor the <a href="/wiki/Assassination_of_Martin_Luther_King_Jr." title="Assassination of Martin Luther King Jr.">recently assassinated Martin Luther King Jr.</a> 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 <a href="/wiki/Catholic_Church" title="Catholic Church">Catholic Church</a> 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.<sup id="cite_ref-189" class="reference"><a href="#cite_note-189"><span class="cite-bracket">[</span>189<span class="cite-bracket">]</span></a></sup> Other examples include "Jazz Mass in Concert" by <a href="/wiki/Lalo_Schiffrin" class="mw-redirect" title="Lalo Schiffrin">Lalo Schiffrin</a> (Aleph Records, 1998, UPC 0651702632725) and "Jazz Mass" by <a href="/wiki/Vince_Guaraldi" title="Vince Guaraldi">Vince Guaraldi</a> (Fantasy Records, 1965). In England, classical composer <a href="/wiki/Will_Todd" title="Will Todd">Will Todd</a> 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).<sup id="cite_ref-190" class="reference"><a href="#cite_note-190"><span class="cite-bracket">[</span>190<span class="cite-bracket">]</span></a></sup> In 2013, Versace put forth bassist <a href="/wiki/Ike_Sturm" title="Ike Sturm">Ike Sturm</a> and New York composer Deanna Witkowski as contemporary exemplars of sacred and liturgical jazz.<sup id="cite_ref-Versace_187-1" class="reference"><a href="#cite_note-Versace-187"><span class="cite-bracket">[</span>187<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading3"><h3 id="Jazz_fusion">Jazz fusion</h3></div> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1236090951"><div role="note" class="hatnote navigation-not-searchable">Main article: <a href="/wiki/Jazz_fusion" title="Jazz fusion">Jazz fusion</a></div> <figure class="mw-default-size mw-halign-right" typeof="mw:File/Thumb"><a href="/wiki/File:Miles_Davis_24.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/8/81/Miles_Davis_24.jpg/220px-Miles_Davis_24.jpg" decoding="async" width="220" height="162" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/8/81/Miles_Davis_24.jpg/330px-Miles_Davis_24.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/8/81/Miles_Davis_24.jpg/440px-Miles_Davis_24.jpg 2x" data-file-width="1614" data-file-height="1187" /></a><figcaption>Fusion trumpeter <a href="/wiki/Miles_Davis" title="Miles Davis">Miles Davis</a> in 1989</figcaption></figure> <p>In the late 1960s and early 1970s, the hybrid form of jazz-rock <a href="/wiki/Jazz_fusion" title="Jazz fusion">fusion</a> was developed by combining jazz improvisation with rock rhythms, electric instruments and the highly amplified stage sound of rock musicians such as <a href="/wiki/Jimi_Hendrix" title="Jimi Hendrix">Jimi Hendrix</a> and <a href="/wiki/Frank_Zappa" title="Frank Zappa">Frank Zappa</a>. Jazz fusion often uses mixed meters, odd time signatures, syncopation, complex chords, and harmonies. </p><p>According to <a href="/wiki/AllMusic" title="AllMusic">AllMusic</a>: </p> <blockquote><p>... until around 1967, the worlds of jazz and rock were nearly completely separate. [However, ...] as rock became more creative and its musicianship improved, and as some in the jazz world became bored with <a href="/wiki/Hard_bop" title="Hard bop">hard bop</a> and did not want to play strictly <a href="/wiki/Free_jazz" title="Free jazz">avant-garde music</a>, the two different idioms began to trade ideas and occasionally combine forces.<sup id="cite_ref-191" class="reference"><a href="#cite_note-191"><span class="cite-bracket">[</span>191<span class="cite-bracket">]</span></a></sup></p></blockquote> <div class="mw-heading mw-heading4"><h4 id="Miles_Davis'_new_directions"><span id="Miles_Davis.27_new_directions"></span>Miles Davis' new directions</h4></div> <p>In 1969, Davis fully embraced the electric instrument approach to jazz with <i><a href="/wiki/In_a_Silent_Way" title="In a Silent Way">In a Silent Way</a></i>, which can be considered his first fusion album. Composed of two side-long suites edited heavily by producer <a href="/wiki/Teo_Macero" title="Teo Macero">Teo Macero</a>, this quiet, static album would be equally influential to the development of <a href="/wiki/Ambient_music" title="Ambient music">ambient music</a>. </p><p>As Davis recalls: </p> <blockquote><p>The music I was really listening to in 1968 was <a href="/wiki/James_Brown" title="James Brown">James Brown</a>, the great guitar player <a href="/wiki/Jimi_Hendrix" title="Jimi Hendrix">Jimi Hendrix</a>, and a new group who had just come out with a hit record, "<a href="/wiki/Dance_to_the_Music_(Sly_and_the_Family_Stone_album)" title="Dance to the Music (Sly and the Family Stone album)">Dance to the Music</a>", <a href="/wiki/Sly_and_the_Family_Stone" title="Sly and the Family Stone">Sly and the Family Stone</a> ... I wanted to make it more like rock. When we recorded <i>In a Silent Way</i> I just threw out all the chord sheets and told everyone to play off of that.<sup id="cite_ref-192" class="reference"><a href="#cite_note-192"><span class="cite-bracket">[</span>192<span class="cite-bracket">]</span></a></sup></p></blockquote> <p>Two contributors to <i>In a Silent Way</i> also joined organist <a href="/wiki/Larry_Young_(musician)" title="Larry Young (musician)">Larry Young</a> to create one of the early acclaimed fusion albums: <a href="/wiki/Emergency!_(album)" title="Emergency! (album)"><i>Emergency!</i></a> (1969) by <a href="/wiki/The_Tony_Williams_Lifetime" title="The Tony Williams Lifetime">The Tony Williams Lifetime</a>. </p> <div class="mw-heading mw-heading4"><h4 id="Psychedelic-jazz">Psychedelic-jazz</h4></div> <div class="mw-heading mw-heading5"><h5 id="Weather_Report">Weather Report</h5></div> <p><a href="/wiki/Weather_Report" title="Weather Report">Weather Report</a>'s self-titled electronic and psychedelic <i><a href="/wiki/Weather_Report_(1971_album)" title="Weather Report (1971 album)">Weather Report</a></i> 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 <a href="/wiki/Airto_Moreira" title="Airto Moreira">Airto Moreira</a>), 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 <a href="/wiki/Soprano_saxophone" title="Soprano saxophone">soprano saxophone</a>, and with no <a href="/wiki/Synthesizer" title="Synthesizer">synthesizers</a> involved), but is still considered a classic of early fusion. It built on the avant-garde experiments which <a href="/wiki/Joe_Zawinul" title="Joe Zawinul">Joe Zawinul</a> and Shorter had pioneered with Miles Davis on <i><a href="/wiki/Bitches_Brew" title="Bitches Brew">Bitches Brew</a></i>, 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. <i><a href="/wiki/DownBeat" title="DownBeat">DownBeat</a></i> described the album as "music beyond category", and awarded it Album of the Year in the magazine's polls that year. </p><p>Weather Report's subsequent releases were creative funk-jazz works.<sup id="cite_ref-193" class="reference"><a href="#cite_note-193"><span class="cite-bracket">[</span>193<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading4"><h4 id="Jazz-rock">Jazz-rock</h4></div> <p>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 the powerful amplification, <a href="/wiki/Distortion_(music)" title="Distortion (music)">"fuzz" pedals</a>, <a href="/wiki/Wah-wah_pedal" title="Wah-wah pedal">wah-wah pedals</a> and other effects that were used by 1970s-era rock bands. Notable performers of jazz fusion included Miles Davis, <a href="/wiki/Eddie_Harris" title="Eddie Harris">Eddie Harris</a>, keyboardists <a href="/wiki/Joe_Zawinul" title="Joe Zawinul">Joe Zawinul</a>, <a href="/wiki/Chick_Corea" title="Chick Corea">Chick Corea</a>, and Herbie Hancock, vibraphonist <a href="/wiki/Gary_Burton" title="Gary Burton">Gary Burton</a>, drummer <a href="/wiki/Tony_Williams_(drummer)" title="Tony Williams (drummer)">Tony Williams</a>, violinist <a href="/wiki/Jean-Luc_Ponty" title="Jean-Luc Ponty">Jean-Luc Ponty</a>, guitarists <a href="/wiki/Larry_Coryell" title="Larry Coryell">Larry Coryell</a>, <a href="/wiki/Al_Di_Meola" title="Al Di Meola">Al Di Meola</a>, <a href="/wiki/John_McLaughlin_(musician)" title="John McLaughlin (musician)">John McLaughlin</a>, <a href="/wiki/Ryo_Kawasaki" title="Ryo Kawasaki">Ryo Kawasaki</a>, and <a href="/wiki/Frank_Zappa" title="Frank Zappa">Frank Zappa</a>, saxophonist Wayne Shorter and bassists <a href="/wiki/Jaco_Pastorius" title="Jaco Pastorius">Jaco Pastorius</a> and <a href="/wiki/Stanley_Clarke" title="Stanley Clarke">Stanley Clarke</a>. Jazz fusion was also popular in Japan, where the band <a href="/wiki/Casiopea" title="Casiopea">Casiopea</a> released more than thirty fusion albums. </p><p>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' <i><a href="/wiki/Emergency!_(album)" title="Emergency! (album)">Emergency!</a></i> (1970) and Davis' <i><a href="/wiki/Agharta_(album)" title="Agharta (album)">Agharta</a></i> (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.<sup id="cite_ref-194" class="reference"><a href="#cite_note-194"><span class="cite-bracket">[</span>194<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading4"><h4 id="Electronic_music">Electronic music</h4></div> <p>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 <a href="/wiki/Pat_Metheny" title="Pat Metheny">Pat Metheny</a>, <a href="/wiki/John_Abercrombie_(guitarist)" title="John Abercrombie (guitarist)">John Abercrombie</a>, <a href="/wiki/John_Scofield" title="John Scofield">John Scofield</a> and the Swedish group <a href="/wiki/Esbj%C3%B6rn_Svensson_Trio" title="Esbjörn Svensson Trio">e.s.t.</a> 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 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).<sup id="cite_ref-195" class="reference"><a href="#cite_note-195"><span class="cite-bracket">[</span>195<span class="cite-bracket">]</span></a></sup> Artists such as <a href="/wiki/Squarepusher" title="Squarepusher">Squarepusher</a>, <a href="/wiki/Aphex_Twin" title="Aphex Twin">Aphex Twin</a>, <a href="/wiki/Flying_Lotus" title="Flying Lotus">Flying Lotus</a> and sub genres like <a href="/wiki/Intelligent_dance_music" title="Intelligent dance music">IDM</a>, <a href="/wiki/Drum_%27n%27_bass" class="mw-redirect" title="Drum 'n' bass">drum 'n' bass</a>, <a href="/wiki/Jungle_music" title="Jungle music">jungle</a> and <a href="/wiki/Techno" title="Techno">techno</a> ended up incorporating a lot of these elements.<sup id="cite_ref-196" class="reference"><a href="#cite_note-196"><span class="cite-bracket">[</span>196<span class="cite-bracket">]</span></a></sup> Squarepusher being cited as one big influence for jazz performers drummer <a href="/wiki/Mark_Guiliana" title="Mark Guiliana">Mark Guiliana</a> and pianist <a href="/wiki/Brad_Mehldau" title="Brad Mehldau">Brad Mehldau</a>, showing the correlations between jazz and electronic music are a two-way street.<sup id="cite_ref-197" class="reference"><a href="#cite_note-197"><span class="cite-bracket">[</span>197<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading3"><h3 id="Jazz-funk">Jazz-funk</h3></div> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1236090951"><div role="note" class="hatnote navigation-not-searchable">Main article: <a href="/wiki/Jazz-funk" title="Jazz-funk">Jazz-funk</a></div> <p>By the mid-1970s, the sound known as jazz-funk had developed, characterized by a strong <a href="/wiki/Beat_(music)" title="Beat (music)">back beat</a> (<a href="/wiki/Groove_(music)" title="Groove (music)">groove</a>), electrified sounds<sup id="cite_ref-198" class="reference"><a href="#cite_note-198"><span class="cite-bracket">[</span>198<span class="cite-bracket">]</span></a></sup> and, often, the presence of electronic <a href="/wiki/Analog_synthesizers" class="mw-redirect" title="Analog synthesizers">analog synthesizers</a>. Jazz-funk also draws influences from traditional African music, Afro-Cuban rhythms and Jamaican <a href="/wiki/Reggae" title="Reggae">reggae</a>, notably Kingston bandleader <a href="/wiki/Sonny_Bradshaw" title="Sonny Bradshaw">Sonny Bradshaw</a>. Another feature is the shift of emphasis from improvisation to composition: arrangements, melody and overall writing became important. The integration of <a href="/wiki/Funk" title="Funk">funk</a>, <a href="/wiki/Soul_music" title="Soul music">soul</a>, and <a href="/wiki/Rhythm_and_blues" title="Rhythm and blues">R&B</a> music into jazz resulted in the creation of a genre whose spectrum is wide and ranges from strong <a href="/wiki/Musical_improvisation#Jazz_improvisation" title="Musical improvisation">jazz improvisation</a> to soul, funk or disco with jazz arrangements, jazz <a href="/wiki/Riff" title="Riff">riffs</a> and jazz solos, and sometimes soul vocals.<sup id="cite_ref-allmusic_199-0" class="reference"><a href="#cite_note-allmusic-199"><span class="cite-bracket">[</span>199<span class="cite-bracket">]</span></a></sup> </p><p>Early examples are Herbie Hancock's <a href="/wiki/The_Headhunters" title="The Headhunters">Headhunters</a> band and Miles Davis' <i><a href="/wiki/On_the_Corner" title="On the Corner">On the Corner</a></i> 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 <a href="/wiki/Rock_and_roll" title="Rock and roll">rock</a> and funk. While there is a discernible rock and funk influence in the <a href="/wiki/Timbre" title="Timbre">timbres</a> 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 <i><a href="/wiki/Musique_concr%C3%A8te" title="Musique concrète">musique concrète</a></i> approach that Davis and producer <a href="/wiki/Teo_Macero" title="Teo Macero">Teo Macero</a> had begun to explore in the late 1960s. </p> <div class="mw-heading mw-heading3"><h3 id="Straight-ahead_jazz">Straight-ahead jazz</h3></div> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1236090951"><div role="note" class="hatnote navigation-not-searchable">Main articles: <a href="/wiki/Straight-ahead_jazz" title="Straight-ahead jazz">Straight-ahead jazz</a> and <a href="/wiki/1980s_in_jazz" title="1980s in jazz">1980s in jazz</a></div> <figure class="mw-default-size mw-halign-right" typeof="mw:File/Thumb"><a href="/wiki/File:Wynton_Marsalis_2009_09_13.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/d/da/Wynton_Marsalis_2009_09_13.jpg/220px-Wynton_Marsalis_2009_09_13.jpg" decoding="async" width="220" height="159" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/d/da/Wynton_Marsalis_2009_09_13.jpg/330px-Wynton_Marsalis_2009_09_13.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/d/da/Wynton_Marsalis_2009_09_13.jpg/440px-Wynton_Marsalis_2009_09_13.jpg 2x" data-file-width="1200" data-file-height="867" /></a><figcaption><a href="/wiki/Wynton_Marsalis" title="Wynton Marsalis">Wynton Marsalis</a></figcaption></figure> <p>The 1980s saw something of a reaction against the fusion and free jazz that had dominated the 1970s. Trumpeter <a href="/wiki/Wynton_Marsalis" title="Wynton Marsalis">Wynton Marsalis</a> 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 <a href="/wiki/Louis_Armstrong" title="Louis Armstrong">Louis Armstrong</a> and <a href="/wiki/Duke_Ellington" title="Duke Ellington">Duke Ellington</a>, 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 <a href="/wiki/Modal_jazz" title="Modal jazz">modal jazz</a> and <a href="/wiki/Post-bop" title="Post-bop">post-bop</a>); 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. </p><p>For example, several musicians who had been prominent in the <a href="/wiki/Jazz_fusion" title="Jazz fusion">fusion</a> genre during the 1970s began to record acoustic jazz once more, including <a href="/wiki/Chick_Corea" title="Chick Corea">Chick Corea</a> and <a href="/wiki/Herbie_Hancock" title="Herbie Hancock">Herbie Hancock</a>. Other musicians who had experimented with electronic instruments in the previous decade had abandoned them by the 1980s; for example, <a href="/wiki/Bill_Evans" title="Bill Evans">Bill Evans</a>, <a href="/wiki/Joe_Henderson" title="Joe Henderson">Joe Henderson</a>, and <a href="/wiki/Stan_Getz" title="Stan Getz">Stan Getz</a>. Even the 1980s music of <a href="/wiki/Miles_Davis" title="Miles Davis">Miles Davis</a>, 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. </p><p> A similar reaction<sup class="noprint Inline-Template" style="margin-left:0.1em; white-space:nowrap;">[<i><a href="/wiki/Wikipedia:Vagueness" title="Wikipedia:Vagueness"><span title="This information is too vague. (January 2018)">vague</span></a></i>]</sup> took place against free jazz. According to <a href="/wiki/Ted_Gioia" title="Ted Gioia">Ted Gioia</a>:</p><blockquote><p>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. <a href="/wiki/Cecil_Taylor" title="Cecil Taylor">Cecil Taylor</a> played duets in concert with <a href="/wiki/Mary_Lou_Williams" title="Mary Lou Williams">Mary Lou Williams</a>, 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 <a href="/wiki/Don_Pullen" title="Don Pullen">Don Pullen</a> 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.<sup id="cite_ref-200" class="reference"><a href="#cite_note-200"><span class="cite-bracket">[</span>200<span class="cite-bracket">]</span></a></sup></p></blockquote><p>Pianist <a href="/wiki/Keith_Jarrett" title="Keith Jarrett">Keith Jarrett</a>—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. </p><p>In 1987, the United States House of Representatives and Senate passed a bill proposed by Democratic Representative <a href="/wiki/John_Conyers_Jr." class="mw-redirect" title="John Conyers Jr.">John Conyers Jr.</a> 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, 1987, and in the Senate on November 4, 1987.<sup id="cite_ref-HR57_201-0" class="reference"><a href="#cite_note-HR57-201"><span class="cite-bracket">[</span>201<span class="cite-bracket">]</span></a></sup> </p><p>In 2001, <a href="/wiki/Ken_Burns" title="Ken Burns">Ken Burns</a>'s documentary <i><a href="/wiki/Jazz_(TV_series)" class="mw-redirect" title="Jazz (TV series)">Jazz</a></i> premiered on <a href="/wiki/Public_Broadcasting_Service" class="mw-redirect" title="Public Broadcasting Service">PBS</a>, 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. </p> <div class="mw-heading mw-heading4"><h4 id="Neo-bop">Neo-bop</h4></div> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1236090951"><div role="note" class="hatnote navigation-not-searchable">Main article: <a href="/wiki/Neo-bop" title="Neo-bop">Neo-bop</a></div> <p>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 <a href="/wiki/Betty_Carter" title="Betty Carter">Betty Carter</a> and <a href="/wiki/The_Jazz_Messengers" title="The Jazz Messengers">Art Blakey and the Jazz Messengers</a> 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 <a href="/wiki/Hard_bop" title="Hard bop">hard bop</a> and <a href="/wiki/Bebop" title="Bebop">bebop</a>. In the late 1970s, however, a resurgence of younger jazz players in Blakey's band began to occur. This movement included musicians such as <a href="/wiki/Valery_Ponomarev" title="Valery Ponomarev">Valery Ponomarev</a> and <a href="/wiki/Bobby_Watson" title="Bobby Watson">Bobby Watson</a>, <a href="/wiki/Dennis_Irwin" title="Dennis Irwin">Dennis Irwin</a> and <a href="/wiki/James_Williams_(musician)" title="James Williams (musician)">James Williams</a>. In the 1980s, in addition to <a href="/wiki/Wynton_Marsalis" title="Wynton Marsalis">Wynton</a> and <a href="/wiki/Branford_Marsalis" title="Branford Marsalis">Branford Marsalis</a>, the emergence of pianists in the Jazz Messengers such as <a href="/wiki/Donald_Brown_(musician)" title="Donald Brown (musician)">Donald Brown</a>, <a href="/wiki/Mulgrew_Miller" title="Mulgrew Miller">Mulgrew Miller</a>, and later, Benny Green, bassists such as <a href="/wiki/Charles_Fambrough" title="Charles Fambrough">Charles Fambrough</a>, <a href="/wiki/Lonnie_Plaxico" title="Lonnie Plaxico">Lonnie Plaxico</a> (and later, <a href="/wiki/Peter_Washington" title="Peter Washington">Peter Washington</a> and Essiet Essiet) horn players such as <a href="/wiki/Bill_Pierce_(saxophonist)" title="Bill Pierce (saxophonist)">Bill Pierce</a>, <a href="/wiki/Donald_Harrison" title="Donald Harrison">Donald Harrison</a> and later <a href="/wiki/Javon_Jackson" title="Javon Jackson">Javon Jackson</a> and <a href="/wiki/Terence_Blanchard" title="Terence Blanchard">Terence Blanchard</a> emerged as talented jazz musicians, all of whom made significant contributions in the 1990s and 2000s. </p><p>The young Jazz Messengers' contemporaries, including <a href="/wiki/Roy_Hargrove" title="Roy Hargrove">Roy Hargrove</a>, <a href="/wiki/Marcus_Roberts" title="Marcus Roberts">Marcus Roberts</a>, <a href="/wiki/Wallace_Roney" title="Wallace Roney">Wallace Roney</a> and <a href="/wiki/Mark_Whitfield" title="Mark Whitfield">Mark Whitfield</a> were also influenced by <a href="/wiki/Wynton_Marsalis" title="Wynton Marsalis">Wynton Marsalis</a>'s emphasis toward jazz tradition. These younger rising stars rejected avant-garde approaches and instead championed the acoustic jazz sound of Charlie Parker, <a href="/wiki/Thelonious_Monk" title="Thelonious Monk">Thelonious Monk</a> and early recordings of the first <a href="/wiki/Miles_Davis" title="Miles Davis">Miles Davis</a> quintet. This group of "Young Lions" sought to reaffirm jazz as a high art tradition comparable to the discipline of classical music.<sup id="cite_ref-Guilliatt,_Richard_202-0" class="reference"><a href="#cite_note-Guilliatt,_Richard-202"><span class="cite-bracket">[</span>202<span class="cite-bracket">]</span></a></sup> </p><p>In addition, <a href="/wiki/Betty_Carter" title="Betty Carter">Betty Carter</a>'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 <a href="/wiki/Benny_Green_(pianist)" title="Benny Green (pianist)">Benny Green</a>, <a href="/wiki/Branford_Marsalis" title="Branford Marsalis">Branford Marsalis</a> and <a href="/wiki/Ralph_Peterson_Jr." title="Ralph Peterson Jr.">Ralph Peterson Jr.</a>, as well as <a href="/wiki/Kenny_Washington_(musician)" title="Kenny Washington (musician)">Kenny Washington</a>, <a href="/wiki/Lewis_Nash" title="Lewis Nash">Lewis Nash</a>, <a href="/wiki/Curtis_Lundy" title="Curtis Lundy">Curtis Lundy</a>, <a href="/wiki/Cyrus_Chestnut" title="Cyrus Chestnut">Cyrus Chestnut</a>, <a href="/wiki/Mark_Shim" title="Mark Shim">Mark Shim</a>, <a href="/wiki/Craig_Handy" title="Craig Handy">Craig Handy</a>, Greg Hutchinson and <a href="/wiki/Marc_Cary" title="Marc Cary">Marc Cary</a>, <a href="/wiki/Taurus_Mateen" class="mw-redirect" title="Taurus Mateen">Taurus Mateen</a> and <a href="/wiki/Geri_Allen" title="Geri Allen">Geri Allen</a>. <a href="/wiki/Out_of_the_Blue_(American_band)" title="Out of the Blue (American band)">O.T.B.</a> ensemble included a rotation of young jazz musicians such as <a href="/wiki/Kenny_Garrett" title="Kenny Garrett">Kenny Garrett</a>, <a href="/wiki/Steve_Wilson_(jazz_musician)" title="Steve Wilson (jazz musician)">Steve Wilson</a>, <a href="/wiki/Kenny_Davis_(musician)" title="Kenny Davis (musician)">Kenny Davis</a>, <a href="/wiki/Renee_Rosnes" title="Renee Rosnes">Renee Rosnes</a>, <a href="/wiki/Ralph_Peterson_Jr." title="Ralph Peterson Jr.">Ralph Peterson Jr.</a>, <a href="/wiki/Billy_Drummond" title="Billy Drummond">Billy Drummond</a>, and <a href="/wiki/Robert_Hurst_(musician)" title="Robert Hurst (musician)">Robert Hurst</a>.<sup id="cite_ref-Out_203-0" class="reference"><a href="#cite_note-Out-203"><span class="cite-bracket">[</span>203<span class="cite-bracket">]</span></a></sup> </p><p>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 <a href="/wiki/Jason_Moran_(musician)" title="Jason Moran (musician)">Jason Moran</a> and <a href="/wiki/Vijay_Iyer" title="Vijay Iyer">Vijay Iyer</a>, guitarist <a href="/wiki/Kurt_Rosenwinkel" title="Kurt Rosenwinkel">Kurt Rosenwinkel</a>, vibraphonist <a href="/wiki/Stefon_Harris" title="Stefon Harris">Stefon Harris</a>, trumpeters <a href="/wiki/Roy_Hargrove" title="Roy Hargrove">Roy Hargrove</a> and <a href="/wiki/Terence_Blanchard" title="Terence Blanchard">Terence Blanchard</a>, saxophonists <a href="/wiki/Chris_Potter_(jazz_saxophonist)" title="Chris Potter (jazz saxophonist)">Chris Potter</a> and <a href="/wiki/Joshua_Redman" title="Joshua Redman">Joshua Redman</a>, clarinetist <a href="/wiki/Ken_Peplowski" title="Ken Peplowski">Ken Peplowski</a> and bassist <a href="/wiki/Christian_McBride" title="Christian McBride">Christian McBride</a>. </p> <div class="mw-heading mw-heading3"><h3 id="Smooth_jazz">Smooth jazz</h3></div> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1236090951"><div role="note" class="hatnote navigation-not-searchable">Main article: <a href="/wiki/Smooth_jazz" title="Smooth jazz">Smooth jazz</a></div> <figure class="mw-default-size" typeof="mw:File/Thumb"><a href="/wiki/File:David_Sanborn_2008_2.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/c/c8/David_Sanborn_2008_2.jpg/170px-David_Sanborn_2008_2.jpg" decoding="async" width="170" height="253" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/c/c8/David_Sanborn_2008_2.jpg/255px-David_Sanborn_2008_2.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/c/c8/David_Sanborn_2008_2.jpg/340px-David_Sanborn_2008_2.jpg 2x" data-file-width="806" data-file-height="1200" /></a><figcaption><a href="/wiki/David_Sanborn" title="David Sanborn">David Sanborn</a>, 2008</figcaption></figure> <p>In the early 1980s, a commercial form of jazz fusion called "pop fusion" or "smooth jazz" became successful, garnering significant radio airplay in "<a href="/wiki/Quiet_storm" title="Quiet storm">quiet storm</a>" time slots at radio stations in urban markets across the U.S. This helped to establish or bolster the careers of vocalists including <a href="/wiki/Al_Jarreau" title="Al Jarreau">Al Jarreau</a>, <a href="/wiki/Anita_Baker" title="Anita Baker">Anita Baker</a>, <a href="/wiki/Chaka_Khan" title="Chaka Khan">Chaka Khan</a>, and <a href="/wiki/Sade_Adu" class="mw-redirect" title="Sade Adu">Sade</a>, as well as saxophonists including <a href="/wiki/Grover_Washington_Jr." title="Grover Washington Jr.">Grover Washington Jr.</a>, <a href="/wiki/Kenny_G" title="Kenny G">Kenny G</a>, <a href="/wiki/Kirk_Whalum" title="Kirk Whalum">Kirk Whalum</a>, <a href="/wiki/Boney_James" title="Boney James">Boney James</a>, and <a href="/wiki/David_Sanborn" title="David Sanborn">David Sanborn</a>. In general, smooth jazz is downtempo (the most widely played tracks are of 90–105 <a href="/wiki/Beats_per_minute" class="mw-redirect" title="Beats per minute">beats per minute</a>), and has a lead melody-playing instrument (saxophone, especially soprano and tenor, and <a href="/wiki/Legato" title="Legato">legato</a> electric guitar are popular). </p><p>In his <i><a href="/wiki/Newsweek" title="Newsweek">Newsweek</a></i> article "The Problem With Jazz Criticism",<sup id="cite_ref-204" class="reference"><a href="#cite_note-204"><span class="cite-bracket">[</span>204<span class="cite-bracket">]</span></a></sup> <a href="/wiki/Stanley_Crouch" title="Stanley Crouch">Stanley Crouch</a> 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: </p> <blockquote><p>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.<sup id="cite_ref-205" class="reference"><a href="#cite_note-205"><span class="cite-bracket">[</span>205<span class="cite-bracket">]</span></a></sup></p></blockquote> <div class="mw-heading mw-heading3"><h3 id="Acid_jazz,_nu_jazz,_and_jazz_rap"><span id="Acid_jazz.2C_nu_jazz.2C_and_jazz_rap"></span>Acid jazz, nu jazz, and jazz rap</h3></div> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1236090951"><div role="note" class="hatnote navigation-not-searchable">Main articles: <a href="/wiki/Acid_jazz" title="Acid jazz">Acid jazz</a>, <a href="/wiki/Nu_jazz" title="Nu jazz">Nu jazz</a>, and <a href="/wiki/Jazz_rap" title="Jazz rap">Jazz rap</a></div> <p><a href="/wiki/Acid_jazz" title="Acid jazz">Acid jazz</a> developed in the UK in the 1980s and 1990s, influenced by <a href="/wiki/Jazz-funk" title="Jazz-funk">jazz-funk</a> and <a href="/wiki/Electronic_music" title="Electronic music">electronic dance music</a>. Acid jazz often contains various types of electronic composition (sometimes including <a href="/wiki/Sampling_(music)" title="Sampling (music)">sampling</a> or live DJ cutting and <a href="/wiki/Scratching" title="Scratching">scratching</a>), 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 <a href="/wiki/Roy_Ayers" title="Roy Ayers">Roy Ayers</a> "one of the prophets of acid jazz".<sup id="cite_ref-Ginell_206-0" class="reference"><a href="#cite_note-Ginell-206"><span class="cite-bracket">[</span>206<span class="cite-bracket">]</span></a></sup> </p><p><a href="/wiki/Nu_jazz" title="Nu jazz">Nu jazz</a> 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 <a href="/wiki/House_music" title="House music">house</a> (as exemplified by <a href="/wiki/Saint_Germain_(musician)" class="mw-redirect" title="Saint Germain (musician)">St Germain</a>, <a href="/wiki/Jazzanova" title="Jazzanova">Jazzanova</a>, and <a href="/wiki/Fila_Brazillia" title="Fila Brazillia">Fila Brazillia</a>) to more band-based improvised jazz with electronic elements (for example, <a href="/wiki/The_Cinematic_Orchestra" title="The Cinematic Orchestra">The Cinematic Orchestra</a>, <a href="/wiki/Kobol_(band)" title="Kobol (band)">Kobol</a> and the Norwegian "future jazz" style pioneered by <a href="/wiki/Bugge_Wesseltoft" title="Bugge Wesseltoft">Bugge Wesseltoft</a>, <a href="/wiki/Jaga_Jazzist" title="Jaga Jazzist">Jaga Jazzist</a>, and <a href="/wiki/Nils_Petter_Molv%C3%A6r" title="Nils Petter Molvær">Nils Petter Molvær</a>). </p><p><a href="/wiki/Jazz_rap" title="Jazz rap">Jazz rap</a> developed in the late 1980s and early 1990s and incorporates jazz influences into <a href="/wiki/Hip_hop" class="mw-redirect" title="Hip hop">hip hop</a>. In 1988, <a href="/wiki/Gang_Starr" title="Gang Starr">Gang Starr</a> released the debut single "Words I Manifest", which sampled Dizzy Gillespie's 1962 "Night in Tunisia", and <a href="/wiki/Stetsasonic" title="Stetsasonic">Stetsasonic</a> released "Talkin' All That Jazz", which sampled <a href="/wiki/Lonnie_Liston_Smith" title="Lonnie Liston Smith">Lonnie Liston Smith</a>. Gang Starr's debut LP <i><a href="/wiki/No_More_Mr._Nice_Guy_(Gang_Starr_album)" title="No More Mr. Nice Guy (Gang Starr album)">No More Mr. Nice Guy</a></i> (1989) and their 1990 track "Jazz Thing" sampled Charlie Parker and <a href="/wiki/Ramsey_Lewis" title="Ramsey Lewis">Ramsey Lewis</a>. The groups which made up the <a href="/wiki/Native_Tongues_Posse" class="mw-redirect" title="Native Tongues Posse">Native Tongues Posse</a> tended toward jazzy releases: these include the <a href="/wiki/Jungle_Brothers" title="Jungle Brothers">Jungle Brothers</a>' debut <i><a href="/wiki/Straight_Out_the_Jungle" class="mw-redirect" title="Straight Out the Jungle">Straight Out the Jungle</a></i> (1988), and <a href="/wiki/A_Tribe_Called_Quest" title="A Tribe Called Quest">A Tribe Called Quest</a>'s <i><a href="/wiki/People%27s_Instinctive_Travels_and_the_Paths_of_Rhythm" title="People's Instinctive Travels and the Paths of Rhythm">People's Instinctive Travels and the Paths of Rhythm</a></i> (1990) and <i><a href="/wiki/The_Low_End_Theory" title="The Low End Theory">The Low End Theory</a></i> (1991). Rap duo <a href="/wiki/Pete_Rock_%26_CL_Smooth" title="Pete Rock & CL Smooth">Pete Rock & CL Smooth</a> incorporated jazz influences on their 1992 debut <i><a href="/wiki/Mecca_and_the_Soul_Brother" title="Mecca and the Soul Brother">Mecca and the Soul Brother</a></i>. Rapper <a href="/wiki/Guru_(rapper)" title="Guru (rapper)">Guru</a>'s <a href="/wiki/Jazzmatazz,_Vol._1" class="mw-redirect" title="Jazzmatazz, Vol. 1">Jazzmatazz</a> series began in 1993 using jazz musicians during the studio recordings. </p><p>Although jazz rap had achieved little mainstream success, Miles Davis' final album <i><a href="/wiki/Doo-Bop" title="Doo-Bop">Doo-Bop</a></i> (released posthumously in 1992) was based on hip hop beats and collaborations with producer <a href="/wiki/Easy_Mo_Bee" title="Easy Mo Bee">Easy Mo Bee</a>. Davis' ex-bandmate <a href="/wiki/Herbie_Hancock" title="Herbie Hancock">Herbie Hancock</a> also absorbed hip-hop influences in the mid-1990s, releasing the album <i><a href="/wiki/Dis_Is_Da_Drum" class="mw-redirect" title="Dis Is Da Drum">Dis Is Da Drum</a></i> in 1994. </p><p>The mid-2010s saw an increased influence of R&B, hip-hop, and pop music on jazz. In 2015, <a href="/wiki/Kendrick_Lamar" title="Kendrick Lamar">Kendrick Lamar</a> released his third studio album, <i><a href="/wiki/To_Pimp_a_Butterfly" title="To Pimp a Butterfly">To Pimp a Butterfly</a></i>. The album heavily featured prominent contemporary jazz artists such as <a href="/wiki/Thundercat_(musician)" title="Thundercat (musician)">Thundercat</a><sup id="cite_ref-booklet_207-0" class="reference"><a href="#cite_note-booklet-207"><span class="cite-bracket">[</span>207<span class="cite-bracket">]</span></a></sup> and redefined jazz rap with a larger focus on improvisation and live soloing rather than simply sampling. In that same year, saxophonist <a href="/wiki/Kamasi_Washington" title="Kamasi Washington">Kamasi Washington</a> released his nearly three-hour long debut, <i><a href="/wiki/The_Epic_(album)" title="The Epic (album)">The Epic</a></i>. Its hip-hop inspired beats and R&B vocal interludes was not only acclaimed by critics for being innovative in keeping jazz relevant,<sup id="cite_ref-208" class="reference"><a href="#cite_note-208"><span class="cite-bracket">[</span>208<span class="cite-bracket">]</span></a></sup> but also sparked a small resurgence in jazz on the internet. </p> <div class="mw-heading mw-heading3"><h3 id="Punk_jazz_and_jazzcore">Punk jazz and jazzcore</h3></div> <figure class="mw-default-size mw-halign-right" typeof="mw:File/Thumb"><a href="/wiki/File:John_Zorn.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/e/e0/John_Zorn.jpg/170px-John_Zorn.jpg" decoding="async" width="170" height="301" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/e/e0/John_Zorn.jpg/255px-John_Zorn.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/e/e0/John_Zorn.jpg/340px-John_Zorn.jpg 2x" data-file-width="438" data-file-height="775" /></a><figcaption><a href="/wiki/John_Zorn" title="John Zorn">John Zorn</a> performing in 2006</figcaption></figure> <p>The relaxation of orthodoxy which was concurrent with <a href="/wiki/Post-punk" title="Post-punk">post-punk</a> in London and New York City led to a new appreciation of jazz. In London, <a href="/wiki/The_Pop_Group" title="The Pop Group">the Pop Group</a> began to mix free jazz and dub reggae into their brand of punk rock.<sup id="cite_ref-209" class="reference"><a href="#cite_note-209"><span class="cite-bracket">[</span>209<span class="cite-bracket">]</span></a></sup> In New York, <a href="/wiki/No_Wave" class="mw-redirect" title="No Wave">No Wave</a> took direct inspiration from both free jazz and punk. Examples of this style include <a href="/wiki/Lydia_Lunch" title="Lydia Lunch">Lydia Lunch</a>'s <i>Queen of Siam</i>,<sup id="cite_ref-bangs_210-0" class="reference"><a href="#cite_note-bangs-210"><span class="cite-bracket">[</span>210<span class="cite-bracket">]</span></a></sup> Gray, the work of <a href="/wiki/James_Chance_and_the_Contortions" title="James Chance and the Contortions">James Chance and the Contortions</a> (who mixed <a href="/wiki/Soul_music" title="Soul music">Soul</a> with free jazz and <a href="/wiki/Punk_rock" title="Punk rock">punk</a>)<sup id="cite_ref-bangs_210-1" class="reference"><a href="#cite_note-bangs-210"><span class="cite-bracket">[</span>210<span class="cite-bracket">]</span></a></sup> and the <a href="/wiki/Lounge_Lizards" class="mw-redirect" title="Lounge Lizards">Lounge Lizards</a><sup id="cite_ref-bangs_210-2" class="reference"><a href="#cite_note-bangs-210"><span class="cite-bracket">[</span>210<span class="cite-bracket">]</span></a></sup> (the first group to call themselves "<a href="/wiki/Punk_jazz" title="Punk jazz">punk jazz</a>"). </p><p><a href="/wiki/John_Zorn" title="John Zorn">John Zorn</a> 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 <i><a href="/wiki/Spy_vs_Spy_(album)" title="Spy vs Spy (album)">Spy vs. Spy</a></i> album in 1986, a collection of <a href="/wiki/Ornette_Coleman" title="Ornette Coleman">Ornette Coleman</a> tunes done in the contemporary <a href="/wiki/Thrashcore" title="Thrashcore">thrashcore</a> style.<sup id="cite_ref-211" class="reference"><a href="#cite_note-211"><span class="cite-bracket">[</span>211<span class="cite-bracket">]</span></a></sup> In the same year, <a href="/wiki/Sonny_Sharrock" title="Sonny Sharrock">Sonny Sharrock</a>, <a href="/wiki/Peter_Br%C3%B6tzmann" title="Peter Brötzmann">Peter Brötzmann</a>, <a href="/wiki/Bill_Laswell" title="Bill Laswell">Bill Laswell</a>, and <a href="/wiki/Ronald_Shannon_Jackson" title="Ronald Shannon Jackson">Ronald Shannon Jackson</a> recorded the first album under the name <a href="/wiki/Last_Exit_(free_jazz_band)" title="Last Exit (free jazz band)">Last Exit</a>, a similarly aggressive blend of thrash and free jazz.<sup id="cite_ref-212" class="reference"><a href="#cite_note-212"><span class="cite-bracket">[</span>212<span class="cite-bracket">]</span></a></sup> These developments are the origins of <i>jazzcore</i>, the fusion of free jazz with <a href="/wiki/Hardcore_punk" title="Hardcore punk">hardcore punk</a>. </p> <div class="mw-heading mw-heading3"><h3 id="M-Base">M-Base</h3></div> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1236090951"><div role="note" class="hatnote navigation-not-searchable">Main article: <a href="/wiki/M-Base" title="M-Base">M-Base</a></div> <figure class="mw-default-size" typeof="mw:File/Thumb"><a href="/wiki/File:Steve_Coleman_1611.JPG" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/6/60/Steve_Coleman_1611.JPG/220px-Steve_Coleman_1611.JPG" decoding="async" width="220" height="165" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/6/60/Steve_Coleman_1611.JPG/330px-Steve_Coleman_1611.JPG 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/6/60/Steve_Coleman_1611.JPG/440px-Steve_Coleman_1611.JPG 2x" data-file-width="1600" data-file-height="1200" /></a><figcaption>Steve Coleman in Paris, July 2004</figcaption></figure> <p>The <a href="/wiki/M-Base" title="M-Base">M-Base</a> movement started in the 1980s, when a loose collective of young African-American musicians in New York which included <a href="/wiki/Steve_Coleman" title="Steve Coleman">Steve Coleman</a>, <a href="/wiki/Greg_Osby" title="Greg Osby">Greg Osby</a>, and <a href="/wiki/Gary_Thomas_(musician)" title="Gary Thomas (musician)">Gary Thomas</a> developed a complex but grooving<sup id="cite_ref-213" class="reference"><a href="#cite_note-213"><span class="cite-bracket">[</span>213<span class="cite-bracket">]</span></a></sup> sound. </p><p>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.<sup id="cite_ref-allaboutjazz.com_214-0" class="reference"><a href="#cite_note-allaboutjazz.com-214"><span class="cite-bracket">[</span>214<span class="cite-bracket">]</span></a></sup> </p><p>Coleman's audience decreased, but his music and concepts influenced many musicians, according to pianist Vijay Iver and critic Ben Ratlifff of <i>The New York Times</i>.<sup id="cite_ref-Blumenfeld_215-0" class="reference"><a href="#cite_note-Blumenfeld-215"><span class="cite-bracket">[</span>215<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-Undead_216-0" class="reference"><a href="#cite_note-Undead-216"><span class="cite-bracket">[</span>216<span class="cite-bracket">]</span></a></sup> </p><p>M-Base changed from a movement of a loose collective of young musicians to a kind of informal Coleman "school",<sup id="cite_ref-217" class="reference"><a href="#cite_note-217"><span class="cite-bracket">[</span>217<span class="cite-bracket">]</span></a></sup> with a much advanced but already originally implied concept.<sup id="cite_ref-218" class="reference"><a href="#cite_note-218"><span class="cite-bracket">[</span>218<span class="cite-bracket">]</span></a></sup> Steve Coleman's music and <a href="/wiki/M-Base" title="M-Base">M-Base</a> concept gained recognition as "next logical step" after Charlie Parker, John Coltrane, and Ornette Coleman.<sup id="cite_ref-219" class="reference"><a href="#cite_note-219"><span class="cite-bracket">[</span>219<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading3"><h3 id="Jazz_pluralism">Jazz pluralism</h3></div> <p>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 <a href="/wiki/Brad_Mehldau" title="Brad Mehldau">Brad Mehldau</a> and <a href="/wiki/The_Bad_Plus" title="The Bad Plus">The Bad Plus</a> 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 <a href="/wiki/Greg_Osby" title="Greg Osby">Greg Osby</a> and <a href="/wiki/Charles_Gayle" title="Charles Gayle">Charles Gayle</a>, while others, such as <a href="/wiki/James_Carter_(musician)" title="James Carter (musician)">James Carter</a>, have incorporated free jazz elements into a more traditional framework. </p> <figure class="mw-default-size" typeof="mw:File/Thumb"><a href="/wiki/File:2-11-2018-_Andrea_Motis_%26_Joan_Chamorro_Quintet-1_(48597630236).jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/3/38/2-11-2018-_Andrea_Motis_%26_Joan_Chamorro_Quintet-1_%2848597630236%29.jpg/220px-2-11-2018-_Andrea_Motis_%26_Joan_Chamorro_Quintet-1_%2848597630236%29.jpg" decoding="async" width="220" height="142" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/3/38/2-11-2018-_Andrea_Motis_%26_Joan_Chamorro_Quintet-1_%2848597630236%29.jpg/330px-2-11-2018-_Andrea_Motis_%26_Joan_Chamorro_Quintet-1_%2848597630236%29.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/3/38/2-11-2018-_Andrea_Motis_%26_Joan_Chamorro_Quintet-1_%2848597630236%29.jpg/440px-2-11-2018-_Andrea_Motis_%26_Joan_Chamorro_Quintet-1_%2848597630236%29.jpg 2x" data-file-width="3543" data-file-height="2288" /></a><figcaption>Joan Chamorro (bass), <a href="/wiki/Andrea_Motis" title="Andrea Motis">Andrea Motis</a> (trumpet), and <a href="/wiki/Ignasi_Terraza" title="Ignasi Terraza">Ignasi Terraza</a> (piano) in 2018</figcaption></figure> <p><a href="/wiki/Harry_Connick_Jr." title="Harry Connick Jr.">Harry Connick Jr.</a> 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.<sup id="cite_ref-Bush_220-0" class="reference"><a href="#cite_note-Bush-220"><span class="cite-bracket">[</span>220<span class="cite-bracket">]</span></a></sup> Some of his earliest lessons were at the home of pianist <a href="/wiki/Ellis_Marsalis_Jr." title="Ellis Marsalis Jr.">Ellis Marsalis</a>.<sup id="cite_ref-home_221-0" class="reference"><a href="#cite_note-home-221"><span class="cite-bracket">[</span>221<span class="cite-bracket">]</span></a></sup> Connick had success on the pop charts after recording the soundtrack to the movie <i><a href="/wiki/When_Harry_Met_Sally" class="mw-redirect" title="When Harry Met Sally">When Harry Met Sally</a></i>, which sold over two million copies.<sup id="cite_ref-Bush_220-1" class="reference"><a href="#cite_note-Bush-220"><span class="cite-bracket">[</span>220<span class="cite-bracket">]</span></a></sup> Crossover success has also been achieved by <a href="/wiki/Diana_Krall" title="Diana Krall">Diana Krall</a>, <a href="/wiki/Norah_Jones" title="Norah Jones">Norah Jones</a>, <a href="/wiki/Cassandra_Wilson" title="Cassandra Wilson">Cassandra Wilson</a>, <a href="/wiki/Kurt_Elling" title="Kurt Elling">Kurt Elling</a>, and <a href="/wiki/Jamie_Cullum" title="Jamie Cullum">Jamie Cullum</a>. </p><p>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 <a href="/wiki/Gene_Ammons" title="Gene Ammons">Gene Ammons</a><sup id="cite_ref-222" class="reference"><a href="#cite_note-222"><span class="cite-bracket">[</span>222<span class="cite-bracket">]</span></a></sup> and studio archives such as <i>Just Coolin'</i> by <a href="/wiki/The_Jazz_Messengers" title="The Jazz Messengers">Art Blakey and the Jazz Messengers</a>.<sup id="cite_ref-223" class="reference"><a href="#cite_note-223"><span class="cite-bracket">[</span>223<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading4"><h4 id="Social_media">Social media</h4></div> <p>An internet-aided trend of 2010's jazz was that of extreme <a href="/wiki/Reharmonization" class="mw-redirect" title="Reharmonization">reharmonization</a>, inspired by both virtuosic players known for their speed and rhythm such as <a href="/wiki/Art_Tatum" title="Art Tatum">Art Tatum</a>, as well as players known for their ambitious voicings and chords such as Bill Evans. Supergroup <a href="/wiki/Snarky_Puppy" title="Snarky Puppy">Snarky Puppy</a> adopted this trend, allowing players like <a href="/wiki/Cory_Henry" title="Cory Henry">Cory Henry</a><sup id="cite_ref-224" class="reference"><a href="#cite_note-224"><span class="cite-bracket">[</span>224<span class="cite-bracket">]</span></a></sup> to shape the grooves and harmonies of modern jazz soloing. <a href="/wiki/YouTube" title="YouTube">YouTube</a> phenomenon <a href="/wiki/Jacob_Collier" title="Jacob Collier">Jacob Collier</a> also gained recognition for his ability to play an incredibly large number of instruments and his ability to use <a href="/wiki/Microtones" class="mw-redirect" title="Microtones">microtones</a>, advanced polyrhythms, and blend a spectrum of genres in his largely homemade production process.<sup id="cite_ref-225" class="reference"><a href="#cite_note-225"><span class="cite-bracket">[</span>225<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-226" class="reference"><a href="#cite_note-226"><span class="cite-bracket">[</span>226<span class="cite-bracket">]</span></a></sup> </p><p>Other jazz musicians gained popularity through social media during the 2010s and 2020s. These included <a href="/wiki/Joan_Chamorro" title="Joan Chamorro">Joan Chamorro</a>, a bassist and bandleader based in <a href="/wiki/Barcelona" title="Barcelona">Barcelona</a> whose big band and jazz combo videos have received tens of millions of views on YouTube,<sup id="cite_ref-227" class="reference"><a href="#cite_note-227"><span class="cite-bracket">[</span>227<span class="cite-bracket">]</span></a></sup> and <a href="/wiki/Emmet_Cohen" title="Emmet Cohen">Emmet Cohen</a>, who broadcast a series of performances live from New York starting in March 2020.<sup id="cite_ref-228" class="reference"><a href="#cite_note-228"><span class="cite-bracket">[</span>228<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading2"><h2 id="See_also">See also</h2></div> <style data-mw-deduplicate="TemplateStyles:r1239009302">.mw-parser-output .portalbox{padding:0;margin:0.5em 0;display:table;box-sizing:border-box;max-width:175px;list-style:none}.mw-parser-output .portalborder{border:1px solid var(--border-color-base,#a2a9b1);padding:0.1em;background:var(--background-color-neutral-subtle,#f8f9fa)}.mw-parser-output .portalbox-entry{display:table-row;font-size:85%;line-height:110%;height:1.9em;font-style:italic;font-weight:bold}.mw-parser-output .portalbox-image{display:table-cell;padding:0.2em;vertical-align:middle;text-align:center}.mw-parser-output .portalbox-link{display:table-cell;padding:0.2em 0.2em 0.2em 0.3em;vertical-align:middle}@media(min-width:720px){.mw-parser-output .portalleft{clear:left;float:left;margin:0.5em 1em 0.5em 0}.mw-parser-output .portalright{clear:right;float:right;margin:0.5em 0 0.5em 1em}}</style><ul role="navigation" aria-label="Portals" class="noprint portalbox portalborder portalright"> <li class="portalbox-entry"><span class="portalbox-image"><span class="mw-image-border noviewer" typeof="mw:File"><a href="/wiki/File:Saxo_Boca1.JPG" class="mw-file-description"><img alt="icon" src="//upload.wikimedia.org/wikipedia/commons/thumb/5/53/Saxo_Boca1.JPG/27px-Saxo_Boca1.JPG" decoding="async" width="27" height="28" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/5/53/Saxo_Boca1.JPG/40px-Saxo_Boca1.JPG 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/5/53/Saxo_Boca1.JPG/53px-Saxo_Boca1.JPG 2x" data-file-width="219" data-file-height="230" /></a></span></span><span class="portalbox-link"><a href="/wiki/Portal:Jazz" title="Portal:Jazz">Jazz portal</a></span></li><li class="portalbox-entry"><span class="portalbox-image"><span class="noviewer" typeof="mw:File"><span><img alt="" src="//upload.wikimedia.org/wikipedia/commons/thumb/f/ff/GClef.svg/10px-GClef.svg.png" decoding="async" width="10" height="28" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/f/ff/GClef.svg/15px-GClef.svg.png 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/f/ff/GClef.svg/20px-GClef.svg.png 2x" data-file-width="15" data-file-height="41" /></span></span></span><span class="portalbox-link"><a href="/wiki/Portal:Music" title="Portal:Music">Music portal</a></span></li><li class="portalbox-entry"><span class="portalbox-image"><span class="mw-image-border noviewer" typeof="mw:File"><span><img alt="flag" src="//upload.wikimedia.org/wikipedia/en/thumb/a/a4/Flag_of_the_United_States.svg/32px-Flag_of_the_United_States.svg.png" decoding="async" width="32" height="17" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/en/thumb/a/a4/Flag_of_the_United_States.svg/48px-Flag_of_the_United_States.svg.png 1.5x, //upload.wikimedia.org/wikipedia/en/thumb/a/a4/Flag_of_the_United_States.svg/64px-Flag_of_the_United_States.svg.png 2x" data-file-width="1235" data-file-height="650" /></span></span></span><span class="portalbox-link"><a href="/wiki/Portal:United_States" title="Portal:United States">United States portal</a></span></li></ul> <style data-mw-deduplicate="TemplateStyles:r1184024115">.mw-parser-output .div-col{margin-top:0.3em;column-width:30em}.mw-parser-output .div-col-small{font-size:90%}.mw-parser-output .div-col-rules{column-rule:1px solid #aaa}.mw-parser-output .div-col dl,.mw-parser-output .div-col ol,.mw-parser-output .div-col ul{margin-top:0}.mw-parser-output .div-col li,.mw-parser-output .div-col dd{page-break-inside:avoid;break-inside:avoid-column}</style><div class="div-col" style="column-width: 30em;"> <ul><li><a href="/wiki/Jazz_(Henri_Matisse)" title="Jazz (Henri Matisse)">Jazz (Henri Matisse)</a></li> <li><a href="/wiki/Jazz_piano" title="Jazz piano">Jazz piano</a></li> <li><a href="/wiki/Jazz_royalty" title="Jazz royalty">Jazz royalty</a></li> <li><a href="/wiki/Victorian_Jazz_Archive" class="mw-redirect" title="Victorian Jazz Archive">Victorian Jazz Archive</a></li> <li><a href="/wiki/Hogan_Jazz_Archive" title="Hogan Jazz Archive">Hogan Jazz Archive</a></li> <li><a href="/wiki/International_Jazz_Day" title="International Jazz Day">International Jazz Day</a></li> <li><a href="/wiki/Bibliography_of_jazz" title="Bibliography of jazz">Bibliography of jazz</a></li> <li><a href="/wiki/Timeline_of_jazz_education" title="Timeline of jazz education">Timeline of jazz education</a></li> <li><a href="/wiki/List_of_certified_jazz_recordings" title="List of certified jazz recordings">List of certified jazz recordings</a></li> <li><a href="/wiki/List_of_jazz_festivals" title="List of jazz festivals">List of jazz festivals</a></li> <li><a href="/wiki/List_of_jazz_genres" title="List of jazz genres">List of jazz genres</a></li> <li><a href="/wiki/List_of_jazz_musicians" title="List of jazz musicians">List of jazz musicians</a></li> <li><a href="/wiki/List_of_jazz_standards" title="List of jazz standards">List of jazz standards</a></li> <li><a href="/wiki/List_of_jazz_venues" title="List of jazz venues">List of jazz venues</a></li> <li><a href="/wiki/List_of_jazz_venues_in_the_United_States" title="List of jazz venues in the United States">List of jazz venues in the United States</a></li></ul> </div> <div style="clear:both;" class=""></div> <div class="mw-heading mw-heading2"><h2 id="References">References</h2></div> <div class="mw-heading mw-heading3"><h3 id="Citations">Citations</h3></div> <style data-mw-deduplicate="TemplateStyles:r1239543626">.mw-parser-output .reflist{margin-bottom:0.5em;list-style-type:decimal}@media screen{.mw-parser-output .reflist{font-size:90%}}.mw-parser-output .reflist .references{font-size:100%;margin-bottom:0;list-style-type:inherit}.mw-parser-output .reflist-columns-2{column-width:30em}.mw-parser-output .reflist-columns-3{column-width:25em}.mw-parser-output .reflist-columns{margin-top:0.3em}.mw-parser-output .reflist-columns ol{margin-top:0}.mw-parser-output .reflist-columns li{page-break-inside:avoid;break-inside:avoid-column}.mw-parser-output .reflist-upper-alpha{list-style-type:upper-alpha}.mw-parser-output .reflist-upper-roman{list-style-type:upper-roman}.mw-parser-output .reflist-lower-alpha{list-style-type:lower-alpha}.mw-parser-output .reflist-lower-greek{list-style-type:lower-greek}.mw-parser-output .reflist-lower-roman{list-style-type:lower-roman}</style><div class="reflist reflist-columns references-column-width" style="column-width: 30em;"> <ol class="references"> <li id="cite_note-Hennessey-1"><span class="mw-cite-backlink"><b><a href="#cite_ref-Hennessey_1-0">^</a></b></span> <span class="reference-text"><style data-mw-deduplicate="TemplateStyles:r1238218222">.mw-parser-output cite.citation{font-style:inherit;word-wrap:break-word}.mw-parser-output .citation q{quotes:"\"""\"""'""'"}.mw-parser-output .citation:target{background-color:rgba(0,127,255,0.133)}.mw-parser-output .id-lock-free.id-lock-free a{background:url("//upload.wikimedia.org/wikipedia/commons/6/65/Lock-green.svg")right 0.1em center/9px no-repeat}.mw-parser-output .id-lock-limited.id-lock-limited a,.mw-parser-output .id-lock-registration.id-lock-registration a{background:url("//upload.wikimedia.org/wikipedia/commons/d/d6/Lock-gray-alt-2.svg")right 0.1em center/9px no-repeat}.mw-parser-output .id-lock-subscription.id-lock-subscription a{background:url("//upload.wikimedia.org/wikipedia/commons/a/aa/Lock-red-alt-2.svg")right 0.1em center/9px no-repeat}.mw-parser-output .cs1-ws-icon a{background:url("//upload.wikimedia.org/wikipedia/commons/4/4c/Wikisource-logo.svg")right 0.1em center/12px no-repeat}body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-free a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-limited a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-registration a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-subscription a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .cs1-ws-icon a{background-size:contain;padding:0 1em 0 0}.mw-parser-output .cs1-code{color:inherit;background:inherit;border:none;padding:inherit}.mw-parser-output .cs1-hidden-error{display:none;color:var(--color-error,#d33)}.mw-parser-output .cs1-visible-error{color:var(--color-error,#d33)}.mw-parser-output .cs1-maint{display:none;color:#085;margin-left:0.3em}.mw-parser-output .cs1-kern-left{padding-left:0.2em}.mw-parser-output .cs1-kern-right{padding-right:0.2em}.mw-parser-output .citation .mw-selflink{font-weight:inherit}@media screen{.mw-parser-output .cs1-format{font-size:95%}html.skin-theme-clientpref-night .mw-parser-output .cs1-maint{color:#18911f}}@media screen and (prefers-color-scheme:dark){html.skin-theme-clientpref-os .mw-parser-output .cs1-maint{color:#18911f}}</style><cite id="CITEREFHennessey1973" class="citation thesis cs1">Hennessey, Thomas (1973). <a rel="nofollow" class="external text" href="https://books.google.com/books?id=nvskngEACAAJ"><i>From Jazz to Swing: Black Jazz Musicians and Their Music, 1917–1935</i></a> (Ph.D. dissertation). <a href="/wiki/Northwestern_University" title="Northwestern University">Northwestern University</a>. p. 470.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Adissertation&rft.title=From+Jazz+to+Swing%3A+Black+Jazz+Musicians+and+Their+Music%2C+1917%E2%80%931935&rft.inst=Northwestern+University&rft.date=1973&rft.aulast=Hennessey&rft.aufirst=Thomas&rft_id=https%3A%2F%2Fbooks.google.com%2Fbooks%3Fid%3DnvskngEACAAJ&rfr_id=info%3Asid%2Fen.wikipedia.org%3AJazz" class="Z3988"></span></span> </li> <li id="cite_note-2"><span class="mw-cite-backlink"><b><a href="#cite_ref-2">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFVentura2018" class="citation book cs1">Ventura, David (May 22, 2018). <a rel="nofollow" class="external text" href="https://books.google.com/books?id=u_haDwAAQBAJ&dq=Cool+jazz+developed+near+the+end+of+the+1940s&pg=PT36"><i>WJEC & EDUQAS GCSE Music Revision Guide</i></a>. Rhinegold Education. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-1-78759-098-4" title="Special:BookSources/978-1-78759-098-4"><bdi>978-1-78759-098-4</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=WJEC+%26+EDUQAS+GCSE+Music+Revision+Guide&rft.pub=Rhinegold+Education&rft.date=2018-05-22&rft.isbn=978-1-78759-098-4&rft.aulast=Ventura&rft.aufirst=David&rft_id=https%3A%2F%2Fbooks.google.com%2Fbooks%3Fid%3Du_haDwAAQBAJ%26dq%3DCool%2Bjazz%2Bdeveloped%2Bnear%2Bthe%2Bend%2Bof%2Bthe%2B1940s%26pg%3DPT36&rfr_id=info%3Asid%2Fen.wikipedia.org%3AJazz" class="Z3988"></span></span> </li> <li id="cite_note-baseball-3"><span class="mw-cite-backlink">^ <a href="#cite_ref-baseball_3-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-baseball_3-1"><sup><i><b>b</b></i></sup></a></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFWilton2015" class="citation news cs1">Wilton, Dave (April 6, 2015). <a rel="nofollow" class="external text" href="https://web.archive.org/web/20150407014127/http://blog.oxforddictionaries.com/2015/04/jazz-baseball/">"The Baseball Origin of 'Jazz'<span class="cs1-kern-right"></span>"</a>. <i>OxfordDictionaries.com</i>. Oxford University Press. Archived from <a rel="nofollow" class="external text" href="http://blog.oxforddictionaries.com/2015/04/jazz-baseball/">the original</a> on April 7, 2015<span class="reference-accessdate">. Retrieved <span class="nowrap">June 20,</span> 2016</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=OxfordDictionaries.com&rft.atitle=The+Baseball+Origin+of+%27Jazz%27&rft.date=2015-04-06&rft.aulast=Wilton&rft.aufirst=Dave&rft_id=http%3A%2F%2Fblog.oxforddictionaries.com%2F2015%2F04%2Fjazz-baseball%2F&rfr_id=info%3Asid%2Fen.wikipedia.org%3AJazz" class="Z3988"></span></span> </li> <li id="cite_note-:2-4"><span class="mw-cite-backlink">^ <a href="#cite_ref-:2_4-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-:2_4-1"><sup><i><b>b</b></i></sup></a> <a href="#cite_ref-:2_4-2"><sup><i><b>c</b></i></sup></a></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation web cs1"><a rel="nofollow" class="external text" href="https://www.wbgo.org/music/2018-02-26/where-did-jazz-the-word-come-from-follow-a-trail-of-clues-in-deep-dive-with-lewis-porter">"Where Did 'Jazz,' the Word, Come From? Follow a Trail of Clues, in Deep Dive with Lewis Porter"</a>. <i>WBGO</i>. February 26, 2018<span class="reference-accessdate">. Retrieved <span class="nowrap">February 9,</span> 2024</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=WBGO&rft.atitle=Where+Did+%27Jazz%2C%27+the+Word%2C+Come+From%3F+Follow+a+Trail+of+Clues%2C+in+Deep+Dive+with+Lewis+Porter&rft.date=2018-02-26&rft_id=https%3A%2F%2Fwww.wbgo.org%2Fmusic%2F2018-02-26%2Fwhere-did-jazz-the-word-come-from-follow-a-trail-of-clues-in-deep-dive-with-lewis-porter&rfr_id=info%3Asid%2Fen.wikipedia.org%3AJazz" class="Z3988"></span></span> </li> <li id="cite_note-CDT-5"><span class="mw-cite-backlink"><b><a href="#cite_ref-CDT_5-0">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFSeagrove1915" class="citation news cs1">Seagrove, Gordon (July 11, 1915). <a rel="nofollow" class="external text" href="https://web.archive.org/web/20120130130212/http://www.omf.paris-sorbonne.fr/IMG/pdf/1915_article_Seagrove.pdf">"Blues is Jazz and Jazz Is Blues"</a> <span class="cs1-format">(PDF)</span>. <i><a href="/wiki/Chicago_Tribune" title="Chicago Tribune">Chicago Daily Tribune</a></i>. Archived from <a rel="nofollow" class="external text" href="http://www.omf.paris-sorbonne.fr/IMG/pdf/1915_article_Seagrove.pdf">the original</a> <span class="cs1-format">(PDF)</span> on January 30, 2012<span class="reference-accessdate">. Retrieved <span class="nowrap">November 4,</span> 2011</span> – via <a href="/wiki/Paris-Sorbonne_University" title="Paris-Sorbonne University">Paris-Sorbonne University</a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=Chicago+Daily+Tribune&rft.atitle=Blues+is+Jazz+and+Jazz+Is+Blues&rft.date=1915-07-11&rft.aulast=Seagrove&rft.aufirst=Gordon&rft_id=http%3A%2F%2Fwww.omf.paris-sorbonne.fr%2FIMG%2Fpdf%2F1915_article_Seagrove.pdf&rfr_id=info%3Asid%2Fen.wikipedia.org%3AJazz" class="Z3988"></span> Archived at Observatoire Musical Français, <a href="/wiki/Paris-Sorbonne_University" title="Paris-Sorbonne University">Paris-Sorbonne University</a>.</span> </li> <li id="cite_note-6"><span class="mw-cite-backlink"><b><a href="#cite_ref-6">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFBenjamin_Zimmer2009" class="citation web cs1"><a href="/wiki/Benjamin_Zimmer" class="mw-redirect" title="Benjamin Zimmer">Benjamin Zimmer</a> (June 8, 2009). <a rel="nofollow" class="external text" href="http://www.visualthesaurus.com/cm/wordroutes/1876/">"<span class="cs1-kern-left"></span>"Jazz": A Tale of Three Cities"</a>. <i>Word Routes</i>. The Visual Thesaurus<span class="reference-accessdate">. Retrieved <span class="nowrap">June 8,</span> 2009</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=Word+Routes&rft.atitle=%22Jazz%22%3A+A+Tale+of+Three+Cities&rft.date=2009-06-08&rft.au=Benjamin+Zimmer&rft_id=http%3A%2F%2Fwww.visualthesaurus.com%2Fcm%2Fwordroutes%2F1876%2F&rfr_id=info%3Asid%2Fen.wikipedia.org%3AJazz" class="Z3988"></span></span> </li> <li id="cite_note-Vitale-7"><span class="mw-cite-backlink"><b><a href="#cite_ref-Vitale_7-0">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFVitale2016" class="citation news cs1">Vitale, Tom (March 19, 2016). <a rel="nofollow" class="external text" href="https://www.npr.org/2016/03/19/470879654/the-musical-that-ushered-in-the-jazz-age-gets-its-own-musical">"The Musical That Ushered In The Jazz Age Gets Its Own Musical"</a>. <i>NPR</i><span class="reference-accessdate">. Retrieved <span class="nowrap">January 2,</span> 2019</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=NPR&rft.atitle=The+Musical+That+Ushered+In+The+Jazz+Age+Gets+Its+Own+Musical&rft.date=2016-03-19&rft.aulast=Vitale&rft.aufirst=Tom&rft_id=https%3A%2F%2Fwww.npr.org%2F2016%2F03%2F19%2F470879654%2Fthe-musical-that-ushered-in-the-jazz-age-gets-its-own-musical&rfr_id=info%3Asid%2Fen.wikipedia.org%3AJazz" class="Z3988"></span></span> </li> <li id="cite_note-century-8"><span class="mw-cite-backlink"><b><a href="#cite_ref-century_8-0">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation web cs1"><a rel="nofollow" class="external text" href="https://www.americandialect.org/1999_words_of_the_year_word_of_the_1990s_word_of_the_20th_century">"1999 Words of the Year, Word of the 1990s, Word of the 20th Century, Word of the Millennium"</a>. <i>American Dialect Society</i>. January 13, 2000<span class="reference-accessdate">. Retrieved <span class="nowrap">January 2,</span> 2019</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=American+Dialect+Society&rft.atitle=1999+Words+of+the+Year%2C+Word+of+the+1990s%2C+Word+of+the+20th+Century%2C+Word+of+the+Millennium&rft.date=2000-01-13&rft_id=https%3A%2F%2Fwww.americandialect.org%2F1999_words_of_the_year_word_of_the_1990s_word_of_the_20th_century&rfr_id=info%3Asid%2Fen.wikipedia.org%3AJazz" class="Z3988"></span></span> </li> <li id="cite_note-Joachim_E._Berendt_1981._Page_371-9"><span class="mw-cite-backlink">^ <a href="#cite_ref-Joachim_E._Berendt_1981._Page_371_9-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-Joachim_E._Berendt_1981._Page_371_9-1"><sup><i><b>b</b></i></sup></a></span> <span class="reference-text">Joachim E. Berendt. <i>The Jazz Book: From Ragtime to Fusion and Beyond</i>. Translated by H. and B. Bredigkeit with Dan Morgenstern. 1981. Lawrence Hill Books, p. 371.</span> </li> <li id="cite_note-Berendt1964-10"><span class="mw-cite-backlink"><b><a href="#cite_ref-Berendt1964_10-0">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFBerendt1964" class="citation book cs1">Berendt, Joachim Ernst (1964). <a rel="nofollow" class="external text" href="https://books.google.com/books?id=pjgYAQAAIAAJ"><i>The New Jazz Book</i></a>. P. Owen. p. 278<span class="reference-accessdate">. Retrieved <span class="nowrap">August 4,</span> 2013</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=The+New+Jazz+Book&rft.pages=278&rft.pub=P.+Owen&rft.date=1964&rft.aulast=Berendt&rft.aufirst=Joachim+Ernst&rft_id=https%3A%2F%2Fbooks.google.com%2Fbooks%3Fid%3DpjgYAQAAIAAJ&rfr_id=info%3Asid%2Fen.wikipedia.org%3AJazz" class="Z3988"></span></span> </li> <li id="cite_note-Elsdon-11"><span class="mw-cite-backlink">^ <a href="#cite_ref-Elsdon_11-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-Elsdon_11-1"><sup><i><b>b</b></i></sup></a> <a href="#cite_ref-Elsdon_11-2"><sup><i><b>c</b></i></sup></a></span> <span class="reference-text"><a href="#CITEREFElsdon2003">Elsdon 2003</a></span> </li> <li id="cite_note-12"><span class="mw-cite-backlink"><b><a href="#cite_ref-12">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFCooke,_MervynHorn,_David_G.2002" class="citation book cs1">Cooke, Mervyn; Horn, David G. (2002). <span class="id-lock-registration" title="Free registration required"><a rel="nofollow" class="external text" href="https://archive.org/details/cambridgecompani0000unse_e1x9"><i>The Cambridge Companion to Jazz</i></a></span>. New York: Cambridge University Press. pp. 1, 6. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-521-66388-5" title="Special:BookSources/978-0-521-66388-5"><bdi>978-0-521-66388-5</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=The+Cambridge+Companion+to+Jazz&rft.place=New+York&rft.pages=1%2C+6&rft.pub=Cambridge+University+Press&rft.date=2002&rft.isbn=978-0-521-66388-5&rft.au=Cooke%2C+Mervyn&rft.au=Horn%2C+David+G.&rft_id=https%3A%2F%2Farchive.org%2Fdetails%2Fcambridgecompani0000unse_e1x9&rfr_id=info%3Asid%2Fen.wikipedia.org%3AJazz" class="Z3988"></span></span> </li> <li id="cite_note-13"><span class="mw-cite-backlink"><b><a href="#cite_ref-13">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFLuebbers2008" class="citation journal cs1">Luebbers, Johannes (September 8, 2008). "It's All Music". <i>Resonate</i>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=Resonate&rft.atitle=It%27s+All+Music&rft.date=2008-09-08&rft.aulast=Luebbers&rft.aufirst=Johannes&rfr_id=info%3Asid%2Fen.wikipedia.org%3AJazz" class="Z3988"></span></span> </li> <li id="cite_note-FOOTNOTEGiddins199870-14"><span class="mw-cite-backlink"><b><a href="#cite_ref-FOOTNOTEGiddins199870_14-0">^</a></b></span> <span class="reference-text"><a href="#CITEREFGiddins1998">Giddins 1998</a>, p. 70.</span> </li> <li id="cite_note-FOOTNOTEGiddins199889-15"><span class="mw-cite-backlink"><b><a href="#cite_ref-FOOTNOTEGiddins199889_15-0">^</a></b></span> <span class="reference-text"><a href="#CITEREFGiddins1998">Giddins 1998</a>, p. 89.</span> </li> <li id="cite_note-16"><span class="mw-cite-backlink"><b><a href="#cite_ref-16">^</a></b></span> <span class="reference-text"><a rel="nofollow" class="external text" href="http://www.drumbook.org/drum-lessons/jazz-drums/jazz-drumming/">Jazz Drum Lessons</a> <a rel="nofollow" class="external text" href="https://web.archive.org/web/20101027050049/http://www.drumbook.org/drum-lessons/jazz-drums/jazz-drumming/">Archived</a> October 27, 2010, at the <a href="/wiki/Wayback_Machine" title="Wayback Machine">Wayback Machine</a> – Drumbook.org</span> </li> <li id="cite_note-Baraka-17"><span class="mw-cite-backlink"><b><a href="#cite_ref-Baraka_17-0">^</a></b></span> <span class="reference-text">Baraka, Amiri (1999). <i><a href="//archive.org/details/bluespeoplenegrobara" class="extiw" title="iarchive:bluespeoplenegrobara">Blues People: Negro Music in White America</a></i>. Harper Perennial. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0688184742" title="Special:BookSources/978-0688184742">978-0688184742</a>.</span> </li> <li id="cite_note-Davis-18"><span class="mw-cite-backlink"><b><a href="#cite_ref-Davis_18-0">^</a></b></span> <span class="reference-text">Davis, Miles & Troupe, Quincy (1990). <i><a href="//archive.org/details/milesautobiograp00davi" class="extiw" title="iarchive:milesautobiograp00davi">Miles: The Autobiography</a></i>. Simon & Schuster. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-671-63504-2" title="Special:BookSources/0-671-63504-2">0-671-63504-2</a>.</span> </li> <li id="cite_note-gilbert-19"><span class="mw-cite-backlink"><b><a href="#cite_ref-gilbert_19-0">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation web cs1"><a rel="nofollow" class="external text" href="https://web.archive.org/web/20010720153446/http://www.metrotimes.com/music/features/19/12/jazz.html">"Jazz Inc.: The bottom line threatens the creative line in corporate America's approach to music"</a>. Archived from <a rel="nofollow" class="external text" href="http://www.metrotimes.com/music/features/19/12/jazz.html">the original</a> on July 20, 2001<span class="reference-accessdate">. Retrieved <span class="nowrap">July 20,</span> 2001</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=unknown&rft.btitle=Jazz+Inc.%3A+The+bottom+line+threatens+the+creative+line+in+corporate+America%27s+approach+to+music&rft_id=http%3A%2F%2Fwww.metrotimes.com%2Fmusic%2Ffeatures%2F19%2F12%2Fjazz.html&rfr_id=info%3Asid%2Fen.wikipedia.org%3AJazz" class="Z3988"></span> by Andrew Gilbert, <i><a href="/wiki/Metro_Times" title="Metro Times">Metro Times</a></i>, December 23, 1998.</span> </li> <li id="cite_note-20"><span class="mw-cite-backlink"><b><a href="#cite_ref-20">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation news cs1">"African American Musicians Reflect On 'What Is This Thing Called Jazz?' In New Book By UC Professor". <i><a href="/wiki/Oakland_Post_(California)" title="Oakland Post (California)">Oakland Post</a></i>. Vol. 38, no. 79. March 20, 2002. p. 7. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ProQuest" title="ProQuest">ProQuest</a> <a rel="nofollow" class="external text" href="https://search.proquest.com/docview/367372060">367372060</a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=Oakland+Post&rft.atitle=African+American+Musicians+Reflect+On+%27What+Is+This+Thing+Called+Jazz%3F%27+In+New+Book+By+UC+Professor&rft.volume=38&rft.issue=79&rft.pages=7&rft.date=2002-03-20&rfr_id=info%3Asid%2Fen.wikipedia.org%3AJazz" class="Z3988"></span></span> </li> <li id="cite_note-BarakaReader-21"><span class="mw-cite-backlink"><b><a href="#cite_ref-BarakaReader_21-0">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFBaraka2000" class="citation book cs1">Baraka, Amiri (2000). <span class="id-lock-registration" title="Free registration required"><a rel="nofollow" class="external text" href="https://archive.org/details/leroijonesamirib00bara"><i>The LeRoi Jones/Amiri Baraka reader</i></a></span> (2nd ed.). Thunder's Mouth Press. p. 42. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-1-56025-238-2" title="Special:BookSources/978-1-56025-238-2"><bdi>978-1-56025-238-2</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=The+LeRoi+Jones%2FAmiri+Baraka+reader&rft.pages=42&rft.edition=2nd&rft.pub=Thunder%27s+Mouth+Press&rft.date=2000&rft.isbn=978-1-56025-238-2&rft.aulast=Baraka&rft.aufirst=Amiri&rft_id=https%3A%2F%2Farchive.org%2Fdetails%2Fleroijonesamirib00bara&rfr_id=info%3Asid%2Fen.wikipedia.org%3AJazz" class="Z3988"></span></span> </li> <li id="cite_note-Yurochko-22"><span class="mw-cite-backlink"><b><a href="#cite_ref-Yurochko_22-0">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFYurochko1993" class="citation book cs1">Yurochko, Bob (1993). <i>A Short History of Jazz</i>. Rowman & Littlefield. p. 10. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-8304-1595-3" title="Special:BookSources/978-0-8304-1595-3"><bdi>978-0-8304-1595-3</bdi></a>. <q>He is known as the 'Father of White Jazz'<span class="cs1-kern-right"></span></q></cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=A+Short+History+of+Jazz&rft.pages=10&rft.pub=Rowman+%26+Littlefield&rft.date=1993&rft.isbn=978-0-8304-1595-3&rft.aulast=Yurochko&rft.aufirst=Bob&rfr_id=info%3Asid%2Fen.wikipedia.org%3AJazz" class="Z3988"></span></span> </li> <li id="cite_note-Larkin-23"><span class="mw-cite-backlink"><b><a href="#cite_ref-Larkin_23-0">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFLarkin2004" class="citation book cs1">Larkin, Philip (2004). <span class="id-lock-limited" title="Free access subject to limited trial, subscription normally required"><a rel="nofollow" class="external text" href="https://archive.org/details/jazzwritingsessa00lark"><i>Jazz Writings</i></a></span>. Continuum. p. <a rel="nofollow" class="external text" href="https://archive.org/details/jazzwritingsessa00lark/page/94">94</a>. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-8264-7699-9" title="Special:BookSources/978-0-8264-7699-9"><bdi>978-0-8264-7699-9</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Jazz+Writings&rft.pages=94&rft.pub=Continuum&rft.date=2004&rft.isbn=978-0-8264-7699-9&rft.aulast=Larkin&rft.aufirst=Philip&rft_id=https%3A%2F%2Farchive.org%2Fdetails%2Fjazzwritingsessa00lark&rfr_id=info%3Asid%2Fen.wikipedia.org%3AJazz" class="Z3988"></span></span> </li> <li id="cite_note-midwest-24"><span class="mw-cite-backlink"><b><a href="#cite_ref-midwest_24-0">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFCaytonSissonZacher2006" class="citation book cs1">Cayton, Andrew R.L.; Sisson, Richard; Zacher, Chris, eds. (2006). <a rel="nofollow" class="external text" href="https://books.google.com/books?id=n3Xn7jMx1RYC&pg=PA569"><i>The American Midwest: An Interpretive Encyclopedia</i></a>. Indiana University Press. p. 569. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-253-00349-2" title="Special:BookSources/978-0-253-00349-2"><bdi>978-0-253-00349-2</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=The+American+Midwest%3A+An+Interpretive+Encyclopedia&rft.pages=569&rft.pub=Indiana+University+Press&rft.date=2006&rft.isbn=978-0-253-00349-2&rft_id=https%3A%2F%2Fbooks.google.com%2Fbooks%3Fid%3Dn3Xn7jMx1RYC%26pg%3DPA569&rfr_id=info%3Asid%2Fen.wikipedia.org%3AJazz" class="Z3988"></span></span> </li> <li id="cite_note-HowHentoff-25"><span class="mw-cite-backlink"><b><a href="#cite_ref-HowHentoff_25-0">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFHentoff2009" class="citation news cs1">Hentoff, Nat (January 15, 2009). "How Jazz Helped Hasten the Civil Rights Movement". <i>The Wall Street Journal</i>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=The+Wall+Street+Journal&rft.atitle=How+Jazz+Helped+Hasten+the+Civil+Rights+Movement&rft.date=2009-01-15&rft.aulast=Hentoff&rft.aufirst=Nat&rfr_id=info%3Asid%2Fen.wikipedia.org%3AJazz" class="Z3988"></span></span> </li> <li id="cite_note-Murph-26"><span class="mw-cite-backlink">^ <a href="#cite_ref-Murph_26-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-Murph_26-1"><sup><i><b>b</b></i></sup></a></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFMurph" class="citation web cs1">Murph, John. <a rel="nofollow" class="external text" href="https://news.npr.org/programs/jazzprofiles/archive/women_1.html">"NPR's Jazz Profiles: Women In Jazz, Part 1"</a>. <i>NPR</i><span class="reference-accessdate">. Retrieved <span class="nowrap">June 16,</span> 2021</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=NPR&rft.atitle=NPR%27s+Jazz+Profiles%3A+Women+In+Jazz%2C+Part+1&rft.aulast=Murph&rft.aufirst=John&rft_id=https%3A%2F%2Fnews.npr.org%2Fprograms%2Fjazzprofiles%2Farchive%2Fwomen_1.html&rfr_id=info%3Asid%2Fen.wikipedia.org%3AJazz" class="Z3988"></span></span> </li> <li id="cite_note-Placksin-27"><span class="mw-cite-backlink"><b><a href="#cite_ref-Placksin_27-0">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFPlacksin1985" class="citation book cs1">Placksin, Sally (1985). <i>Jazzwomen</i>. London: <a href="/wiki/Pluto_Press" title="Pluto Press">Pluto Press</a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Jazzwomen&rft.place=London&rft.pub=Pluto+Press&rft.date=1985&rft.aulast=Placksin&rft.aufirst=Sally&rfr_id=info%3Asid%2Fen.wikipedia.org%3AJazz" class="Z3988"></span></span> </li> <li id="cite_note-28"><span class="mw-cite-backlink"><b><a href="#cite_ref-28">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFOliver1999" class="citation news cs1">Oliver, Myrna (April 28, 1999). <a rel="nofollow" class="external text" href="https://www.latimes.com/archives/la-xpm-1999-apr-28-mn-31919-story.html">"Melba Liston; Jazz Trombonist, Composer"</a>. <i>Los Angeles Times</i>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=Los+Angeles+Times&rft.atitle=Melba+Liston%3B+Jazz+Trombonist%2C+Composer&rft.date=1999-04-28&rft.aulast=Oliver&rft.aufirst=Myrna&rft_id=https%3A%2F%2Fwww.latimes.com%2Farchives%2Fla-xpm-1999-apr-28-mn-31919-story.html&rfr_id=info%3Asid%2Fen.wikipedia.org%3AJazz" class="Z3988"></span></span> </li> <li id="cite_note-29"><span class="mw-cite-backlink"><b><a href="#cite_ref-29">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFBeckett2019" class="citation journal cs1">Beckett, S. (April 2019). <a rel="nofollow" class="external text" href="http://www.cocosse-journal.org/2019/04/the-first-woman-trombonist-in-big-bands.html">"The First Woman Trombonist in Big Bands – Melba Liston, 1926–1999"</a>. <i>Cocosse Journal</i>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=Cocosse+Journal&rft.atitle=The+First+Woman+Trombonist+in+Big+Bands+%E2%80%93+Melba+Liston%2C+1926%E2%80%931999&rft.date=2019-04&rft.aulast=Beckett&rft.aufirst=S.&rft_id=http%3A%2F%2Fwww.cocosse-journal.org%2F2019%2F04%2Fthe-first-woman-trombonist-in-big-bands.html&rfr_id=info%3Asid%2Fen.wikipedia.org%3AJazz" class="Z3988"></span></span> </li> <li id="cite_note-30"><span class="mw-cite-backlink"><b><a href="#cite_ref-30">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation news cs1"><a rel="nofollow" class="external text" href="https://www.haaretz.com/jewish/9-jews-who-changed-jazz-1.5352736">"Nine Jews Who Changed the Sound of Jazz"</a>. <i>Haaretz</i>. <a rel="nofollow" class="external text" href="https://web.archive.org/web/20211113023418/https://www.haaretz.com/jewish/9-jews-who-changed-jazz-1.5352736">Archived</a> from the original on November 13, 2021<span class="reference-accessdate">. Retrieved <span class="nowrap">November 13,</span> 2021</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=Haaretz&rft.atitle=Nine+Jews+Who+Changed+the+Sound+of+Jazz&rft_id=https%3A%2F%2Fwww.haaretz.com%2Fjewish%2F9-jews-who-changed-jazz-1.5352736&rfr_id=info%3Asid%2Fen.wikipedia.org%3AJazz" class="Z3988"></span></span> </li> <li id="cite_note-31"><span class="mw-cite-backlink"><b><a href="#cite_ref-31">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFMarin2015" class="citation journal cs1">Marin, Reva (December 2015). "Representations of Identity in Jewish Jazz Autobiography". <i>Canadian Review of American Studies</i>. <b>45</b> (3): 323–353. <a href="/wiki/Doi_(identifier)" class="mw-redirect" title="Doi (identifier)">doi</a>:<a rel="nofollow" class="external text" href="https://doi.org/10.3138%2Fcras.2015.s10">10.3138/cras.2015.s10</a>. <a href="/wiki/ISSN_(identifier)" class="mw-redirect" title="ISSN (identifier)">ISSN</a> <a rel="nofollow" class="external text" href="https://search.worldcat.org/issn/0007-7720">0007-7720</a>. <a href="/wiki/S2CID_(identifier)" class="mw-redirect" title="S2CID (identifier)">S2CID</a> <a rel="nofollow" class="external text" href="https://api.semanticscholar.org/CorpusID:162673161">162673161</a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=Canadian+Review+of+American+Studies&rft.atitle=Representations+of+Identity+in+Jewish+Jazz+Autobiography&rft.volume=45&rft.issue=3&rft.pages=323-353&rft.date=2015-12&rft_id=https%3A%2F%2Fapi.semanticscholar.org%2FCorpusID%3A162673161%23id-name%3DS2CID&rft.issn=0007-7720&rft_id=info%3Adoi%2F10.3138%2Fcras.2015.s10&rft.aulast=Marin&rft.aufirst=Reva&rfr_id=info%3Asid%2Fen.wikipedia.org%3AJazz" class="Z3988"></span></span> </li> <li id="cite_note-32"><span class="mw-cite-backlink"><b><a href="#cite_ref-32">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation web cs1"><a rel="nofollow" class="external text" href="https://www.chicagotribune.com/entertainment/music/howard-reich/ct-ent-jazz-body-soul-0207-story.html">"<span class="cs1-kern-left"></span>'Body and Soul' doc explores links between jazz and Jews"</a>. <i><a href="/wiki/Chicago_Tribune" title="Chicago Tribune">Chicago Tribune</a></i>. February 6, 2018. <a rel="nofollow" class="external text" href="https://web.archive.org/web/20211113014541/https://www.chicagotribune.com/entertainment/music/howard-reich/ct-ent-jazz-body-soul-0207-story.html">Archived</a> from the original on November 13, 2021<span class="reference-accessdate">. Retrieved <span class="nowrap">November 13,</span> 2021</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=Chicago+Tribune&rft.atitle=%27Body+and+Soul%27+doc+explores+links+between+jazz+and+Jews&rft.date=2018-02-06&rft_id=https%3A%2F%2Fwww.chicagotribune.com%2Fentertainment%2Fmusic%2Fhoward-reich%2Fct-ent-jazz-body-soul-0207-story.html&rfr_id=info%3Asid%2Fen.wikipedia.org%3AJazz" class="Z3988"></span></span> </li> <li id="cite_note-33"><span class="mw-cite-backlink"><b><a href="#cite_ref-33">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation cs2"><i>The jazz singer.</i>, <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-1-78543-944-5" title="Special:BookSources/978-1-78543-944-5"><bdi>978-1-78543-944-5</bdi></a>, <a href="/wiki/OCLC_(identifier)" class="mw-redirect" title="OCLC (identifier)">OCLC</a> <a rel="nofollow" class="external text" href="https://search.worldcat.org/oclc/970692281">970692281</a></cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=The+jazz+singer.&rft_id=info%3Aoclcnum%2F970692281&rft.isbn=978-1-78543-944-5&rfr_id=info%3Asid%2Fen.wikipedia.org%3AJazz" class="Z3988"></span></span> </li> <li id="cite_note-34"><span class="mw-cite-backlink"><b><a href="#cite_ref-34">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFGoodman2006" class="citation cs2">Goodman, Benny (2006), <i>Benny Goodman live at Carnegie Hall, 1938: complete.</i>, AVID Entertainment, <a href="/wiki/OCLC_(identifier)" class="mw-redirect" title="OCLC (identifier)">OCLC</a> <a rel="nofollow" class="external text" href="https://search.worldcat.org/oclc/213466278">213466278</a></cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Benny+Goodman+live+at+Carnegie+Hall%2C+1938%3A+complete.&rft.pub=AVID+Entertainment&rft.date=2006&rft_id=info%3Aoclcnum%2F213466278&rft.aulast=Goodman&rft.aufirst=Benny&rfr_id=info%3Asid%2Fen.wikipedia.org%3AJazz" class="Z3988"></span></span> </li> <li id="cite_note-35"><span class="mw-cite-backlink"><b><a href="#cite_ref-35">^</a></b></span> <span class="reference-text"><a rel="nofollow" class="external text" href="https://news.google.com/newspapers?id=oaYrAAAAIBAJ&sjid=5fwFAAAAIBAJ&pg=6717,4906729&dq=broadcast+hotel+shep+fields&hl=en">The Telegraph, Feb. 24, 1981 p. 9 Shep Field Obituary on Google</a></span> </li> <li id="cite_note-The_Big_Bands_-_4th_Edition-36"><span class="mw-cite-backlink"><b><a href="#cite_ref-The_Big_Bands_-_4th_Edition_36-0">^</a></b></span> <span class="reference-text"><a rel="nofollow" class="external text" href="https://books.google.com/books?id=gj4DAwAAQBAJ&q=Shep+Fields&pg=PT325"><i>The Big Bands - 4th Edition</i></a> George T. 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Retrieved <span class="nowrap">October 28,</span> 2020</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=The+New+York+Times&rft.atitle=SHEP+FIELDS%2C+LEADER+OF+BIG+BAND+KNOWEN+FOR+RIPPLING+RYTHEM+%28Published+1981%29&rft.date=1981-02-24&rft_id=https%3A%2F%2Fwww.nytimes.com%2F1981%2F02%2F24%2Fobituaries%2Fshep-fields-leader-of-big-band-knowen-for-rippling-rythem.html&rfr_id=info%3Asid%2Fen.wikipedia.org%3AJazz" class="Z3988"></span></span> </li> <li id="cite_note-38"><span class="mw-cite-backlink"><b><a href="#cite_ref-38">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation encyclopaedia cs1"><a rel="nofollow" class="external text" href="https://www.britannica.com/art/jazz">"Jazz"</a>. <i>Encyclopædia Britannica</i><span class="reference-accessdate">. Retrieved <span class="nowrap">September 2,</span> 2022</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=bookitem&rft.atitle=Jazz&rft.btitle=Encyclop%C3%A6dia+Britannica&rft_id=https%3A%2F%2Fwww.britannica.com%2Fart%2Fjazz&rfr_id=info%3Asid%2Fen.wikipedia.org%3AJazz" class="Z3988"></span></span> </li> <li id="cite_note-39"><span class="mw-cite-backlink"><b><a href="#cite_ref-39">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation web cs1"><a rel="nofollow" class="external text" href="https://www.nps.gov/jazz/learn/historyculture/history_early.htm">"Jazz Origins in New Orleans – New Orleans Jazz National Historical Park"</a>. National Park Service<span class="reference-accessdate">. Retrieved <span class="nowrap">March 19,</span> 2017</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=unknown&rft.btitle=Jazz+Origins+in+New+Orleans+%E2%80%93+New+Orleans+Jazz+National+Historical+Park&rft.pub=National+Park+Service&rft_id=https%3A%2F%2Fwww.nps.gov%2Fjazz%2Flearn%2Fhistoryculture%2Fhistory_early.htm&rfr_id=info%3Asid%2Fen.wikipedia.org%3AJazz" class="Z3988"></span></span> </li> <li id="cite_note-40"><span class="mw-cite-backlink"><b><a href="#cite_ref-40">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFGermuska" class="citation web cs1">Germuska, Joe. <a rel="nofollow" class="external text" href="https://www.sbg.ac.at/ges/people/wagnleitner/usa3/nov26frame.htm">"<span class="cs1-kern-left"></span>'The Jazz Book': A Map of Jazz Styles"</a>. WNUR-FM, Northwestern University<span class="reference-accessdate">. Retrieved <span class="nowrap">March 19,</span> 2017</span> – via <a href="/wiki/University_of_Salzburg" title="University of Salzburg">University of Salzburg</a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=unknown&rft.btitle=%27The+Jazz+Book%27%3A+A+Map+of+Jazz+Styles&rft.pub=WNUR-FM%2C+Northwestern+University&rft.aulast=Germuska&rft.aufirst=Joe&rft_id=https%3A%2F%2Fwww.sbg.ac.at%2Fges%2Fpeople%2Fwagnleitner%2Fusa3%2Fnov26frame.htm&rfr_id=info%3Asid%2Fen.wikipedia.org%3AJazz" class="Z3988"></span></span> </li> <li id="cite_note-:0-41"><span class="mw-cite-backlink">^ <a href="#cite_ref-:0_41-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-:0_41-1"><sup><i><b>b</b></i></sup></a></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFRoth1952" class="citation journal cs1">Roth, Russell (1952). "On the Instrumental Origins of Jazz". <i><a href="/wiki/American_Quarterly" title="American Quarterly">American Quarterly</a></i>. <b>4</b> (4): 305–16. <a href="/wiki/Doi_(identifier)" class="mw-redirect" title="Doi (identifier)">doi</a>:<a rel="nofollow" class="external text" href="https://doi.org/10.2307%2F3031415">10.2307/3031415</a>. <a href="/wiki/ISSN_(identifier)" class="mw-redirect" title="ISSN (identifier)">ISSN</a> <a rel="nofollow" class="external text" href="https://search.worldcat.org/issn/0003-0678">0003-0678</a>. <a href="/wiki/JSTOR_(identifier)" class="mw-redirect" title="JSTOR (identifier)">JSTOR</a> <a rel="nofollow" class="external text" href="https://www.jstor.org/stable/3031415">3031415</a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=American+Quarterly&rft.atitle=On+the+Instrumental+Origins+of+Jazz&rft.volume=4&rft.issue=4&rft.pages=305-16&rft.date=1952&rft.issn=0003-0678&rft_id=https%3A%2F%2Fwww.jstor.org%2Fstable%2F3031415%23id-name%3DJSTOR&rft_id=info%3Adoi%2F10.2307%2F3031415&rft.aulast=Roth&rft.aufirst=Russell&rfr_id=info%3Asid%2Fen.wikipedia.org%3AJazz" class="Z3988"></span></span> </li> <li id="cite_note-42"><span class="mw-cite-backlink"><b><a href="#cite_ref-42">^</a></b></span> <span class="reference-text">Ferris, Jean (1993). <i>America's Musical Landscape</i>. Brown and Benchmark. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-697-12516-5" title="Special:BookSources/0-697-12516-5">0-697-12516-5</a>. pp. 228, 233.</span> </li> <li id="cite_note-43"><span class="mw-cite-backlink"><b><a href="#cite_ref-43">^</a></b></span> <span class="reference-text">Starr, Larry, and Christopher Waterman. <a rel="nofollow" class="external text" href="https://iipdigital.usembassy.gov/st/english/publication/2008/08/20080812212457eaifas0.7410852.html#axzz3QeZKNVtc">"Popular Jazz and Swing: America's Original Art Form"</a> (<a rel="nofollow" class="external text" href="https://web.archive.org/web/20170203024847/http://iipdigital.usembassy.gov/st/english/publication/2008/08/20080812212457eaifas0.7410852.html#axzz3QeZKNVtc">Archived</a> February 3, 2017, at the <a href="/wiki/Wayback_Machine" title="Wayback Machine">Wayback Machine</a>). IIP Digital. Oxford University Press, 26 July 2008.</span> </li> <li id="cite_note-encyclopedia-44"><span class="mw-cite-backlink"><b><a href="#cite_ref-encyclopedia_44-0">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFTammy_L._KernodleHorace_MaxileEmmett_G._Price_III2010" class="citation book cs1">Tammy L. Kernodle; Horace Maxile; Emmett G. Price III (2010). <i>Encyclopedia of African American Music</i>. Greenwood. p. 426.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Encyclopedia+of+African+American+Music&rft.pages=426&rft.pub=Greenwood&rft.date=2010&rft.au=Tammy+L.+Kernodle&rft.au=Horace+Maxile&rft.au=Emmett+G.+Price+III&rfr_id=info%3Asid%2Fen.wikipedia.org%3AJazz" class="Z3988"></span></span> </li> <li id="cite_note-listverse-45"><span class="mw-cite-backlink"><b><a href="#cite_ref-listverse_45-0">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation web cs1"><a rel="nofollow" class="external text" href="http://listverse.com/2010/02/27/15-most-influential-jazz-artists/">"15 Most Influential Jazz Artists"</a>. Listverse. February 27, 2010<span class="reference-accessdate">. Retrieved <span class="nowrap">July 27,</span> 2014</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=unknown&rft.btitle=15+Most+Influential+Jazz+Artists&rft.pub=Listverse&rft.date=2010-02-27&rft_id=http%3A%2F%2Flistverse.com%2F2010%2F02%2F27%2F15-most-influential-jazz-artists%2F&rfr_id=info%3Asid%2Fen.wikipedia.org%3AJazz" class="Z3988"></span></span> </li> <li id="cite_note-definejazz-46"><span class="mw-cite-backlink"><b><a href="#cite_ref-definejazz_46-0">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFCriswell" class="citation web cs1">Criswell, Chad. <a rel="nofollow" class="external text" href="https://web.archive.org/web/20140728201650/https://suite.io/chad-criswell/88s26b">"What Is a Jazz Band?"</a>. Archived from <a rel="nofollow" class="external text" href="https://suite.io/chad-criswell/88s26b">the original</a> on July 28, 2014<span class="reference-accessdate">. Retrieved <span class="nowrap">July 25,</span> 2014</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=unknown&rft.btitle=What+Is+a+Jazz+Band%3F&rft.aulast=Criswell&rft.aufirst=Chad&rft_id=https%3A%2F%2Fsuite.io%2Fchad-criswell%2F88s26b&rfr_id=info%3Asid%2Fen.wikipedia.org%3AJazz" class="Z3988"></span></span> </li> <li id="cite_note-47"><span class="mw-cite-backlink"><b><a href="#cite_ref-47">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation web cs1"><a rel="nofollow" class="external text" href="https://www.nps.gov/jazz/learn/historyculture/history_early.htm">"Jazz Origins in New Orleans"</a>. <i>New Orleans Jazz National Historical Park</i>. U.S. National Park Service. April 14, 2015.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=New+Orleans+Jazz+National+Historical+Park&rft.atitle=Jazz+Origins+in+New+Orleans&rft.date=2015-04-14&rft_id=https%3A%2F%2Fwww.nps.gov%2Fjazz%2Flearn%2Fhistoryculture%2Fhistory_early.htm&rfr_id=info%3Asid%2Fen.wikipedia.org%3AJazz" class="Z3988"></span></span> </li> <li id="cite_note-48"><span class="mw-cite-backlink"><b><a href="#cite_ref-48">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFGates2013" class="citation web cs1"><a href="/wiki/Henry_Louis_Gates_Jr" class="mw-redirect" title="Henry Louis Gates Jr">Gates, Henry Louis Jr.</a> (January 2, 2013). <a rel="nofollow" class="external text" href="https://www.pbs.org/wnet/african-americans-many-rivers-to-cross/history/how-many-slaves-landed-in-the-us/">"How Many Slaves Landed in the U.S.?"</a>. <i>The African Americans: Many Rivers to Cross</i>. PBS. <a rel="nofollow" class="external text" href="https://web.archive.org/web/20150921182328/http://www.pbs.org/wnet/african-americans-many-rivers-to-cross/history/how-many-slaves-landed-in-the-us/">Archived</a> from the original on September 21, 2015.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=The+African+Americans%3A+Many+Rivers+to+Cross&rft.atitle=How+Many+Slaves+Landed+in+the+U.S.%3F&rft.date=2013-01-02&rft.aulast=Gates&rft.aufirst=Henry+Louis+Jr.&rft_id=https%3A%2F%2Fwww.pbs.org%2Fwnet%2Fafrican-americans-many-rivers-to-cross%2Fhistory%2Fhow-many-slaves-landed-in-the-us%2F&rfr_id=info%3Asid%2Fen.wikipedia.org%3AJazz" class="Z3988"></span></span> </li> <li id="cite_note-FOOTNOTECooke19997–9-49"><span class="mw-cite-backlink"><b><a href="#cite_ref-FOOTNOTECooke19997–9_49-0">^</a></b></span> <span class="reference-text"><a href="#CITEREFCooke1999">Cooke 1999</a>, pp. 7–9.</span> </li> <li id="cite_note-50"><span class="mw-cite-backlink"><b><a href="#cite_ref-50">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFDeVeaux1991" class="citation journal cs1">DeVeaux, Scott (1991). "Constructing the Jazz Tradition: Jazz Historiography". <i><a href="/wiki/Black_American_Literature_Forum" class="mw-redirect" title="Black American Literature Forum">Black American Literature Forum</a></i>. <b>25</b> (3): 525–560. <a href="/wiki/Doi_(identifier)" class="mw-redirect" title="Doi (identifier)">doi</a>:<a rel="nofollow" class="external text" href="https://doi.org/10.2307%2F3041812">10.2307/3041812</a>. <a href="/wiki/ISSN_(identifier)" class="mw-redirect" title="ISSN (identifier)">ISSN</a> <a rel="nofollow" class="external text" href="https://search.worldcat.org/issn/0148-6179">0148-6179</a>. <a href="/wiki/JSTOR_(identifier)" class="mw-redirect" title="JSTOR (identifier)">JSTOR</a> <a rel="nofollow" class="external text" href="https://www.jstor.org/stable/3041812">3041812</a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=Black+American+Literature+Forum&rft.atitle=Constructing+the+Jazz+Tradition%3A+Jazz+Historiography&rft.volume=25&rft.issue=3&rft.pages=525-560&rft.date=1991&rft.issn=0148-6179&rft_id=https%3A%2F%2Fwww.jstor.org%2Fstable%2F3041812%23id-name%3DJSTOR&rft_id=info%3Adoi%2F10.2307%2F3041812&rft.aulast=DeVeaux&rft.aufirst=Scott&rfr_id=info%3Asid%2Fen.wikipedia.org%3AJazz" class="Z3988"></span></span> </li> <li id="cite_note-Hearn2017-51"><span class="mw-cite-backlink"><b><a href="#cite_ref-Hearn2017_51-0">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFHearn2017" class="citation book cs1">Hearn, Lafcadio (August 3, 2017). <a rel="nofollow" class="external text" href="https://books.google.com/books?id=XlwvDwAAQBAJ&pg=PT4079"><i>Delphi Complete Works of Lafcadio Hearn</i></a>. Delphi Classics. pp. 4079–. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-1-78656-090-2" title="Special:BookSources/978-1-78656-090-2"><bdi>978-1-78656-090-2</bdi></a><span class="reference-accessdate">. Retrieved <span class="nowrap">January 2,</span> 2019</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Delphi+Complete+Works+of+Lafcadio+Hearn&rft.pages=4079-&rft.pub=Delphi+Classics&rft.date=2017-08-03&rft.isbn=978-1-78656-090-2&rft.aulast=Hearn&rft.aufirst=Lafcadio&rft_id=https%3A%2F%2Fbooks.google.com%2Fbooks%3Fid%3DXlwvDwAAQBAJ%26pg%3DPT4079&rfr_id=info%3Asid%2Fen.wikipedia.org%3AJazz" class="Z3988"></span></span> </li> <li id="cite_note-52"><span class="mw-cite-backlink"><b><a href="#cite_ref-52">^</a></b></span> <span class="reference-text">"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.'" <a rel="nofollow" class="external text" href="http://www.aaregistry.org/historic_events/view/congo-square-soul-new-orleans">African American Registry.</a> <a rel="nofollow" class="external text" href="https://web.archive.org/web/20141202083601/http://aaregistry.org/historic_events/view/congo-square-soul-new-orleans">Archived</a> December 2, 2014, at the <a href="/wiki/Wayback_Machine" title="Wayback Machine">Wayback Machine</a></span> </li> <li id="cite_note-FOOTNOTEPalmer198137-53"><span class="mw-cite-backlink"><b><a href="#cite_ref-FOOTNOTEPalmer198137_53-0">^</a></b></span> <span class="reference-text"><a href="#CITEREFPalmer1981">Palmer 1981</a>, p. 37.</span> </li> <li id="cite_note-FOOTNOTECooke199914–17,_27–28-54"><span class="mw-cite-backlink"><b><a href="#cite_ref-FOOTNOTECooke199914–17,_27–28_54-0">^</a></b></span> <span class="reference-text"><a href="#CITEREFCooke1999">Cooke 1999</a>, pp. 14–17, 27–28.</span> </li> <li id="cite_note-FOOTNOTEKubik1999112-55"><span class="mw-cite-backlink"><b><a href="#cite_ref-FOOTNOTEKubik1999112_55-0">^</a></b></span> <span class="reference-text"><a href="#CITEREFKubik1999">Kubik 1999</a>, p. 112.</span> </li> <li id="cite_note-FOOTNOTEPalmer198139-56"><span class="mw-cite-backlink">^ <a href="#cite_ref-FOOTNOTEPalmer198139_56-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-FOOTNOTEPalmer198139_56-1"><sup><i><b>b</b></i></sup></a></span> <span class="reference-text"><a href="#CITEREFPalmer1981">Palmer 1981</a>, p. 39.</span> </li> <li id="cite_note-57"><span class="mw-cite-backlink"><b><a href="#cite_ref-57">^</a></b></span> <span class="reference-text">Borneman, Ernest (1969: 104). "Jazz and the Creole Tradition." <i>Jazz Research</i> I: 99–112.</span> </li> <li id="cite_note-Sublette-58"><span class="mw-cite-backlink">^ <a href="#cite_ref-Sublette_58-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-Sublette_58-1"><sup><i><b>b</b></i></sup></a></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFSublette2008" class="citation book cs1">Sublette, Ned (2008). <i>The World That Made New Orleans: From Spanish Silver to Congo Square</i>. Chicago: Chicago Review Press. pp. 124, 287. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-1-55652-958-0" title="Special:BookSources/978-1-55652-958-0"><bdi>978-1-55652-958-0</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=The+World+That+Made+New+Orleans%3A+From+Spanish+Silver+to+Congo+Square&rft.place=Chicago&rft.pages=124%2C+287&rft.pub=Chicago+Review+Press&rft.date=2008&rft.isbn=978-1-55652-958-0&rft.aulast=Sublette&rft.aufirst=Ned&rfr_id=info%3Asid%2Fen.wikipedia.org%3AJazz" class="Z3988"></span></span> </li> <li id="cite_note-FOOTNOTEPeñalosa201038–46-59"><span class="mw-cite-backlink"><b><a href="#cite_ref-FOOTNOTEPeñalosa201038–46_59-0">^</a></b></span> <span class="reference-text"><a href="#CITEREFPeñalosa2010">Peñalosa 2010</a>, pp. 38–46.</span> </li> <li id="cite_note-60"><span class="mw-cite-backlink"><b><a href="#cite_ref-60">^</a></b></span> <span class="reference-text">Wynton Marsalis states that <a href="/wiki/Tresillo_(rhythm)" title="Tresillo (rhythm)">tresillo</a> is the New Orleans "<a href="/wiki/Clave_(rhythm)" title="Clave (rhythm)">clave</a>". "Wynton Marsalis part 2." <i>60 Minutes</i>. CBS News (June 26, 2011).</span> </li> <li id="cite_note-FOOTNOTESchuller196819-61"><span class="mw-cite-backlink"><b><a href="#cite_ref-FOOTNOTESchuller196819_61-0">^</a></b></span> <span class="reference-text"><a href="#CITEREFSchuller1968">Schuller 1968</a>, p. 19.</span> </li> <li id="cite_note-FOOTNOTEKubik199952-62"><span class="mw-cite-backlink"><b><a href="#cite_ref-FOOTNOTEKubik199952_62-0">^</a></b></span> <span class="reference-text"><a href="#CITEREFKubik1999">Kubik 1999</a>, p. 52.</span> </li> <li id="cite_note-63"><span class="mw-cite-backlink"><b><a href="#cite_ref-63">^</a></b></span> <span class="reference-text">"[Afro]-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).</span> </li> <li id="cite_note-JSRoberts-64"><span class="mw-cite-backlink">^ <a href="#cite_ref-JSRoberts_64-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-JSRoberts_64-1"><sup><i><b>b</b></i></sup></a></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFRoberts1999" class="citation book cs1">Roberts, John Storm (1999). <span class="id-lock-registration" title="Free registration required"><a rel="nofollow" class="external text" href="https://archive.org/details/latinjazzfirstof00robe"><i>Latin Jazz</i></a></span>. New York: Schirmer Books. pp. <a rel="nofollow" class="external text" href="https://archive.org/details/latinjazzfirstof00robe/page/12">12</a>, 16. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-02-864681-7" title="Special:BookSources/978-0-02-864681-7"><bdi>978-0-02-864681-7</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Latin+Jazz&rft.place=New+York&rft.pages=12%2C+16&rft.pub=Schirmer+Books&rft.date=1999&rft.isbn=978-0-02-864681-7&rft.aulast=Roberts&rft.aufirst=John+Storm&rft_id=https%3A%2F%2Farchive.org%2Fdetails%2Flatinjazzfirstof00robe&rfr_id=info%3Asid%2Fen.wikipedia.org%3AJazz" class="Z3988"></span></span> </li> <li id="cite_note-Manuel-65"><span class="mw-cite-backlink">^ <a href="#cite_ref-Manuel_65-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-Manuel_65-1"><sup><i><b>b</b></i></sup></a></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFManuel2000" class="citation book cs1">Manuel, Peter (2000). <i>Creolizing Contradance in the Caribbean</i>. Philadelphia: Temple University Press. pp. 67, 69.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Creolizing+Contradance+in+the+Caribbean&rft.place=Philadelphia&rft.pages=67%2C+69&rft.pub=Temple+University+Press&rft.date=2000&rft.aulast=Manuel&rft.aufirst=Peter&rfr_id=info%3Asid%2Fen.wikipedia.org%3AJazz" class="Z3988"></span></span> </li> <li id="cite_note-Acosta-66"><span class="mw-cite-backlink"><b><a href="#cite_ref-Acosta_66-0">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFAcosta2003" class="citation book cs1">Acosta, Leonardo (2003). <i>Cubano Be Cubano Bop: One Hundred Years of Jazz in Cuba</i>. Washington, D.C.: Smithsonian Books. p. 5.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Cubano+Be+Cubano+Bop%3A+One+Hundred+Years+of+Jazz+in+Cuba&rft.place=Washington%2C+D.C.&rft.pages=5&rft.pub=Smithsonian+Books&rft.date=2003&rft.aulast=Acosta&rft.aufirst=Leonardo&rfr_id=info%3Asid%2Fen.wikipedia.org%3AJazz" class="Z3988"></span></span> </li> <li id="cite_note-Salsa-67"><span class="mw-cite-backlink"><b><a href="#cite_ref-Salsa_67-0">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFMauleon1999" class="citation book cs1">Mauleon (1999). <i>Salsa guidebook: For Piano and Ensemble</i>. Petaluma, California: Sher Music. p. 4. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-9614701-9-4" title="Special:BookSources/0-9614701-9-4"><bdi>0-9614701-9-4</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Salsa+guidebook%3A+For+Piano+and+Ensemble&rft.place=Petaluma%2C+California&rft.pages=4&rft.pub=Sher+Music&rft.date=1999&rft.isbn=0-9614701-9-4&rft.au=Mauleon&rfr_id=info%3Asid%2Fen.wikipedia.org%3AJazz" class="Z3988"></span></span> </li> <li id="cite_note-FOOTNOTEPeñalosa201042-68"><span class="mw-cite-backlink"><b><a href="#cite_ref-FOOTNOTEPeñalosa201042_68-0">^</a></b></span> <span class="reference-text"><a href="#CITEREFPeñalosa2010">Peñalosa 2010</a>, p. 42.</span> </li> <li id="cite_note-SubletteCuba-69"><span class="mw-cite-backlink"><b><a href="#cite_ref-SubletteCuba_69-0">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFSublette2008" class="citation book cs1">Sublette, Ned (2008). <i>Cuba and Its Music: From the First Drums to the Mambo</i>. Chicago: Chicago Review Press. p. 125.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Cuba+and+Its+Music%3A+From+the+First+Drums+to+the+Mambo&rft.place=Chicago&rft.pages=125&rft.pub=Chicago+Review+Press&rft.date=2008&rft.aulast=Sublette&rft.aufirst=Ned&rfr_id=info%3Asid%2Fen.wikipedia.org%3AJazz" class="Z3988"></span></span> </li> <li id="cite_note-70"><span class="mw-cite-backlink"><b><a href="#cite_ref-70">^</a></b></span> <span class="reference-text">"Wynton Marsalis part 2." <i>60 Minutes</i>. CBS News (June 26, 2011).</span> </li> <li id="cite_note-ReferenceB-71"><span class="mw-cite-backlink">^ <a href="#cite_ref-ReferenceB_71-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-ReferenceB_71-1"><sup><i><b>b</b></i></sup></a></span> <span class="reference-text">Morton, Jelly Roll (1938: Library of Congress Recording) <i>The Complete Recordings By Alan Lomax</i>.</span> </li> <li id="cite_note-FOOTNOTECooke199928,_47-72"><span class="mw-cite-backlink"><b><a href="#cite_ref-FOOTNOTECooke199928,_47_72-0">^</a></b></span> <span class="reference-text"><a href="#CITEREFCooke1999">Cooke 1999</a>, pp. 28, 47.</span> </li> <li id="cite_note-73"><span class="mw-cite-backlink"><b><a href="#cite_ref-73">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFCatherine_Schmidt-Jones2006" class="citation web cs1">Catherine Schmidt-Jones (2006). <a rel="nofollow" class="external text" href="http://cnx.org/content/m10878/latest/">"Ragtime"</a>. Connexions<span class="reference-accessdate">. Retrieved <span class="nowrap">October 18,</span> 2007</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=unknown&rft.btitle=Ragtime&rft.pub=Connexions&rft.date=2006&rft.au=Catherine+Schmidt-Jones&rft_id=http%3A%2F%2Fcnx.org%2Fcontent%2Fm10878%2Flatest%2F&rfr_id=info%3Asid%2Fen.wikipedia.org%3AJazz" class="Z3988"></span></span> </li> <li id="cite_note-FOOTNOTECooke199928–29-74"><span class="mw-cite-backlink"><b><a href="#cite_ref-FOOTNOTECooke199928–29_74-0">^</a></b></span> <span class="reference-text"><a href="#CITEREFCooke1999">Cooke 1999</a>, pp. 28–29.</span> </li> <li id="cite_note-75"><span class="mw-cite-backlink"><b><a href="#cite_ref-75">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation web cs1"><a rel="nofollow" class="external text" href="https://web.archive.org/web/20101201055033/http://www.redhotjazz.com/firstragtimerecords.html">"The First Ragtime Records (1897–1903)"</a>. Archived from <a rel="nofollow" class="external text" href="http://www.redhotjazz.com/firstragtimerecords.html">the original</a> on December 1, 2010<span class="reference-accessdate">. Retrieved <span class="nowrap">October 18,</span> 2007</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=unknown&rft.btitle=The+First+Ragtime+Records+%281897%E2%80%931903%29&rft_id=http%3A%2F%2Fwww.redhotjazz.com%2Ffirstragtimerecords.html&rfr_id=info%3Asid%2Fen.wikipedia.org%3AJazz" class="Z3988"></span></span> </li> <li id="cite_note-TMG-76"><span class="mw-cite-backlink"><b><a href="#cite_ref-TMG_76-0">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFTannerMegillGerow2009" class="citation book cs1">Tanner, Paul; Megill, David W.; Gerow, Maurice (2009). <i>Jazz</i> (11 ed.). Boston: McGraw-Hill. pp. 328–331.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Jazz&rft.place=Boston&rft.pages=328-331&rft.edition=11&rft.pub=McGraw-Hill&rft.date=2009&rft.aulast=Tanner&rft.aufirst=Paul&rft.au=Megill%2C+David+W.&rft.au=Gerow%2C+Maurice&rfr_id=info%3Asid%2Fen.wikipedia.org%3AJazz" class="Z3988"></span></span> </li> <li id="cite_note-ReferenceA-77"><span class="mw-cite-backlink"><b><a href="#cite_ref-ReferenceA_77-0">^</a></b></span> <span class="reference-text">Manuel, Peter (2009: 69). <i>Creolizing Contradance in the Caribbean</i>. Philadelphia: Temple University Press.</span> </li> <li id="cite_note-78"><span class="mw-cite-backlink"><b><a href="#cite_ref-78">^</a></b></span> <span class="reference-text">Matthiesen, Bill (2008: 8). <i>Habaneras, Maxixies & Tangos The Syncopated Piano Music of Latin America</i>. Mel Bay. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-7866-7635-3" title="Special:BookSources/0-7866-7635-3">0-7866-7635-3</a>.</span> </li> <li id="cite_note-79"><span class="mw-cite-backlink"><b><a href="#cite_ref-79">^</a></b></span> <span class="reference-text">Sublette, Ned (2008:155). <i>Cuba and its Music; From the First Drums to the Mambo.</i> Chicago: Chicago Review Press.</span> </li> <li id="cite_note-80"><span class="mw-cite-backlink"><b><a href="#cite_ref-80">^</a></b></span> <span class="reference-text">Roberts, John Storm (1999: 40). <i>The Latin Tinge</i>. Oxford University Press.</span> </li> <li id="cite_note-hellfighters-81"><span class="mw-cite-backlink">^ <a href="#cite_ref-hellfighters_81-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-hellfighters_81-1"><sup><i><b>b</b></i></sup></a></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFFloyd_Levin1911" class="citation web cs1">Floyd Levin (1911). <a rel="nofollow" class="external text" href="https://web.archive.org/web/20160818065421/http://www.redhotjazz.com/hellfighters.html">"Jim Europe's 369th Infantry "Hellfighters" Band"</a>. The Red Hot Archive. Archived from <a rel="nofollow" class="external text" href="http://www.redhotjazz.com/hellfighters.html">the original</a> on August 18, 2016<span class="reference-accessdate">. Retrieved <span class="nowrap">October 24,</span> 2007</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=unknown&rft.btitle=Jim+Europe%27s+369th+Infantry+%22Hellfighters%22+Band&rft.pub=The+Red+Hot+Archive&rft.date=1911&rft.au=Floyd+Levin&rft_id=http%3A%2F%2Fwww.redhotjazz.com%2Fhellfighters.html&rfr_id=info%3Asid%2Fen.wikipedia.org%3AJazz" class="Z3988"></span></span> </li> <li id="cite_note-FOOTNOTECooke199978-82"><span class="mw-cite-backlink"><b><a href="#cite_ref-FOOTNOTECooke199978_82-0">^</a></b></span> <span class="reference-text"><a href="#CITEREFCooke1999">Cooke 1999</a>, p. 78.</span> </li> <li id="cite_note-FOOTNOTECooke199941–42-83"><span class="mw-cite-backlink"><b><a href="#cite_ref-FOOTNOTECooke199941–42_83-0">^</a></b></span> <span class="reference-text"><a href="#CITEREFCooke1999">Cooke 1999</a>, pp. 41–42.</span> </li> <li id="cite_note-FOOTNOTEPalmer196867-84"><span class="mw-cite-backlink"><b><a href="#cite_ref-FOOTNOTEPalmer196867_84-0">^</a></b></span> <span class="reference-text"><a href="#CITEREFPalmer1968">Palmer 1968</a>, p. 67.<span class="error harv-error" style="display: none; font-size:100%"> sfn error: no target: CITEREFPalmer1968 (<a href="/wiki/Category:Harv_and_Sfn_template_errors" title="Category:Harv and Sfn template errors">help</a>)</span></span> </li> <li id="cite_note-85"><span class="mw-cite-backlink"><b><a href="#cite_ref-85">^</a></b></span> <span class="reference-text">Kunzler's <i>Dictionary of Jazz</i> provides two separate entries: blues, an originally African-American genre (p. 128), and the blues form, a widespread musical form (p. 131).</span> </li> <li id="cite_note-The_Evolution_of_Differing_Blues_Styles-86"><span class="mw-cite-backlink"><b><a href="#cite_ref-The_Evolution_of_Differing_Blues_Styles_86-0">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation web cs1"><a rel="nofollow" class="external text" href="https://web.archive.org/web/20100719033905/http://how-to-play-blues-guitar.com/the-blues/the-evolution-of-different-blues-styles/">"The Evolution of Differing Blues Styles"</a>. How To Play Blues Guitar. Archived from <a rel="nofollow" class="external text" href="http://how-to-play-blues-guitar.com/the-blues/the-evolution-of-different-blues-styles/">the original</a> on July 19, 2010<span class="reference-accessdate">. Retrieved <span class="nowrap">August 11,</span> 2008</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=unknown&rft.btitle=The+Evolution+of+Differing+Blues+Styles&rft.pub=How+To+Play+Blues+Guitar&rft_id=http%3A%2F%2Fhow-to-play-blues-guitar.com%2Fthe-blues%2Fthe-evolution-of-different-blues-styles%2F&rfr_id=info%3Asid%2Fen.wikipedia.org%3AJazz" class="Z3988"></span></span> </li> <li id="cite_note-FOOTNOTECooke199911–14-87"><span class="mw-cite-backlink"><b><a href="#cite_ref-FOOTNOTECooke199911–14_87-0">^</a></b></span> <span class="reference-text"><a href="#CITEREFCooke1999">Cooke 1999</a>, pp. 11–14.</span> </li> <li id="cite_note-FOOTNOTEKubik199996-88"><span class="mw-cite-backlink"><b><a href="#cite_ref-FOOTNOTEKubik199996_88-0">^</a></b></span> <span class="reference-text"><a href="#CITEREFKubik1999">Kubik 1999</a>, p. 96.</span> </li> <li id="cite_note-FOOTNOTEPalmer198146-89"><span class="mw-cite-backlink"><b><a href="#cite_ref-FOOTNOTEPalmer198146_89-0">^</a></b></span> <span class="reference-text"><a href="#CITEREFPalmer1981">Palmer 1981</a>, p. 46.</span> </li> <li id="cite_note-FOOTNOTEHandy194199-90"><span class="mw-cite-backlink"><b><a href="#cite_ref-FOOTNOTEHandy194199_90-0">^</a></b></span> <span class="reference-text"><a href="#CITEREFHandy1941">Handy 1941</a>, p. 99.</span> </li> <li id="cite_note-FOOTNOTESchuller196866,_145n-91"><span class="mw-cite-backlink"><b><a href="#cite_ref-FOOTNOTESchuller196866,_145n_91-0">^</a></b></span> <span class="reference-text"><a href="#CITEREFSchuller1968">Schuller 1968</a>, 66, 145n.</span> </li> <li id="cite_note-FOOTNOTEHandy194199–100-92"><span class="mw-cite-backlink"><b><a href="#cite_ref-FOOTNOTEHandy194199–100_92-0">^</a></b></span> <span class="reference-text"><a href="#CITEREFHandy1941">Handy 1941</a>, p. 99–100.</span> </li> <li id="cite_note-93"><span class="mw-cite-backlink"><b><a href="#cite_ref-93">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation web cs1"><a rel="nofollow" class="external text" href="http://www.neworleansonline.com/neworleans/music/musichistory/jazzbirthplace.html">"Birthplace of Jazz"</a>. <i>www.neworleansonline.com</i><span class="reference-accessdate">. Retrieved <span class="nowrap">December 14,</span> 2017</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=www.neworleansonline.com&rft.atitle=Birthplace+of+Jazz&rft_id=http%3A%2F%2Fwww.neworleansonline.com%2Fneworleans%2Fmusic%2Fmusichistory%2Fjazzbirthplace.html&rfr_id=info%3Asid%2Fen.wikipedia.org%3AJazz" class="Z3988"></span></span> </li> <li id="cite_note-FOOTNOTECooke199947,_50-94"><span class="mw-cite-backlink"><b><a href="#cite_ref-FOOTNOTECooke199947,_50_94-0">^</a></b></span> <span class="reference-text"><a href="#CITEREFCooke1999">Cooke 1999</a>, pp. 47, 50.</span> </li> <li id="cite_note-creoleorch-95"><span class="mw-cite-backlink"><b><a href="#cite_ref-creoleorch_95-0">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation web cs1"><a rel="nofollow" class="external text" href="https://web.archive.org/web/20191105235418/http://www.redhotjazz.com/creole.html">"Original Creole Orchestra"</a>. The Red Hot Archive. Archived from <a rel="nofollow" class="external text" href="http://www.redhotjazz.com/creole.html">the original</a> on November 5, 2019<span class="reference-accessdate">. Retrieved <span class="nowrap">October 23,</span> 2007</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=unknown&rft.btitle=Original+Creole+Orchestra&rft.pub=The+Red+Hot+Archive&rft_id=http%3A%2F%2Fwww.redhotjazz.com%2Fcreole.html&rfr_id=info%3Asid%2Fen.wikipedia.org%3AJazz" class="Z3988"></span></span> </li> <li id="cite_note-96"><span class="mw-cite-backlink"><b><a href="#cite_ref-96">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation web cs1"><a rel="nofollow" class="external text" href="https://quillandquire.com/review/such-melodious-racket-the-lost-history-of-jazz-in-canada-1914-1949/">"Such Melodious Racket"</a>. Quill and Quire. 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Archived from <a rel="nofollow" class="external text" href="http://www.storyvillelife.com/eksempel-side/">the original</a> on January 4, 2022<span class="reference-accessdate">. Retrieved <span class="nowrap">January 13,</span> 2016</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=unknown&rft.btitle=The+characters&rft_id=http%3A%2F%2Fwww.storyvillelife.com%2Feksempel-side%2F&rfr_id=info%3Asid%2Fen.wikipedia.org%3AJazz" class="Z3988"></span></span> </li> <li id="cite_note-web.archive.org-99"><span class="mw-cite-backlink"><b><a href="#cite_ref-web.archive.org_99-0">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation web cs1"><a rel="nofollow" class="external text" href="https://web.archive.org/web/20140506062223/http://web.wm.edu/americanstudies/370/2001/sp3/legend_of_storyville.htm">"The Legend of Storyville"</a>. May 6, 2014. Archived from the original on May 6, 2014.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=unknown&rft.btitle=The+Legend+of+Storyville&rft.date=2014-05-06&rft_id=http%3A%2F%2Fweb.wm.edu%2Famericanstudies%2F370%2F2001%2Fsp3%2Flegend_of_storyville.htm&rfr_id=info%3Asid%2Fen.wikipedia.org%3AJazz" class="Z3988"></span><span class="cs1-maint citation-comment"><code class="cs1-code">{{<a href="/wiki/Template:Cite_web" title="Template:Cite web">cite web</a>}}</code>: CS1 maint: unfit URL (<a href="/wiki/Category:CS1_maint:_unfit_URL" title="Category:CS1 maint: unfit URL">link</a>)</span></span> </li> <li id="cite_note-100"><span class="mw-cite-backlink"><b><a href="#cite_ref-100">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation web cs1"><a rel="nofollow" class="external text" href="https://www.pbs.org/jazz/classroom/rhythmicinnovations.htm">"Marsalis, Wynton (2000: DVD n.1). <i>Jazz</i>. PBS"</a>. <i>Pbs.org</i><span class="reference-accessdate">. Retrieved <span class="nowrap">October 2,</span> 2013</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=Pbs.org&rft.atitle=Marsalis%2C+Wynton+%282000%3A+DVD+n.1%29.+Jazz.+PBS&rft_id=https%3A%2F%2Fwww.pbs.org%2Fjazz%2Fclassroom%2Frhythmicinnovations.htm&rfr_id=info%3Asid%2Fen.wikipedia.org%3AJazz" class="Z3988"></span></span> </li> <li id="cite_note-FOOTNOTECooke199938,_56-101"><span class="mw-cite-backlink"><b><a href="#cite_ref-FOOTNOTECooke199938,_56_101-0">^</a></b></span> <span class="reference-text"><a href="#CITEREFCooke1999">Cooke 1999</a>, pp. 38, 56.</span> </li> <li id="cite_note-102"><span class="mw-cite-backlink"><b><a href="#cite_ref-102">^</a></b></span> <span class="reference-text">Roberts, John Storm 1979. <i>The Latin Tinge: The impact of Latin American music on the United States</i>. Oxford.</span> </li> <li id="cite_note-103"><span class="mw-cite-backlink"><b><a href="#cite_ref-103">^</a></b></span> <span class="reference-text">Gridley, Mark C. (2000: 61). <i>Jazz Styles: History and Analysis</i>, 7th edn.</span> </li> <li id="cite_note-FOOTNOTESchuller19686-104"><span class="mw-cite-backlink"><b><a href="#cite_ref-FOOTNOTESchuller19686_104-0">^</a></b></span> <span class="reference-text"><a href="#CITEREFSchuller1968">Schuller 1968</a>, p. 6.</span> </li> <li id="cite_note-105"><span class="mw-cite-backlink"><b><a href="#cite_ref-105">^</a></b></span> <span class="reference-text"><i>The New Harvard Dictionary of Music</i> (1986: 818).</span> </li> <li id="cite_note-106"><span class="mw-cite-backlink"><b><a href="#cite_ref-106">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFPeñalosaPeter_Greenwood2009" class="citation book cs1">Peñalosa, David; Peter Greenwood (2009). <i>The Clave Matrix: Afro-Cuban Rhythm: Its Principles and African Origins</i>. Redway, CA: Bembe Books. p. 229. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-1-886502-80-2" title="Special:BookSources/978-1-886502-80-2"><bdi>978-1-886502-80-2</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=The+Clave+Matrix%3A+Afro-Cuban+Rhythm%3A+Its+Principles+and+African+Origins&rft.place=Redway%2C+CA&rft.pages=229&rft.pub=Bembe+Books&rft.date=2009&rft.isbn=978-1-886502-80-2&rft.aulast=Pe%C3%B1alosa&rft.aufirst=David&rft.au=Peter+Greenwood&rfr_id=info%3Asid%2Fen.wikipedia.org%3AJazz" class="Z3988"></span></span> </li> <li id="cite_note-107"><span class="mw-cite-backlink"><b><a href="#cite_ref-107">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFGridley2000" class="citation book cs1">Gridley, Mark C. (2000). <a rel="nofollow" class="external text" href="http://www.biblio.com/9780130212276"><i>Jazz Styles: History & Analysis</i></a> (7th ed.). Upper Saddle River, NJ: Prentice Hall. pp. 72–73. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-13-021227-6" title="Special:BookSources/978-0-13-021227-6"><bdi>978-0-13-021227-6</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Jazz+Styles%3A+History+%26+Analysis&rft.place=Upper+Saddle+River%2C+NJ&rft.pages=72-73&rft.edition=7th&rft.pub=Prentice+Hall&rft.date=2000&rft.isbn=978-0-13-021227-6&rft.aulast=Gridley&rft.aufirst=Mark+C.&rft_id=http%3A%2F%2Fwww.biblio.com%2F9780130212276&rfr_id=info%3Asid%2Fen.wikipedia.org%3AJazz" class="Z3988"></span></span> </li> <li id="cite_note-108"><span class="mw-cite-backlink"><b><a href="#cite_ref-108">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFSchoenherr" class="citation web cs1">Schoenherr, Steven. <a rel="nofollow" class="external text" href="https://web.archive.org/web/20100312213800/http://history.sandiego.edu/GEN/recording/notes.html">"Recording Technology History"</a>. <i>history.sandiego.edu</i>. Archived from <a rel="nofollow" class="external text" href="http://history.sandiego.edu/GEN/recording/notes.html">the original</a> on March 12, 2010<span class="reference-accessdate">. Retrieved <span class="nowrap">December 24,</span> 2008</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=history.sandiego.edu&rft.atitle=Recording+Technology+History&rft.aulast=Schoenherr&rft.aufirst=Steven&rft_id=http%3A%2F%2Fhistory.sandiego.edu%2FGEN%2Frecording%2Fnotes.html&rfr_id=info%3Asid%2Fen.wikipedia.org%3AJazz" class="Z3988"></span></span> </li> <li id="cite_note-109"><span class="mw-cite-backlink"><b><a href="#cite_ref-109">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFMartinWaters2005" class="citation book cs1">Martin, Henry; Waters, Keith (2005). <a rel="nofollow" class="external text" href="https://books.google.com/books?id=kuz4EHH05I4C&q=first+jazz+recording&pg=PT84"><i>Jazz: The First 100 Years</i></a>. Thomson Wadsworth. p. 55. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-534-62804-8" title="Special:BookSources/978-0-534-62804-8"><bdi>978-0-534-62804-8</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Jazz%3A+The+First+100+Years&rft.pages=55&rft.pub=Thomson+Wadsworth&rft.date=2005&rft.isbn=978-0-534-62804-8&rft.aulast=Martin&rft.aufirst=Henry&rft.au=Waters%2C+Keith&rft_id=https%3A%2F%2Fbooks.google.com%2Fbooks%3Fid%3Dkuz4EHH05I4C%26q%3Dfirst%2Bjazz%2Brecording%26pg%3DPT84&rfr_id=info%3Asid%2Fen.wikipedia.org%3AJazz" class="Z3988"></span></span> </li> <li id="cite_note-110"><span class="mw-cite-backlink"><b><a href="#cite_ref-110">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFScott1919" class="citation book cs1"><a href="/wiki/Emmett_Jay_Scott" title="Emmett Jay Scott">Scott, Emmett J.</a> (1919). <a rel="nofollow" class="external text" href="https://books.google.com/books?id=obUHAAAAIAAJ&pg=PA300">"Chapter XXI: Negro Music That Stirred France"</a>. <a rel="nofollow" class="external text" href="https://books.google.com/books?id=obUHAAAAIAAJ"><i>Scott's Official History of the American Negro in the World War</i></a>. Chicago: Homewood Press. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-243-62721-9" title="Special:BookSources/978-0-243-62721-9"><bdi>978-0-243-62721-9</bdi></a><span class="reference-accessdate">. Retrieved <span class="nowrap">June 19,</span> 2017</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=bookitem&rft.atitle=Chapter+XXI%3A+Negro+Music+That+Stirred+France&rft.btitle=Scott%27s+Official+History+of+the+American+Negro+in+the+World+War&rft.place=Chicago&rft.pub=Homewood+Press&rft.date=1919&rft.isbn=978-0-243-62721-9&rft.aulast=Scott&rft.aufirst=Emmett+J.&rft_id=https%3A%2F%2Fbooks.google.com%2Fbooks%3Fid%3DobUHAAAAIAAJ%26pg%3DPA300&rfr_id=info%3Asid%2Fen.wikipedia.org%3AJazz" class="Z3988"></span></span> </li> <li id="cite_note-FOOTNOTECooke199944-111"><span class="mw-cite-backlink"><b><a href="#cite_ref-FOOTNOTECooke199944_111-0">^</a></b></span> <span class="reference-text"><a href="#CITEREFCooke1999">Cooke 1999</a>, p. 44.</span> </li> <li id="cite_note-ward-112"><span class="mw-cite-backlink">^ <a href="#cite_ref-ward_112-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-ward_112-1"><sup><i><b>b</b></i></sup></a></span> <span class="reference-text"><a href="#CITEREFWardBurns2000">Ward & Burns 2000</a>, pp. 78–79</span> </li> <li id="cite_note-FOOTNOTECooke199954-113"><span class="mw-cite-backlink"><b><a href="#cite_ref-FOOTNOTECooke199954_113-0">^</a></b></span> <span class="reference-text"><a href="#CITEREFCooke1999">Cooke 1999</a>, p. 54.</span> </li> <li id="cite_note-ory-114"><span class="mw-cite-backlink"><b><a href="#cite_ref-ory_114-0">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation web cs1"><a rel="nofollow" class="external text" href="https://web.archive.org/web/20130827025414/http://www.redhotjazz.com/ory.html">"Kid Ory"</a>. The Red Hot Archive. Archived from <a rel="nofollow" class="external text" href="http://www.redhotjazz.com/ory.html">the original</a> on August 27, 2013<span class="reference-accessdate">. Retrieved <span class="nowrap">October 29,</span> 2007</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=unknown&rft.btitle=Kid+Ory&rft.pub=The+Red+Hot+Archive&rft_id=http%3A%2F%2Fwww.redhotjazz.com%2Fory.html&rfr_id=info%3Asid%2Fen.wikipedia.org%3AJazz" class="Z3988"></span></span> </li> <li id="cite_note-115"><span class="mw-cite-backlink"><b><a href="#cite_ref-115">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation web cs1"><a rel="nofollow" class="external text" href="https://web.archive.org/web/20071016081233/http://redhotjazz.com/Bessie.html">"Bessie Smith"</a>. The Red Hot Archive. Archived from <a rel="nofollow" class="external text" href="http://www.redhotjazz.com/bessie.html">the original</a> on October 16, 2007<span class="reference-accessdate">. Retrieved <span class="nowrap">October 29,</span> 2007</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=unknown&rft.btitle=Bessie+Smith&rft.pub=The+Red+Hot+Archive&rft_id=http%3A%2F%2Fwww.redhotjazz.com%2Fbessie.html&rfr_id=info%3Asid%2Fen.wikipedia.org%3AJazz" class="Z3988"></span></span> </li> <li id="cite_note-Downes-116"><span class="mw-cite-backlink"><b><a href="#cite_ref-Downes_116-0">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFDownes1924" class="citation news cs1">Downes, Olin (February 13, 1924). "A Concert of Jazz". <i>The New York Times</i>. p. 16.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=The+New+York+Times&rft.atitle=A+Concert+of+Jazz&rft.pages=16&rft.date=1924-02-13&rft.aulast=Downes&rft.aufirst=Olin&rfr_id=info%3Asid%2Fen.wikipedia.org%3AJazz" class="Z3988"></span></span> </li> <li id="cite_note-Dunkel-117"><span class="mw-cite-backlink"><b><a href="#cite_ref-Dunkel_117-0">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFDunkel2015" class="citation journal cs1">Dunkel, Mario (2015). <a rel="nofollow" class="external text" href="https://doi.org/10.1080%2F03007766.2014.994320">"W. C. Handy, Abbe Niles, and (Auto)biographical Positioning in the Whiteman Era"</a>. <i>Popular Music and Society</i>. <b>38</b> (2): 122–139. <a href="/wiki/Doi_(identifier)" class="mw-redirect" title="Doi (identifier)">doi</a>:<span class="id-lock-free" title="Freely accessible"><a rel="nofollow" class="external text" href="https://doi.org/10.1080%2F03007766.2014.994320">10.1080/03007766.2014.994320</a></span>. <a href="/wiki/S2CID_(identifier)" class="mw-redirect" title="S2CID (identifier)">S2CID</a> <a rel="nofollow" class="external text" href="https://api.semanticscholar.org/CorpusID:191480580">191480580</a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=Popular+Music+and+Society&rft.atitle=W.+C.+Handy%2C+Abbe+Niles%2C+and+%28Auto%29biographical+Positioning+in+the+Whiteman+Era&rft.volume=38&rft.issue=2&rft.pages=122-139&rft.date=2015&rft_id=info%3Adoi%2F10.1080%2F03007766.2014.994320&rft_id=https%3A%2F%2Fapi.semanticscholar.org%2FCorpusID%3A191480580%23id-name%3DS2CID&rft.aulast=Dunkel&rft.aufirst=Mario&rft_id=https%3A%2F%2Fdoi.org%2F10.1080%252F03007766.2014.994320&rfr_id=info%3Asid%2Fen.wikipedia.org%3AJazz" class="Z3988"></span></span> </li> <li id="cite_note-FOOTNOTECooke199982–83,_100–103-118"><span class="mw-cite-backlink"><b><a href="#cite_ref-FOOTNOTECooke199982–83,_100–103_118-0">^</a></b></span> <span class="reference-text"><a href="#CITEREFCooke1999">Cooke 1999</a>, pp. 82–83, 100–103.</span> </li> <li id="cite_note-119"><span class="mw-cite-backlink"><b><a href="#cite_ref-119">^</a></b></span> <span class="reference-text"><a rel="nofollow" class="external text" href="https://books.google.com/books?id=m8W2AgAAQBAJ&dq=Guy+Lombardo+recordings&pg=PA379">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</a></span> </li> <li id="cite_note-120"><span class="mw-cite-backlink"><b><a href="#cite_ref-120">^</a></b></span> <span class="reference-text"><a rel="nofollow" class="external text" href="https://books.google.com/books?id=__DTvryrBZkC&dq=Guy+Lombardo+band+popularity&pg=PA472">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 himself always took great pride in the number of black orchestras that imitated his style." Guy lombardo band popularity on Google Books</a></span> </li> <li id="cite_note-FOOTNOTESchuller196891-121"><span class="mw-cite-backlink"><b><a href="#cite_ref-FOOTNOTESchuller196891_121-0">^</a></b></span> <span class="reference-text"><a href="#CITEREFSchuller1968">Schuller 1968</a>, p. 91.</span> </li> <li id="cite_note-FOOTNOTESchuller196893-122"><span class="mw-cite-backlink"><b><a href="#cite_ref-FOOTNOTESchuller196893_122-0">^</a></b></span> <span class="reference-text"><a href="#CITEREFSchuller1968">Schuller 1968</a>, p. 93.</span> </li> <li id="cite_note-FOOTNOTECooke199956–59,_78–79,_66–70-123"><span class="mw-cite-backlink"><b><a href="#cite_ref-FOOTNOTECooke199956–59,_78–79,_66–70_123-0">^</a></b></span> <span class="reference-text"><a href="#CITEREFCooke1999">Cooke 1999</a>, pp. 56–59, 78–79, 66–70.</span> </li> <li id="cite_note-124"><span class="mw-cite-backlink"><b><a href="#cite_ref-124">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFVan_de_Leur2015" class="citation book cs1">Van de Leur, Walter (2015). "12 "Seldom seen, but always heard": Billy Strayhorn and Duke Ellington". In Green, Edward (ed.). <i>The Cambridge Companion to Duke Ellington</i>. <a href="/wiki/Cambridge_University_Press" title="Cambridge University Press">Cambridge University Press</a>. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-1-316-19413-3" title="Special:BookSources/978-1-316-19413-3"><bdi>978-1-316-19413-3</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=bookitem&rft.atitle=12+%22Seldom+seen%2C+but+always+heard%22%3A+Billy+Strayhorn+and+Duke+Ellington&rft.btitle=The+Cambridge+Companion+to+Duke+Ellington&rft.pub=Cambridge+University+Press&rft.date=2015&rft.isbn=978-1-316-19413-3&rft.aulast=Van+de+Leur&rft.aufirst=Walter&rfr_id=info%3Asid%2Fen.wikipedia.org%3AJazz" class="Z3988"></span></span> </li> <li id="cite_note-125"><span class="mw-cite-backlink"><b><a href="#cite_ref-125">^</a></b></span> <span class="reference-text"><a href="#CITEREFTucker1995">Tucker 1995</a>, 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 <a href="/wiki/Billy_Strayhorn" title="Billy Strayhorn">Billy Strayhorn</a> – 'beyond category' – as a liberating principle."</span> </li> <li id="cite_note-126"><span class="mw-cite-backlink"><b><a href="#cite_ref-126">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation web cs1"><a rel="nofollow" class="external text" href="https://web.archive.org/web/20150903233432/http://theoryjazz.com/artists/ellington.html">"Jazz Musicians – Duke Ellington"</a>. Theory Jazz. Archived from <a rel="nofollow" class="external text" href="http://theoryjazz.com/artists/ellington.html">the original</a> on September 3, 2015<span class="reference-accessdate">. Retrieved <span class="nowrap">July 14,</span> 2009</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=unknown&rft.btitle=Jazz+Musicians+%E2%80%93+Duke+Ellington&rft.pub=Theory+Jazz&rft_id=http%3A%2F%2Ftheoryjazz.com%2Fartists%2Fellington.html&rfr_id=info%3Asid%2Fen.wikipedia.org%3AJazz" class="Z3988"></span></span> </li> <li id="cite_note-127"><span class="mw-cite-backlink"><b><a href="#cite_ref-127">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFWynn2007" class="citation book cs1">Wynn, Neil A., ed. (2007). <span class="id-lock-limited" title="Free access subject to limited trial, subscription normally required"><a rel="nofollow" class="external text" href="https://archive.org/details/crosswaterbluesa00wynn"><i>Cross the Water Blues: African American music in Europe</i></a></span> (1 ed.). Jackson, MS: University Press of Mississippi. p. <a rel="nofollow" class="external text" href="https://archive.org/details/crosswaterbluesa00wynn/page/n79">67</a>. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-1-60473-546-8" title="Special:BookSources/978-1-60473-546-8"><bdi>978-1-60473-546-8</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Cross+the+Water+Blues%3A+African+American+music+in+Europe&rft.place=Jackson%2C+MS&rft.pages=67&rft.edition=1&rft.pub=University+Press+of+Mississippi&rft.date=2007&rft.isbn=978-1-60473-546-8&rft_id=https%3A%2F%2Farchive.org%2Fdetails%2Fcrosswaterbluesa00wynn&rfr_id=info%3Asid%2Fen.wikipedia.org%3AJazz" class="Z3988"></span></span> </li> <li id="cite_note-Godolt-128"><span class="mw-cite-backlink"><b><a href="#cite_ref-Godolt_128-0">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFGodbolt2010" class="citation book cs1">Godbolt, Jim (2010). <i>A History of Jazz in Britain 1919–1950</i> (4th ed.). London: Northway. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-9557888-1-9" title="Special:BookSources/978-0-9557888-1-9"><bdi>978-0-9557888-1-9</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=A+History+of+Jazz+in+Britain+1919%E2%80%931950&rft.place=London&rft.edition=4th&rft.pub=Northway&rft.date=2010&rft.isbn=978-0-9557888-1-9&rft.aulast=Godbolt&rft.aufirst=Jim&rfr_id=info%3Asid%2Fen.wikipedia.org%3AJazz" class="Z3988"></span></span> </li> <li id="cite_note-129"><span class="mw-cite-backlink"><b><a href="#cite_ref-129">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFJackson2002" class="citation journal cs1">Jackson, Jeffrey (2002). "Making Jazz French: The Reception of Jazz Music in Paris, 1927–1934". <i><a href="/wiki/French_Historical_Studies" title="French Historical Studies">French Historical Studies</a></i>. <b>25</b> (1): 149–170. <a href="/wiki/Doi_(identifier)" class="mw-redirect" title="Doi (identifier)">doi</a>:<a rel="nofollow" class="external text" href="https://doi.org/10.1215%2F00161071-25-1-149">10.1215/00161071-25-1-149</a>. <a href="/wiki/S2CID_(identifier)" class="mw-redirect" title="S2CID (identifier)">S2CID</a> <a rel="nofollow" class="external text" href="https://api.semanticscholar.org/CorpusID:161520728">161520728</a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=French+Historical+Studies&rft.atitle=Making+Jazz+French%3A+The+Reception+of+Jazz+Music+in+Paris%2C+1927%E2%80%931934&rft.volume=25&rft.issue=1&rft.pages=149-170&rft.date=2002&rft_id=info%3Adoi%2F10.1215%2F00161071-25-1-149&rft_id=https%3A%2F%2Fapi.semanticscholar.org%2FCorpusID%3A161520728%23id-name%3DS2CID&rft.aulast=Jackson&rft.aufirst=Jeffrey&rfr_id=info%3Asid%2Fen.wikipedia.org%3AJazz" class="Z3988"></span></span> </li> <li id="cite_note-130"><span class="mw-cite-backlink"><b><a href="#cite_ref-130">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation web cs1"><a rel="nofollow" class="external text" href="https://web.archive.org/web/20080410160536/http://www.redhotjazz.com/edlango.html">"Ed Lang and his Orchestra"</a>. <i>redhotjazz.com</i>. Archived from <a rel="nofollow" class="external text" href="http://www.redhotjazz.com/edlango.html">the original</a> on April 10, 2008<span class="reference-accessdate">. Retrieved <span class="nowrap">March 28,</span> 2008</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=redhotjazz.com&rft.atitle=Ed+Lang+and+his+Orchestra&rft_id=http%3A%2F%2Fwww.redhotjazz.com%2Fedlango.html&rfr_id=info%3Asid%2Fen.wikipedia.org%3AJazz" class="Z3988"></span></span> </li> <li id="cite_note-131"><span class="mw-cite-backlink"><b><a href="#cite_ref-131">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFCrow1990" class="citation book cs1">Crow, Bill (1990). <span class="id-lock-registration" title="Free registration required"><a rel="nofollow" class="external text" href="https://archive.org/details/jazzanecdotes0000crow"><i>Jazz Anecdotes</i></a></span>. New York: Oxford University Press.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Jazz+Anecdotes&rft.place=New+York&rft.pub=Oxford+University+Press&rft.date=1990&rft.aulast=Crow&rft.aufirst=Bill&rft_id=https%3A%2F%2Farchive.org%2Fdetails%2Fjazzanecdotes0000crow&rfr_id=info%3Asid%2Fen.wikipedia.org%3AJazz" class="Z3988"></span></span> </li> <li id="cite_note-Burchett-132"><span class="mw-cite-backlink">^ <a href="#cite_ref-Burchett_132-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-Burchett_132-1"><sup><i><b>b</b></i></sup></a> <a href="#cite_ref-Burchett_132-2"><sup><i><b>c</b></i></sup></a> <a href="#cite_ref-Burchett_132-3"><sup><i><b>d</b></i></sup></a> <a href="#cite_ref-Burchett_132-4"><sup><i><b>e</b></i></sup></a> <a href="#cite_ref-Burchett_132-5"><sup><i><b>f</b></i></sup></a></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFBurchett2015" class="citation book cs1">Burchett, Michael H. (2015). "Jazz". In Ciment, James (ed.). <i>Postwar America: An Encyclopedia of Social, Political, Cultural, and Economic History</i>. Routledge. p. 730. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-1-317-46235-4" title="Special:BookSources/978-1-317-46235-4"><bdi>978-1-317-46235-4</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=bookitem&rft.atitle=Jazz&rft.btitle=Postwar+America%3A+An+Encyclopedia+of+Social%2C+Political%2C+Cultural%2C+and+Economic+History&rft.pages=730&rft.pub=Routledge&rft.date=2015&rft.isbn=978-1-317-46235-4&rft.aulast=Burchett&rft.aufirst=Michael+H.&rfr_id=info%3Asid%2Fen.wikipedia.org%3AJazz" class="Z3988"></span></span> </li> <li id="cite_note-grove-133"><span class="mw-cite-backlink">^ <a href="#cite_ref-grove_133-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-grove_133-1"><sup><i><b>b</b></i></sup></a> <a href="#cite_ref-grove_133-2"><sup><i><b>c</b></i></sup></a></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFTuckerJackson2015" class="citation book cs1">Tucker, Mark; Jackson, Travis (2015). "7. Traditional and Modern Jazz in the 1940s". <i>Jazz: Grove Music Essentials</i>. <a href="/wiki/Oxford_University_Press" title="Oxford University Press">Oxford University Press</a>. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-19-026871-8" title="Special:BookSources/978-0-19-026871-8"><bdi>978-0-19-026871-8</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=bookitem&rft.atitle=7.+Traditional+and+Modern+Jazz+in+the+1940s&rft.btitle=Jazz%3A+Grove+Music+Essentials&rft.pub=Oxford+University+Press&rft.date=2015&rft.isbn=978-0-19-026871-8&rft.aulast=Tucker&rft.aufirst=Mark&rft.au=Jackson%2C+Travis&rfr_id=info%3Asid%2Fen.wikipedia.org%3AJazz" class="Z3988"></span></span> </li> <li id="cite_note-Trynka-134"><span class="mw-cite-backlink">^ <a href="#cite_ref-Trynka_134-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-Trynka_134-1"><sup><i><b>b</b></i></sup></a> <a href="#cite_ref-Trynka_134-2"><sup><i><b>c</b></i></sup></a> <a href="#cite_ref-Trynka_134-3"><sup><i><b>d</b></i></sup></a></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFTrynka2003" class="citation book cs1"><a href="/wiki/Paul_Trynka" title="Paul Trynka">Trynka, Paul</a> (2003). <a rel="nofollow" class="external text" href="https://archive.org/details/saxbrassbook0000prie/page/45"><i>The Sax & Brass Book</i></a>. <a href="/wiki/Hal_Leonard_Corporation" class="mw-redirect" title="Hal Leonard Corporation">Hal Leonard Corporation</a>. pp. <a rel="nofollow" class="external text" href="https://archive.org/details/saxbrassbook0000prie/page/45">45, 48–49</a>. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-87930-737-4" title="Special:BookSources/0-87930-737-4"><bdi>0-87930-737-4</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=The+Sax+%26+Brass+Book&rft.pages=45%2C+48-49&rft.pub=Hal+Leonard+Corporation&rft.date=2003&rft.isbn=0-87930-737-4&rft.aulast=Trynka&rft.aufirst=Paul&rft_id=https%3A%2F%2Farchive.org%2Fdetails%2Fsaxbrassbook0000prie%2Fpage%2F45&rfr_id=info%3Asid%2Fen.wikipedia.org%3AJazz" class="Z3988"></span></span> </li> <li id="cite_note-135"><span class="mw-cite-backlink"><b><a href="#cite_ref-135">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFJames2007" class="citation book cs1"><a href="/wiki/Clive_James" title="Clive James">James, Clive</a> (2007). <a rel="nofollow" class="external text" href="https://archive.org/details/culturalamnesian00jame/page/163"><i>Cultural Amnesia: Necessary Memories from History and the Arts</i></a>. <a href="/wiki/W.W._Norton_%26_Company" class="mw-redirect" title="W.W. Norton & Company">W.W. Norton & Company</a>. p. <a rel="nofollow" class="external text" href="https://archive.org/details/culturalamnesian00jame/page/163">163</a>. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-393-06116-1" title="Special:BookSources/978-0-393-06116-1"><bdi>978-0-393-06116-1</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Cultural+Amnesia%3A+Necessary+Memories+from+History+and+the+Arts&rft.pages=163&rft.pub=W.W.+Norton+%26+Company&rft.date=2007&rft.isbn=978-0-393-06116-1&rft.aulast=James&rft.aufirst=Clive&rft_id=https%3A%2F%2Farchive.org%2Fdetails%2Fculturalamnesian00jame%2Fpage%2F163&rfr_id=info%3Asid%2Fen.wikipedia.org%3AJazz" class="Z3988"></span></span> </li> <li id="cite_note-136"><span class="mw-cite-backlink"><b><a href="#cite_ref-136">^</a></b></span> <span class="reference-text"><a href="/wiki/Gunther_Schuller" title="Gunther Schuller">Gunther Schuller</a>, November 14, 1972. <a href="#CITEREFDance1983">Dance 1983</a>, p. 290.</span> </li> <li id="cite_note-FOOTNOTEDance1983260-137"><span class="mw-cite-backlink"><b><a href="#cite_ref-FOOTNOTEDance1983260_137-0">^</a></b></span> <span class="reference-text"><a href="#CITEREFDance1983">Dance 1983</a>, p. 260.</span> </li> <li id="cite_note-Floyd,_Samuel_A._1995-138"><span class="mw-cite-backlink">^ <a href="#cite_ref-Floyd,_Samuel_A._1995_138-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-Floyd,_Samuel_A._1995_138-1"><sup><i><b>b</b></i></sup></a></span> <span class="reference-text">Floyd, Samuel A., Jr. (1995). <i>The Power of Black Music: Interpreting its history from Africa to the United States</i>. New York: Oxford University Press.</span> </li> <li id="cite_note-FOOTNOTELevine1995171-139"><span class="mw-cite-backlink"><b><a href="#cite_ref-FOOTNOTELevine1995171_139-0">^</a></b></span> <span class="reference-text"><a href="#CITEREFLevine1995">Levine 1995</a>, p. 171.</span> </li> <li id="cite_note-140"><span class="mw-cite-backlink"><b><a href="#cite_ref-140">^</a></b></span> <span class="reference-text">Joachim Berendt. <i>The Jazz Book</i>, 1981, p. 15.</span> </li> <li id="cite_note-Kubik-141"><span class="mw-cite-backlink">^ <a href="#cite_ref-Kubik_141-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-Kubik_141-1"><sup><i><b>b</b></i></sup></a></span> <span class="reference-text"><a href="#CITEREFKubik2005">Kubik 2005</a></span> </li> <li id="cite_note-FOOTNOTEKubik2005-142"><span class="mw-cite-backlink"><b><a href="#cite_ref-FOOTNOTEKubik2005_142-0">^</a></b></span> <span class="reference-text"><a href="#CITEREFKubik2005">Kubik 2005</a>.</span> </li> <li id="cite_note-143"><span class="mw-cite-backlink"><b><a href="#cite_ref-143">^</a></b></span> <span class="reference-text">Joachim Berendt. <i>The Jazz Book</i>. 1981, p. 16.</span> </li> <li id="cite_note-144"><span class="mw-cite-backlink"><b><a href="#cite_ref-144">^</a></b></span> <span class="reference-text">In 1992 Bauza recorded "Tanga" in the expanded form of an Afro-Cuban suite, consisting of five movements. <i>Mario Bauza and his Afro-Cuban Orchestra</i>. Messidor CD (1992).</span> </li> <li id="cite_note-FOOTNOTEPeñalosa201056-145"><span class="mw-cite-backlink"><b><a href="#cite_ref-FOOTNOTEPeñalosa201056_145-0">^</a></b></span> <span class="reference-text"><a href="#CITEREFPeñalosa2010">Peñalosa 2010</a>, p. 56.</span> </li> <li id="cite_note-FOOTNOTEPeñalosa2010131–136-146"><span class="mw-cite-backlink"><b><a href="#cite_ref-FOOTNOTEPeñalosa2010131–136_146-0">^</a></b></span> <span class="reference-text"><a href="#CITEREFPeñalosa2010">Peñalosa 2010</a>, pp. 131–136.</span> </li> <li id="cite_note-147"><span class="mw-cite-backlink"><b><a href="#cite_ref-147">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFGillespieFraser1985" class="citation book cs1">Gillespie, Dizzy; Fraser, Al (1985). <a href="/wiki/To_Be_or_Not_to_Bop" title="To Be or Not to Bop"><i>To Be or Not to Bop: Memoirs of Dizzy Gillespie</i></a>. New York: Da Capo Press. p. 77. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-306-80236-2" title="Special:BookSources/978-0-306-80236-2"><bdi>978-0-306-80236-2</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=To+Be+or+Not+to+Bop%3A+Memoirs+of+Dizzy+Gillespie&rft.place=New+York&rft.pages=77&rft.pub=Da+Capo+Press&rft.date=1985&rft.isbn=978-0-306-80236-2&rft.aulast=Gillespie&rft.aufirst=Dizzy&rft.au=Fraser%2C+Al&rfr_id=info%3Asid%2Fen.wikipedia.org%3AJazz" class="Z3988"></span></span> </li> <li id="cite_note-148"><span class="mw-cite-backlink"><b><a href="#cite_ref-148">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFPerry2017" class="citation web cs1">Perry, Russell (September 1, 2017). <a rel="nofollow" class="external text" href="https://www.wtju.net/jazz-at-100-hour-27-un-poco-loco-the-intensity-of-bud-powell/">"Jazz at 100 Hour 27: Un Poco Loco - The Intensity of Bud Powell (1946 - 1953)"</a>. <i>WTJU 91.1 FM</i><span class="reference-accessdate">. Retrieved <span class="nowrap">November 23,</span> 2023</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=WTJU+91.1+FM&rft.atitle=Jazz+at+100+Hour+27%3A+Un+Poco+Loco+-+The+Intensity+of+Bud+Powell+%281946+-+1953%29&rft.date=2017-09-01&rft.aulast=Perry&rft.aufirst=Russell&rft_id=https%3A%2F%2Fwww.wtju.net%2Fjazz-at-100-hour-27-un-poco-loco-the-intensity-of-bud-powell%2F&rfr_id=info%3Asid%2Fen.wikipedia.org%3AJazz" class="Z3988"></span></span> </li> <li id="cite_note-149"><span class="mw-cite-backlink"><b><a href="#cite_ref-149">^</a></b></span> <span class="reference-text">DeMotta, David J. (2015) The contributions of Earl "Bud" Powell to the modern jazz style. 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Columbia CD (1967).</span> </li> <li id="cite_note-177"><span class="mw-cite-backlink"><b><a href="#cite_ref-177">^</a></b></span> <span class="reference-text">"An ancient west central Sudanic stratum of <i>pentatonic</i> 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."<a href="#CITEREFKubik1999">Kubik 1999</a>, p. 95</span> </li> <li id="cite_note-178"><span class="mw-cite-backlink"><b><a href="#cite_ref-178">^</a></b></span> <span class="reference-text">Gridley, Mark C. (2000: 270). <i>Jazz Styles: History and Analysis</i>, 7th ed.</span> </li> <li id="cite_note-179"><span class="mw-cite-backlink"><b><a href="#cite_ref-179">^</a></b></span> <span class="reference-text">Map showing distribution of harmony in Africa. Jones, A. M. 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ASIN: B004532DEE</span> </li> <li id="cite_note-182"><span class="mw-cite-backlink"><b><a href="#cite_ref-182">^</a></b></span> <span class="reference-text">Levine (1989: 127).</span> </li> <li id="cite_note-183"><span class="mw-cite-backlink"><b><a href="#cite_ref-183">^</a></b></span> <span class="reference-text">After Mark Levine (1989: 127). <i>The Jazz Piano Book</i>.</span> </li> <li id="cite_note-184"><span class="mw-cite-backlink"><b><a href="#cite_ref-184">^</a></b></span> <span class="reference-text">Bair, Jeff (2003: 5). <a rel="nofollow" class="external text" href="https://digital.library.unt.edu/ark:/67531/metadc4348/m2/1/high_res_d/dissertation.pdf"><i>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</i></a> <a rel="nofollow" class="external text" href="https://web.archive.org/web/20170816120320/https://digital.library.unt.edu/ark:/67531/metadc4348/m2/1/high_res_d/dissertation.pdf">Archived</a> August 16, 2017, at the <a href="/wiki/Wayback_Machine" title="Wayback Machine">Wayback Machine</a>. 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Archived from <a rel="nofollow" class="external text" href="http://drownedinsound.com/releases/18781/reviews/4148955">the original</a> on October 12, 2017<span class="reference-accessdate">. Retrieved <span class="nowrap">October 12,</span> 2017</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=drownedinsound.com&rft.atitle=The+Epic&rft.date=2015-05-05&rft.au=Russell+Warfield&rft_id=http%3A%2F%2Fdrownedinsound.com%2Freleases%2F18781%2Freviews%2F4148955&rfr_id=info%3Asid%2Fen.wikipedia.org%3AJazz" class="Z3988"></span></span> </li> <li id="cite_note-209"><span class="mw-cite-backlink"><b><a href="#cite_ref-209">^</a></b></span> <span class="reference-text">Dave Lang, <i>Perfect Sound Forever</i>, February 1999. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation web cs1"><a rel="nofollow" class="external text" href="https://web.archive.org/web/19990420123739/http://www.furious.com/perfect/popgroup.html">"The Pop Group"</a>. Archived from <a rel="nofollow" class="external text" href="http://www.furious.com/Perfect/popgroup.html">the original</a> on April 20, 1999<span class="reference-accessdate">. Retrieved <span class="nowrap">January 23,</span> 2016</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=unknown&rft.btitle=The+Pop+Group&rft_id=http%3A%2F%2Fwww.furious.com%2FPerfect%2Fpopgroup.html&rfr_id=info%3Asid%2Fen.wikipedia.org%3AJazz" class="Z3988"></span> Access date: November 15, 2008.</span> </li> <li id="cite_note-bangs-210"><span class="mw-cite-backlink">^ <a href="#cite_ref-bangs_210-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-bangs_210-1"><sup><i><b>b</b></i></sup></a> <a href="#cite_ref-bangs_210-2"><sup><i><b>c</b></i></sup></a></span> <span class="reference-text">Bangs, Lester. "Free Jazz / Punk Rock". <i>Musician Magazine</i>, 1979. <a rel="nofollow" class="external autonumber" href="http://www.notbored.org/bangs.html">[1]</a> <a rel="nofollow" class="external text" href="https://web.archive.org/web/20210110163919/http://www.notbored.org/bangs.html">Archived</a> January 10, 2021, at the <a href="/wiki/Wayback_Machine" title="Wayback Machine">Wayback Machine</a> Access date: July 20, 2008.</span> </li> <li id="cite_note-211"><span class="mw-cite-backlink"><b><a href="#cite_ref-211">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation web cs1"><a rel="nofollow" class="external text" href="https://web.archive.org/web/20101019024244/http://sonic.net/~goblin/8zorn.html">"<span class="cs1-kern-left"></span>"House Of Zorn", Goblin Archives, at"</a>. <i>Sonic.net</i>. Archived from <a rel="nofollow" class="external text" href="http://www.sonic.net/~goblin/8zorn.html">the original</a> on October 19, 2010<span class="reference-accessdate">. Retrieved <span class="nowrap">November 7,</span> 2010</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=Sonic.net&rft.atitle=%22House+Of+Zorn%22%2C+Goblin+Archives%2C+at&rft_id=http%3A%2F%2Fwww.sonic.net%2F~goblin%2F8zorn.html&rfr_id=info%3Asid%2Fen.wikipedia.org%3AJazz" class="Z3988"></span></span> </li> <li id="cite_note-212"><span class="mw-cite-backlink"><b><a href="#cite_ref-212">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation web cs1"><a rel="nofollow" class="external text" href="https://web.archive.org/web/20110607145159/http://www.progressiveears.com/asp/reviews.asp?albumID=4193&bhcp=1">"Progressive Ears Album Reviews"</a>. <i>Progressiveears.com</i>. October 19, 2007. Archived from <a rel="nofollow" class="external text" href="http://www.progressiveears.com/asp/reviews.asp?albumID=4193&bhcp=1">the original</a> on June 7, 2011<span class="reference-accessdate">. Retrieved <span class="nowrap">November 7,</span> 2010</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=Progressiveears.com&rft.atitle=Progressive+Ears+Album+Reviews&rft.date=2007-10-19&rft_id=http%3A%2F%2Fwww.progressiveears.com%2Fasp%2Freviews.asp%3FalbumID%3D4193%26bhcp%3D1&rfr_id=info%3Asid%2Fen.wikipedia.org%3AJazz" class="Z3988"></span></span> </li> <li id="cite_note-213"><span class="mw-cite-backlink"><b><a href="#cite_ref-213">^</a></b></span> <span class="reference-text">"... 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, <i>Sozialgeschichte des Jazz</i>, 2003, p. 377).</span> </li> <li id="cite_note-allaboutjazz.com-214"><span class="mw-cite-backlink"><b><a href="#cite_ref-allaboutjazz.com_214-0">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation web cs1"><a rel="nofollow" class="external text" href="https://web.archive.org/web/20100805045312/http://www.allaboutjazz.com/php/musician.php?id=5820">"All About Jazz"</a>. Archived from <a rel="nofollow" class="external text" href="http://www.allaboutjazz.com/php/musician.php?id=5820">the original</a> on August 5, 2010<span class="reference-accessdate">. Retrieved <span class="nowrap">March 13,</span> 2011</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=unknown&rft.btitle=All+About+Jazz&rft_id=http%3A%2F%2Fwww.allaboutjazz.com%2Fphp%2Fmusician.php%3Fid%3D5820&rfr_id=info%3Asid%2Fen.wikipedia.org%3AJazz" class="Z3988"></span></span> </li> <li id="cite_note-Blumenfeld-215"><span class="mw-cite-backlink"><b><a href="#cite_ref-Blumenfeld_215-0">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFBlumenfeld2010" class="citation web cs1">Blumenfeld, Larry (June 11, 2010). <a rel="nofollow" class="external text" href="https://www.wsj.com/articles/SB10001424052748703302604575294532527380178">"A Saxophonist's Reverberant Sound"</a>. <i>The Wall Street Journal</i><span class="reference-accessdate">. Retrieved <span class="nowrap">January 14,</span> 2018</span>. <q>It's hard to overstate [Coleman's] 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 does and why he does it.</q></cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=The+Wall+Street+Journal&rft.atitle=A+Saxophonist%27s+Reverberant+Sound&rft.date=2010-06-11&rft.aulast=Blumenfeld&rft.aufirst=Larry&rft_id=https%3A%2F%2Fwww.wsj.com%2Farticles%2FSB10001424052748703302604575294532527380178&rfr_id=info%3Asid%2Fen.wikipedia.org%3AJazz" class="Z3988"></span></span> </li> <li id="cite_note-Undead-216"><span class="mw-cite-backlink"><b><a href="#cite_ref-Undead_216-0">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFRatliff2010" class="citation news cs1">Ratliff, Ben (June 14, 2010). <a rel="nofollow" class="external text" href="https://www.nytimes.com/2010/06/15/arts/music/15undead.html?_r=1">"Undead Jazzfest Roams the West Village"</a>. <i>The New York Times</i><span class="reference-accessdate">. Retrieved <span class="nowrap">January 14,</span> 2018</span>. <q>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.</q></cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=The+New+York+Times&rft.atitle=Undead+Jazzfest+Roams+the+West+Village&rft.date=2010-06-14&rft.aulast=Ratliff&rft.aufirst=Ben&rft_id=https%3A%2F%2Fwww.nytimes.com%2F2010%2F06%2F15%2Farts%2Fmusic%2F15undead.html%3F_r%3D1&rfr_id=info%3Asid%2Fen.wikipedia.org%3AJazz" class="Z3988"></span></span> </li> <li id="cite_note-217"><span class="mw-cite-backlink"><b><a href="#cite_ref-217">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFMichael_J._West2010" class="citation web cs1">Michael J. West (June 2, 2010). <a rel="nofollow" class="external text" href="http://jazztimes.com/articles/26044-steve-coleman-vital-information">"Jazz Articles: Steve Coleman: Vital Information"</a>. <i><a href="/wiki/JazzTimes" title="JazzTimes">JazzTimes</a></i><span class="reference-accessdate">. Retrieved <span class="nowrap">June 5,</span> 2011</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=JazzTimes&rft.atitle=Jazz+Articles%3A+Steve+Coleman%3A+Vital+Information&rft.date=2010-06-02&rft.au=Michael+J.+West&rft_id=http%3A%2F%2Fjazztimes.com%2Farticles%2F26044-steve-coleman-vital-information&rfr_id=info%3Asid%2Fen.wikipedia.org%3AJazz" class="Z3988"></span></span> </li> <li id="cite_note-218"><span class="mw-cite-backlink"><b><a href="#cite_ref-218">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation web cs1"><a rel="nofollow" class="external text" href="http://www.m-base.com/mbase_explanation.html">"What Is M-Base?"</a>. <i>M-base.com</i><span class="reference-accessdate">. Retrieved <span class="nowrap">June 5,</span> 2011</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=M-base.com&rft.atitle=What+Is+M-Base%3F&rft_id=http%3A%2F%2Fwww.m-base.com%2Fmbase_explanation.html&rfr_id=info%3Asid%2Fen.wikipedia.org%3AJazz" class="Z3988"></span></span> </li> <li id="cite_note-219"><span class="mw-cite-backlink"><b><a href="#cite_ref-219">^</a></b></span> <span class="reference-text">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, <i>Genius grant saxman Steve Coleman redefining jazz</i>, October 9, 2014, <i>Philly.com</i>, 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 [Coleman] is as important as [John] 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, <i>A Saxophonist's Reverberant Sound</i>, June 11, 2010, <i>The Wall Street Journal</i>) 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, <i>Genius grant saxman Steve Coleman redefining jazz</i>, October 9, 2014, <i>Philly.com</i>, Philadelphia Media Network).</span> </li> <li id="cite_note-Bush-220"><span class="mw-cite-backlink">^ <a href="#cite_ref-Bush_220-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-Bush_220-1"><sup><i><b>b</b></i></sup></a></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFBush" class="citation web cs1">Bush, John. <a rel="nofollow" class="external text" href="https://www.allmusic.com/artist/harry-connick-jr-mn0000949259/biography">"Harry Connick, Jr"</a>. <i>AllMusic</i><span class="reference-accessdate">. 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Retrieved <span class="nowrap">July 9,</span> 2023</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=media.music.txst.edu&rft.atitle=Dan+Morgenstern%3A+Producer&rft.date=2022-02-18&rft_id=https%3A%2F%2Fmedia.music.txst.edu%2Fmorgenstern%2FMorgenstern-Editor-Author%2FMorgenstern-JustJazz.html&rfr_id=info%3Asid%2Fen.wikipedia.org%3AJazz" class="Z3988"></span></span> </li> <li id="cite_note-223"><span class="mw-cite-backlink"><b><a href="#cite_ref-223">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFWhiteis2020" class="citation web cs1">Whiteis, David (July 22, 2020). <a rel="nofollow" class="external text" href="https://jazztimes.com/reviews/albums/art-blakey-the-jazz-messengers-just-coolin-blue-note/">"Art Blakey & the Jazz Messengers: Just Coolin' (Blue Note)"</a>. <i>JazzTimes</i><span class="reference-accessdate">. Retrieved <span class="nowrap">July 9,</span> 2023</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=JazzTimes&rft.atitle=Art+Blakey+%26+the+Jazz+Messengers%3A+Just+Coolin%27+%28Blue+Note%29&rft.date=2020-07-22&rft.aulast=Whiteis&rft.aufirst=David&rft_id=https%3A%2F%2Fjazztimes.com%2Freviews%2Falbums%2Fart-blakey-the-jazz-messengers-just-coolin-blue-note%2F&rfr_id=info%3Asid%2Fen.wikipedia.org%3AJazz" class="Z3988"></span></span> </li> <li id="cite_note-224"><span class="mw-cite-backlink"><b><a href="#cite_ref-224">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFDavid_Hochman2018" class="citation web cs1">David Hochman (May 15, 2018). <a rel="nofollow" class="external text" href="https://www.forbes.com/sites/davidhochman/2018/05/15/grammy-winning-keyboardist-cory-henry-on-inspiration-and-funky-improvisation/#72e76b0738ce">"Grammy-Winning Keyboardist Cory Henry On Inspiration And Funky Improvisation"</a>. <i><a href="/wiki/Forbes" title="Forbes">Forbes</a></i><span class="reference-accessdate">. Retrieved <span class="nowrap">May 16,</span> 2018</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=Forbes&rft.atitle=Grammy-Winning+Keyboardist+Cory+Henry+On+Inspiration+And+Funky+Improvisation&rft.date=2018-05-15&rft.au=David+Hochman&rft_id=https%3A%2F%2Fwww.forbes.com%2Fsites%2Fdavidhochman%2F2018%2F05%2F15%2Fgrammy-winning-keyboardist-cory-henry-on-inspiration-and-funky-improvisation%2F%2372e76b0738ce&rfr_id=info%3Asid%2Fen.wikipedia.org%3AJazz" class="Z3988"></span></span> </li> <li id="cite_note-225"><span class="mw-cite-backlink"><b><a href="#cite_ref-225">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation web cs1"><a rel="nofollow" class="external text" href="https://web.archive.org/web/20210305223824/https://magazineterra.com/worldwide-celebration-of-international-jazz-day-30-april/">"UNESCO World Jazz Day Present | TeRra Magazine"</a>. April 8, 2019. Archived from <a rel="nofollow" class="external text" href="https://magazineterra.com/worldwide-celebration-of-international-jazz-day-30-april/">the original</a> on March 5, 2021<span class="reference-accessdate">. Retrieved <span class="nowrap">March 6,</span> 2021</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=unknown&rft.btitle=UNESCO+World+Jazz+Day+Present+%7C+TeRra+Magazine&rft.date=2019-04-08&rft_id=https%3A%2F%2Fmagazineterra.com%2Fworldwide-celebration-of-international-jazz-day-30-april%2F&rfr_id=info%3Asid%2Fen.wikipedia.org%3AJazz" class="Z3988"></span></span> </li> <li id="cite_note-226"><span class="mw-cite-backlink"><b><a href="#cite_ref-226">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFMichael_Bailey2018" class="citation web cs1">Michael Bailey (May 1, 2018). <a rel="nofollow" class="external text" href="http://www.afr.com/lifestyle/arts-and-entertainment/music/jacob-collier-review-youtuber-gets-gen-y-into-jazz-20180501-h0zhx1">"Jacob Collier review: Youtuber gets Gen Y into jazz"</a>. <i><a href="/wiki/The_Australian_Financial_Review" class="mw-redirect" title="The Australian Financial Review">The Australian Financial Review</a></i><span class="reference-accessdate">. Retrieved <span class="nowrap">May 16,</span> 2018</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=The+Australian+Financial+Review&rft.atitle=Jacob+Collier+review%3A+Youtuber+gets+Gen+Y+into+jazz&rft.date=2018-05-01&rft.au=Michael+Bailey&rft_id=http%3A%2F%2Fwww.afr.com%2Flifestyle%2Farts-and-entertainment%2Fmusic%2Fjacob-collier-review-youtuber-gets-gen-y-into-jazz-20180501-h0zhx1&rfr_id=info%3Asid%2Fen.wikipedia.org%3AJazz" class="Z3988"></span></span> </li> <li id="cite_note-227"><span class="mw-cite-backlink"><b><a href="#cite_ref-227">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation web cs1"><a rel="nofollow" class="external text" href="https://syncopatedtimes.com/the-sant-andreu-jazz-band-our-newest-jazz-stars-are-from-barcelona/">"The Sant Andreu Jazz Band: Our Newest Jazz Stars Are From—Barcelona? – The Syncopated Times"</a>. October 31, 2021<span class="reference-accessdate">. Retrieved <span class="nowrap">March 11,</span> 2023</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=unknown&rft.btitle=The+Sant+Andreu+Jazz+Band%3A+Our+Newest+Jazz+Stars+Are+From%E2%80%94Barcelona%3F+%E2%80%93+The+Syncopated+Times&rft.date=2021-10-31&rft_id=https%3A%2F%2Fsyncopatedtimes.com%2Fthe-sant-andreu-jazz-band-our-newest-jazz-stars-are-from-barcelona%2F&rfr_id=info%3Asid%2Fen.wikipedia.org%3AJazz" class="Z3988"></span></span> </li> <li id="cite_note-228"><span class="mw-cite-backlink"><b><a href="#cite_ref-228">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFMorrison2022" class="citation news cs1">Morrison, Allen (July 18, 2022). <a rel="nofollow" class="external text" href="https://www.theguardian.com/music/2022/jul/18/live-from-emmets-place-jazz">"Live From Emmet's Place: inside New York's most exclusive jazz concert"</a>. <i>The Guardian</i>. <a href="/wiki/ISSN_(identifier)" class="mw-redirect" title="ISSN (identifier)">ISSN</a> <a rel="nofollow" class="external text" href="https://search.worldcat.org/issn/0261-3077">0261-3077</a><span class="reference-accessdate">. Retrieved <span class="nowrap">March 11,</span> 2023</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=The+Guardian&rft.atitle=Live+From+Emmet%27s+Place%3A+inside+New+York%27s+most+exclusive+jazz+concert&rft.date=2022-07-18&rft.issn=0261-3077&rft.aulast=Morrison&rft.aufirst=Allen&rft_id=https%3A%2F%2Fwww.theguardian.com%2Fmusic%2F2022%2Fjul%2F18%2Flive-from-emmets-place-jazz&rfr_id=info%3Asid%2Fen.wikipedia.org%3AJazz" class="Z3988"></span></span> </li> </ol></div> <div class="mw-heading mw-heading3"><h3 id="General_and_cited_references">General and cited references</h3></div> <ul><li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFCooke1999" class="citation book cs1">Cooke, Mervyn (1999). <a rel="nofollow" class="external text" href="https://archive.org/details/jazz00cook"><i>Jazz</i></a>. London: Thames and Hudson. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-500-20318-7" title="Special:BookSources/978-0-500-20318-7"><bdi>978-0-500-20318-7</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Jazz&rft.place=London&rft.pub=Thames+and+Hudson&rft.date=1999&rft.isbn=978-0-500-20318-7&rft.aulast=Cooke&rft.aufirst=Mervyn&rft_id=https%3A%2F%2Farchive.org%2Fdetails%2Fjazz00cook&rfr_id=info%3Asid%2Fen.wikipedia.org%3AJazz" class="Z3988"></span>.</li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFCollier1978" class="citation book cs1"><a href="/wiki/James_Lincoln_Collier" title="James Lincoln Collier">Collier, James Lincoln</a> (1978). <i>The Making of Jazz: A Comprehensive History</i>. Dell Publishing.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=The+Making+of+Jazz%3A+A+Comprehensive+History&rft.pub=Dell+Publishing&rft.date=1978&rft.aulast=Collier&rft.aufirst=James+Lincoln&rfr_id=info%3Asid%2Fen.wikipedia.org%3AJazz" class="Z3988"></span></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFDance1983" class="citation book cs1"><a href="/wiki/Stanley_Dance" title="Stanley Dance">Dance, Stanley</a> (1983). <i>The World of Earl Hines</i>. Da Capo Press. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-306-80182-5" title="Special:BookSources/0-306-80182-5"><bdi>0-306-80182-5</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=The+World+of+Earl+Hines&rft.pub=Da+Capo+Press&rft.date=1983&rft.isbn=0-306-80182-5&rft.aulast=Dance&rft.aufirst=Stanley&rfr_id=info%3Asid%2Fen.wikipedia.org%3AJazz" class="Z3988"></span> Includes a 120-page interview with Hines plus many photos.</li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFElsdon2003" class="citation journal cs1">Elsdon, Peter (2003). <a rel="nofollow" class="external text" href="https://web.archive.org/web/20131101142244/http://www.fzmw.de/2003/2003_12.htm">"Review: <i>The Cambridge Companion to Jazz</i>, edited by Mervyn Cooke and David Horn"</a>. <i><a href="/wiki/Zeitschrift_f%C3%BCr_Musikwissenschaft" title="Zeitschrift für Musikwissenschaft">Zeitschrift für Musikwissenschaft</a></i> (6): 159–175. Archived from <a rel="nofollow" class="external text" href="http://www.fzmw.de/2003/2003_12.htm">the original</a> on November 1, 2013<span class="reference-accessdate">. Retrieved <span class="nowrap">April 30,</span> 2013</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=Zeitschrift+f%C3%BCr+Musikwissenschaft&rft.atitle=Review%3A+The+Cambridge+Companion+to+Jazz%2C+edited+by+Mervyn+Cooke+and+David+Horn&rft.issue=6&rft.pages=159-175&rft.date=2003&rft.aulast=Elsdon&rft.aufirst=Peter&rft_id=http%3A%2F%2Fwww.fzmw.de%2F2003%2F2003_12.htm&rfr_id=info%3Asid%2Fen.wikipedia.org%3AJazz" class="Z3988"></span></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFGiddins1998" class="citation book cs1"><a href="/wiki/Gary_Giddins" title="Gary Giddins">Giddins, Gary</a> (1998). <i>Visions of Jazz: The First Century</i>. New York: Oxford University Press. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-19-507675-3" title="Special:BookSources/0-19-507675-3"><bdi>0-19-507675-3</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Visions+of+Jazz%3A+The+First+Century&rft.place=New+York&rft.pub=Oxford+University+Press&rft.date=1998&rft.isbn=0-19-507675-3&rft.aulast=Giddins&rft.aufirst=Gary&rfr_id=info%3Asid%2Fen.wikipedia.org%3AJazz" class="Z3988"></span></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFHandy1941" class="citation book cs1">Handy, W. C. (1941). <a href="/wiki/Arna_Bontemps" title="Arna Bontemps">Arna Bontemps</a> (ed.). <i>Father of the Blues: An Autobiography</i>. Foreword by Abbe Niles. New York: Macmillan Company.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Father+of+the+Blues%3A+An+Autobiography&rft.place=New+York&rft.pub=Macmillan+Company&rft.date=1941&rft.aulast=Handy&rft.aufirst=W.+C.&rfr_id=info%3Asid%2Fen.wikipedia.org%3AJazz" class="Z3988"></span> (no ISBN in this first printing).</li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFKubik1999" class="citation book cs1"><a href="/wiki/Gerhard_Kubik" title="Gerhard Kubik">Kubik, Gerhard</a> (1999). <i>Africa and the Blues</i>. Jackson, Mississippi: University Press of Mississippi.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Africa+and+the+Blues&rft.place=Jackson%2C+Mississippi&rft.pub=University+Press+of+Mississippi&rft.date=1999&rft.aulast=Kubik&rft.aufirst=Gerhard&rfr_id=info%3Asid%2Fen.wikipedia.org%3AJazz" class="Z3988"></span></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFKubik2005" class="citation journal cs1">Kubik, Gerhard (March 22, 2005). "Bebop: A Case in Point. The African Matrix in Jazz Harmonic Practices". <i><a href="/wiki/Black_Music_Research_Journal" title="Black Music Research Journal">Black Music Research Journal</a></i>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=Black+Music+Research+Journal&rft.atitle=Bebop%3A+A+Case+in+Point.+The+African+Matrix+in+Jazz+Harmonic+Practices&rft.date=2005-03-22&rft.aulast=Kubik&rft.aufirst=Gerhard&rfr_id=info%3Asid%2Fen.wikipedia.org%3AJazz" class="Z3988"></span></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFLevine1995" class="citation book cs1"><a href="/wiki/Mark_Levine_(musician)" title="Mark Levine (musician)">Levine, Mark</a> (1995). <a rel="nofollow" class="external text" href="https://books.google.com/books?id=iyNQpJ4oaMcC&pg=PT6"><i>The Jazz theory book</i></a>. Petaluma, California: Sher Music. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-1-883217-04-4" title="Special:BookSources/978-1-883217-04-4"><bdi>978-1-883217-04-4</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=The+Jazz+theory+book&rft.place=Petaluma%2C+California&rft.pub=Sher+Music&rft.date=1995&rft.isbn=978-1-883217-04-4&rft.aulast=Levine&rft.aufirst=Mark&rft_id=https%3A%2F%2Fbooks.google.com%2Fbooks%3Fid%3DiyNQpJ4oaMcC%26pg%3DPT6&rfr_id=info%3Asid%2Fen.wikipedia.org%3AJazz" class="Z3988"></span></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFLitweiler1984" class="citation book cs1">Litweiler, John (1984). <i>The Freedom Principle: Jazz After 1958</i>. Da Capo. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-306-80377-2" title="Special:BookSources/978-0-306-80377-2"><bdi>978-0-306-80377-2</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=The+Freedom+Principle%3A+Jazz+After+1958&rft.pub=Da+Capo&rft.date=1984&rft.isbn=978-0-306-80377-2&rft.aulast=Litweiler&rft.aufirst=John&rfr_id=info%3Asid%2Fen.wikipedia.org%3AJazz" class="Z3988"></span></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFPalmer1981" class="citation book cs1">Palmer, Robert (1981). <a rel="nofollow" class="external text" href="https://archive.org/details/deepblues00palme"><i>Deep Blues</i></a>. New York: Viking. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-670-49511-5" title="Special:BookSources/978-0-670-49511-5"><bdi>978-0-670-49511-5</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Deep+Blues&rft.place=New+York&rft.pub=Viking&rft.date=1981&rft.isbn=978-0-670-49511-5&rft.aulast=Palmer&rft.aufirst=Robert&rft_id=https%3A%2F%2Farchive.org%2Fdetails%2Fdeepblues00palme&rfr_id=info%3Asid%2Fen.wikipedia.org%3AJazz" class="Z3988"></span></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFPeñalosa2010" class="citation book cs1">Peñalosa, David (2010). <i>The Clave Matrix; Afro-Cuban Rhythm: Its Principles and African Origins</i>. Redway, CA: Bembe Inc. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-1-886502-80-2" title="Special:BookSources/978-1-886502-80-2"><bdi>978-1-886502-80-2</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=The+Clave+Matrix%3B+Afro-Cuban+Rhythm%3A+Its+Principles+and+African+Origins&rft.place=Redway%2C+CA&rft.pub=Bembe+Inc.&rft.date=2010&rft.isbn=978-1-886502-80-2&rft.aulast=Pe%C3%B1alosa&rft.aufirst=David&rfr_id=info%3Asid%2Fen.wikipedia.org%3AJazz" class="Z3988"></span></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFSchuller1968" class="citation book cs1"><a href="/wiki/Gunther_Schuller" title="Gunther Schuller">Schuller, Gunther</a> (1968). <i><a href="/wiki/Early_Jazz:_Its_Roots_and_Musical_Development" title="Early Jazz: Its Roots and Musical Development">Early Jazz: Its Roots and Musical Development</a></i>. New York: Oxford University Press.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Early+Jazz%3A+Its+Roots+and+Musical+Development&rft.place=New+York&rft.pub=Oxford+University+Press&rft.date=1968&rft.aulast=Schuller&rft.aufirst=Gunther&rfr_id=info%3Asid%2Fen.wikipedia.org%3AJazz" class="Z3988"></span> New printing 1986.</li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFTucker1995" class="citation book cs1"><a href="/wiki/Mark_Tucker_(musicologist)" class="mw-redirect" title="Mark Tucker (musicologist)">Tucker, Mark</a>, ed. (1995) [1991]. <i>Ellington: The Early Years</i> (reprint ed.). Urbana and Chicago: University of Illinois Press. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-252-06509-5" title="Special:BookSources/978-0-252-06509-5"><bdi>978-0-252-06509-5</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Ellington%3A+The+Early+Years&rft.place=Urbana+and+Chicago&rft.edition=reprint&rft.pub=University+of+Illinois+Press&rft.date=1995&rft.isbn=978-0-252-06509-5&rfr_id=info%3Asid%2Fen.wikipedia.org%3AJazz" class="Z3988"></span></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFWardBurns2000" class="citation book cs1"><a href="/wiki/Geoffrey_C._Ward" title="Geoffrey C. Ward">Ward, Geoffrey C.</a>; <a href="/wiki/Ken_Burns" title="Ken Burns">Burns, Ken</a> (2000). <i>Jazz: A History of America's Music</i> (1st ed.). New York: Alfred A. Knopf. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-679-76539-4" title="Special:BookSources/978-0-679-76539-4"><bdi>978-0-679-76539-4</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Jazz%3A+A+History+of+America%27s+Music&rft.place=New+York&rft.edition=1st&rft.pub=Alfred+A.+Knopf&rft.date=2000&rft.isbn=978-0-679-76539-4&rft.aulast=Ward&rft.aufirst=Geoffrey+C.&rft.au=Burns%2C+Ken&rfr_id=info%3Asid%2Fen.wikipedia.org%3AJazz" class="Z3988"></span> Also: <a href="/wiki/Jazz_(miniseries)" title="Jazz (miniseries)"><i>Jazz</i> (2001 miniseries)</a>.</li></ul> <div class="mw-heading mw-heading2"><h2 id="Further_reading">Further reading</h2></div> <ul><li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation book cs1 cs1-prop-interwiki-linked-name"><a href="/wiki/Joachim-Ernst_Berendt" title="Joachim-Ernst Berendt">Berendt, Joachim Ernst</a>; <a href="https://de.wikipedia.org/wiki/G%C3%BCnther_Huesmann" class="extiw" title="de:Günther Huesmann">Huesmann, Günther</a> <span class="cs1-format">[in German]</span>, eds. (2005). <i>Das Jazzbuch</i> (7th ed.). Frankfurt am Main: S. Fischer. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/3-10-003802-9" title="Special:BookSources/3-10-003802-9"><bdi>3-10-003802-9</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Das+Jazzbuch&rft.place=Frankfurt+am+Main&rft.edition=7th&rft.pub=S.+Fischer&rft.date=2005&rft.isbn=3-10-003802-9&rfr_id=info%3Asid%2Fen.wikipedia.org%3AJazz" class="Z3988"></span></li> <li><a href="/wiki/Ian_Carr" title="Ian Carr">Carr, Ian</a>. <i>Music Outside: Contemporary Jazz in Britain.</i> 2nd edition. London: Northway. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-9550908-6-8" title="Special:BookSources/978-0-9550908-6-8">978-0-9550908-6-8</a></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation audio-visual cs1"><a href="/wiki/Miles_Davis" title="Miles Davis">Davis, Miles</a> (2005). <i>Boplicity</i>. Delta Music plc. UPC 4-006408-264637.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=unknown&rft.btitle=Boplicity&rft.pub=Delta+Music+plc.&rft.date=2005&rft.aulast=Davis&rft.aufirst=Miles&rfr_id=info%3Asid%2Fen.wikipedia.org%3AJazz" class="Z3988"></span></li> <li>Downbeat (2009). <i>The Great Jazz Interviews</i>: Frank Alkyer & Ed Enright (eds). Hal Leonard Books. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-1-4234-6384-9" title="Special:BookSources/978-1-4234-6384-9">978-1-4234-6384-9</a></li> <li>Gridley, Mark C. 2004. <i>Concise Guide to Jazz</i>, fourth edition. Upper Saddle River, New Jersey: Pearson/Prentice Hall. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-13-182657-3" title="Special:BookSources/0-13-182657-3">0-13-182657-3</a></li> <li>Hendler, Maximilian (2023). <i>Prehistory of Jazz</i>. Vienna: Hollitzer (=Studies in Jazz Research Vol. 16). <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-3-99012-980-7" title="Special:BookSources/978-3-99012-980-7">978-3-99012-980-7</a></li> <li>Nairn, Charlie. 1975. <i>Earl 'Fatha' Hines</i>: 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 [who hold The <a href="/wiki/Earl_Hines" title="Earl Hines">Earl Hines</a> Collection/Archive], University of California, Berkeley: also University of Chicago, Hogan Jazz Archive Tulane University New Orleans and Louis Armstrong House Museum Libraries.</li> <li>Schuller, Gunther. 1991. <i>The Swing Era: The Development of Jazz, 1930–1945</i>. Oxford University Press.</li></ul> <div class="mw-heading mw-heading2"><h2 id="External_links">External links</h2></div> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1235681985"><div class="side-box metadata side-box-right"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1126788409"> <div class="side-box-abovebelow"> <a href="/wiki/Wikipedia:The_Wikipedia_Library" title="Wikipedia:The Wikipedia Library">Library resources</a> about <br /> <b>Jazz</b> <hr /></div> <div class="side-box-flex"> <div class="side-box-text plainlist"><ul><li><a class="external text" href="https://ftl.toolforge.org/cgi-bin/ftl?st=&su=jazz">Resources in your library</a></li> <li><a class="external text" href="https://ftl.toolforge.org/cgi-bin/ftl?st=&su=jazz&library=0CHOOSE0">Resources in other libraries</a></li> </ul></div></div> </div> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1235681985"><style 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title="c:Category:Jazz">Media</a> from Commons</span></li><li><span class="sister-logo"><span class="mw-valign-middle" typeof="mw:File"><span><img alt="" src="//upload.wikimedia.org/wikipedia/commons/thumb/2/24/Wikinews-logo.svg/27px-Wikinews-logo.svg.png" decoding="async" width="27" height="15" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/2/24/Wikinews-logo.svg/41px-Wikinews-logo.svg.png 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/2/24/Wikinews-logo.svg/54px-Wikinews-logo.svg.png 2x" data-file-width="759" data-file-height="415" /></span></span></span><span class="sister-link"><a href="https://en.wikinews.org/wiki/Category:Jazz" class="extiw" title="n:Category:Jazz">News</a> from Wikinews</span></li><li><span class="sister-logo"><span class="mw-valign-middle" typeof="mw:File"><span><img alt="" src="//upload.wikimedia.org/wikipedia/commons/thumb/f/fa/Wikiquote-logo.svg/23px-Wikiquote-logo.svg.png" decoding="async" width="23" height="27" 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/></span></span></span><span class="sister-link"><a href="https://en.wikisource.org/wiki/Category:Jazz" class="extiw" title="s:Category:Jazz">Texts</a> from Wikisource</span></li><li><span class="sister-logo"><span class="mw-valign-middle" typeof="mw:File"><span><img alt="" src="//upload.wikimedia.org/wikipedia/commons/thumb/f/fa/Wikibooks-logo.svg/27px-Wikibooks-logo.svg.png" decoding="async" width="27" height="27" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/f/fa/Wikibooks-logo.svg/41px-Wikibooks-logo.svg.png 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/f/fa/Wikibooks-logo.svg/54px-Wikibooks-logo.svg.png 2x" data-file-width="300" data-file-height="300" /></span></span></span><span class="sister-link"><a href="https://en.wikibooks.org/wiki/Music_Theory/Jazz" class="extiw" title="b:Music Theory/Jazz">Textbooks</a> from Wikibooks</span></li><li><span class="sister-logo"><span class="mw-valign-middle" typeof="mw:File"><span><img alt="" src="//upload.wikimedia.org/wikipedia/commons/thumb/0/0b/Wikiversity_logo_2017.svg/27px-Wikiversity_logo_2017.svg.png" decoding="async" width="27" height="22" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/0/0b/Wikiversity_logo_2017.svg/41px-Wikiversity_logo_2017.svg.png 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/0/0b/Wikiversity_logo_2017.svg/54px-Wikiversity_logo_2017.svg.png 2x" data-file-width="626" data-file-height="512" /></span></span></span><span class="sister-link"><a href="https://en.wikiversity.org/wiki/Jazz" class="extiw" title="v:Jazz">Resources</a> from Wikiversity</span></li><li><span class="sister-logo"><span class="mw-valign-middle" typeof="mw:File"><span><img alt="" src="//upload.wikimedia.org/wikipedia/commons/thumb/d/dd/Wikivoyage-Logo-v3-icon.svg/27px-Wikivoyage-Logo-v3-icon.svg.png" decoding="async" width="27" height="27" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/d/dd/Wikivoyage-Logo-v3-icon.svg/41px-Wikivoyage-Logo-v3-icon.svg.png 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/d/dd/Wikivoyage-Logo-v3-icon.svg/54px-Wikivoyage-Logo-v3-icon.svg.png 2x" data-file-width="193" data-file-height="193" /></span></span></span><span class="sister-link"><a href="https://en.wikivoyage.org/wiki/Jazz" class="extiw" title="voy:Jazz">Travel information</a> from Wikivoyage</span></li><li><span class="sister-logo"><span class="mw-valign-middle" typeof="mw:File"><span><img alt="" src="//upload.wikimedia.org/wikipedia/commons/thumb/f/ff/Wikidata-logo.svg/27px-Wikidata-logo.svg.png" decoding="async" width="27" height="15" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/f/ff/Wikidata-logo.svg/41px-Wikidata-logo.svg.png 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/f/ff/Wikidata-logo.svg/54px-Wikidata-logo.svg.png 2x" data-file-width="1050" data-file-height="590" /></span></span></span><span class="sister-link"><a href="https://www.wikidata.org/wiki/Q8341" class="extiw" title="d:Q8341">Data</a> from Wikidata</span></li></ul></div></div> </div> <ul><li><a rel="nofollow" class="external text" href="https://linkedjazz.org/network/">LinkedJazz</a></li> <li><a rel="nofollow" class="external text" href="https://americanhistory.si.edu/smithsonian-jazz">Jazz at the Smithsonian Museum</a></li> <li><a rel="nofollow" class="external text" href="https://web.archive.org/web/20101229140310/http://www.jazzhall.com/">Alabama Jazz Hall of Fame website</a></li> <li><a rel="nofollow" class="external text" href="https://web.archive.org/web/20101113041113/http://www.redhotjazz.com/">RedHotJazz.com</a></li> <li><a rel="nofollow" class="external text" href="https://2021.jazz.org/">Jazz at Lincoln Center</a></li> <li><a rel="nofollow" class="external text" href="https://www.americanjazzmuseum.org/">American Jazz Museum</a> website</li></ul> <div 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talk:Jazz"><abbr title="Discuss this template">t</abbr></a></li><li class="nv-edit"><a href="/wiki/Special:EditPage/Template:Jazz" title="Special:EditPage/Template:Jazz"><abbr title="Edit this template">e</abbr></a></li></ul></div><div id="Jazz" style="font-size:114%;margin:0 4em"><a class="mw-selflink selflink">Jazz</a></div></th></tr><tr><th scope="row" class="navbox-group" style="background: Pink;width:1%">General topics</th><td class="navbox-list-with-group navbox-list navbox-odd hlist" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/Outline_of_jazz" title="Outline of jazz">Outline of jazz</a></li> <li><a href="/wiki/Jazz_(word)" title="Jazz (word)">Jazz (word)</a></li> <li><a href="/wiki/Jazz_band" title="Jazz band">Jazz band</a></li> <li><a href="/wiki/Big_band" title="Big band">Big band</a></li> <li><a href="/wiki/Musical_improvisation" title="Musical improvisation">Improvisation</a> <ul><li><a href="/wiki/Jazz_improvisation" title="Jazz improvisation">Jazz</a></li></ul></li> <li><a href="/wiki/Jam_session" title="Jam session">Jam session</a></li> <li><a href="/wiki/Scat_singing" title="Scat singing">Scat singing</a></li> <li><a href="/wiki/Swing_(jazz_performance_style)" class="mw-redirect" title="Swing (jazz performance style)">Swing performance</a></li> <li><a href="/wiki/Jazz_bass" title="Jazz bass">Jazz bass</a></li> <li><a href="/wiki/Jazz_drumming" title="Jazz drumming">Jazz drumming</a></li> <li><a href="/wiki/Jazz_guitar" title="Jazz guitar">Jazz guitar</a></li> <li><a href="/wiki/French_horn_in_jazz" title="French horn in jazz">French horn in jazz</a></li> <li><a href="/wiki/Jazz_piano" title="Jazz piano">Jazz piano</a></li> <li><a href="/wiki/Jazz_trombone" title="Jazz trombone">Jazz trombone</a></li> <li><a href="/wiki/Jazz_violin" title="Jazz violin">Jazz violin</a></li> <li><a href="/wiki/Vocal_jazz" title="Vocal jazz">Vocal jazz</a></li> <li><a href="/wiki/Women_in_jazz" title="Women in jazz">Women in jazz</a></li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="background: Pink;width:1%"><a href="/wiki/List_of_jazz_genres" title="List of jazz genres">Genres</a></th><td class="navbox-list-with-group navbox-list navbox-even hlist" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/Avant-garde_jazz" title="Avant-garde jazz">Avant-garde jazz</a></li> <li><a href="/wiki/Bebop" title="Bebop">Bebop</a> <ul><li><a href="/wiki/Hard_bop" title="Hard bop">Hard bop</a></li> <li><a href="/wiki/Neo-bop" title="Neo-bop">Neo-bop</a></li> <li><a href="/wiki/Post-bop" title="Post-bop">Post-bop</a></li></ul></li> <li><a href="/wiki/Cape_jazz" title="Cape jazz">Cape jazz</a></li> <li><a href="/wiki/Chamber_jazz" title="Chamber jazz">Chamber jazz</a></li> <li><a href="/wiki/Cool_jazz" title="Cool jazz">Cool jazz</a></li> <li><a href="/wiki/Dixieland" class="mw-redirect" title="Dixieland">Dixieland</a></li> <li><a href="/wiki/Flamenco_jazz" title="Flamenco jazz">Flamenco jazz</a></li> <li><a href="/wiki/Folk_jazz" title="Folk jazz">Folk jazz</a></li> <li><a href="/wiki/Free_jazz" title="Free jazz">Free jazz</a> <ul><li><a href="/wiki/Free_funk" title="Free funk">Free funk</a></li> <li><a href="/wiki/Free_improvisation" title="Free improvisation">Free improvisation</a></li> <li><a href="/wiki/Punk_jazz" title="Punk jazz">Punk jazz</a></li></ul></li> <li><a href="/wiki/Gypsy_jazz" title="Gypsy jazz">Gypsy jazz</a></li> <li><a href="/wiki/Jazz-funk" title="Jazz-funk">Jazz-funk</a></li> <li><a href="/wiki/Jazz_fusion" title="Jazz fusion">Jazz fusion</a></li> <li><a href="/wiki/Jazz_rap" title="Jazz rap">Jazz rap</a></li> <li><a href="/wiki/Latin_jazz" title="Latin jazz">Latin jazz</a> <ul><li><a href="/wiki/Afro-Cuban_jazz" title="Afro-Cuban jazz">Afro-Cuban jazz</a></li></ul></li> <li><a href="/wiki/M-Base" title="M-Base">M-Base</a></li> <li><a href="/wiki/Mainstream_jazz" title="Mainstream jazz">Mainstream jazz</a></li> <li><a href="/wiki/Marabi" title="Marabi">Marabi</a></li> <li><a href="/wiki/Modal_jazz" title="Modal jazz">Modal jazz</a></li> <li><a href="/wiki/Nu_jazz" title="Nu jazz">Nu jazz</a></li> <li><a href="/wiki/Orchestral_jazz" title="Orchestral jazz">Orchestral jazz</a></li> <li><a href="/wiki/Organ_trio" title="Organ trio">Organ trio</a></li> <li><a href="/wiki/Progressive_jazz" class="mw-redirect" title="Progressive jazz">Progressive jazz</a></li> <li><a href="/wiki/Ska_jazz" title="Ska jazz">Ska jazz</a></li> <li><a href="/wiki/Smooth_jazz" title="Smooth jazz">Smooth jazz</a></li> <li><a href="/wiki/Soul_jazz" title="Soul jazz">Soul jazz</a></li> <li><a href="/wiki/Spiritual_jazz" title="Spiritual jazz">Spiritual jazz</a> <ul><li><a href="/wiki/Sacred_jazz" title="Sacred jazz">Sacred jazz</a></li></ul></li> <li><a href="/wiki/Stride_(music)" title="Stride (music)">Stride</a></li> <li><a href="/wiki/Swing_music" title="Swing music">Swing</a> <ul><li><a href="/wiki/Swing_revival" title="Swing revival">Swing revival</a></li></ul></li> <li><a href="/wiki/Third_stream" title="Third stream">Third stream</a></li> <li><a href="/wiki/Trad_jazz" title="Trad jazz">Trad jazz</a></li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="background: Pink;width:1%"><a href="/wiki/List_of_jazz_musicians" title="List of jazz musicians">Musicians</a></th><td class="navbox-list-with-group navbox-list navbox-odd hlist" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/List_of_jazz_bassists" title="List of jazz bassists">Bassists</a></li> <li><a href="/wiki/List_of_jazz_musicians#Clarinet" title="List of jazz musicians">Clarinetists</a></li> <li><a href="/wiki/List_of_jazz_drummers" title="List of jazz drummers">Drummers</a></li> <li><a href="/wiki/List_of_jazz_guitarists" title="List of jazz guitarists">Guitarists</a></li> <li><a href="/wiki/List_of_jazz_organists" title="List of jazz organists">Organists</a></li> <li><a href="/wiki/List_of_jazz_percussionists" title="List of jazz percussionists">Percussionists</a></li> <li><a href="/wiki/List_of_jazz_pianists" title="List of jazz pianists">Pianists</a></li> <li><a href="/wiki/List_of_jazz_saxophonists" title="List of jazz saxophonists">Saxophonists</a></li> <li><a href="/wiki/List_of_jazz_trombonists" title="List of jazz trombonists">Trombonists</a></li> <li><a href="/wiki/List_of_jazz_trumpeters" title="List of jazz trumpeters">Trumpeters</a></li> <li><a href="/wiki/List_of_vibraphonists" title="List of vibraphonists">Vibraphonists</a></li> <li><a href="/wiki/List_of_jazz_violinists" title="List of jazz violinists">Violinists</a></li> <li><a href="/wiki/List_of_jazz_vocalists" title="List of jazz vocalists">Vocalists</a></li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="background: Pink;width:1%">Musicians by genre</th><td class="navbox-list-with-group navbox-list navbox-even hlist" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/List_of_bebop_musicians" title="List of bebop musicians">Bebop</a></li> <li><a href="/wiki/List_of_chamber_jazz_musicians" title="List of chamber jazz musicians">Chamber jazz</a></li> <li><a href="/wiki/List_of_cool_jazz_and_West_Coast_jazz_musicians" title="List of cool jazz and West Coast jazz musicians">Cool jazz and West Coast jazz</a></li> <li><a href="/wiki/List_of_hard_bop_musicians" title="List of hard bop musicians">Hard bop</a></li> <li><a href="/wiki/List_of_jazz_fusion_musicians" title="List of jazz fusion musicians">Jazz fusion</a></li> <li><a href="/wiki/List_of_scat_singers" title="List of scat singers">Scat</a></li> <li><a href="/wiki/List_of_smooth_jazz_musicians" title="List of smooth jazz musicians">Smooth jazz</a></li> <li><a href="/wiki/List_of_soul_jazz_musicians" title="List of soul jazz musicians">Soul jazz</a></li> <li><a href="/wiki/List_of_swing_musicians" title="List of swing musicians">Swing</a></li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="background: Pink;width:1%"><a href="/wiki/Jazz_standard" title="Jazz standard">Standards</a></th><td class="navbox-list-with-group navbox-list navbox-odd hlist" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/List_of_pre-1920_jazz_standards" title="List of pre-1920 jazz standards">Pre-1920</a></li> <li><a href="/wiki/List_of_1920s_jazz_standards" title="List of 1920s jazz standards">1920s</a></li> <li><a href="/wiki/List_of_1930s_jazz_standards" title="List of 1930s jazz standards">1930s</a></li> <li><a href="/wiki/List_of_1940s_jazz_standards" title="List of 1940s jazz standards">1940s</a></li> <li><a href="/wiki/List_of_post-1950_jazz_standards" title="List of post-1950 jazz standards">post-1950</a></li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="background: Pink;width:1%">Discographies</th><td class="navbox-list-with-group navbox-list navbox-even hlist" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/Bethlehem_Records" title="Bethlehem Records">Bethlehem</a></li> <li><a href="/wiki/Blue_Note_Records_discography" title="Blue Note Records discography">Blue Note</a></li> <li><a href="/wiki/BYG_Records" title="BYG Records">BYG</a></li> <li><a href="/wiki/Cobblestone_Records" title="Cobblestone Records">Cobblestone</a></li> <li><a href="/wiki/Contemporary_Records" title="Contemporary Records">Contemporary</a></li> <li><a href="/wiki/CTI_Records" title="CTI Records">CTI</a></li> <li><a href="/wiki/ECM_Records" title="ECM Records">ECM</a></li> <li><a href="/wiki/ESP-Disk" title="ESP-Disk">ESP-Disk</a></li> <li><a href="/wiki/Flying_Dutchman_Records" title="Flying Dutchman Records">Flying Dutchman</a></li> <li><a href="/wiki/Freedom_Records" title="Freedom Records">Freedom</a></li> <li><a href="/wiki/Groove_Merchant" title="Groove Merchant">Groove Merchant</a></li> <li><a href="/wiki/Impulse!_Records_discography" title="Impulse! Records discography">Impulse!</a></li> <li><a href="/wiki/India_Navigation" title="India Navigation">India Navigation</a></li> <li><a href="/wiki/JMT_Records" title="JMT Records">JMT</a></li> <li><a href="/wiki/Landmark_Records" title="Landmark Records">Landmark</a></li> <li><a href="/wiki/Mainstream_Records" title="Mainstream Records">Mainstream</a></li> <li><a href="/wiki/Milestone_Records_discography" title="Milestone Records discography">Milestone</a></li> <li><a href="/wiki/MPS_Records" title="MPS Records">MPS Records</a></li> <li><a href="/wiki/MPS_Records_discography" title="MPS Records discography">MPS</a></li> <li><a href="/wiki/Muse_Records" title="Muse Records">Muse</a></li> <li><a href="/wiki/Prestige_Records_discography" title="Prestige Records discography">Prestige</a></li> <li><a href="/wiki/Riverside_Records_discography" title="Riverside Records discography">Riverside</a></li> <li><a href="/wiki/Strata-East_Records" title="Strata-East Records">Strata-East</a></li> <li><a href="/wiki/Verve_Records_discography" title="Verve Records discography">Verve</a></li> <li><a href="/wiki/Winter_%26_Winter_Records" title="Winter & Winter Records">Winter & Winter</a></li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="background: Pink;width:1%"><a href="/wiki/List_of_jazz_festivals" title="List of jazz festivals">Festivals</a></th><td class="navbox-list-with-group navbox-list navbox-odd hlist" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/Beaches_International_Jazz_Festival" title="Beaches International Jazz Festival">Beaches (Toronto)</a></li> <li><a href="/wiki/Cape_Town_International_Jazz_Festival" title="Cape Town International Jazz Festival">Cape Town</a></li> <li><a href="/wiki/Chicago_Jazz_Festival" title="Chicago Jazz Festival">Chicago</a></li> <li><a href="/wiki/Copenhagen_Jazz_Festival" title="Copenhagen Jazz Festival">Copenhagen</a></li> <li><a href="/wiki/Jakarta_International_Java_Jazz_Festival" class="mw-redirect" title="Jakarta International Java Jazz Festival">Jakarta</a></li> <li><a href="/wiki/Monterey_Jazz_Festival" title="Monterey Jazz Festival">Monterey</a></li> <li><a href="/wiki/Montreal_International_Jazz_Festival" title="Montreal International Jazz Festival">Montreal</a></li> <li><a href="/wiki/Montreux_Jazz_Festival" title="Montreux Jazz Festival">Montreux</a></li> <li><a href="/wiki/New_Orleans_Jazz_%26_Heritage_Festival" title="New Orleans Jazz & Heritage Festival">New Orleans</a></li> <li><a href="/wiki/Newport_Jazz_Festival" title="Newport Jazz Festival">Newport</a></li> <li><a href="/wiki/North_Sea_Jazz_Festival" title="North Sea Jazz Festival">North Sea</a></li> <li><a href="/wiki/Pori_Jazz" title="Pori Jazz">Pori</a></li> <li><a href="/wiki/Saint_Lucia_Jazz_Festival" class="mw-redirect" title="Saint Lucia Jazz Festival">Saint Lucia</a></li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="background: Pink;width:1%">Culture</th><td class="navbox-list-with-group navbox-list navbox-even hlist" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/List_of_jazz_contrafacts" title="List of jazz contrafacts">Contrafacts</a></li> <li><a href="/wiki/List_of_jazz_institutions_and_organizations" title="List of jazz institutions and organizations">Institutions and organizations</a></li> <li><a href="/wiki/Jazz_funeral" title="Jazz funeral">Jazz funeral</a></li> <li><a href="/wiki/Jazz_poetry" title="Jazz poetry">Jazz poetry</a></li> <li><a href="/wiki/Jazz_royalty" title="Jazz royalty">Jazz royalty</a></li> <li><a href="/wiki/Jazz_harmony" title="Jazz harmony">Jazz theory</a> <ul><li><i><a href="/wiki/Template:Jazz_theory" title="Template:Jazz theory">See Template: Jazz theory</a></i></li></ul></li> <li><a href="/wiki/Rare_groove" title="Rare groove">Rare groove</a></li> <li><a href="/wiki/Second_line_(parades)" title="Second line (parades)">Second line</a></li> <li><a href="/wiki/List_of_jazz_venues" title="List of jazz venues">Venues</a></li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="background: Pink;width:1%">Regional scenes</th><td class="navbox-list-with-group navbox-list navbox-odd hlist" style="width:100%;padding:0"><div style="padding:0 0.25em"></div><table class="nowraplinks navbox-subgroup" style="border-spacing:0"><tbody><tr><th scope="row" class="navbox-group" style="background: Pink;width:1%">African</th><td class="navbox-list-with-group navbox-list navbox-odd" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/Ethio-jazz" title="Ethio-jazz">Ethiopia</a></li> <li><a href="/wiki/Music_of_Malawi#Malawian_jazz" title="Music of Malawi">Malawian</a></li> <li><a href="/wiki/South_African_jazz" title="South African jazz">South African</a> <ul><li><a href="/wiki/Cape_jazz" title="Cape jazz">Cape jazz</a></li> <li><a href="/wiki/Marabi" title="Marabi">Marabi</a></li></ul></li> <li><a href="/wiki/Zimbabwean_jazz" title="Zimbabwean jazz">Zimbabwean</a></li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="background: Pink;width:1%">Asian</th><td class="navbox-list-with-group navbox-list navbox-even" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/Armenian_jazz" title="Armenian jazz">Armenian</a></li> <li><a href="/wiki/Azerbaijani_jazz" title="Azerbaijani jazz">Azerbaijani</a> <ul><li><a href="/wiki/Jazz_mugham" title="Jazz mugham">Jazz mugham</a></li></ul></li> <li><a href="/wiki/Jazz_in_India" title="Jazz in India">Indian</a> <ul><li><a href="/wiki/Indo_jazz" title="Indo jazz">Indo jazz</a></li> <li><a href="/wiki/Sitar_in_jazz" title="Sitar in jazz">Sitar</a></li></ul></li> <li><a href="/wiki/Iranian_jazz" title="Iranian jazz">Iranian</a></li> <li><a href="/wiki/Japanese_jazz" title="Japanese jazz">Japanese</a></li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="background: Pink;width:1%">European</th><td class="navbox-list-with-group navbox-list navbox-odd" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/Balkan_jazz" title="Balkan jazz">Balkan</a> <ul><li><a href="/wiki/Bulgarian_jazz" title="Bulgarian jazz">Bulgarian</a></li></ul></li> <li><a href="/wiki/Belgian_jazz" title="Belgian jazz">Belgian</a></li> <li><a href="/wiki/British_jazz" title="British jazz">British</a> <ul><li><a href="/wiki/British_dance_band" title="British dance band">British dance band</a></li></ul></li> <li><a href="/wiki/Continental_jazz" title="Continental jazz">Continental European</a></li> <li><a href="/wiki/Jazz_in_Czechoslovakia" title="Jazz in Czechoslovakia">Czech and Slovak</a></li> <li><a href="/wiki/Danish_jazz" title="Danish jazz">Danish</a></li> <li><a href="/wiki/Dutch_jazz" title="Dutch jazz">Dutch</a></li> <li><a href="/wiki/European_free_jazz" title="European free jazz">European free jazz</a></li> <li><a href="/wiki/French_jazz" title="French jazz">French</a></li> <li><a href="/wiki/German_jazz" title="German jazz">German</a></li> <li><a href="/wiki/Italian_jazz" title="Italian jazz">Italian</a></li> <li><a href="/wiki/Polish_jazz" title="Polish jazz">Polish</a> <ul><li><a href="/wiki/Yass_(music)" title="Yass (music)">Yass</a></li></ul></li> <li><a href="/wiki/Spanish_jazz" title="Spanish jazz">Spanish</a> <ul><li><a href="/wiki/Flamenco_jazz" title="Flamenco jazz">Flamenco jazz</a></li></ul></li> <li><a href="/wiki/Swedish_jazz" title="Swedish jazz">Swedish</a></li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="background: Pink;width:1%">North American</th><td class="navbox-list-with-group navbox-list navbox-even" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/Canadian_jazz" title="Canadian jazz">Canadian</a></li> <li><a href="/wiki/Mini-jazz" title="Mini-jazz">Haitian</a></li> <li><a href="/wiki/Latin_jazz" title="Latin jazz">Latin American</a> <ul><li><a href="/wiki/Afro-Cuban_jazz" title="Afro-Cuban jazz">Cuban</a></li></ul></li></ul> </div><table class="nowraplinks navbox-subgroup" style="border-spacing:0"><tbody><tr><th id="American" scope="row" class="navbox-group" style="background: Pink;width:1%">American</th><td class="navbox-list-with-group navbox-list navbox-odd" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/Music_of_Baltimore#Jazz" title="Music of Baltimore">Baltimore jazz</a></li> <li><a href="/wiki/Music_of_Chicago#Jazz" title="Music of Chicago">Chicago</a></li> <li><a href="/wiki/Kansas_City_jazz" title="Kansas City jazz">Kansas City</a></li> <li><a href="/wiki/Music_of_New_Orleans#Jazz" title="Music of New Orleans">New Orleans</a></li> <li><a href="/wiki/Music_of_New_York_City#Blues_and_jazz" title="Music of New York City">New York City</a></li> <li><a href="/wiki/Music_of_Washington,_D.C.#Jazz" title="Music of Washington, D.C.">Washington, D.C.</a></li> <li><a href="/wiki/West_Coast_jazz" title="West Coast jazz">West Coast</a></li></ul> </div></td></tr></tbody></table><div> </div></td></tr><tr><th scope="row" class="navbox-group" style="background: Pink;width:1%">Oceanian</th><td class="navbox-list-with-group navbox-list navbox-even" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/Australian_jazz" title="Australian jazz">Australian</a></li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="background: Pink;width:1%">South American</th><td class="navbox-list-with-group navbox-list navbox-odd" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/Brazilian_jazz" title="Brazilian jazz">Brazilian</a></li> <li><a href="/wiki/Latin_jazz" title="Latin jazz">Latin American</a></li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="background: Pink;width:1%">Worldwide</th><td class="navbox-list-with-group navbox-list navbox-even" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/Ethno_jazz" title="Ethno jazz">Ethno jazz</a></li></ul> </div></td></tr></tbody></table><div></div></td></tr><tr><th scope="row" class="navbox-group" style="background: Pink;width:1%">History</th><td class="navbox-list-with-group navbox-list navbox-odd hlist" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/Bibliography_of_jazz" title="Bibliography of jazz">Bibliography of jazz</a></li> <li><a href="/wiki/Blues" title="Blues">Blues</a></li> <li><a href="/wiki/British_dance_band" title="British dance band">British dance band</a></li> <li><a href="/wiki/Ragtime" title="Ragtime">Ragtime</a></li> <li><a href="/wiki/Jazz_Age" title="Jazz Age">Jazz Age</a></li> <li><a href="/wiki/Continental_jazz" title="Continental jazz">Continental jazz</a></li> <li><a href="/wiki/Straight-ahead_jazz" title="Straight-ahead jazz">Straight-ahead jazz</a></li> <li><a href="/wiki/List_of_pre-1920_jazz_standards" title="List of pre-1920 jazz standards">Pre-1920</a></li> <li><a href="/wiki/1920s_in_jazz" title="1920s in jazz">1920s</a></li> <li><a href="/wiki/1930s_in_jazz" title="1930s in jazz">1930s</a></li> <li><a href="/wiki/1940s_in_jazz" title="1940s in jazz">1940s</a></li> <li><a href="/wiki/1950s_in_jazz" title="1950s in jazz">1950s</a></li> <li><a href="/wiki/1960s_in_jazz" title="1960s in jazz">1960s</a></li> <li><a href="/wiki/1970s_in_jazz" title="1970s in jazz">1970s</a></li> <li><a href="/wiki/1980s_in_jazz" title="1980s in jazz">1980s</a></li> <li><a href="/wiki/1990s_in_jazz" title="1990s in jazz">1990s</a></li> <li><a href="/wiki/2000s_in_jazz" title="2000s in jazz">2000s</a></li> <li><a href="/wiki/2010s_in_jazz" title="2010s in jazz">2010s</a></li> <li><a href="/wiki/2020_in_jazz" title="2020 in jazz">2020</a></li> <li><a href="/wiki/2021_in_jazz" title="2021 in jazz">2021</a></li> <li><a href="/wiki/2022_in_jazz" title="2022 in jazz">2022</a></li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="background: Pink;width:1%">Related</th><td class="navbox-list-with-group navbox-list navbox-even hlist" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/Acid_jazz" title="Acid jazz">Acid jazz</a></li> <li><a href="/wiki/Afrobeat" title="Afrobeat">Afrobeat</a></li> <li><a href="/wiki/Contradanza" title="Contradanza">Contradanza</a></li> <li><a href="/wiki/Blues" title="Blues">Blues</a> <ul><li><a href="/wiki/Jump_blues" title="Jump blues">Jump blues</a></li> <li><a href="/wiki/New_Orleans_blues" title="New Orleans blues">New Orleans blues</a></li></ul></li> <li><a href="/wiki/Brass_band" title="Brass band">Brass band</a></li> <li><a href="/wiki/Exotica" title="Exotica">Exotica</a></li> <li><a href="/wiki/Plugg_(music)" class="mw-redirect" title="Plugg (music)">Plugg</a></li> <li><a href="/wiki/Quiet_storm" title="Quiet storm">Quiet storm</a></li> <li><a href="/wiki/Ragtime" title="Ragtime">Ragtime</a> <ul><li><a href="/wiki/Novelty_piano" title="Novelty piano">Novelty ragtime</a></li></ul></li> <li><a href="/wiki/Sophisti-pop" title="Sophisti-pop">Sophisti-pop</a></li> <li><a href="/wiki/Music_of_West_Africa" title="Music of West Africa">West African music</a></li> <li><a href="/wiki/Western_swing" title="Western swing">Western swing</a></li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="background: Pink;width:1%">Media</th><td class="navbox-list-with-group navbox-list navbox-odd hlist" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/Album_covers_of_Blue_Note_Records" title="Album covers of Blue Note Records">Album covers of Blue Note Records</a></li> <li><i><a href="/wiki/Bird_(1988_film)" title="Bird (1988 film)">Bird</a></i></li> <li><a href="/wiki/Jazz_(miniseries)" title="Jazz (miniseries)"><i>Jazz</i> (miniseries)</a></li> <li><i><a href="/wiki/The_Jazz_Singer" title="The Jazz Singer">The Jazz Singer</a></i></li> <li><i><a href="/wiki/Round_Midnight_(film)" title="Round Midnight (film)">Round Midnight</a></i></li> <li><i><a href="/wiki/Thelonious_Monk:_Straight,_No_Chaser" title="Thelonious Monk: Straight, No Chaser">Straight, No Chaser</a></i></li></ul> </div></td></tr><tr><td class="navbox-abovebelow" colspan="2" style="background: Pink"><div><b><span class="nowrap"><span class="mw-image-border noviewer" typeof="mw:File"><a href="/wiki/File:Saxo_Boca1.JPG" class="mw-file-description"><img alt="icon" src="//upload.wikimedia.org/wikipedia/commons/thumb/5/53/Saxo_Boca1.JPG/15px-Saxo_Boca1.JPG" decoding="async" width="15" height="16" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/5/53/Saxo_Boca1.JPG/23px-Saxo_Boca1.JPG 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/5/53/Saxo_Boca1.JPG/30px-Saxo_Boca1.JPG 2x" data-file-width="219" data-file-height="230" /></a></span> </span><a href="/wiki/Portal:Jazz" title="Portal:Jazz">Jazz portal</a></b></div></td></tr></tbody></table></div> <div class="navbox-styles"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1129693374"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1236075235"></div><div role="navigation" class="navbox" aria-labelledby="Louisiana_roots_music_and_dance" style="padding:3px"><table class="nowraplinks mw-collapsible autocollapse navbox-inner" style="border-spacing:0;background:transparent;color:inherit"><tbody><tr><th scope="col" class="navbox-title" colspan="2"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1129693374"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1239400231"><div class="navbar plainlinks hlist navbar-mini"><ul><li class="nv-view"><a href="/wiki/Template:Louisianarootsmusic" title="Template:Louisianarootsmusic"><abbr title="View this template">v</abbr></a></li><li class="nv-talk"><a href="/wiki/Template_talk:Louisianarootsmusic" title="Template talk:Louisianarootsmusic"><abbr title="Discuss this template">t</abbr></a></li><li class="nv-edit"><a href="/wiki/Special:EditPage/Template:Louisianarootsmusic" title="Special:EditPage/Template:Louisianarootsmusic"><abbr title="Edit this template">e</abbr></a></li></ul></div><div id="Louisiana_roots_music_and_dance" style="font-size:114%;margin:0 4em"><a href="/wiki/Music_of_Louisiana" title="Music of Louisiana">Louisiana roots music and dance</a></div></th></tr><tr><td colspan="2" class="navbox-list navbox-odd hlist" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/Bounce_music" title="Bounce music">Bounce</a></li> <li><a href="/wiki/Brass_band#New_Orleans" title="Brass band">Brass Bands</a></li> <li><a href="/wiki/Cajun_music" title="Cajun music">Cajun music</a> <ul><li><a href="/wiki/Cajun_Jig" class="mw-redirect" title="Cajun Jig">Cajun Jig</a></li> <li><a href="/wiki/Cajun_Jitterbug" title="Cajun Jitterbug">Cajun Jitterbug</a></li> <li><a href="/wiki/Swamp_pop" title="Swamp pop">Swamp pop</a></li></ul></li> <li><a href="/wiki/Creole_music" title="Creole music">Creole music</a> <ul><li><a href="/wiki/Zydeco" title="Zydeco">Zydeco</a></li> <li><a href="/wiki/Zydeco_(dance)" title="Zydeco (dance)">Zydeco (dance)</a></li></ul></li> <li><a class="mw-selflink selflink">Jazz</a> <ul><li><a href="/wiki/Dixieland" class="mw-redirect" title="Dixieland">Dixieland</a></li> <li><a href="/wiki/Jazz_funeral" title="Jazz funeral">Jazz funeral</a></li></ul></li> <li><a href="/wiki/Louisiana_blues" title="Louisiana blues">Louisiana blues</a> <ul><li><a href="/wiki/New_Orleans_blues" title="New Orleans blues">New Orleans blues</a></li> <li><a href="/wiki/Swamp_blues" title="Swamp blues">Swamp blues</a></li></ul></li> <li><a href="/wiki/Southern_hip_hop" title="Southern hip hop">New Orleans hip hop</a></li> <li><a href="/wiki/New_Orleans_soul" class="mw-redirect" title="New Orleans soul">New Orleans soul</a></li> <li><a href="/wiki/New_Orleans_rhythm_and_blues" title="New Orleans rhythm and blues">New Orleans R&B</a></li> <li><a href="/wiki/Second_line_(parades)" title="Second line (parades)">Second line</a></li></ul> </div></td></tr></tbody></table></div> <div class="navbox-styles"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1129693374"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1236075235"></div><div role="navigation" class="navbox" aria-labelledby="American_folk_music" style="padding:3px"><table class="nowraplinks mw-collapsible autocollapse navbox-inner" style="border-spacing:0;background:transparent;color:inherit"><tbody><tr><th scope="col" class="navbox-title" colspan="2"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1129693374"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1239400231"><div class="navbar plainlinks hlist navbar-mini"><ul><li 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title="Cajun music">Cajun</a> <ul><li><a href="/wiki/Swamp_pop" title="Swamp pop">Swamp pop</a></li></ul></li> <li><a href="/wiki/American_folk_music_revival" title="American folk music revival">Folk revival</a> (1950s–60s)</li> <li><a href="/wiki/Indigenous_music_of_North_America" title="Indigenous music of North America">Native American</a></li> <li><a href="/wiki/New_Mexico_music" title="New Mexico music">New Mexico</a></li> <li><a href="/wiki/Red_dirt_music" title="Red dirt music">Red dirt</a></li> <li><a href="/wiki/Tejano_music" title="Tejano music">Tejano</a></li> <li><a href="/wiki/Western_music_(North_America)" title="Western music (North America)">Western</a></li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%"><a href="/wiki/African-American_music" title="African-American music">African-American music</a></th><td class="navbox-list-with-group navbox-list navbox-even hlist" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/Blues" title="Blues">Blues</a></li> <li><a class="mw-selflink selflink">Jazz</a> <ul><li><a href="/wiki/Dixieland" class="mw-redirect" title="Dixieland">Dixieland</a></li></ul></li> <li><a href="/wiki/Creole_music" title="Creole music">Creole</a> <ul><li><a href="/wiki/Zydeco" title="Zydeco">Zydeco</a></li></ul></li> <li><a href="/wiki/Jug_band" title="Jug band">Jug</a></li> <li><a href="/wiki/Ragtime" title="Ragtime">Ragtime</a></li> <li><a href="/wiki/Spiritual_(music)" class="mw-redirect" title="Spiritual (music)">Spirituals</a> <ul><li><a href="/wiki/Black_Gospel_music" title="Black Gospel music">Gospel</a></li></ul></li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%"><a href="/wiki/Country_music" title="Country music">Country music</a></th><td class="navbox-list-with-group navbox-list navbox-odd hlist" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/Americana_music" title="Americana music">Americana</a> <ul><li><a href="/wiki/Roots_rock" title="Roots rock">Roots rock</a></li></ul></li> <li><a href="/wiki/Bluegrass_music" title="Bluegrass music">Bluegrass</a></li> <li><a href="/wiki/Honky-tonk" title="Honky-tonk">Honky-tonk</a></li> <li><a href="/wiki/Rockabilly" title="Rockabilly">Rockabilly</a></li> <li><a href="/wiki/Western_swing" title="Western swing">Western swing</a></li></ul> </div></td></tr></tbody></table></div> <div class="navbox-styles"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1129693374"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1236075235"><style data-mw-deduplicate="TemplateStyles:r1038841319">.mw-parser-output .tooltip-dotted{border-bottom:1px dotted;cursor:help}</style><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1038841319"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1038841319"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1038841319"></div><div role="navigation" class="navbox authority-control" aria-labelledby="Authority_control_databases_frameless&#124;text-top&#124;10px&#124;alt=Edit_this_at_Wikidata&#124;link=https&#58;//www.wikidata.org/wiki/Q8341#identifiers&#124;class=noprint&#124;Edit_this_at_Wikidata" style="padding:3px"><table class="nowraplinks hlist mw-collapsible autocollapse navbox-inner" style="border-spacing:0;background:transparent;color:inherit"><tbody><tr><th scope="col" class="navbox-title" colspan="2"><div id="Authority_control_databases_frameless&#124;text-top&#124;10px&#124;alt=Edit_this_at_Wikidata&#124;link=https&#58;//www.wikidata.org/wiki/Q8341#identifiers&#124;class=noprint&#124;Edit_this_at_Wikidata" style="font-size:114%;margin:0 4em"><a href="/wiki/Help:Authority_control" title="Help:Authority control">Authority control databases</a> <span class="mw-valign-text-top noprint" typeof="mw:File/Frameless"><a href="https://www.wikidata.org/wiki/Q8341#identifiers" title="Edit this at Wikidata"><img alt="Edit this at Wikidata" src="//upload.wikimedia.org/wikipedia/en/thumb/8/8a/OOjs_UI_icon_edit-ltr-progressive.svg/10px-OOjs_UI_icon_edit-ltr-progressive.svg.png" decoding="async" width="10" height="10" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/en/thumb/8/8a/OOjs_UI_icon_edit-ltr-progressive.svg/15px-OOjs_UI_icon_edit-ltr-progressive.svg.png 1.5x, //upload.wikimedia.org/wikipedia/en/thumb/8/8a/OOjs_UI_icon_edit-ltr-progressive.svg/20px-OOjs_UI_icon_edit-ltr-progressive.svg.png 2x" data-file-width="20" data-file-height="20" /></a></span></div></th></tr><tr><th scope="row" class="navbox-group" style="width:1%">National</th><td class="navbox-list-with-group navbox-list navbox-odd" style="width:100%;padding:0"><div style="padding:0 0.25em"><ul><li><span class="uid"><a rel="nofollow" class="external text" href="https://d-nb.info/gnd/4028532-7">Germany</a></span></li><li><span class="uid"><span class="rt-commentedText tooltip tooltip-dotted" title="Jazz"><a rel="nofollow" class="external text" href="https://id.loc.gov/authorities/sh85069833">United States</a></span></span></li><li><span class="uid"><span class="rt-commentedText tooltip tooltip-dotted" title="Jazz"><a rel="nofollow" class="external text" href="https://catalogue.bnf.fr/ark:/12148/cb11938040n">France</a></span></span></li><li><span class="uid"><span class="rt-commentedText tooltip tooltip-dotted" title="Jazz"><a rel="nofollow" class="external text" href="https://data.bnf.fr/ark:/12148/cb11938040n">BnF data</a></span></span></li><li><span class="uid"><a rel="nofollow" class="external text" href="https://id.ndl.go.jp/auth/ndlna/00574987">Japan</a></span></li><li><span class="uid"><span class="rt-commentedText tooltip tooltip-dotted" title="jazz"><a rel="nofollow" class="external text" href="https://aleph.nkp.cz/F/?func=find-c&local_base=aut&ccl_term=ica=ph121330&CON_LNG=ENG">Czech Republic</a></span></span></li><li><span class="uid"><a rel="nofollow" class="external text" href="http://catalogo.bne.es/uhtbin/authoritybrowse.cgi?action=display&authority_id=XX527410">Spain</a></span></li><li><span class="uid"><a rel="nofollow" class="external text" href="http://olduli.nli.org.il/F/?func=find-b&local_base=NLX10&find_code=UID&request=987007531527305171">Israel</a></span></li></ul></div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">Other</th><td class="navbox-list-with-group navbox-list navbox-even" style="width:100%;padding:0"><div style="padding:0 0.25em"><ul><li><span class="uid"><a rel="nofollow" class="external text" href="https://hls-dhs-dss.ch/fr/articles/024567">Historical Dictionary of Switzerland</a></span></li><li><span class="uid"><a rel="nofollow" class="external text" href="https://catalog.archives.gov/id/10636748">NARA</a></span></li></ul></div></td></tr></tbody></table></div> <!-- NewPP limit report Parsed by 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