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Period: to
Early Jazz/New Orleans & Chicago Style Dixieland (1920-1930)
Use of collective improvisation. Front line of trumpet, clarinet, trombone. New Orleans style typically included banjo and tuba, later replaced by guitar and string bass in Chicago Style. Chicago Style also typically adds saxophone to the front line. Use of flat four in New
Orleans Style. Modern drum set emerges when New Orleans musicians begin to consolidate.. Famous musicians Louis Armstrong, Bix Beiderbecke, Jelly Roll Morton, Sidney Bechet, Earl "Fatha" Hines -
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Swing/Big Band Era (1930-1945)
Most popular period in jazz history. Large ensembles, less improvisation, more emphasis on written arrangements. Emphasis on showmanship. Development of sections based on
the early model of the front line in New Orleans/Chicago Style Dixieland. Smoother swing feel. Cross-section voicing and Riffs
IMPORTANT MUSICIANS: Duke Ellington, Count Basie, Coleman
Hawkins, Lester Young, Roy Eldridge. -
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Bop (1945-1950)
Small ensembles. Focus on improvisation rather than on complex arrangements. Complex, angular melodies usually played in unison. Longer, irregular phrasing. Usually faster tempos than in swing. Emphasis on virtuosity, instrumental technique. Drummer is now more interactive with soloist. Use of contrafacts. Increased harmonic complexities. IMPORTANT MUSICIANS: Charlie Parker, Dizzy Gillespie, Bud Powell, Thelonious Monk, Max Roach, Dexter Gordon, J.J. Johnson -
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Cool (1950-1955)
Calm, unhurried approach to improvisation. Thinner textures, softer dynamics ,smoother melodic phrasing. Horn players tend to play with a lighter, less harsh tone quality with little vibrato. New instrumental combinations. Renewed interest of collective improvisation. Less obvious blues influence.
IMPORTANT MUSICIANS: Miles Davis, Dave Brubeck, Paul Desmond & Lee Konitz, Gerry Mulligan, Modern Jazz Quartet, Stan Getz, Gil Evans -
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Hard Bop (1955-1960)
Raw, hard driving style with an emotional emphasis. Extensive use of the blues & gospel music. Emphasis on "groove", danceability and the "shuffle" rhythm. Latin elements and a "straight" eighth note feel used at times. Primarily black musicians from New York City, Detroit and Philadelphia.
IMPORTANT MUSICIANS: Art Blakey & The Jazz Messengers, Horace Silver, Sonny Rollins, Clifford Brown, Cannonball Adderley, Charles Mingus, Benny Golson & The Jazztet, Miles Davis' "classic" quintet -
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Free Jazz/Avant Garde (1960s)
Open or free forms; tunes often complete improvisations. Lack of preset chord changes. Usually dense textures, high energy playing. Collective improvisation of a more dissonant, atonal nature. Experimental instruments & instrumentations. Interest in non-western musical concepts (world music)
and 20th century classical composers such as John Cage and Karlheinz Stockhausen. IMPORTANT MUSICIANS: Ornette Coleman, Cecil Taylor, Albert Ayler, Anthony Braxton -
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Fusion/Jazz-Rock (1970s)
Extensive use of electronic instruments: electric piano
synthesizers electric bass. Focus of attention on the rhythm section. More attention on studio recording technology and the process of recording. Pieces range from simple melodies with vamps and open forms to complex through-composed , sectionalized
compositions. Saxophones used more often than brass instruments.
IMPORTANT MUSICIANS: Miles Davis, Chick Corea, Weather Report, John McLaughlin -
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Eclecticism (1980s & 90s)
A continuation of previous styles, crossovers, and new styles derived from various sources are common. Some notable trends within this eclecticism seem to be a further sophistication of electronic jazz through the use of computers, a resurgent neo-bop and neo-traditionalist movement, expanded instrumental & vocal techniques, a greater involvement of women, and the growth of
European and "world music" jazz styles.
IMPORTANT MUSICIANS: Pat Metheny Group Michael Brecker Wynton Marsalis