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Template:Jazzbox Jazz is an original American musical art form that developed around the start of the 20th century in African American communities in and around New Orleans,[1][2] which was shaped by a confluence of numerous American music traditions. Jazz uses blue notes, syncopation, swing,[3] call and response, polyrhythms, and improvisation, elements which collectively point to its roots in West African music.[4]

Jazz has roots in the combination of African and Western music traditions, including spirituals, blues and ragtime, stemming from West Africa and the western Sahel,[5] and New England's religious hymns, hillbilly music ^{[citation needed]}, and European military band music. After originating in African American communities near the beginning of the 20th century, jazz styles spread in the 1920s, influencing other musical styles.

While deeply rooted in African and African American cultural expression,^[1] jazz has been shaped and influenced by a variety of music traditions, both African American: spirituals, blues and ragtime, and European: religious hymns, hillbilly music -- itself influenced by African American musics -- and marching band music. The origins of the word jazz are uncertain. The word is rooted in American slang, and various derivations have been suggested. Jazz was not applied to jazz music until about 1915, in Chicago. Earl Hines, born in 1903 and later to become a celebrated "jazz" musician, used to claim that he was "playing piano before the word "Jazz" was even invented". For the origin and history of the word jazz, see Jazz (word).

The instruments used in marching bands and dance band music at the turn of century became the basic instruments of jazz: brass, reeds, and drums, using the Western 12-tone scale. Small bands of primarily self-taught Black musicians, many of whom came from the jazz funeral procession tradition of New Orleans, played a seminal role in the articulation and dissemination of early jazz, traveling throughout Black communities in the Deep South, to northern cities and westward.

A "...black musical spirit (involving rhythm and melody) was bursting out of the confines of European musical tradition [of the marching bands], even though the performers were using European styled instruments.^[2]

For all its genius, early jazz, with its humble, folk roots, was the product of primarily self-taught musicians. But an ambitious, postbellum network of schools for African-Americans, founded and funded by individual donations and charitable and civic societies, black and white, plus widening mainstream opportunities for education, produced ever-increasing numbers of young, formally trained African-American musicians, some of them schooled in classical European musical forms. Lorenzo Tio and Scott Joplin were among this new wave of musically literate jazz artists. Joplin, the son of a former slave and a free-born woman of color, was largely self-taught until age 11, when he received lessons in the fundamentals of music theory from a classically trained German immigrant in Texarkana, Texas.

Also contributing to this trend was a tightening of Jim Crow (racial segregation) laws in Louisiana in the 1890s, which caused the expulsion from integrated bands of numbers of talented, formally trained African-American musicians. The ability of these musically literate, black jazz men to transpose and then read what was in great part an improvisational art form became an invaluable element in the preservation and dissemination of musical innovation that took on added importance in the approaching big-band era. Black musicians with formal music skills helped to preserve and disseminate the essentially improvisational musical styles of jazz.

While jazz may be difficult to define, improvisation is clearly one of its key elements.

Improvisation styles have changed over time. Early folk blues music often was based around a call and response pattern, and improvisation would factor in the lyrics, the melody, or both. In Dixieland jazz, musicians take turns playing the melody while the others improvise countermelodies. In contrast to other musical styles (e.g. classical music), where performers try to play the piece exactly as the author envisioned it, the goal in jazz is often to create a new interpretation, changing the melody, harmonies, even the time signature. If classical music is the composer's medium, jazz places equal emphasis on the performer, 'adroitly weigh[ing] the respective claims of the composer and the improviser'.^[3]

By the Swing era, big bands played using arranged music: arrangements were either written or rehearsed (many early jazz musicians could not read written music.) Individual soloists, however, would perform improvised solos within these compositions. In bebop the focus shifted from the arrangement to improvisation over the form; musicians paid less attention to the composed melody, or "head," which was played at the beginning and the end of the tune's performance with improvised sections in between.

Later styles of jazz such as modal jazz abandoned the strict notion of a chord progression, allowing the individual musicians to improvise more freely within the context of a given scale or mode (e.g., "So What" on the Miles Davis album Kind of Blue). The avant-garde and free jazz idioms permit, even call for, abandoning chords, scales, and rhythmic meters.

When a pianist, guitarist or other chord-playing instrumentalist improvises an accompaniment while a soloist is playing, it is called comping (a contraction of the word "accompanying"). "Vamping" is a mode of comping that is usually restricted to a few repeating chords or bars, as opposed to comping on the chord structure of the entire composition. Most often, vamping is used as a simple way to extend the very beginning or end of a piece, or to set up a segue. In some modern jazz compositions where the underlying chords of the composition are particularly complex or fast moving, the composer or performer may create a set of "blowing changes," which is a simplified set of chords better suited for comping and solo improvisation.

The interaction between various ethnic music traditions had already been a part of mainstream popular music in the United States for generations, going back to the 19th century minstrel show tunes and the melodies of Stephen Foster. Public dance halls, clubs, and tea rooms opened in the cities. Black dances inspired by African dance moves, like the shimmy, turkey trot, buzzard lope, chicken scratch, monkey glide, and the bunny hug eventually were adopted by a white public. The cake walk, developed by slaves as a send-up of formal dress balls, became popular. White audiences saw these dances in vaudeville shows. The popular dance music of the time were blues-ragtime styles. Tin Pan Alley composers like Irving Berlin incorporated ragtime influences into their compositions. Bandleader Buddy Bolden's performances in New Orleans parades and dances are an early example of jazz-style improvisation. ^[4]

Cakewalks, Coon Songs and the music of "Jig Bands" eventually evolved into Ragtime, c.1895 (timeline). One of the early Ragtime compositions was published by Ben Harney. The music was vibrant, enthusiastic and often extemporaneous. Early Ragtime music was in the format of marches, waltzes and other traditional song forms but the consistent characteristic was syncopation. Syncopated notes and rhythms became so popular with the public that sheet music publishers included the word "syncopated" in advertising. In 1899, a classically trained young pianist from Missouri named Scott Joplin published the first of many Ragtime compositions that would come to shape the music of a nation.

A number of regional styles contributed to the development of jazz. In the New Orleans, Louisiana area an early style of jazz called "Dixieland" developed. New Orleans had long been a regional music center. In addition to the slave population, New Orleans also had North America's largest community of free people of color. The New Orleans style used more intricate rhythmic improvisation than ragtime, and incorporated "blues" style elements including "bent" and "blue" notes, and using the European instruments in novel ways. The band which was credited with starting the jazz revolution was the Original Dixieland Jass Band, who arguably made the first recordings of jazz in April of 1917[6]; in mid 1917, the band respelled "Jass" as "Jazz."

Key figures in the development of the new style were trumpeter Buddy Bolden and his band, who arranged blues tunes for brass instruments and improvised; Freddie Keppard, who was influenced by Bolden; Joe Oliver, whose style was bluesier than Bolden's; Kid Ory, a trombonist who refined the style; and Papa Jack Laine, who led a multi-ethnic band. In 1891 in Charleston, South Carolina, Reverend Daniel J. Jenkins, an African-American minister, established the Jenkins Orphanage, which included a variety of orphanage bands. The orphanage bands were trained to perform popular and religious music, and members such as William "Cat" Anderson, Gus Aiken, and Jabbo Smith went on to play with jazz bandleaders like Duke Ellington, Lionel Hampton and Count Basie.

In the northeastern United States, a "hot" style of playing ragtime developed, characterized by rollicking rhythms, without the bluesy influence of the southern styles. The music had collective improvised solos, around a melodic structure, that ideally built to a climax, supported by a rhythm section of drums, bass, banjo or guitar. The solo piano version of the northeast style was typified by Eubie Blake. "Stride" piano playing, in which the right hand plays the melody, while the left hand provides the rhythm and bassline, was developed by James P. Johnson. Johnson influenced later pianists like Fats Waller and Willie Smith. Recordings spread the "Hot" new sound across the country. James Reese Europe was a prominent orchestra leader. Tim Brymn performed with a northeastern "hot" style.

In Chicago in the early 1910s, saxophones vigorously "ragged" a melody over a dance band rhythm section, blending New Orleans styles and creating a new "Chicago Jazz" sound. Chicago was the breeding ground for many young, inventive players. Characterized by harmonic, innovative arrangements and a high technical ability of the players, Chicago Style Jazz significantly furthered the improvised music of its day. Contributions from dynamic players like Benny Goodman, Bud Freeman and Eddie Condon along with the creative grooves of Gene Krupa, helped to pioneer Jazz music from its infancy and inspire those who followed. Along the Mississippi from Memphis, Tennessee to St. Louis, Missouri, the "Father of the Blues," W.C. Handy popularized a less improvisation-based approach, in which improvisation was limited to short "fills" between phrases.

With Prohibition, the constitutional amendment that forbade the sale of alcoholic beverages, speakeasies emerged as nightlife settings, and many early jazz artists played in them. The invention of the phonograph record and the rise of popularity in radio helped the proliferation of jazz as well. Radio stations helped to popularize Jazz, which became associated with sophistication and decadence that helped to earn the era the nickname of the "Jazz Age." In the early 1920s, popular music was still a mixture of things: current dance songs, novelty songs, and show tunes.

Paul Whiteman, the self-proclaimed "King of Jazz," was a popular bandleader of the 1920s who hired Bix Beiderbecke and other white jazz musicians and combined jazz with elaborate orchestrations. Whiteman commissioned Gershwin's Rhapsody in Blue, which was debuted by Whiteman's Orchestra. Ted Lewis was another popular bandleader. Some of the other bandleaders included: Harry Reser, Leo Reisman, Abe Lyman, Nat Shilkret, George Olsen, Ben Bernie, Bob Haring, Ben Selvin, Earl Burtnett, Gus Arnheim, Rudy Vallee, Jean Goldkette, Isham Jones, Roger Wolfe Kahn, Sam Lanin, Vincent Lopez, Ben Pollack and Fred Waring.

The 1930s belonged to Swing - and to the radio and dancing. During what many regard as jazz's classic era the popular bands became larger in size - Big Bands – and the solo became more important in jazz, with the soloists sometimes as famous as their leaders. Key figures in developing the "big" jazz band were bandleaders and arrangers Count Basie, Cab Calloway, Duke Ellington, Fletcher Henderson, Earl Hines, Jimmie Lunceford, Jay McShann, Walter Page, Don Redman and Chick Webb. Other Big Bands, such as Artie Shaw's, Tommy Dorsey's and Benny Goodman's "Orchestra", were highly jazz oriented while others, such as, later, Glenn Miller's, left less space for improvisation. Swing was also dance music - hence its immediate connection to the people - and it was broadcast 'live' coast-to-coast nightly across America for many years, most famously by The Earl Hines Band from Al Capone's Grand Terrace Cafe in Chicago, well-positioned for the 'live coast-to-coast' time-zone broadcasting problem. Although it was a collective sound, swing also offered individual musicians a chance to 'solo' and improvise melodic, thematic solos which could at times be very complex and 'important' music.

Over time, social strictures regarding racial segregation began to relax, and white bandleaders began to recruit black musicians. In the mid-1930s, Benny Goodman hired pianist Teddy Wilson, vibraphonist Lionel Hampton, and guitarist Charlie Christian to join small groups. During this period, swing and big band music were popular. The influence of Louis Armstrong can be seen in bandleaders like Cab Calloway, trumpeter Dizzy Gillespie, and vocalists like Bing Crosby, who were influenced by Armstrong's style of improvising. The style further spread to vocalists such as Ella Fitzgerald and Billie Holiday; later, Frank Sinatra and Sarah Vaughan, among others, would jump on the scat bandwagon.

An early 1940s style known as "jumping the blues" or jump music used small combos, up-tempo music, and blues chord progressions. Jump blues drew on boogie-woogie from the 1930s, with the rhythm section playing "eight to the bar," (eight beats per measure instead of four). Big Joe Turner became a boogie-woogie star in the 1940s, and then in the 1950s was an early rock and roll musician. (Also see saxophonist Louis Jordan). The mid 1990s saw a revival of Swing music fueled by the retro trends in dance.

Kansas City Jazz in the 1930s marked the transition from big bands to the bebop influence of the 1940s. During the Depression and Prohibition eras, the Kansas City Jazz scene thrived as a mecca for the modern sounds of late 1920s and 30s. Characterized by soulful and bluesy stylings of Big Band [in particular Jay McShann's] and small ensemble Swing, arrangements often showcased highly energetic solos played to "speakeasy" audiences. Alto sax pioneer Charlie Parker hailed from Kansas City via Jay McShann's Big Band. Tom Pendergast encouraged the development of night clubs featuring musical improvisation. In 1936, the Kansas city era waned when producer John H. Hammond began sending Kansas City acts to New York City.

See Also: Continental jazz

Outside of the United States the beginnings of a distinctly European jazz started emerging. At first this came mostly in France with the Quintette du Hot Club de France being among the first non-US bands of significance to jazz history. The playing of Django Reinhardt in particular would be important to the rise of gypsy jazz, which is one of the earliest genres to start outside the US.

Originated by Belgian guitarist Django Reinhardt, Gypsy Jazz is an unlikely mix of 1930s American swing, French dance hall "musette" and the folk strains of Eastern Europe. Also known as Jazz Manouche, it has a languid, seductive feel characterized by quirky cadences and driving rhythms. The main instruments are steel stringed guitar (particularly those of the Selmer Maccaferri line), violin, and upright bass. Solos pass from one player to another as the other guitars assume the rhythm. While primarily a nostalgic style set in European bars and small venues, Gypsy Jazz is appreciated world wide, and continues to thrive and grow in the music of artists such as Biréli Lagrène.

See also List of bebop musicians

In the mid-1940s bebop performers such as saxophonist Charlie Parker, pianist Bud Powell and trumpeter Dizzy Gillespie helped to shift jazz from danceable popular music towards a more challenging "musician's music." Differing greatly from swing, early bebop divorced itself from dance music, establishing itself more as an art form but lessening its potential popular and commercial value. Other bebop musicians included pianist Thelonious Monk, drummer Kenny Clarke, trumpeters Clifford Brown and Fats Navarro, saxophonists Wardell Gray and Sonny Stitt, bassist Ray Brown, drummer Max Roach, guitarist Charlie Christian and vocalist Betty Carter.

Beboppers borrowed from the innovations of key earlier musicians – in particular, Coleman Hawkins, Earl Hines, Lester Young and Art Tatum – and carried their ideas several steps further, introducing new forms of chromaticism and dissonance into jazz. Where many earlier styles of jazz improvisation kept close to the basic key and melodic line of the piece, bebop soloists engaged in a more abstracted form of chord-based improvisation. This often involved the use of "passing" (i.e. additional) chords, substitute chords, and altered chords which stepped outside of the basic key of the piece. Notes usually thought of as temporary dissonances in earlier jazz were used by the boppers as key melody notes – for instance, the flatted fifth (or augmented fourth) of the scale. The style of drumming shifted too, from the earlier four-to-the-bar bass-drum pulse to a more elusive and explosive style where the ride cymbal was used to keep time while the snare and bass drum were used for unpredictable accents.

These divergences from the jazz mainstream of the time initially met with a divided, sometimes hostile response among fans and fellow musicians. (Louis Armstrong, for instance, condemned bebop as "Chinese music.") But it was not long before bebop's influence was felt throughout jazz: older big-band leaders like Woody Herman (extensively) and Benny Goodman (briefly) experimented with the style. By the 1950s bebop had become an accepted part of the jazz vocabulary, and it has come to form the bedrock of modern jazz practice.

Free jazz and avant-garde jazz, are two partially overlapping subgenres that, while rooted in bebop, typically use less compositional material and allow performers more latitude. Free jazz uses implied or loose harmony and tempo, which was deemed controversial when this approach was first developed.

Early performances of these styles go back as early as the late 40s and early 50s: Lennie Tristano's Intuition and Digression (1949) and Descent into the Maelstrom (1953) are often credited as anticipations of the later free jazz movement, though they seem not to have had a direct influence on it. The bassist Charles Mingus is also frequently associated with the avant-garde in jazz, although his compositions draw off a myriad of styles and genres. The first major stirrings of what free jazz came in the 1950s, with the early work of Ornette Coleman and Cecil Taylor. In the 1960s, performers included John Coltrane, Archie Shepp, Albert Ayler, Sun Ra, Makanda Ken McIntyre, Pharoah Sanders, Sam Rivers, Don Pullen, Dewey Redman and others. Peter Brötzmann, Ken Vandermark, William Parker, Derek Bailey and Evan Parker are leading contemporary free jazz musicians, and musicians such as Coleman, Taylor and Sanders continue to play in this style. Keith Jarrett has been prominent in defending free jazz from criticism by traditionalists in recent years.

See also: List of Cool jazz and West Coast jazz musicians

See also List of Hard bop musicians
Hard bop is an extension of bebop (or "bop") music that incorporates influences from rhythm and blues, gospel music, and blues, especially in the saxophone and piano playing. Hard bop was developed in the mid-1950s, partly in response to the vogue for cool jazz that became popular in the early 1950s. It is in part intended to be more accessible to audiences unfamiliar with or not fond of bop. Hard bop brought the church and gospel music back into jazz.

The hard bop style coalesced in 1953 and 1954, paralleling the rise of rhythm and blues. The performance by Miles Davis of his composition "Walkin'," the title track of his album of the same year, at the very first Newport Jazz Festival in 1954, announced the style to the jazz world. The quintet by Art Blakey featured pianist Horace Silver and trumpeter Clifford Brown, all of whom would be leaders in the hard bop movement along with Davis.

The hard bop style enjoyed its greatest popularity in the 1950s and 1960s, but hard bop performers, and elements of the music, remain popular in jazz. According to Nat Hentoff in his 1957 liner notes for the Blakey Columbia LP of the same name, the phrase "hard bop" was originated by critic-pianist John Mehegan, jazz reviewer of the New York Herald Tribune at that time. Soul jazz developed from hard bop.

Other musicians who contributed prominently to the hard bop style include Cannonball Adderley, Donald Byrd, Sonny Clark, John Coltrane, Lou Donaldson, Kenny Drew, Benny Golson, Dexter Gordon, Joe Henderson, Andrew Hill, Freddie Hubbard, Jackie McLean, Charles Mingus, Blue Mitchell, Hank Mobley, Thelonious Monk, Lee Morgan, and Sonny Rollins.

Latin jazz has two main varieties: Afro-Cuban and Brazilian jazz. Afro-Cuban jazz was played in the U.S. directly after the bebop period, while Brazilian jazz became more popular in the 1960s and 1970s.

Afro-Cuban jazz began as a movement in the mid-'50s. Notable bebop musicians such as Dizzy Gillespie and Billy Taylor started Afro-Cuban bands at that time. Gillespie's work was mostly with big bands of this genre. The music was influenced by such Cuban and Puerto Rican musicians as Chico O'Farrill, Xavier Cugat, Tito Puente, Mario Bauza, Chano Pozo, and much later, Arturo Sandoval.

Brazilian jazz is synonymous with bossa nova^{[citation needed]}, a Brazilian popular style which is derived from samba with influences from jazz as well as other 20th-century classical and popular music. Bossa is generally moderately paced, played around 120 beats per minute with straight, rather than swing, eighth notes, and difficult polyrhythms. A blend of West Coast Cool, European classical harmonies and Brazilian samba rhythms, Bossa Nova or more correctly "Brazilian Jazz,"^{[citation needed]} reached the United States in 1962. The subtle but hypnotic acoustic guitar rhythms accent simple melodies sung in either (or both) Portuguese or English. Pioneered by Brazilians' João Gilberto and Antônio Carlos Jobim, this alternative to the 60's Hard Bop and Free Jazz styles, gained popular exposure by West Coast players like guitarist Charlie Byrd & saxophonist Stan Getz.

The best-known bossa nova compositions have become jazz standards. The related term jazz-samba essentially describes an adaptation of bossa nova compositions to the jazz idiom by American performers such as Stan Getz and Charlie Byrd, and usually played at 120 beats per minute or faster. Samba itself is actually not jazz but, being derived from older Afro-Brazilian music, it shares some common characteristics.

As smaller ensemble soloists became increasingly hungry for new improvisational directives, some players sought to venture beyond Western adaptation of major and minor scales. Drawing from medieval church modes and other modes, which used altered intervals between common tones, players found new inspiration. Soloists could now free themselves from the restrictions of dominant keys and shift the tonal centers to form new harmonics within their playing. This became especially useful with pianists and guitarists, as well as trumpet and sax players. Pianist Bill Evans is noted for his Modal approach.

See also List of soul-jazz musicians
Soul jazz was a development of hard bop which incorporated strong influences from blues, gospel and rhythm and blues in music for small groups, often the organ trio which featured the Hammond organ. Important soul jazz organists included Bill Doggett, Charles Earland, Richard "Groove" Holmes, Les McCann, "Brother" Jack McDuff, Jimmy McGriff, Lonnie Smith, Don Patterson, Jimmy Smith and Johnny Hammond Smith.

Tenor saxophone was also important in soul jazz; important soul jazz tenors include Gene Ammons, Eddie "Lockjaw" Davis, Eddie Harris, Houston Person, and Stanley Turrentine. Alto player Lou Donaldson was also an important figure, as was Hank Crawford. Unlike hard bop, soul jazz generally emphasized repetitive grooves and melodic hooks, and improvisations were often less complex than in other jazz styles.

A well-known soul jazz recording is Ramsey Lewis's "The In Crowd," a major hit from 1965. Soul jazz was developed in the late 1950s, and was perhaps most popular in the early 1970s, though many soul jazz performers, and elements of the music, remain popular. Although the term "soul jazz" contains the word "soul," soul jazz is only a distant cousin to Soul music, in that soul developed from gospel and blues rather than from jazz.

Soul jazz performers improvise over chord progressions as with Bop. However, the ensemble of musicians concentrate on a rhythmic "groove" centered around a strong bassline, and the song often quickly "shifts gears" to new "timefeels." Horace Silver had a large influence on the soul jazz style, with his songs that used funky and often Gospel-based piano vamps. Soul jazz ensembles usually gave a prominent role to the Hammond organ, and some groups, such as 1960s organ trios, were centered around the Hammond's sound.

The stylistic diversity of jazz has shown no sign of diminishing, absorbing influences from such disparate sources as world music, avant garde classical music, and a range of rock and pop musics. Beginning in the 1970s with such artists as Keith Jarrett, Paul Bley, the Pat Metheny Group, Jan Garbarek, Ralph Towner, and Eberhard Weber, the ECM record label established a new chamber-music aesthetic, featuring mainly acoustic instruments, and incorporating elements of world music and folk music.

In the late 1960s and early 1970s the hybrid form of jazz-rock fusion was developed. Although jazz purists protested the blend of jazz and rock, some of jazz' significant innovators crossed over from the contemporary hardbop scene into fusion. Jazz fusion music often uses mixed meters, odd time signatures, syncopation, and complex chords and harmonies, and fusion includes a number of electric instruments, such as the electric guitar, electric bass, electric piano, and synthesizer keyboards.

Notable performers of the jazz and fusion scene included Miles Davis, keyboardists Chick Corea and Herbie Hancock, drummer Tony Williams, guitarists Larry Coryell and John McLaughlin, Frank Zappa, Al Di Meola, jazz violinist Jean-Luc Ponty, Sun Ra, Narada Michael Walden, Wayne Shorter, and bassist-composer Jaco Pastorius.

Miles Davis recorded the fusion albums In a Silent Way and Bitches Brew in 1968 and 1969. Chick Corea performed and recorded with his Return to Forever band. Ex- Miles Davis drummer Tony Williams had a band called Lifetime with Larry Young and John McLaughlin which later featured Jack Bruce. A second version of the group featured Allan Holdsworth on guitar. Herbie Hancock lead a funk-infused band called the Headhunters. Guitarist Larry Coryell had a band called the Eleventh House, and John McLaughlin played with the Mahavishnu Orchestra. Joe Zawinul and Wayne Shorter joined forces to launch Weather Report which was the longest lasting Fusion Group and perhaps the most successful. UK band Soft Machine influenced the development of fusion in the UK.

In the 1980s, the jazz community shrank dramatically and split. A mainly older audience retained an interest in traditional and "straight-ahead" jazz styles. Wynton Marsalis strove to create music within what he believed was the tradition, creating extensions of small and large forms initially pioneered by such artists as Louis Armstrong and Duke Ellington. Marsalis's work has influenced a wide range of musicians who have been dubbed the "Young Lions"; but it also attracted much criticism from musicians, critics and fans who found his definition of jazz too narrow, or who found his own recreations of earlier styles unconvincing.

In the late 1970s and early 1980s, jazz fusion gradually turned into a lighter commercial form called pop fusion or "smooth jazz" (see paragraph below). Although pop fusion and smooth jazz were commercially successful and garnered significant radio airplay, this lighter form of fusion moved away from the style's original innovations. But into the 1990s and 2000s, some fusion bands and performers such as Tribal Tech have continued to develop and innovate within the genre.

Smooth jazz solos were actually very stylized. For instance, the saxophone improvisations by Kenny G were considered "light fusion." His music became popular. Musicians gave this music the name "fuzak" (cf. muzak) because it was a soft, pleasant fusion of jazz and rock. By the late 1990s smooth jazz became very popular and was receiving a lot of radio exposure. Some of the most famous saxophonists of this style were Grover Washington, Jr., Kenny G and Najee and many imitators. Kenny G’s music and smooth jazz in general defined a large segment of jazz during the 1980s and 1990s. Not only is smooth jazz played on the radio and in jazz clubs, it is also played in airports, banks, offices, auditoriums and arenas (Gridley).^[5]

Styles as acid jazz which contains elements of 1970s disco, acid swing which combines 1940s style big-band sounds with faster, more aggressive rock-influenced drums and electric guitar, and nu jazz which combines elements of jazz and modern forms of electronic dance music.

Exponents of the "acid jazz" style which was initially UK-based included the Brand New Heavies, Jamiroquai, James Taylor Quartet, Young Disciples, Incognito and Corduroy. This was a natural outgrowth of the Rare Groove scene in the UK that had begun as an alternative to the prevalent Acid House parties of the 1980s. Halfway between the driving beat of house music and the Soul Jazz and Funk related sounds of Rare Groove was Acid Jazz. In the United States, acid jazz groups included the Groove Collective, Soulive, and Solsonics. In a more pop or smooth jazz context, jazz enjoyed a resurgence in the 1980s with such bands as Pigbag, Matt Bianco and Curiosity Killed the Cat achieving chart hits in Britain. Improvisation is also largely absent, giving argument whether the term "Jazz" can truly apply.

Jean-Paul Bourelly and M-Base argue that rhythm is the key for further progress in the music; they believe that the rhythmic innovations of James Brown and other Funk pioneers can provide an effective rhythmic base for spontaneous composition. These musicians playing over a funk groove and extend the rhythmic ideas in a way analogous to what had been done with harmony in previous decades, an approach M-Base calls Rhythmic Harmony.

The late 80s saw a development of a fusion between jazz and hip-hop, called Jazz rap. Though some claim the proto-hip hop, jazzy poet Gil Scott-Heron the beginning of jazz rap, the genre arose in 1988 with the release of the debut singles by Gang Starr ("Words I Manifest," which samples Miles Davis) and Stetsasonic ("Talkin' All That Jazz," which samples Lonnie Liston Smith). One year later, Gang Starr's debut LP, No More Mr. Nice Guy and their work on the soundtrack to Mo' Better Blues, and De La Soul's debut 3 Feet High and Rising have proven remarkably influential in the genre's development. De La Soul's cohorts in the Native Tongues Posse also released important jazzy albums, including the Jungle Brothers' debut Straight Out the Jungle (1988) and A Tribe Called Quest's debut, People's Instinctive Travels and the Paths of Rhythm (1990). Guru continued the jazz rap trend with the critically acclaimed Jazzmatazz series beginning in 1993, in which modern day jazz musicians were brought into the studio.

With the rise in popularity of various forms of electronic music during the late 1980s and 1990s, some artists have attempted a fusion of jazz with more of the experimental leanings of electronica (particularly IDM and Drum and bass) with various degrees of success. This has been variously dubbed "future jazz," "jazz-house," "nu jazz," or "Junglebop." It is often not considered to be jazz because although it is influenced by jazz, improvisation is largely absent.

The more experimental and improvisational end of the spectrum includes Scandinavian artists such as pianist Bugge Wesseltoft, trumpeter Nils Petter Molvær (both of whom began their careers on the ECM record label), the trio Wibutee, and Django Bates, all of whom have gained respect as instrumentalists in more traditional jazz circles.

The Cinematic Orchestra from the UK and Julien Lourau from France have also received praise in this area. Toward the more pop or pure dance music end of the spectrum of nu jazz are such proponents as St Germain and Jazzanova, who incorporate some live jazz playing with more metronomic house beats. Aphex Twin, Björk, Amon Tobin, Squarepusher and Portishead are also notable as avant-garde electronica artists.

In the 2000s, "jazz" hit the pop charts and blended with contemporary Urban music through the work of neo-soul artists like Norah Jones and Amy Winehouse and the jazz advocacy of performer-music educators such as Jools Holland, Courtney Pine and Peter Cincotti. A debate has arisen as to whether the music of these performers can be called jazz or not (see below). Pop singer Christina Aguilera recorded a jazz-based album titled Back to Basics in 2006. Peter Bernstein and Dan Faehnle used a "straight ahead" sound in their 2000s albums.

National Public Radio's Jazz Profiles reported on isses of jazz success and challenges as a commercially viable genre. ^[6] Jazz record sales increased both in real numbers and as a percentage of all CD sales, in 2003. ^[7]

As the term "jazz" has long been used for a wide variety of styles, a comprehensive definition including all varieties is elusive. While some enthusiasts of certain types of jazz have argued for narrower definitions which exclude many other types of music also commonly known as jazz, jazz musicians themselves are often reluctant to define the music they play. Duke Ellington summed it up by saying, "It's all music." Some critics have even stated that Ellington's music was not in fact jazz, as by its very definition, according to them, jazz cannot be orchestrated. On the other hand Ellington's friend Earl Hines's 20 solo "transformative versions" of Ellington compositions (on "Earl Hines Plays Duke Ellington" recorded in the 1970s) were described by Ben Ratliff, the "New York Times" jazz critic, as "as good an example of the jazz process as anything out there"^[8]

There have long been debates in the jazz community over the boundaries or definition of “jazz.” In the mid-1930s, New Orleans jazz lovers criticized the "innovations" of the swing era as being contrary to the collective improvisation they saw as essential to "true" jazz. From the 1940s and 1960s, traditional jazz enthusiasts and Hard Bop criticized each other, often arguing that the other style was somehow not "real" jazz. Although alteration or transformation of jazz by new influences has been initially criticized as “radical” or a “debasement,” Andrew Gilbert argues that jazz has the “ability to absorb and transform influences” from diverse musical styles^[9].

Commercially-oriented or popular music-influenced forms of jazz have long been criticized. Traditional jazz enthusiasts have dismissed the 1970s jazz fusion era as a period of commercial debasement. However, according to Bruce Johnson, jazz music has always had a "tension between jazz as a commercial music and an art form" ^[10].

Gilbert notes that as the notion of a canon of traditional jazz is developing, the “achievements of the past” may be become "...privileged over the idiosyncratic creativity...” and innovation of current artists. Village Voice jazz critic Gary Giddins argues that as the creation and dissemination of jazz is becoming increasingly institutionalized and dominated by major entertainment firms, jazz is facing a "...perilous future of respectability and disinterested acceptance." David Ake warns that the creation of “norms” in jazz and the establishment of a “jazz tradition” may exclude or sideline other newer, avant-garde forms of jazz^[10].

One way to get around the definitional problems is to define the term “jazz” more broadly. According to Krin Gabbard “jazz is a construct” or category that, while artificial, still is useful to designate “a number of musics with enough in common part of a coherent tradition”. Travis Jackson also defines jazz in a broader way by stating that it is music that includes qualities such as “ 'swinging', improvising, group interaction, developing an 'individual voice', and being 'open' to different musical possibilities”^[10].

Where to draw the boundaries of "jazz" is the subject of debate among music critics, scholars, and fans. Music that is a mixture of jazz and pop music, such as the recent albums of Jamie Cullum, James Blunt and Joss Stone have been called "jazz" performers. Jazz festivals are increasingly programming a wide range of genres, including world beat music, folk, electronica, and hip-hop. This trend may lead to the perception that all of the performers at a festival are jazz artists – including artists from non-jazz genres.

Although jazz music is sometimes hard to find in American public media, the art form is alive and well in colleges, universities and in established institutions world-wide, as evinced by the following abbreviated list:

• Jazz at Lincoln Center
• Alabama Jazz Hall of Fame
• American Jazz Museum
• International Association for Jazz Education
• International Jazz Festivals Organization (IJFO)

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• List of jazz musicians
• List of jazz albums
• American Jazz Museum
• Cool (aesthetic)
• European free jazz
• Jazz poetry
• Jazz standard
• Jazzpar Prize
• Swing (genre)
• Thirty-two-bar form
• List of jazz pieces
• Music of the United States
• Cape Jazz
• List of jazz clubs
• Alabama Jazz Hall of Fame
• Jazz at Lincoln Center

• Burns, Ken & Geoffrey C. Ward. Jazz - A History of America's Music. Alfred A. Knopf, NY USA. 2000. or: The Jazz Film Project, Inc.
• Porter, Eric. What is this thing called Jazz? African American Musicians as Artists, Critics and Activists. University of California Press, Ltd. London, England. 2002.
• Szwed, John F. Jazz 101: A Complete Guide to Learning and Loving Jazz.
• The History of Jazz. Thomson-Gale Books.
• Scaruffi, Piero: A History of Jazz Music 1900-2000 (Omniware, 2007)
• Chicago Jazz: A Cultural History, 1904-1930. Oxford University Press, Inc.
• Gang Starr (2006). Mass Appeal: The Best of Gang Starr. ISBN 7-24359-84960-7. {{cite AV media}}: Unknown parameter |Label= ignored (help)
• Miles Davis (2005). Boplicity. ISBN 4-006408-264637. {{cite AV media}}: Unknown parameter |Label= ignored (help)

Wikiquote has quotations related to Jazz.

Wikimedia Commons has media related to Jazz.

• Great Jazz Musician Biographies
• Jazz History Timeline
• Jazz - A Film by Ken Burns, PBS
• Jazz @ the Smithsonian
• Smooth Jazz Radio Links
• Piero Scaruffi's history of jazz music 1900-2000
• Alabama Jazz Hall of Fame website
• Jazz at Lincoln Center website
• American Jazz Museum website
• Europe Jazz Network

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