Jazz History Final key Terms

All Blues

(1959) is a jazz composition by Miles Davis first appearing on the influential 1959 album Kind of Blue. It is a 12 bar blues in 6/4; the chord sequence is that of a basic blues and made up entirely of 7th chords, with a ♭VI in the turnaround instead of just the usual V chord. In the song's original key of G this chord is an E♭

Acknowledgement

(1964) song in the album A love supreme recorded by John Coltrane's quartet in December 1964[1] and released by Impulse! Records in February 1965. It is generally considered to be among Coltrane's greatest works, as it melded the hard bop sensibilities of his early career with the free jazz style he adopted later.The quartet recorded the album in one session on December 9, 1964, at the Van Gelder Studio in Englewood Cliffs, New Jersey. Coltrane's home in Dix Hills, Long Island, has been suggested as the site of inspiration for A Love Supreme.

Round Midnight

(epop) is a 1944 jazz standard by pianist Thelonious Monk. Jazz artists Cootie Williams, Dizzy Gillespie, Art Pepper, and Miles Davis have further embellished the song, with songwriter Bernie Hanighen adding lyrics. Both Williams and Hanighen have received co-credits for their contributions. It is thought that Monk originally composed the song sometime in 1940 or 1941. However, Harry Colomby claims that Monk may have written an early version around 1936 (at the age of 19) with the title "Grand Finale".

west coast

1940's : West Coast jazz refers to various styles of jazz music that developed around Los Angeles and San Francisco during the 1950s. West Coast jazz is often seen as a sub-genre of cool jazz, which featured a less frenetic, calmer style than bebop or hard bop. The music tended to be more heavily arranged, and more often composition-based. While this style was prominent for a while, it was by no means the only style of jazz played on the West Coast, which exhibited more variety than could be conveyed by a simple name.

big band swing

A big band is a type of musical ensemble that originated in the United States and is associated with jazz and the Swing Era typically consisting of rhythm, brass, and woodwind instruments totaling approximately 12 to 25 musicians. The terms jazz band, jazz ensemble, jazz orchestra, stage band, society band, and dance band may describe this type of ensemble in particular contexts. A standard 17-piece instrumentation evolved in the big-bands, for which many commercial arrangements are available. This instrumentation consists of five saxophones (most often two altos, two tenors, and one baritone), four trumpets, four trombones (often including one bass trombone) and a four-piece rhythm section (composed of drums, acoustic bass or electric bass, piano and guitar).

head arrangement

A change of chord, or "chord change", generally occurs on an accented beat, so that chord progressions may contribute significantly to the rhythm, meter and musical form of a piece, delineating bars, phrases and sections.[3] This is known as harmonic rhythm.

chord progression

A chord progression (or harmonic progression) is a series of musical chords, or chord changes that "aims for a definite goal" of establishing (or contradicting) a tonality founded on a key, root or tonic chord[1] and that is based upon a succession of root relationships.[2] Chords and chord theory are generally known as harmony.

Afro-Cuban

Afro-Cuban jazz is the earliest form of Latin jazz. It mixes Afro-Cuban clave-based rhythms with jazz harmonies and techniques of improvisation. Afro-Cuban jazz first emerged in 1943 with the Cuban musicians Mario Bauza and Francisco Raúl Gutiérrez Grillo "Machito" in the band Machito and his Afro-Cubans, based in New York City. In 1947 the collaborations of bebop innovator Dizzy Gillespie with Cuban percussionist Chano Pozo brought Afro-Cuban jazz into the jazz mainstream. Bauzá's initial composition within the genre was referred to as a descarga, while Gillespie's approach was originally called cubop.[1] During its first decades, the Afro-Cuban jazz movement was stronger in the United States than in Cuba itself.

avant-garde

Avant-garde (from French, "advance guard" or "vanguard", literally "fore-guard"[1]) refers to people or works that are experimental or innovative, particularly with respect to art, culture, and politics. The term avant-garde refers to a pushing of the boundaries of what is accepted as the norm or the status quo, primarily in the cultural realm. The notion of the avant-garde is considered by some to be a hallmark of modernism, as distinct from postmodernism. Many artists have aligned themselves with the avant-garde movement and still continue to do so, tracing a history from Dada through the Situationists to postmodern artists such as the Language poets around 1981.[2] The term also refers to the promotion of radical social reforms

bebop

Bebop or bop is a style of jazz characterized by fast tempo, instrumental virtuosity, and improvisation based on the combination of harmonic structure and melody. It was developed in the early and mid-1940s. It first surfaced in musicians' argot some time during the first two years of American involvement in the Second World War. This style of jazz ultimately became synonymous with modern jazz, as either category reached a certain final maturity in the 1960s.

West African influences

Bobby Sanabria mentions several innovations of Machito's Afro-Cubans; they were the first band to: wed big band jazz arranging techniques within an original composition, with jazz oriented soloists utilizing an authentic Afro-Cuban based rhythm section in a successful manner; explore modal harmony (a concept explored much later by Miles Davis and Gil Evans) from a jazz arranging perspective; and to overtly explore the concept of clave conterpoint from an arranging standpoint (the ability to weave seamlessly from one side of the clave to the other without breaking its rhythmic integrity within the structure of a musical arrangement). They were also the first band in the United States to publicly utilize the term Afro-Cuban as the band's moniker, thus identifying itself and acknowledging the West African roots of the musical form they were playing. It forced New York City's Latino and African American communities to deal with their common West African musical roots in a direct way, whether they wanted to acknowledge it publicly or not.[121]

bossa nova

Bossa nova is a well-known style of Brazilian music developed and popularized in the 1950s and 1960s. The phrase bossa nova means literally "new trend" (Portuguese pronunciation: [ˈbɔsɐ ˈnɔvɐ] ( listen)). A lyrical fusion of samba and jazz, bossa nova acquired a large following in the 1960s initially among young musicians and college students.[2] Since its birth, it has remained a vital part of the standard jazz repertoire.

cool jazz

Cool is a style of modern jazz music that arose following the Second World War. It is characterized by its relaxed tempos and lighter tone, in contrast to the bebop style that preceded it. Cool jazz often employs formal arrangements and incorporates elements of classical music.

Free Jazz

Free Jazz: A Collective Improvisation is the sixth album by jazz saxophonist and composer Ornette Coleman, released on Atlantic Records in 1961, his fourth for the label. Its title established the name of the then-nascent free jazz movement. The recording session place on December 21, 1960, at A&R Studios in New York City. The sole outtake from the album session, "First Take," was later released on the 1971 compilation Twins.

fusion

Jazz fusion, fusion, or jazz-rock are variants of a musical fusion genre that developed from mixing funk and R&B rhythms and the amplification and electronic effects of rock music, complex time signatures derived from non-Western music and extended, typically instrumental compositions with a jazz approach to lengthy group improvisations, often using wind and brass and displaying a high level of instrumental technique. It was created around the late 1960s.The term "jazz rock" is often used as a synonym for "jazz fusion" as well as for music performed by late 1960s and 1970s-era rock bands that added jazz elements to their music.

funky/soul jazz

Jazz-funk is a sub genre of jazz music characterized by a strong back beat (groove), electrified sounds[1][dead link] and an early prevalence of analog synthesizers. The integration of funk, soul, and R&B music and styles into jazz resulted in the creation of a genre whose spectrum is quite wide and ranges from strong jazz improvisation to soul, funk or disco with jazz arrangements, jazz riffs, and jazz solos, and sometimes soul vocals. Jazz-funk is primarily an American genre, where it was popular throughout the 1970s and the early 1980s, but it also achieved noted appeal on the club-circuit in England during the mid-1970s. Similar genres include soul jazz and jazz fusion, but neither entirely overlap with jazz-funk. Notably jazz-funk is less vocal, more arranged and featured more improvisation than soul jazz, and retains a strong feel of groove and R&B versus some of the jazz fusion production.

Afro-Brazilian influences

Latino Jazz: Afro-Brazilian jazz—includes bossa nova and jazz samba.

mainstream

Mainstream jazz is a genre of jazz music that was first used in reference to the playing styles around the 1950s of musicians like Buck Clayton among others; performers who once heralded from the era of big band swing music who did not abandon swing for bebop, instead performing the music in smaller ensembles. The medium once lay dormant during the 1960s, but regained popularity in the 70s

Middle Eastern influences

Many other artists of the 1960s and later found stimulation within Middle Eastern music as well. Some have more direct relationships with the region than others, but each one has witnessed a change in their music and frequently the musician has been driven to respond by contributing something specifically to the growing collection of Arab-jazz.

modal jazz

Modal jazz is jazz that uses musical modes rather than chord progressions as a harmonic framework. Originating in the late 1950s and 1960s, modal jazz is epitomized by Miles Davis's "Milestones" (1958), Kind of Blue (1959), and John Coltrane's classic quartet from 1960-64.[2] Other important performers include Woody Shaw, Bill Evans, Herbie Hancock, Wayne Shorter, McCoy Tyner, Larry Young, Pharoah Sanders, Joe Henderson, Chick Corea and Bobby Hutcherson.[2] Though the term comes from the use of the pitches of particular modes (or scales) in the creation of solos, modal jazz compositions or accompaniments may only or additionally make use of the following techniques:[2][not in citation given] slow-moving harmonic rhythm, where single chords may last four to sixteen or more measures,pedal points[3], and drones, absent or suppressed standard functional chord progressions,quartal harmonies or melodies, polytonality

Bird

Nickname for Charlie Parker

riff

a short series of chords;A short rhythmic phrase, especially one that is repeated in improvisation.

Clifford Brown

aka "Brownie," was an American jazz trumpeter. He died aged 25 in a car accident,[1] leaving behind only four years' worth of recordings. Nonetheless, he had a considerable influence on later jazz trumpet players, including Donald Byrd, Lee Morgan, Booker Little, and Freddie Hubbard, among others.[citation needed] He was also a composer of note: two of his compositions, "Joy Spring"[2] and "Daahoud",[3] have become jazz standards.[4] He won the Down Beat critics' poll for the "New Star of the Year" in 1954; he was inducted into the Down Beat "Jazz Hall of Fame" in 1972 in the critics' poll

A Love Supreme

is a studio album recorded by John Coltrane's quartet in December 1964[1] and released by Impulse! Records in February 1965. It is generally considered to be among Coltrane's greatest works, as it melded the hard bop sensibilities of his early career with the free jazz style he adopted later. The quartet recorded the album in one session on December 9, 1964, at the Van Gelder Studio in Englewood Cliffs, New Jersey. Coltrane's home in Dix Hills, Long Island, has been suggested as the site of inspiration for A Love Supreme.[2]

Bitches Brew

is a studio double album by jazz musician Miles Davis, released in April 1970 on Columbia Records. The album continued his experimentation with electric instruments previously featured on his critically acclaimed In a Silent Way album. With the use of these instruments, such as the electric piano and guitar, Davis rejected traditional jazz rhythms in favor of a looser, rock-influenced improvisational style.

Winton Marsalis

is a trumpeter, composer, teacher, music educator, and Artistic Director of Jazz at Lincoln Center in New York City, United States. Marsalis has promoted the appreciation of classical and jazz music often to young audiences. Marsalis has been awarded nine Grammys in both genres, and a jazz recording of his was the first of its kind to win the Pulitzer Prize for Music. Marsalis is the son of jazz musician Ellis Marsalis, Jr. (pianist), grandson of Ellis Marsalis, Sr., and brother of Branford (saxophonist), Delfeayo (trombonist), Mboya, and Jason (drummer).

Girl From Ipanema

is a well-known bossa nova song, a worldwide hit in the mid-1960s that won a Grammy for Record of the Year in 1965. It was written in 1962, with music by Antônio Carlos Jobim and Portuguese lyrics by Vinicius de Moraes. English lyrics were written later by Norman Gimbel.[1] The first commercial recording was in 1962, by Pery Ribeiro. The version performed by Astrud Gilberto, along with João Gilberto and Stan Getz, from the 1964 album Getz/Gilberto, became an international hit.

Gunther Schuller

is an American composer, conductor, horn player, author, historian, and jazz musician. Was a sideman for Dizzy Gillespie and miles davis.

Chick Corea

is an American jazz and fusion pianist, keyboardist, and composer. Many of his compositions are considered jazz standards. As a member of Miles Davis' band in the 1960s, he participated in the birth of the electric jazz fusion movement. In the 1970s he formed Return to Forever.[2] Along with Herbie Hancock, McCoy Tyner and Keith Jarrett, he has been described as one of the major jazz piano voices to emerge in the post-John Coltrane era.Corea continued to pursue other collaborations and to explore various musical styles throughout the 1980s and 1990s. He is also known for promoting and fundraising for a number of social issues, such as eradicating social illiteracy

Stanley Clarke

is an American jazz musician and composer known for his innovative and influential work on double bass and electric bass as well as for his numerous film and television scores. He is best known for his work with the fusion band Return to Forever, and his role as a bandleader in several trios and ensembles.

Charlie Haden

is an American jazz musician. He is a double bassist, probably best known for his long association with saxophonist Ornette Coleman. Haden is also known for his signature lyrical bass lines.

Horace Silver

is an American jazz pianist and composer.[1] Silver is known for his distinctive humorous and funky playing style and for his pioneering compositional contributions to hard bop. He was influenced by a wide range of musical styles, notably gospel music, African music, and Latin American music and sometimes ventured into the soul jazz genre.[2][3]

Wayne Shorter

is an American jazz saxophonist and composer. Jazz critic Ben Ratliff of the New York Times has described Shorter as "probably jazz's greatest living small-group composer and a contender for greatest living improviser."[1] Many of Shorter's compositions have become jazz standards. His output has earned worldwide recognition, critical praise and various commendations, including multiple Grammy Awards.[2] He has also received acclaim for his mastery of the soprano saxophone (after switching his focus from the tenor in the late 1960s), beginning an extended reign in 1970 as Down Beat's annual poll-winner on that instrument, winning the critics' poll for 10 consecutive years and the readers' for 18.[3] Shorter first came to wide prominence in the late 1950s as a member of, and eventually primary composer for, Art Blakey's Jazz Messengers. In the 1960s, he went on to join Miles Davis's Second Great Quintet, and from there he co-founded the jazz fusion band Weather Report. He has recorded over 20 albums as a bandleader.

Sonny Rollins

is an American jazz tenor saxophonist. Rollins is widely recognized as one of the most important and influential jazz musicians.[1] A number of his compositions, including "St. Thomas", "Oleo", "Doxy", and "Airegin", have become jazz standards.[1

Cecil Taylor

is an American pianist and poet.[1] Classically trained, Taylor is generally acknowledged as one of the pioneers of free jazz. His music is characterized by an extremely energetic, physical approach, producing complex improvised sounds, frequently involving tone clusters and intricate polyrhythms. His piano technique has been likened to percussion, for example described as "eighty-eight tuned drums" (referring to the number of keys on a standard piano).[2] He has also been compared to "Art Tatum with contemporary-classical leanings

Herbie Hancock

is an American pianist, keyboardist, bandleader and composer.[1] As part of Miles Davis's Second Great Quintet, Hancock helped to redefine the role of a jazz rhythm section and was one of the primary architects of the "post-bop" sound. He was one of the first jazz musicians to embrace music synthesizers and funk music (characterized by syncopated drum beats). Hancock's music is often melodic and accessible; he has had many songs "cross over" and achieved success among pop audiences. His music embraces elements of funk and soul while adopting freer stylistic elements from jazz. In his jazz improvisation, he possesses a unique creative blend of jazz, blues, and modern classical music, with harmonic stylings much like the styles of Claude Debussy and Maurice Ravel. Hancock's best-known solo works include "Cantaloupe Island", "Watermelon Man" (later performed by dozens of musicians, including bandleader Mongo Santamaría), "Maiden Voyage", "Chameleon", and the singles "I Thought It Was You" and "Rockit"

Chick Webb

was an American jazz and swing music drummer as well as a band leader.He alternated between band tours and residencies at New York City clubs through the late 1920s. In 1931, his band became the house band at the Savoy Ballroom. He became one of the best-regarded bandleaders and drummers of the new "Swing" style. Drumming legend Buddy Rich cited Webb's powerful technique and virtuoso performances as heavily influential on his own drumming, and even referred to Webb as "the daddy of them all".[8] Webb was unable to read music, and instead memorized the arrangements played by the band and conducted from a platform in the center.

Benny Goodman

was an American jazz and swing musician, clarinetist and bandleader, known as the "King of Swing". In the mid-1930s, Benny Goodman led one of the most popular musical groups in America. His January 16, 1938 concert at Carnegie Hall in New York City is described by critic Bruce Eder as "the single most important jazz or popular music concert in history: jazz's 'coming out' party to the world of 'respectable' music."[2] Goodman's bands launched the careers of many major names in jazz. During an era of segregation he also led one of the first well-known racially integrated jazz groups. Goodman continued to perform to nearly the end of his life, while exploring an interest in classical music.

Billy Strayhorn

was an American jazz composer, pianist, lyricist, and arranger, best known for his successful collaboration with bandleader and composer Duke Ellington lasting nearly three decades. His compositions include "Take the 'A' Train," "Chelsea Bridge," and "Lush Life."

Tony Williams

was an American jazz drummer. Widely regarded as one of the most important and influential jazz drummers to come to prominence in the 1960s, Williams first gained fame in the band of trumpeter Miles Davis and was a pioneer of jazz fusion.[1]

Joe Jones

was an American jazz drummer.[1] Known as Papa Jo Jones in his later years, he was sometimes confused with another influential jazz drummer, count bassies drummer

Weather Report

was an American jazz fusion band of the 1970s and early 1980s. The band was co-led by the Austrian-born keyboard player Joe Zawinul and the American saxophonist Wayne Shorter (and, initially, by Czech bass player Miroslav Vitouš). Other prominent members at various points in the band's lifespan included Jaco Pastorius, Peter Erskine, Alex Acuña , Alphonso Johnson, Victor Bailey, Airto Moreira and Chester Thompson. Alongside Miles Davis's electric bands, The Mahavishnu Orchestra, Return to Forever, and Headhunters, Weather Report is considered to be one of the earliest pre-eminent jazz fusion bands. As a continuous working unit, Weather Report outlasted all of its contemporaries despite (or perhaps because of) frequent changes of personnel, with a career lasting sixteen years between 1970 and 1986.

Miles Davis

was an American jazz musician, trumpeter, bandleader, and composer. Widely considered one of the most influential musicians of the 20th century,[3] Miles Davis was, with his musical groups, at the forefront of several major developments in jazz music, including bebop, cool jazz, hard bop, modal jazz, and jazz fusion.In 1948 Davis grew close to the Canadian composer and arranger Gil Evans. The first half of the 1950s was, for Davis, a period of great personal difficulty. At the end of 1949, he went on tour in Paris with a group including Tadd Dameron, Kenny Clarke (who remained in Europe after the tour), and James Moody. Davis was fascinated by Paris and its cultural environment, where black jazz musicians, and African Americans in general, often felt better respected than they did in their homeland. While in Paris, Davis began a relationship with French actress and singer Juliette Gréco.

Max Roach

was an American jazz percussionist, drummer, and composer. A pioneer of bebop, Roach went on to work in many other styles of music, and is generally considered alongside the most important drummers in history.[1][2] He worked with many famous jazz musicians, including Coleman Hawkins, Dizzy Gillespie, Charlie Parker, Miles Davis, Duke Ellington, Thelonious Monk, Charles Mingus, Billy Eckstine, Stan Getz, Sonny Rollins, Clifford Brown, Eric Dolphy and Booker Little. Roach also led his own groups, and made numerous musical statements relating to the African American civil rights movement.

Thelonius Monk

was an American jazz pianist and composer, considered one of the giants of American music.[4] Monk had a unique improvisational style and made numerous contributions to the standard jazz repertoire, including "Epistrophy", "'Round Midnight", "Blue Monk", "Straight, No Chaser" and "Well, You Needn't". Monk is the second-most recorded jazz composer after Duke Ellington, which is particularly remarkable as Ellington composed over 1,000 songs while Monk wrote about 70.[5] His compositions and improvisations are full of dissonant harmonies and angular melodic twists, and are consistent with Monk's unorthodox approach to the piano, which combined a highly percussive attack with abrupt, dramatic use of silences and hesitations. This style was not universally appreciated, shown for instance in poet and jazz critic Philip Larkin's dismissal of Monk as "the elephant on the keyboard".[6] Visually, he was renowned for his distinctive style in suits, hats and sunglasses. He was also noted for the fact that at times, while the other musicians in the band continued playing, he would stop, stand up from the keyboard and dance for a few moments before returning to the piano.

Tommy Dorsey

was an American jazz trombonist, trumpeter, composer, and bandleader of the Big Band era. He was known as "The Sentimental Gentleman of Swing", because of his smooth-toned trombone playing.[2] Although he was not known for being a notable soloist, his technical skill on the trombone gave him renown amongst other musicians.[3] He was the younger brother of bandleader Jimmy Dorsey.[4] After Dorsey broke with his brother in the mid-1930s, he led an extremely popular and highly successful band from the late 1930s into the 1950s.

Dizzy Gillespie

was an American jazz trumpeter, bandleader, composer and occasional singer.[1]Allmusic's Scott Yanow wrote, "Dizzy Gillespie's contributions to jazz were huge. One of the greatest jazz trumpeters of all time (some would say the best), Gillespie was such a complex player that his contemporaries ended up copying Miles Davis and Fats Navarro instead, and it was not until Jon Faddis's emergence in the 1970s that Dizzy's style was successfully recreated [...] Arguably Gillespie is remembered, by both critics and fans alike, as one of the greatest jazz trumpeters of all time."[2] Gillespie was a trumpet virtuoso and improviser, building on the virtuoso style of Roy Eldridge[3] but adding layers of harmonic complexity previously unknown in jazz. His beret and horn-rimmed spectacles, his scat singing, his bent horn, pouched cheeks and his light-hearted personality were essential in popularizing bebop.[citation needed] In the 1940s Gillespie, together with Charlie Parker, became a major figure in the development of bebop and modern jazz.[4] He taught and influenced many other musicians, including trumpeters Miles Davis, Jon Faddis, Fats Navarro, Clifford Brown, Arturo Sandoval, Lee Morgan,[5] and Chuck Mangione.[6]

Chet Baker

was an American jazz trumpeter, flugelhornist and vocalist. Baker earned much attention and critical praise through the 1950s, particularly for albums featuring his vocals (Chet Baker Sings, It Could Happen to You). Jazz historian David Gelly described the promise of Baker's early career as "James Dean, Sinatra, and Bix, rolled into one."[3] His "well-publicized drug habit" also drove his notoriety and fame; Baker was in and out of jail frequently before enjoying a career resurgence in the late 1970s and '80s.

Lionel Hampton

was an American jazz vibraphonist, pianist, percussionist, bandleader and actor. Along with Red Norvo, Hampton was one of the first jazz vibraphone players. Hampton ranks among the great names in jazz history, having worked with a who's who of jazz musicians, from Benny Goodman and Buddy Rich to Charlie Parker and Quincy Jones. In 1992, he was inducted into the Alabama Jazz Hall of Fame.

John Hammond

was an American record producer, Civil Rights activist and music critic from the 1930s to the early 1980s. In his service as a talent scout, Hammond became one of the most influential figures in 20th century popular music. Hammond was instrumental in sparking or furthering numerous musical careers, including those of Bob Dylan, Bruce Springsteen, Benny Goodman, Charlie Christian, Billie Holiday, Count Basie, Teddy Wilson, Big Joe Turner, Pete Seeger, Babatunde Olatunji, Aretha Franklin, George Benson, Freddie Green, Leonard Cohen, Arthur Russell, Jim Copp, Asha Puthli and Stevie Ray Vaughan. He is also largely responsible for the revival of delta blues artist Robert Johnson's music.

Charlie Christian

was an American swing and jazz guitarist. Christian was an important early performer on the electric guitar, and a key figure in the development of bebop and cool jazz. He gained national exposure as a member of the Benny Goodman Sextet and Orchestra from August 1939 to June 1941. His single-string technique, combined with amplification, helped bring the guitar out of the rhythm section and into the forefront as a solo instrument. John Hammond [1] and George T. Simon [2] called Christian the best improvisational talent of the swing era. In the liner notes to the 1972 Columbia album Solo Flight: The Genius of Charlie Christian, Gene Lees writes that, "Many critics and musicians consider that Christian was one of the founding fathers of bebop, or if not that, at least a precursor to it."[3]

Freddie Green

was an American swing jazz guitarist. He was especially noted for his sophisticated rhythm guitar in big band settings, particularly for the Count Basie orchestra, where he was part of the "All-American Rhythm Section" with Basie on piano, Jo Jones on drums, and Walter Page on bass

Modern Jazz Quartet

was an influential music group established in 1952 and for most of their long career composed of John Lewis (piano, musical director), Milt Jackson (vibraphone), Percy Heath (double bass), and Connie Kay (drums). Initially a side project for personnel from trumpeter Dizzy Gillespie's hard-swinging big band, the MJQ gradually became a full-time endeavor and one of the more prominent jazz bands of the post-WWII era. Under Lewis's leadership they carved their own niche by specializing in an elegant, restrained music (touching on bebop, cool jazz, third stream and classical music) that used sophisticated counterpoint yet nonetheless retained a strong blues feel. They introduced several jazz standards, including "Django" and "Bags' Groove". Initially active into the 1970s until Jackson quit due to creative disagreement and frustration with their busy touring schedule, the MJQ reformed intermittently into the 1990s.

Mahavishnu Orchestra

was the name of two jazz-fusion groups led by John McLaughlin, in 1971-1976 and 1984-1987;John McLaughlin - guitar Jan Hammer - keyboards Jerry Goodman - violin Rick Laird - bass guitar Billy Cobham - drums

free jazz

Free jazz is an approach to jazz music that was first developed in the 1950s and 1960s. Though the music produced by free jazz composers varied widely, the common feature was a dissatisfaction with the limitations of bebop, hard bop, and modal jazz, which had developed in the 1940s and 1950s. Each in their own way, free jazz musicians attempted to alter, extend, or break down the conventions of jazz, often by discarding hitherto invariable features of jazz, such as fixed chord changes or tempos. While usually considered experimental and avant-garde, free jazz has also oppositely been conceived as an attempt to return jazz to its "primitive", often religious roots, and emphasis on collective improvisation. Free jazz is most strongly associated with the 1950s innovations of Ornette Coleman and Cecil Taylor and the later works of saxophonist John Coltrane

gypsy swing

Gypsy jazz (also known as gypsy swing or hot club jazz) is a style of jazz music often said to have been started by guitarist Jean "Django" Reinhardt in the 1930s.[1] Because its origins are largely in France it is often called by the French name, "jazz manouche", or alternatively, "manouche jazz", even in English language sources.[2] Some modern dictionaries recommend avoiding using the word gypsy because it is felt to have been tainted by its frequent use as a pejorative,[3][4][5][6][7][8] however dictionaries do not caution against use of the term "gypsy jazz."[9][10][11] Django was foremost among a group of Gypsy guitarists working in and around Paris in the 1930s through the 1950s, a group which also included the brothers Baro, Sarane, and Matelo Ferret and Reinhardt's brother Joseph "Nin-Nin" Reinhardt

hard bop

Hard bop is a style of jazz that is an extension of bebop (or "bop") music. Journalists and record companies began using the term in the mid-1950s[1] to describe a new current within jazz which incorporated influences from rhythm and blues, gospel music, and blues, especially in saxophone and piano playing. David H. Rosenthal contends in his book Hard Bop that the genre is, to a large degree, the natural creation of a generation of African-American musicians who grew up at a time when bop and rhythm and blues were the dominant forms of black American music.[2]:24 Prominent hard bop musicians included Horace Silver, Art Blakey, Cannonball Adderley, Miles Davis and Tadd Dameron.

Jazz Messengers

In 1947 Blakey organized the Seventeen Messengers, a rehearsal band, and recorded with an octet called The Jazz Messengers.[8] The use of the Messengers tag stuck only with the group co-led at first by both Blakey and pianist Horace Silver, though the name was not used on the earliest of their recordings. Blakey and Silver recorded together on several occasions, including A Night at Birdland Vol. 1 with trumpeter Clifford Brown and alto-saxophonist Lou Donaldson in 1954 for Blue Note Records, having formed in 1953 a regular cooperative group with Hank Mobley and Kenny Dorham. The "Jazz Messengers" name was first used for this group on a 1954 recording nominally led by Silver, with Blakey, Mobley, Dorham and Doug Watkins - the same quintet recorded The Jazz Messengers at the Cafe Bohemia the following year, still functioning as a collective. Donald Byrd replaced Dorham

rhythm changes

In jazz and jazz harmony, "rhythm changes" refers to the chord progression occurring in George Gershwin's song "I Got Rhythm". This pattern, "one of the most common vehicles for improvisation,"[1] forms the basis of countless (usually uptempo) jazz compositions, was popular with swing-era musicians: It is found in "Shoeshine Boy" (Lester Young's 1936 breakout recording with Count Basie) and "Cotton Tail"[2] written by Duke Ellington in 1940, as well as Charlie Christian's "Seven Come Eleven",[3] Charlie Parker's "Salt Peanuts",[3] and Thelonious Monk's "Rhythm-a-Ning",[3] for instance. The earliest known use of rhythm changes was by Sidney Bechet in his September 15, 1932[4] recording of "Shag" with his "New Orleans Feetwarmers" group.[5]

chord extensions

Optional extensions to the chords are written in parentheses, e.g. (♯11). These notes are not necessary to define the function of the chord, but are included to add colour or fill out the sound according to the tastes of the performer. Extensions are written into the chords when a specific colour or texture is warranted.

Art Tatum

Tatum is widely acknowledged as a virtuoso and one of the greatest jazz pianists of all time,[1] and was a major influence on later generations of jazz pianists. He was hailed for the technical proficiency of his performances, which set a new standard for jazz piano virtuosity. Critic Scott Yanow wrote, "Tatum's quick reflexes and boundless imagination kept his improvisations filled with fresh (and sometimes futuristic) ideas that put him way ahead of his contemporaries

Django Reinhardt

Reinhardt is often regarded as one of the greatest guitar players of all time and is the first important European jazz musician who made major contributions to the development of the idiom. Using only the index and middle fingers of his left hand on his solos (his third and fourth fingers were paralyzed after an injury in a fire), Reinhardt invented an entirely new style of jazz guitar technique (sometimes called 'hot' jazz guitar) that has since become a living musical tradition within French Gypsy culture. With violinist Stéphane Grappelli, he co-founded the Quintette du Hot Club de France, described by critic Thom Jurek as "one of the most original bands in the history of recorded jazz."[3] Reinhardt's most popular compositions have become jazz standards, including "Minor Swing", "Daphne", "Belleville", "Djangology", "Swing '42", and "Nuages"

straight ahead

Straight-ahead jazz is a jazz music style from the period between bebop and the 1960s styles of Wayne Shorter and Herbie Hancock. It is considered the lingua franca of jam sessions, and can usually be contrasted with smooth jazz. It has the following characteristics:A walking bass A swing 4/4 time signature in the drums In the piano, syncopated chords in the left hand, and melodic, mostly single-note soloing in the right hand A head followed by a solo by each melody instrument, and sometimes drums and bass, followed by a reprise of the head

Time Out

is a jazz album by The Dave Brubeck Quartet, released in 1959 on Columbia Records, catalogue CL 1397. Recorded at Columbia's 30th Street Studio in New York City, it is based upon the use of time signatures that were unusual for jazz such as 9/8 and 5/4.[6] The album is a subtle blend of cool and West Coast jazz.[7][8] It peaked at #2 on the Billboard pop albums chart, and has been certified platinum by the RIAA, the first jazz album to ever achieve that status

Freedom Now

We Insist! (subtitled Max Roach's Freedom Now Suite) is a jazz album released on Candid Records in 1960. It contains a suite which composer and drummer Max Roach and lyricist Oscar Brown had begun to develop in 1959, with a view to its performance in 1963 on the centennial of the Emancipation Proclamation.[1] The cover references the sit-in movement of the Civil Rights Movement. The Penguin Guide to Jazz awarded the album one of its rare crown accolades, in addition to featuring it as part of its Core Collection. The music consists of five selections concerning the Emancipation Proclamation and the growing African independence movements of the 1950s. Only Roach and vocalist Abbey Lincoln perform on all five tracks, and one track features a guest appearance by saxophonist Coleman Hawkins.

Charlie Parker

also known as "Yardbird" and "Bird", was an American jazz saxophonist and composer. Parker was a highly influential jazz soloist and a leading figure in the development of bebop,[2] a form of jazz characterized by fast tempos, virtuosic technique, and improvisation. Parker introduced revolutionary harmonic ideas, including rapid passing chords, new variants of altered chords, and chord substitutions. His tone ranged from clean and penetrating to sweet and somber. Many Parker recordings demonstrate his virtuoso playing style and complex melodic lines, sometimes combining jazz with other musical genres, including blues, Latin, and classical.Parker acquired the nickname "Yardbird" early in his career[3] and the shortened form, "Bird", which continued to be used for the rest of his life, inspired the titles of a number of Parker compositions, such as "Yardbird Suite", "Ornithology", "Bird Gets the Worm", and "Bird of Paradise."Parker was an icon for the hipster subculture and later the Beat Generation, personifying the jazz musician as an uncompromising artist and intellectual, rather than an entertainer

Ella Fitzgerald

also known as the "First Lady of Song", "Queen of Jazz", and "Lady Ella", was an American jazz vocalist[1] with a vocal range spanning three octaves (D♭3 to D♭6).[2] She was noted for her purity of tone, impeccable diction, phrasing and intonation, and a "horn-like" improvisational ability, particularly in her scat singing. Fitzgerald was a notable interpreter of the Great American Songbook.[3] Over the course of her 59-year recording career, she sold 40 million copies of her 70-plus albums, won 13 Grammy Awards and was awarded the National Medal of Arts by Ronald Reagan and the Presidential Medal of Freedom by George H. W. Bush.

Jaco Pastorius

better known as Jaco Pastorius, was an influential American jazz musician, composer and electric bass player. He is best known for his work with Weather Report from 1976 to 1981, as well as work with artists including Joni Mitchell and his own solo projects. His playing was known for its highly technical, latin-influenced 16th-note funk, lyrical soloing on fretless bass and innovative use of harmonics. He is said to have redefined the role of the electric bass and is universally recognized as one of the greatest bass players in history. He was inducted into the Down Beat Jazz Hall of Fame in 1988, one of only seven bassists so honored (and the only electric bass guitarist).

Kenny Clarke

born Kenneth Spearman Clarke, nicknamed "Klook" and later known as Liaqat Ali Salaam, was a jazz drummer and bandleader. He was a major innovator of the bebop style of drumming. As the house drummer at Minton's Playhouse in the early 1940s, he participated in the after hours jams that led to the birth of Be-Bop, which in turn led to modern jazz. While in New York, he played with the major innovators of the emerging bop style, Charlie Parker, Dizzy Gillespie, Thelonious Monk, Curly Russell and others, as well as musicians of the prior generation, including Sidney Bechet. He spent his later life in Paris.

Roy Eldridge

commonly known as Roy Eldridge, and nicknamed "Little Jazz", was an American jazz trumpet player. His sophisticated use of harmony, including the use of tritone substitutions, his virtuosic solos exhibiting a departure from the smooth and lyrical style of earlier jazz trumpet innovator Louis Armstrong, and his strong impact on Dizzy Gillespie mark him as one of the most influential musicians of the swing era and a precursor of bebop.

Oh! Lady, Be Good

is a 1924 (see 1924 in music) song by George and Ira Gershwin. The song was often introduced by Walter Catlett in the Broadway show, Lady, Be Good!, written by Guy Bolton, Fred Thompson, and the Gershwin brothers, starring Fred Astaire and Adele Astaire. It ran for 330 performances in its original Broadway run. The song is also performed in the 1941 film Lady Be Good, although the film itself is unrelated to the musical play. A 1947 recording of the song became a hit for Ella Fitzgerald, notable for her scat solo. The song became readily identified with Fitzgerald, and she sang it many times in live performance. For her album Ella Fitzgerald Sings the George and Ira Gershwin Songbook (1959), it was sung as a ballad, arranged by Nelson Riddle.

Solitude

is a 1934 jazz standard, composed by Duke Ellington, with lyrics by Eddie DeLange and Irving Mills.

Sing, Sing, Sing

is a 1936 song, written by Louis Prima and first recorded by him with the New Orleans Gang and released in March 1936 as a 78 as Brunswick 7628 (with "It's Been So Long" as the B side). It is strongly identified with the big band and swing eras. It was covered by Fletcher Henderson and most famously Benny Goodman. Originally entitled "Sing Bing Sing", in reference to Bing Crosby, it was soon retitled for use in wider contexts.[citation needed] The song has since been covered by numerous artists. The original version of the song by Louis Prima includes lyrics, but, due to the better-known Benny Goodman version being instrumental (and including many musical flourishes in its arrangement), many assume the song was written as such.

Lover Man

is a 1941 popular song written by Jimmy Davis, Roger ("Ram") Ramirez, and James Sherman. It is particularly associated with Billie Holiday, for whom it was written, and her version was inducted into the Grammy Hall of Fame in 1989.[1] Holiday's version reached #5 on the R&B chart and #16 on pop in 1945.[2] Charlie Parker did a rendition of "Lover Man", considered by many to be one of his most passionate recordings, during which he was horribly intoxicated. Parker himself considered it one of his most shameful moments

Ko-Ko

is a 1945 bebop recording featuring Charlie Parker on alto saxophone, with trumpeter Dizzy Gillespie. The piece starts in the key of E flat minor.

Salt Peanuts

is a bebop tune reportedly composed by Dizzy Gillespie in 1943, credited "with the collaboration of" bebop drummer Kenny Clarke. It is also cited as Charlie Parker'

In The Mood

is a big band era #1 hit recorded by American bandleader Glenn Miller. It topped the charts in 1940 in the U.S. and one year later was featured in the movie Sun Valley Serenade. In 1999, National Public Radio (NPR) included the 1939 Glenn Miller recording on RCA Bluebird on the NPR 100, the list of "The 100 most important American musical works of the 20th century

Charlie Parker with Strings

is a compilation album by jazz musician Charlie Parker, released by Verve Records in January 1995. It is based on recording sessions originally issued as two albums released in 1950 on Mercury Records. The sessions place Parker in the context of a small classical string section and a jazz rhythm section, rather than his standard bebop quintet. They were Parker's most popular sellers during his lifetime, and were admitted to the Grammy Hall of Fame in 1988.

Return To Forever

is a jazz fusion group founded and led by pianist Chick Corea. Through its existence, the band has cycled through a number of different members, with the only consistent band mate of Corea's being bassist Stanley Clarke. Along with Weather Report and Mahavishnu Orchestra, Return to Forever is often cited as one of the core groups of the jazz-fusion movement of the 1970s. Several musicians, including Clarke, Flora Purim, Airto Moreira and Al Di Meola, first came to prominence through their performances on Return to Forever's albums. After playing on Miles Davis's groundbreaking jazz-fusion albums In a Silent Way and Bitches Brew, Corea formed an avant-garde jazz band called Circle with Dave Holland, Anthony Braxton and Barry Altschul. However in 1972, after having become a disciple of Scientology, Corea decided that he wanted to better "communicate" with the audience. This essentially translated into his performing a more popularly accessible style of music, since avant-garde jazz enjoyed a relatively small audience.

Take The 'A' Train

is a jazz standard by Billy Strayhorn that was the signature tune of the Duke Ellington orchestra. It is arguably the most famous of the many compositions to emerge from the collaboration of Ellington and Strayhorn.

Epistropy

is a jazz standard composed by Thelonious Monk and Kenny Clarke in 1942. It has been called "the first classic, modern jazz composition."[1] It was first recorded later that year, under the title "Fly Right," by a big band led by Cootie Williams. Its 'A' section is based on a pattern of alternating chords a semitone apart.

Fine and Mellow

is a jazz standard written by Billie Holiday,[1] who first recorded it on April 20, 1939 on the Commodore label.[2] It is a blues lamenting the bad treatment of a woman at the hands of "my man".

One O'clock Jump

is a jazz standard, a 12-bar blues instrumental, written by Count Basie in 1937, with arrangements by Eddie Durham and Buster Smith.[citation needed] The original 1937 recording of the tune by Basie and his band is noted for the saxophone work of Herschel Evans and Lester Young, trumpet by Buck Clayton, Walter Page on bass and Basie himself on piano.[1] "One O'Clock Jump" became the theme song of the Count Basie Orchestra. They used it to close each of their concerts for the next half century. It was reportedly entitled "Blue Ball" at first but a radio announcer feared that title was too risqué

Black, Brown and Beige

is a jazz symphony written by Duke Ellington for his first concert at Carnegie Hall, on January 23, 1943. Ellington introduced it at Carnegie Hall as "a tone parallel to the history of the Negro in America."[1] It was Ellington's longest and most ambitious composition.

Birdland

is a jazz-fusion instrumental composition written by keyboardist Joe Zawinul of Weather Report. The piece made its debut on Weather Report's 1977 studio album, Heavy Weather. With Birdland at the helm of the album, the song gained a tremendous amount of media success, receiving a number of awards, as well as ranking high on various Billboard charts. It soon became known as a jazz standard, and entered the set lists of other artists including Buddy Rich, Maynard Ferguson's big band, The Manhattan Transfer, Quincy Jones, and The String Cheese Incident.

A Night In Tunesia

is a musical composition written by Dizzy Gillespie and Frank Paparelli in 1942 while Gillespie was playing with the Earl Hines Band. It has become a jazz standard.

A Tisket, A Tasket

is a nursery rhyme first recorded in America in the late nineteenth century.[1][2] It was used as the basis for a very successful and highly regarded 1938 recording by Ella Fitzgerald. It has a Roud Folk Song Index number of 13188.

Body And Soul

is a popular song and jazz standard written in 1930 with lyrics by Edward Heyman, Robert Sour and Frank Eyton; and music by Johnny Green.

Just Friends

is a popular song that has become a jazz standard. The song was written in 1931 by John Klenner with lyrics by Sam M. Lewis. Although introduced by Red McKenzie and His Orchestra in October 1931, it first became a hit when singer Russ Columbo performed it with Leonard Joy's Orchestra in 1932. It charted again the same year in a version by Ben Selvin and His Orchestra and has been recorded often since

Fables of Faubus

is a song composed by jazz bassist and composer Charles Mingus. One of Mingus' most explicitly political works,[2] the song was written as a direct protest against Arkansas governor Orval E. Faubus,[3] who in 1957 sent out the National Guard to prevent the integration of Little Rock Central High School by nine African American teenagers. The song was first recorded for Mingus' 1959 album, Mingus Ah Um. Columbia refused to allow the lyrics to the song to be included,[4] and so the song was recorded as an instrumental on the album.[5][6] It was not until October 20, 1960 that the song was recorded with lyrics, for the album Charles Mingus Presents Charles Mingus, which was released on the more independent Candid label

Strange Fruit

is a song performed most famously by Billie Holiday, who first sang and recorded it in 1939. Written by the teacher Abel Meeropol as a poem, it exposed American racism, particularly the lynching of African Americans. Such lynchings had occurred chiefly in the South but also in other regions of the United States.[2][3] Meeropol set it to music and with his wife and the singer Laura Duncan, performed it as a protest song in New York venues, including Madison Square Garden. The song has been covered by artists, as well as inspiring novels, other poems and other creative works. In 1978 Holiday's version of the song was inducted into the Grammy Hall of Fame.[4] It was also included in the list of Songs of the Century, by the Recording Industry of America and the National Endowment for the Arts.

Begin The Beguine

is a song written by Cole Porter (1891-1964). Porter composed the song between Kalabahi, Indonesia, and Fiji during a 1935 Pacific cruise aboard Cunard's ocean liner Franconia.[1] In October 1935, it was introduced by June Knight in the Broadway musical Jubilee, produced at the Imperial Theatre in New York City.

Kind Of Blue

is a studio album by American jazz musician Miles Davis, released on August 17, 1959, by Columbia Records. Recording sessions for the album took place at Columbia's 30th Street Studio in New York City on March 2 and April 22, 1959. The sessions featured Davis's ensemble sextet, with pianist Bill Evans, drummer Jimmy Cobb, bassist Paul Chambers, and saxophonists John Coltrane and Julian "Cannonball" Adderley. After the entry of Evans into his sextet, Davis followed up on the modal experimentations of Milestones (1958) by basing Kind of Blue entirely on modality, in contrast to his earlier work with the hard bop style of jazz.

Ron Carter

is an American pianist, keyboardist, bandleader and composer.[1] As part of Miles Davis's Second Great Quintet, Hancock helped to redefine the role of a jazz rhythm section and was one of the primary architects of the "post-bop" sound. He was one of the first jazz musicians to embrace music synthesizers and funk music (characterized by syncopated drum beats). Hancock's music is often melodic and accessible; he has had many songs "cross over" and achieved success among pop audiences. His music embraces elements of funk and soul while adopting freer stylistic elements from jazz. In his jazz improvisation, he possesses a unique creative blend of jazz, blues, and modern classical music, with harmonic stylings much like the styles of Claude Debussy and Maurice Ravel. Hancock's best-known solo works include "Cantaloupe Island", "Watermelon Man" (later performed by dozens of musicians, including bandleader Mongo Santamaría), "Maiden Voyage", "Chameleon", and the singles "I Thought It Was You" and "Rockit"

Ornette Coleman

is an American saxophonist, violinist, trumpeter and composer. He was one of the major innovators of the free jazz movement of the 1960s. Coleman's timbre is easily recognized: his keening, crying sound draws heavily on blues music. His album Sound Grammar received the 2007 Pulitzer Prize for music.

John McLaughlin

is an English guitarist, bandleader and composer. His music includes many genres of jazz, and rock, which he coupled with an interest in Indian classical music to become one of the pioneering figures in fusion. In 2010 guitarist Jeff Beck called him "the best guitarist alive".[1] The Indian tabla maestro Zakir Hussain has called him "one of the greatest and one of the important musicians of our times". In 2003, McLaughlin was ranked 49th in Rolling Stone magazine's list of the "100 Greatest Guitarists of All Time".[2] After contributing to several key British groups of the early sixties and making his first solo record Extrapolation (with Tony Oxley and John Surman) he moved to the USA where he played with Tony Williams's group Lifetime and then with Miles Davis on his landmark electric jazz-fusion albums In A Silent Way, Bitches Brew, A Tribute to Jack Johnson and On The Corner. His 1970's electric band, the Mahavishnu Orchestra, performed a technically virtuosic and complex style of music that fused electric jazz and rock with Indian influences.

Miles Ahead

is an album by Miles Davis that was released in 1957 by Columbia Records. It was Davis' first collaboration with arranger Gil Evans following the Birth of the Cool sessions. Along with their subsequent collaborations Porgy and Bess (1959) and Sketches of Spain (1960), Miles Ahead is one of the most famous recordings of Third Stream, a fusion of jazz, European classical, and world musics.[1]

Sketches Of Spain

is an album by Miles Davis, recorded between November 1959 and March 1960 at the Columbia 30th Street Studio in New York City. An extended version of the second movement of Joaquin Rodrigo's Concierto de Aranjuez is included, as well as a song called "Will o' the Wisp", from the ballet El amor brujo by Manuel de Falla. Sketches of Spain is an exemplary recording of Third Stream, a musical fusion of jazz, European classical, and world musics

Art Blakey

known later as Abdullah Ibn Buhaina, was an American Grammy Award-winning jazz drummer and bandleader. Along with Kenny Clarke and Max Roach, he was one of the inventors of the modern bebop style of drumming. He is known as a powerful musician; his brand of bluesy, funky hard bop was and continues to be influential on mainstream jazz. For more than 30 years his band Art Blakey and the Jazz Messengers included young musicians who went on to become prominent names in jazz. The band's legacy is thus not only known for the music it produced, but as a proving ground for several generations of jazz musicians;[2] Blakey's groups are matched only by those of Miles Davis in this regard.

Lester Young

nicknamed "Pres" or "Prez", was an American jazz tenor saxophonist and sometime clarinetist. Coming to prominence while a member of Count Basie's orchestra, Young was one of the most influential players on his instrument. In contrast to many of his hard-driving peers, Young played with a relaxed, cool tone and used sophisticated harmonies, using "a free-floating style, wheeling and diving like a gull, banking with low, funky riffs that pleased dancers and listeners alike".[2] Famous for his hip, introverted style,[3] he invented or popularized much of the hipster jargon which came to be associated with the music

Coleman Hawkins

nicknamed Hawk and sometimes "Bean", was an American jazz tenor saxophonist.[2] One of the first prominent jazz musicians on his instrument, as Joachim E. Berendt explained: "there were some tenor players before him, but the instrument was not an acknowledged jazz horn".[3] While Hawkins is strongly associated with the swing music and big band era, he had a role in the development of bebop in the 1940s.[2] Fellow saxophonist Lester Young, known as "Pres", commented in a 1959 interview with The Jazz Review: "As far as I'm concerned, I think Coleman Hawkins was the President first, right? As far as myself, I think I'm the second one."[3] Miles Davis once said: "When I heard Hawk, I learned to play ballads."

Birth Of The Cool

s a compilation album by American jazz musician Miles Davis, released in 1957 on Capitol Records.[1][2] It compiles twelve tracks recorded by Davis's nonet for the label over the course of three sessions during 1949 and 1950.[3] Featuring unusual instrumentation and several notable musicians, the music consisted of innovative arrangements influenced by classical music techniques such as polyphony, and marked a major development in post-bebop jazz. As the title implies, these recordings are considered seminal in the history of cool jazz. Most of them were originally released in the 10-inch 78-rpm format and are all approximately three minutes long.

Stephane Grapelli

was a French jazz violinist who founded the Quintette du Hot Club de France with guitarist Django Reinhardt in 1934. It was one of the first all-string jazz bands. He has been called "the grandfather of jazz violinists" and continued playing concerts around the world well into his 80s.[1] For the first three decades of his career, he was billed using a gallicised spelling of his last name, Grappelly, reverting to "Grappelli" in 1969. The latter, Italian, spelling is now used almost universally when referring to the violinist - even on reissues of his early work. Stefan Grappelli is a significant alternative rendering of his name on later recordings.

J.J.Johnson

was a United States jazz trombonist, composer and arranger. He was sometimes credited as Jay Jay Johnson. Johnson was one of the first trombonists to embrace bebop music. He has long been regarded as one of the leading trombonists of the post-swing era, exerting a pervasive influence on other jazz musicians

Charles Mingus

was a highly influential American jazz double bassist, composer and bandleader. Mingus's compositions retained the hot and soulful feel of hard bop and drew heavily from black gospel music while sometimes drawing on elements of Third Stream, free jazz, and classical music. Yet Mingus avoided categorization, forging his own brand of music that fused tradition with unique and unexplored realms of jazz. He once cited Duke Ellington and church as his main influences. Mingus focused on collective improvisation, similar to the old New Orleans jazz parades, paying particular attention to how each band member interacted with the group as a whole. In creating his bands, Mingus looked not only at the skills of the available musicians, but also their personalities. Many musicians passed through his bands and later went on to impressive careers. He recruited talented and sometimes little-known artists, whom he utilized to assemble unconventional instrumental configurations. As a performer, Mingus was a pioneer in double bass technique, widely recognized as one of the instrument's most proficient players. Nearly as well known as his ambitious music was Mingus' often fearsome temperament, which earned him the nickname "The Angry Man of Jazz". His refusal to compromise his musical integrity led to many onstage eruptions, exhortations to musicians, and dismissals.[1] Because of his brilliant writing for midsize ensembles, and his catering to and emphasizing the strengths of the musicians in his groups, Mingus is often considered the heir of Duke Ellington, for whom he expressed great admiration. Indeed, Dizzy Gillespie had once claimed Mingus reminded him "of a young Duke", citing their shared "organizational genius

Cannonball Adderley

was a jazz alto saxophonist of the hard bop era of the 1950s and 1960s. Adderley is remembered for his 1966 single "Mercy Mercy Mercy", a crossover hit on the pop charts, and for his work with trumpeter Miles Davis, including on the epochal album Kind of Blue (1959). He was the brother of jazz cornetist Nat Adderley, a longtime member of his band.[3]

Elvin Jones

was a jazz drummer of the post-bop era.[1] He showed an interest in drums at a young age, watching the circus bands march by his family's home in Pontiac, Michigan. He served in the United States Army from 1946 to 1949 and subsequently played in a Detroit houseband led by Billy Mitchell. He moved to New York in 1955 and worked as a sideman for Charles Mingus, Teddy Charles, Bud Powell and Miles Davis.[1] From 1960 to 1966 he was a member of the John Coltrane quartet (along with Jimmy Garrison on bass and McCoy Tyner on piano), a celebrated recording phase, appearing on such albums as A Love Supreme. Following his work with Coltrane, Jones led several small groups, some under the name The Elvin Jones Jazz Machine. His brothers Hank Jones and Thad Jones were also jazz musicians with whom he recorded

Cab Calloway

was a jazz singer and bandleader. He was strongly associated with the Cotton Club in Harlem, New York City, where he was a regular performer. Calloway was a master of energetic scat singing and led one of the United States' most popular big bands from the start of the 1930s through to the late 1940s. Calloway's band featured performers including trumpeters Dizzy Gillespie and Adolphus "Doc" Cheatham, saxophonists Ben Webster and Leon "Chu" Berry, New Orleans guitar ace Danny Barker, and bassist Milt Hinton. Calloway continued to perform until his death in 1994 at the age of 86.

Glenn Miller

was an American big band musician, arranger, composer, and bandleader in the swing era. He was the best-selling recording artist from 1939 to 1943, leading one of the best known big bands. Miller's notable recordings include "In the Mood", "Moonlight Serenade", "Pennsylvania 6-5000", "Chattanooga Choo Choo", "A String of Pearls", "At Last", "(I've Got a Gal In) Kalamazoo", "American Patrol", "Tuxedo Junction", and "Little Brown Jug".[2] While he was traveling to entertain U.S. troops in France during World War II, Glenn Miller's aircraft disappeared in bad weather over the English Channel.

Artie Shaw

was an American clarinetist, composer, and bandleader. Also an author, Shaw wrote both fiction and non-fiction. Widely regarded as "one of jazz's finest clarinetists,"[1] Shaw led one of the United States' most popular big bands in the late 1930s through the early 1940s. Their signature song, a 1938 version of Cole Porter's "Begin the Beguine", was a wildly successful single and one of the era's defining recordings. Musically restless, Shaw was also an early proponent of Third Stream, which blended classical and jazz, and recorded some small-group sessions that flirted with be-bop before retiring from music in 1954.

Charlie Byrd

was an American guitarist. His earliest and strongest musical influence was Django Reinhardt, the gypsy guitarist. Byrd was best known for his association with Brazilian music, especially bossa nova. In 1962, Byrd collaborated with Stan Getz on the album Jazz Samba, a recording which brought bossa nova into the mainstream of North American music. Byrd played fingerstyle on a classical guitar.

Paul Desmond

was an American jazz alto saxophonist and composer, born in San Francisco, best known for the work he did in the Dave Brubeck Quartet and for penning that group's greatest hit, "Take Five". He was one of the most popular musicians to come out of the West Coast's "cool jazz" scene, and the possessor of a legendary and idiosyncratic wit. In addition to his work with Brubeck, he led several of his own groups and did significant collaborations with artists such as Gerry Mulligan, Jim Hall and Chet Baker. After years of chain smoking and general poor health, Desmond succumbed to lung cancer in 1977 following one last tour with Brubeck.

Jackie McLean

was an American jazz alto saxophonist, composer, bandleader, and educator, and is a member of the DownBeat Hall of Fame. His early recordings as leader were in the hard bop school. He later became an exponent of modal jazz without abandoning his foundation in hard bop. Throughout his career he was known for a distinctive tone, akin to the tenor saxophone and often described with such adjectives as "bitter-sweet", "piercing", or "searing", a slightly sharp pitch, and a strong foundation in the blues.

Gene Krupa

was an American jazz and big band drummer, actor and composer, known for his highly energetic and flamboyant style, He made his first recordings in 1927, with a band under the leadership of banjoist Eddie Condon and Red McKenzie: along with other recordings beginning in 1927 by musicians known in the "Chicago" scene such as Bix Beiderbecke, these sides are examples of "Chicago Style" jazz

Dave Brubeck

was an American jazz pianist and composer, considered to be one of the foremost exponents of cool jazz. He wrote a number of jazz standards, including "In Your Own Sweet Way" and "The Duke". Brubeck's style ranged from refined to bombastic, reflecting his mother's attempts at classical training and his improvisational skills. His music is known for employing unusual time signatures, and superimposing contrasting rhythms, meters, and tonalities. His long-time musical partner, alto saxophonist Paul Desmond, wrote the saxophone melody for the Dave Brubeck Quartet's best remembered piece, "Take Five",[1] which is in 5/4 time and has endured as a jazz classic on one of the top-selling jazz albums, Time Out.[2] Brubeck experimented with time signatures throughout his career, recording "Pick Up Sticks" in 6/4, "Unsquare Dance" in 7/4, "World's Fair" in 13/4, and "Blue Rondo à la Turk" in 9/8. He was also a respected composer of orchestral and sacred music, and wrote soundtracks for television such as Mr. Broadway and the animated miniseries This Is America, Charlie Brown.

Gil Evans

was an American jazz pianist, arranger, composer and bandleader. He played an important role in the development of cool jazz, modal jazz, free jazz and jazz fusion, and collaborated extensively with Miles Davis.[2]

John Lewis

was an American jazz pianist, composer and arranger, best known as the musical director of the Modern Jazz Quartet.

Mary Lou Williams

was an American jazz pianist, composer, and arranger. Williams wrote hundreds of compositions and arrangements, and recorded more than one hundred records (in 78, 45, and LP versions).[1] Williams wrote and arranged for such bandleaders as Duke Ellington and Benny Goodman, and she was friend, mentor, and teacher to Thelonious Monk, Charlie Parker, Miles Davis, Tadd Dameron, Dizzy Gillespie, and many others.

Count Basie

was an American jazz pianist, organist, bandleader, and composer. His mother taught him to play the piano and he started performing in his teens. Dropping out of school, he learned to operate lights for vaudeville and to improvise accompaniment for silent films at a local movie theater in his home town of Red Bank, New Jersey. By 16, he increasingly played jazz piano at parties, resorts and other venues. In 1924, he went to Harlem, where his performing career expanded; he toured with groups to the major jazz cities of Chicago, St. Louis and Kansas City. In 1929 he joined Bennie Moten's band in Kansas City, and played with them until Moten's death in 1935. That year Basie formed his own jazz orchestra, and in 1936 took them to Chicago for a long engagement and their first recording. He led the group for almost 50 years, creating innovations like the use of two "split" tenor saxophones, emphasizing the rhythm section, riffing with a big band, using arrangers to broaden their sound, and others.

Teddy Wilson

was an American jazz pianist. Described by critic Scott Yanow[2] as "the definitive swing pianist", Wilson's sophisticated and elegant style was featured on the records of many of the biggest names in jazz including Louis Armstrong, Lena Horne, Benny Goodman, Billie Holiday, and Ella Fitzgerald. With Goodman, he was one of the first black musicians to appear prominently with white musicians. In addition to his extensive work as a sideman, Wilson also led his own groups and recording sessions from the late 1920s to the 1980s.

Stan Getz

was an American jazz saxophone player. Getz was known as "The Sound" because of his warm, lyrical tone, his prime influence being the wispy, mellow timbre of his idol, Lester Young.[1] Coming to prominence in the late 1940s with Woody Herman's big band, Getz is described by critic Scott Yanow[2] as "one of the all-time great tenor saxophonists". Getz went on to perform in bebop, cool jazz and third stream, but is perhaps best known for popularizing bossa nova, as in the worldwide hit single "The Girl from Ipanema" (1964).

John Coltrane

was an American jazz saxophonist and composer. Working in the bebop and hard bop idioms early in his career, Coltrane helped pioneer the use of modes in jazz and later was at the forefront of free jazz. He organized at least fifty recording sessions as a leader during his career, and appeared as a sideman on many other albums, notably with trumpeter Miles Davis and pianist Thelonious Monk. As his career progressed, Coltrane and his music took on an increasingly spiritual dimension. His second wife was pianist Alice Coltrane and their son Ravi Coltrane is also a saxophonist. Coltrane influenced innumerable musicians, and remains one of the most significant saxophonists in jazz history. He received many posthumous awards and recognitions, including canonization by the African Orthodox Church as Saint John William Coltrane[citation needed] and a special Pulitzer Prize in 2007.[2]

Gerry Mulligan

was an American jazz saxophonist, clarinetist, composer and arranger.[1] Though Mulligan is primarily known as one of the leading baritone saxophonists in jazz history - playing the instrument with a light and airy tone in the era of cool jazz - he was also a notable arranger, working with Claude Thornhill, Miles Davis, Stan Kenton, and others. Mulligan's pianoless quartet of the early 1950s with trumpeter Chet Baker is still regarded as one of the more important cool jazz groups. Mulligan was also a skilled pianist and played several other reed instruments.

Billie Holiday

was an American jazz singer and songwriter. Nicknamed "Lady Day" by her friend and musical partner Lester Young, Holiday had a seminal influence on jazz and pop singing. Her vocal style, strongly inspired by jazz instrumentalists, pioneered a new way of manipulating phrasing and tempo.Critic John Bush wrote that Holiday "changed the art of American pop vocals forever."[5] She co-wrote only a few songs, but several of them have become jazz standards, notably "God Bless the Child", "Don't Explain", "Fine and Mellow", and "Lady Sings the Blues". She also became famous for singing "Easy Living", "Good Morning Heartache", and "Strange Fruit", a protest song which became one of her standards and was made famous with her 1939 recording. Music critic Robert Christgau called her "uncoverable, possibly the greatest singer of the century".[6]

Sarah Vaughan

was an American jazz singer, described by Jazz commentator/music critic Scott Yanow as having "one of the most wondrous voices of the 20th century." Nicknamed "Sailor" (for her salty speech),[2] "Sassy" and "The Divine One", Sarah Vaughan was a Grammy Award winner.[3] The National Endowment for the Arts bestowed upon her its "highest honor in jazz", the NEA Jazz Masters Award, in 1989.[4]