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Welcome to Our Generation USA!

This Web Page covers the Culture and Music of 
Jazz 
that originated in the African-American communities of New Orleans, Louisiana in the late 19th and early 20th centuries, with its roots in blues and ragtime!​
​​

We open this Musical web page about Jazz, with the 1979 American musical drama film "All that Jazz", directed by Bob Fosse, as this film influenced your webhost's interest in jazz.
All That Jazz is a 1979 American musical drama film directed by Bob Fosse. The screenplay, by Robert Alan Aurthur and Fosse, is a semi-autobiographical fantasy based on aspects of Fosse's life and career as a dancer, choreographer and director.

The film was inspired by Fosse's manic effort to edit his film Lenny while simultaneously staging the 1975 Broadway musical Chicago. It borrows its title from the Kander and Ebb tune "All That Jazz" in that production.

The film won the Palme d'Or at the 1980 Cannes Film Festival. At the 52nd Academy Awards it was nominated for nine Oscars, winning four: 
In 2001, All That Jazz was deemed "culturally, historically, or aesthetically significant" by the Library of Congress and selected for preservation in the United States National Film Registry.

Click on any of the following blue hyperlinks for more about the film "All that Jazz":







Jazz Music Pictured below: 31 Best Female Jazz Singers Of All Time*
* See end of this Topic for 31 best female jazz singers according to Music Grotto!

Jazz is a music genre that originated in the African-American communities of New Orleans, Louisiana in the late 19th and early 20th centuries, with its roots in blues and ragtime.

Since the 1920s Jazz Age, it has been recognized as a major form of musical expression in traditional and popular music.

Jazz is characterized by swing and blue notes, complex chords, call and response vocals, polyrhythms and improvisation. Jazz has roots in European harmony and African rhythmic rituals.

As jazz spread around the world, it drew on national, regional, and local musical cultures, which gave rise to different styles. New Orleans jazz began in the early 1910s, combining earlier brass band marches, French quadrilles, biguine, ragtime and blues with collective polyphonic improvisation.

But jazz did not begin as a single musical tradition in New Orleans or elsewhere. In the 1930s, arranged dance-oriented swing big bands, Kansas City jazz (a hard-swinging, bluesy, improvisational style), and gypsy jazz (a style that emphasized musette waltzes) were the prominent styles. 

Bebop emerged in the 1940s, shifting jazz from danceable popular music toward a more challenging "musician's music" which was played at faster tempos and used more chord-based improvisation. 

Cool jazz developed near the end of the 1940s, introducing calmer, smoother sounds and long, linear melodic lines.

The mid-1950s saw the emergence of hard bop, which introduced influences from rhythm and blues, gospel, and blues to small groups and particularly to saxophone and piano. 

Modal jazz developed in the late 1950s, using the mode, or musical scale, as the basis of musical structure and improvisation, as did free jazz, which explored playing without regular meter, beat and formal structures. 

Jazz-rock fusion appeared in the late 1960s and early 1970s, combining jazz improvisation with rock music's rhythms, electric instruments, and highly amplified stage sound. In the early 1980s, a commercial form of jazz fusion called smooth jazz became successful, garnering significant radio airplay.

Other styles and genres abound in the 2000s, such as Latin and Afro-Cuban jazz.

Etymology and definition:
Main article: Jazz (word)

The origin of the word jazz has resulted in considerable research, and its history is well documented. It is believed to be related to jasm, a slang term dating back to 1860 meaning "pep, energy". 

The earliest written record of the word is in a 1912 article in the Los Angeles Times in which a minor league baseball pitcher described a pitch which he called a "jazz ball" "because it wobbles and you simply can't do anything with it".

The use of the word in a musical context was documented as early as 1915 in the Chicago Daily Tribune. Its first documented use in a musical context in New Orleans was in a November 14, 1916, Times-Picayune article about "jas bands". 

In an interview with National Public Radio, musician Eubie Blake offered his recollections of the slang connotations of the term, saying: "When Broadway picked it up, they called it 'J-A-Z-Z'. It wasn't called that. It was spelled 'J-A-S-S'. That was dirty, and if you knew what it was, you wouldn't say it in front of ladies." The American Dialect Society named it the Word of the 20th Century.

​Jazz is difficult to define because it encompasses a wide range of music spanning a period of over 100 years, from ragtime to the rock-infused fusion. Attempts have been made to define jazz from the perspective of other musical traditions, such as European music history or African music.

But critic Joachim-Ernst Berendt argues that its terms of reference and its definition should be broader, defining jazz as a "form of art music which originated in the United States through the confrontation of the Negro with European music" and arguing that it differs from European music in that jazz has a "special relationship to time defined as 'swing'".

Jazz involves "a spontaneity and vitality of musical production in which improvisation plays a role" and contains a "sonority and manner of phrasing which mirror the individuality of the performing jazz musician". 

In the opinion of Robert Christgau, "most of us would say that inventing meaning while letting loose is the essence and promise of jazz".

A broader definition that encompasses different eras of jazz has been proposed by Travis Jackson: "it is music that includes qualities such as swing, improvising, group interaction, developing an 'individual voice', and being open to different musical possibilities". 

Krin Gibbard argued that "jazz is a construct" which designates "a number of musics with enough in common to be understood as part of a coherent tradition". In contrast to commentators who have argued for excluding types of jazz, musicians are sometimes reluctant to define the music they play. Duke Ellington, one of jazz's most famous figures, said, "It's all music."

Elements:

Improvisation:
Main article: Jazz improvisation

Although jazz is considered difficult to define, in part because it contains many subgenres, improvisation is one of its defining elements. The centrality of improvisation is attributed to the influence of earlier forms of music such as blues, a form of folk music which arose in part from the work songs and field hollers of African-American slaves on plantations.

These work songs were commonly structured around a repetitive call-and-response pattern, but early blues was also improvisational. Classical music performance is evaluated more by its fidelity to the musical score, with less attention given to interpretation, ornamentation, and accompaniment.

The classical performer's goal is to play the composition as it was written. In contrast, jazz is often characterized by the product of interaction and collaboration, placing less value on the contribution of the composer, if there is one, and more on the performer. 

The jazz performer interprets a tune in individual ways, never playing the same composition twice. Depending on the performer's mood, experience, and interaction with band members or audience members, the performer may change melodies, harmonies, and time signatures.

In early Dixieland, a.k.a. New Orleans jazz, performers took turns playing melodies and improvising countermelodies. In the swing era of the 1920s–'40s, big bands relied more on arrangements which were written or learned by ear and memorized. Soloists improvised within these arrangements.

In the bebop era of the 1940s, big bands gave way to small groups and minimal arrangements in which the melody was stated briefly at the beginning and most of the piece was improvised. Modal jazz abandoned chord progressions to allow musicians to improvise even more.

In many forms of jazz, a soloist is supported by a rhythm section of one or more chordal instruments (piano, guitar), double bass, and drums. The rhythm section plays chords and rhythms that outline the composition structure and complement the soloist. In avant-garde and free jazz, the separation of soloist and band is reduced, and there is license, or even a requirement, for the abandoning of chords, scales, and meters.

Traditionalism:

Since the emergence of bebop, forms of jazz that are commercially oriented or influenced by popular music have been criticized. According to Bruce Johnson, there has always been a "tension between jazz as a commercial music and an art form". 

Regarding the Dixieland jazz revival of the 1940s, black musicians rejected it as being shallow nostalgia entertainment for white audiences. On the other hand, traditional jazz enthusiasts have dismissed bebop, free jazz, and jazz fusion as forms of debasement and betrayal. An alternative view is that jazz can absorb and transform diverse musical styles. By avoiding the creation of norms, jazz allows avant-garde styles to emerge.

​Diversity in jazz:

Jazz and race:

For some African Americans, jazz has drawn attention to African-American contributions to culture and history. For others, jazz is a reminder of "an oppressive and racist society and restrictions on their artistic visions". 

Amiri Baraka argues that there is a "white jazz" genre that expresses whiteness. White jazz musicians appeared in the Midwest and in other areas throughout the U.S. Papa Jack Laine, who ran the Reliance band in New Orleans in the 1910s, was called "the father of white jazz". 

The Original Dixieland Jazz Band, whose members were white, were the first jazz group to record, and Bix Beiderbecke was one of the most prominent jazz soloists of the 1920s.

The Chicago Style was developed by white musicians such as: 
​Others from Chicago such as Benny Goodman and Gene Krupa became leading members of swing during the 1930s. Many bands included both black and white musicians. These musicians helped change attitudes toward race in the U.S.

Roles of women:
Main article: Women in jazz

Female jazz performers and composers have contributed to jazz throughout its history.

Although the following were recognized for their vocal talent, less familiar were bandleaders, composers, and instrumentalists such as pianist Lil Hardin Armstrong, trumpeter Valaida Snow, and songwriters Irene Higginbotham and Dorothy Fields:
Women began playing instruments in jazz in the early 1920s, drawing particular recognition on piano.

When male jazz musicians were drafted during World War II, many all-female bands replaced them. The International Sweethearts of Rhythm, which was founded in 1937, was a popular band that became the first all-female integrated band in the U.S. and the first to travel with the USO, touring Europe in 1945. Women were members of the big bands of Woody Herman and Gerald Wilson.

Beginning in the 1950s, many women jazz instrumentalists were prominent, some sustaining long careers. Some of the most distinctive improvisers, composers, and bandleaders in jazz have been women. 

​Trombonist Melba Liston is acknowledged as the first female horn player to work in major bands and to make a real impact on jazz, not only as a musician but also as a respected composer and arranger, particularly through her collaborations with Randy Weston from the late 1950s into the 1990s.

Jews in jazz:
Main article: Jews in jazz
​
Jewish Americans played a significant role in jazz. As jazz spread, it developed to encompass many different cultures, and the work of Jewish composers in Tin Pan Alley helped shape the many different sounds that jazz came to incorporate.

Jewish Americans were able to thrive in Jazz because of the probationary whiteness that they were allotted at the time. George Bornstein wrote that African Americans were sympathetic to the plight of the Jewish American and vice versa. As disenfranchised minorities themselves, Jewish composers of popular music saw themselves as natural allies with African Americans.

The Jazz Singer with Al Jolson is one example of how Jewish Americans were able to bring jazz, music that African Americans developed, into popular culture. Benny Goodman was a vital Jewish American to the progression of Jazz. Goodman was the leader of a racially integrated band named King of Swing. His jazz concert in the Carnegie Hall in 1938 was the first ever to be played there. The concert was described by Bruce Eder as "the single most important jazz or popular music concert in history".

Click on any of the following blue hyperlinks for more about Jazz: ___________________________________________________________________________

The following presents the 31 best female jazz singers of all time, according to Music Grotto:

​1. Nina Simone was a singer, songwriter, and civil rights activist. She was an incredibly talented jazz musician, playing both piano and guitar. She used her music to speak out against racism and oppression.

She was a powerful voice for the civil rights movement and helped to inspire other artists. Simone recorded over 40 albums during her career and received numerous awards, including the Grammy Hall of Fame Award. Her music is still popular today and continues to inspire musicians all over the world.

2. Anita O’Day was one of the most iconic jazz singers of the 20th century. She started her career in the 1930s, singing with bandleaders like Gene Krupa and Benny Goodman. Her vocal style was unique, characterized by her use of scatting and eagerness to experiment with new sounds. She also had a strong stage presence, which helped her to stand out in the crowd. 

In the 1940s and 1950s, O’Day recorded a number of hit songs, including “Sweet Georgia Brown” and “Sing, Sing, Sing.” She also toured extensively, performing at nightclubs and concert halls around the world. In the later years of her career, she continued to push boundaries, experimenting with different musical genres and collaborating with younger artists. Her passion for music was evident until the very end, and she left behind a rich legacy that continues to inspire new generations of singers.

3. Dianne Reeves is an American jazz singer born in 1956 in Detroit, Michigan. She began her singing career in the 1970s and has since released fifteen albums. Her music is a blend of jazz, blues, and pop, and she has won five Grammy Awards for her work. In addition to her solo recordings, she has also sung with many well-known musicians, including Wynton Marsalis, Miles Davis, and Herbie Hancock. She has toured extensively throughout the United States and Europe and has performed at some of the world’s most prestigious music festivals. Reeves is one of the most successful and acclaimed jazz singers of her generation, and her music is enjoyed by fans all over the world.

4. Billie Holiday was a jazz singer and songwriter. She was known for her unique vocal style and ability to convey emotion through her music. She began her career singing in nightclubs in Harlem. She went on to have a successful career, recording over 100 songs and earning multiple Grammy Awards, including the Lifetime Achievement Award.

5. Betty Carter was born in 1929 in Flint, Michigan, and she quickly developed a love for music. She started singing in her local church choir, and by age 16, she was touring with a professional gospel group. In the early 1950s, she transitioned to jazz and quickly established herself as a talented singer and pianist. She began international tours and recorded several albums that received critical acclaim. 

Carter continued to perform and record until her death in 1998. Throughout her career, she remained true to her jazz roots and helped keep the genre alive during its decline in popularity. For generations of jazz lovers, she will always be remembered as one of the greatest musicians of her time.

6. Norah Jones is a popular musician known for her smooth, soulful voice. A native of Texas, she began her musical career as a jazz singer in New York City. Since then, she has released several albums of both original material and covers, winning multiple Grammys along the way. She was named the top jazz artist for the 2000’s decade by Billboard. 

In addition to her work as a solo artist, Jones has also collaborated with several other musicians, including Willie Nelson and Billie Joe Armstrong. Despite her success, she remains down-to-earth and humble, attributing much of her success to luck. Regardless of the reason, there’s no denying that she is a talented musician with a bright future ahead of her.

7. Etta Jones was a jazz singer known for her smooth, soulful voice. Born in Texas in 1928, she began her career singing gospel music before moving to New York City in the 1950s. There, she quickly became a mainstay of the city’s vibrant jazz scene, performing with legendary musicians like Dexter Gordon and Oscar Peterson. 

Over the course of her career, Jones released more than a dozen albums, many of which are now considered classics of the genre. She died in 2001 at the age of 72. Today, she is remembered as one of the great vocalists of her generation, and her music continues to inspire new generations of Jazz singers.

8. Diana Krall is a Canadian jazz pianist and singer. She was born in British Columbia in 1964. Her parents were both professional musicians, and she began playing piano at the age of four. She later studied at the Berklee College of Music in Boston. Krall’s career took off in the 1990s when she released her first album, “Stepping Out.” Since then, she has released eleven studio albums and won five Grammy Awards.

Krall is known for her smooth, velvety voice and her ability to blend jazz, pop, and blues styles. In fact, even critics have praised her for her innovative approach to music. In 2003, she was made an Officer of the Order of Canada. Krall continues to be one of the most popular jazz musicians of our time.

9. Dakota Staton was a singer and songwriter who helped shape the sound of popular music in the 1950s and 1960s. Born in Pittsburgh, Pennsylvania, she grew up in a musical family and began performing in nightclubs as a teenager. She rose to prominence in the early 1950s with her hit song “The House Of Blue Lights,” which featured a distinctive blend of jazz, R&B, and pop influences.

Throughout her career, Staton released more than two dozen albums and charted several hits, including “My Mistake (Was To Love You)” and “(Theme From) Valley Of The Dolls.” She also appeared on television and in films, including the 1966 cult classic “The Party.” She continued to perform and record in later years, although she largely retreated from the spotlight. She died in 2007 at the age of 76.

10. Sarah Vaughan was a jazz singer and pianist. She was known for her powerful vocal range and ability to sing in a wide variety of styles. She began her career singing with big bands but later found success as a solo artist. She recorded over 60 albums during her career and won multiple Grammy Awards. Vaughan is considered one of the best jazz singers of all time, and her music is still popular today.

11. Blossom Dearie was a jazz singer and pianist with a distinctively light and girlish voice. Born in New York City in 1924, she began her career as a member of the Blue Flames, a vocal trio that recorded for Savoy Records in the early 1940s. She moved to France in 1952, where she found success as a solo artist and bandleader. She recorded for several different labels over the course of her career, including Verve, Capital, and Philips. 

Dearie’s style was highly influenced by French cabaret music, and she often sang in a whispered or conversational tone. She also had a penchant for inserting humorous asides into her songs. She died in 2009 at the age of 84.

12. Jazz singer and songwriter Abbey Lincoln was born Anna Marie Wooldridge in Chicago on August 6, 1930. Despite having no formal musical training, she embarked on a career in entertainment at an early age, appearing in various nightclubs and theaters. In the 1950s, she began working with notable jazz musicians such as Duke Ellington and Miles Davis. During this period, she changed her name to Abbey Lincoln to better reflect her African-American heritage.

In the 1960s, she became increasingly involved in the Civil Rights Movement, using her music to convey messages of social justice. Her work during this time earned her widespread critical acclaim, and she continued to perform and record until her death in 2010. Lincoln remained true to her artistic vision by creating deeply personal and socially relevant music. She is widely regarded as one of the most important figures in 20th-century jazz.

13. Ella Johnson was born in Chicago in 1918 and began playing piano at an early age. She soon developed a love for jazz and started performing in clubs around the city. In the 1940s, she moved to New York and became one of the most popular singers in the town. Her smooth, powerful voice made her one of the most sought-after vocalists of her generation.

She recorded dozens of albums and toured the world, performing for royalty and heads of state. In addition to her work as a musician, Johnson was also an active philanthropist. She founded several charities and donated her time and money to causes she cared about. She passed away in 2010, but her legacy as a singer, songwriter, and humanitarian lives on.

14. Dinah Washington was a jazz and blues singer. She was known for her powerful vocal range and ability to convey emotion through her music. She began her career singing in nightclubs in Chicago. She went on to have a successful career, recording over 30 albums and earning multiple Grammy Awards.

15. June Christy was a singer who helped to define the cool jazz sound of the 1940s and 1950s. She got her start singing with bands in the Los Angeles area and quickly developed a reputation for her clear, powerful voice. In 1944, she joined the Stan Kenton Orchestra and made her first recordings with the group the following year. Her time with them was short-lived, but it helped to launch her career.

She released a series of successful albums, including “The Misty Miss Christy” and “Something Cool.” Her music was known for its sophisticated lyrics and laid-back arrangements, and she became one of the most popular jazz vocalists of her generation. She retired from performing in the early 1960s, but she continued to work as an educator and a recording artist until she passed away in 1990.

16. Helen Merrill: Born in New York City in 1930, Helen Merrill is a jazz musician with a unique style that combines elements of both approaches. A gifted singer, she began her career singing popular standards before turning to a more experimental repertoire.

Merrill’s musical partnership with trumpeter Clifford Brown was one of the most significant in jazz history, and she went on to record with many of the genre’s greatest names. Although her recordings have been sporadically released over the years, she remains an active performer, and her concerts are always highly anticipated events. For anyone who loves jazz, Merrill is a must-see artist.

17. Eartha Kitt was an American jazz singer, dancer, and actress who won widespread acclaim for her sultry voice and sensual stage presence. Born in South Carolina in 1927, she began her career as a nightclub performer in the early 1950s. Over the next decade, she became one of the most popular entertainers in the world, appearing in films, television shows, and Las Vegas revues.

In the 1960s, Kitt’s career took a turn when she became embroiled in political controversy. After making critical remarks about the Vietnam War, she was denounced by President Lyndon Johnson and declared persona non grata in the United States. This episode ended her career in America, but Kitt continued to perform internationally for many years. She died in 2008 at the age of 81.

18. Julie London was a pop and jazz musician who had a lengthy career in both genres. She was born in 1926 and began her musical career in the 1940s. Her first album, “Calendar Girl,” was released in 1956 and contained a mix of pop and jazz standards.

London continued to release albums throughout the rest of her life, including several that topped the charts. She also appeared in a number of films and television shows, most notably “The Dick Van Dyke Show” and “Emergency!” London passed away in 2000, but her music continues to be popular with fans of both pop and jazz.

19. Aretha Franklin: It would be impossible to overstate her impact on American music. Arguably the greatest singer of her generation, she brought a unique blend of gospel, soul, jazz, and R&B to the mainstream, charting more than 100 hits over the course of her illustrious career. Though she began her career as a child prodigy in the church, her recordings for Atlantic Records in the 1960s made her a global superstar.

Songs like “Respect” and “Chain Of Fools” became anthems of the Civil Rights movement, while her electrifying performance at the 1969 Newport Jazz Festival cemented her reputation as one of the greatest live performers of all time.

In governmental recognition of her achievements, she was awarded the Presidential Medal of Freedom in 2005 and was inducted into the Rock and Roll Hall of Fame in 1987. Simply put, Franklin was a musical legend, and her legacy will continue to inspire new generations of singers for years to come.

20. Ruth Brown: was a highly influential jazz musician who enjoyed a long and successful career. Born in 1928, she began her musical journey as a teenager, singing with local bands in her hometown of Portsmouth, Virginia. In the early 1950s, she relocated to New York City, where she quickly made a name for herself on the jazz scene.

She recorded a string of hit records during the 1950s and 1960s, including “Teardrops From My Eyes” and “This Little Girl’s Gone Rockin’.” In 1989, she was inducted into the Rock and Roll Hall of Fame, making her one of the first female musicians to be so honored.

Throughout her career, Brown remained an active force in the world of jazz, inspiring future generations of artists. She passed away in 2006 at the age of 78.

21. Diane Schuur: is a Grammy-winning jazz musician who has been blind since birth. She was born in Tacoma, Washington, in 1953 and began playing the piano at age three. When she was five, she was diagnosed with retrobulbar neuritis, a condition that caused her to completely lose her sight. Despite this setback, she went on to become one of the most celebrated jazz vocalists and pianists of her generation. She has released over 20 albums, including her Grammy-winning debut album “Deedles.”

​Schuur has performed with some of the biggest names in the music industry, including B.B. King, Stan Getz, and Quincy Jones.

In addition to her musical achievements, she is also an active advocate for people with disabilities. She has helped to raise awareness about the challenges faced by the blind and visually impaired community and has worked to make public spaces more accessible for people with disabilities. For her contributions to music and disability rights, Schuur is truly an inspiring figure.

22. Kandace Springs is a jazz and soul singer quickly making a name for herself in the music world. A native of Nashville, Tennessee, she began her musical journey at a young age, studying classical piano and singing in her church choir. Her love of music continued to grow, and she eventually attended the prestigious Berklee College of Music. After graduation, she ditched her dreams of becoming a pop star and instead focused on her true passion: jazz.

She released her debut album in 2014 and has been touring internationally ever since. Kandace’s unique style combines the smooth sounds of classic jazz with the soulful vocals of R&B, creating a sound that is true all on her own. With her talent and charisma, she is quickly becoming one of the most promising young musicians in the industry today.

23. Peggy Lee: Peggy Lee was one of the most influential jazz musicians of her generation. Born in 1920, she rose to prominence in the 1940s as a member of the Benny Goodman Quartet.

Lee went on to have a hugely successful solo career, and her distinctive voice helped to define the sound of cool jazz. In addition to her musical talents, she was also an accomplished songwriter, and she penned hits like “Fever” and “Is That All There Is?” We can still hear Lee’s influence on today’s jazz scene, and she remains one of the genre’s most revered performers.

24. Carmen McRae was a legendary jazz musician known for her deeply personal singing style. Born in Harlem in 1920, she grew up surrounded by the sounds of jazz and blues. She began her musical career as a pianist but quickly developed into a singer of unparalleled skill.

McRae recorded over 60 albums throughout her career and performed with luminaries like Miles Davis, Duke Ellington, and Dizzy Gillespie. Though she was often overshadowed by her more famous contemporaries, her intimate style of singing helped to redefine the genre of jazz. Her influence can still be heard in the work of modern musicians such as Norah Jones and Diana Krall. She passed away in 1994, but her music continues to inspire new generations of listeners.

25. Annie Ross was born in the UK but moved to the US when she was a teenager and quickly became involved in the jazz scene. She sang with some of the biggest names in jazz, including Lester Young, Charlie Parker, and Coleman Hawkins.

In 1952, she recorded “Twisted,” which became a huge hit and helped to launch her solo career. Ross continued to perform and record throughout her life, and she was inducted into the Jazz Hall of Fame in 1985. She died on 21 July 2020, and she remains a true pioneer in the jazz world; her contributions have had a lasting impact on the genre.

26. Etta James was one of the most influential jazz musicians of her generation. A powerful vocalist with a signature style, she was known for her soulful interpretations of both classic standards and modern pop songs.

Born in Los Angeles in 1938, she began her career as a teenager, singing with the legendary bandleader Johnny Otis. She quickly rose to prominence, releasing her debut album in 1955.

Over the next five decades, James would go on to release a series of critically acclaimed albums and earn multiple Grammy Awards. Though she passed away in 2012, her music continues to inspire new generations of jazz singers and fans.

27. Madeleine Peyroux is a French-American singer and songwriter. She is known for her distinctive vocals and eclectic style, which blends elements of jazz, folk, and pop. She began her career as a busker on the streets of Paris.

She was discovered by producer William Galison, who helped her secure a record deal with Atlantic Records. Peyroux’s debut album, “Dreamland,” was released in 1996 to critical acclaim. It featured covers of popular songs by Bob Dylan, Billie Holiday, and Leonard Cohen.

Her second album, “Careless Love,” was released in 2004 and debuted at number one on the Billboard Jazz charts. It won a Grammy Award for Best Contemporary Folk Album.

Her most recent album, “Half The Perfect World,” was released in 2006. It includes original songs as well as covers of tunes by Tom Waits and Townes Van Zandt. She is currently touring the United States in support of the album. Her distinctive style and powerful vocals impress critics and music lovers alike.

28. Dee Dee Bridgewater is an American jazz singer. She was born on May 27, 1950, in Memphis, Tennessee. Her father was a musician, and her mother was a gospel singer. She began singing in church choirs when she was a child. When she was 18, she moved to New York City to study acting. While she was there, she became interested in jazz music. She began to sing at nightclubs and quickly gained popularity.

In 1975, she released her first album, “Afro Blue.” It received critical acclaim and won several awards. Bridgewater has released more than two dozen albums throughout her career. She has won three Grammy Awards and been nominated for numerous others. In 2009, she was awarded the National Medal of Arts by President Barack Obama. She currently resides in France with her husband, trumpeter Roy Hargrove.

29. Cassandra Wilson is an American jazz singer who first came to prominence in the early 1990s with her album “Blue Light, Red Light.” Since then, she has released a number of other critically acclaimed albums and won multiple Grammy Awards.

Her music often draws from a wide range of genres, including blues, jazz, gospel, pop, and rock. She has said that she is “not really a jazz singer,” but rather, someone who uses the jazz idiom to express her unique style. Whatever the label, Wilson’s music is widely respected by critics and fans alike. Her powerful voice and inventive interpretations have made her one of the most respected singers of her generation.

​30. Ella Fitzgerald is often considered one of the best jazz singers of all time. She was known for her incredible vocal range and ability to scat sing.

She got her start in the music industry by winning an amateur contest at the Apollo Theater in Harlem. She went on to have a successful career, recording over 200 albums and earning 13 Grammy Awards. Fitzgerald is considered to be one of the most influential jazz singers of all time, and her music continues to be popular today.

31. Mary Lou Williams was a singer who had a big impact on the world of music. She was born in Pittsburgh, Pennsylvania, and began her singing career in the early 1920s. She was a member of the Duke Ellington Orchestra, but she recorded several solo albums. She also wrote songs for other artists, such as Ella Fitzgerald and Billie Holiday.

In addition to her work as a singer, Williams was a talented pianist. She composed jazz standards such as “In The Mood” and “A Night In Tunisia.” She died in 1981, but her music continues to inspire musicians worldwide.

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New Orleans Jazz Heritage Festival Pictured below: “New Orleans Jazz Fest: Fifty Fests and Countin”: Inside the lasting success of New Orleans Jazz & Heritage Festival
​The New Orleans Jazz & Heritage Festival (commonly called Jazz Fest or Jazzfest) is an annual celebration of local music and culture held at the Fair Grounds Race Course in New Orleans, Louisiana. Jazz Fest attracts thousands of visitors to New Orleans each year. 

The New Orleans Jazz & Heritage Festival and Foundation Inc., as it is officially named, was established in 1970 as a 501(c)(3) nonprofit organization (NPO). The Foundation is the original organizer of the New Orleans Jazz & Heritage Festival presented by Shell Oil Company, a corporate financial sponsor.

The Foundation was established primarily to redistribute the funds generated by Jazz Fest into the local community. As an NPO, their mission further states that the Foundation "promotes, preserves, perpetuates and encourages the music, culture and heritage of communities in Louisiana through festivals, programs and other cultural, educational, civic and economic activities". 

The founders of the organization included pianist and promoter George Wein, producer Quint Davis and the late Allison Miner.

In addition to the Festival, the organization's other assets include radio station WWOZ 90.7 FM, the Jazz & Heritage Foundation Archive and The George & Joyce Wein Jazz & Heritage Center. The Foundation also raises funds by holding the Jazz & Heritage Gala every year and provides several educational programs and a variety of more targeted festivals.

Because of concerns over the COVID-19 pandemic, 2020 marked the first year in the fifty-year history of Jazz Fest that the two-week festival has been cancelled. It was originally rescheduled to take place October 8–17, 2021, but later cancelled completely. 2022 saw its resumption after a two-year hiatus.

​Background:

In 1962, Olaf Lambert, the manager of the Royal Orleans Hotel in the French Quarter contacted George Wein, a jazz mogul and founder of the Newport Jazz Festival and the Newport Folk Festival in Rhode Island and asked him to bring his festival model to New Orleans. 

Wein met with Mayor Victor H. Schiro, Seymour Weiss a hotel executive and civic leader, and a few members of the New Orleans Chamber of Commerce to discuss the proposition. They decided that New Orleans and the South were not ready for a jazz festival.

It was a time in the city's history that was fraught with racism and segregationists reminiscent of the Jim Crow era. City ordinances were still in place that prohibited interaction between black and white musicians, tourists and locals and prevented revitalization of the economy in this manner.

Two years after their initial meeting, Lambert again contacted George Wein and asked him to plan what was to be called the New Orleans International Jazz Festival for the spring of 1965. Racial tensions were on the rise, and the non-profit community effort was postponed because of "integration tensions". 

In the meantime, the proposed Annual New Orleans International Jazz Festival moved ahead under the auspices of attorney Dean A. Andrews Jr. Community organizations such as the New Orleans Jazz Club were not invited, and the event failed to attract big names, which Andrews claimed was by design. "Our idea is not to bring in big-time musicians. We want to tell the story of the New Orleans sound, to show the evolution of New Orleans jazz."

In 1967, Durel Black, a local businessman and president of the New Orleans Jazz Club, convinced the local Chamber of Commerce that it was time to make another attempt at starting a jazz festival in New Orleans. The city would celebrate its 250th anniversary in 1968, and Black recognized it as an opportunity to promote the festival. 

Wein was asked again to develop the festival; however, when it was discovered that his wife Joyce was African-American, the offer was retracted, and events director Tommy Walker was hired instead. A jazz festival was planned, and evening concerts were held in 1968 under the billing The International Jazzfest with headliners that included Louis Armstrong, Duke Ellington and a variety of other artists.

In 1969, a second International Jazzfest took place, resulting in a negative return on investment, despite its big name lineup. Durel Black contacted Wein yet again, assured him that his interracial marriage was no longer an issue, and asked him to take charge of the festival. 

Wein agreed and was prepared and motivated to protect the culture and heritage in Louisiana. However, he also recognized the barriers that prevented the International JazzFest of '69 from flourishing. He concluded that the format of the festival had to be changed from the ground up, and that local collaboration was necessary for it to succeed. He contacted Allan Jaffe, director of Preservation Hall, who arranged the necessary connections with Allison Miner, Quint Davis and several other promoters.

Foundation history and founding:

The New Orleans Jazz & Heritage Festival was established in 1970 under the guidance and vision of George Wein. The Festival achieved instant artistic success, despite its initial attendance of only 350 people. 

Wein's vision was straightforward: he wanted a large daytime fair with multiple stages featuring a diverse range of locally produced music styles, Louisiana cuisine food booths, and arts and crafts booths, as well as an evening concert series that would appeal to everyone.

Wein also sought to develop a new perspective that would add a level of excitement to the festival presentation, and appeal to both The Crescent City culture and those who simply wanted to learn more about the city's unique way of life.

In addition to local customs, he emphasized African, Caribbean, and French culture, and was able to present the music, cuisine and crafts of various cultures to the world through Jazz Fest in a way that was enjoyable and exciting.

"This festival could only take place in New Orleans, because here and only here is America's richest musical heritage." ~George Wein

The first Jazz Fest took place in 1970 outside the French Quarter in a park "that was once the site of Congo Square – the space where, during the 18th century, enslaved people gathered to trade, dance, and play music from their countries of origin." 

In 1972, after relocating to the infield of the Fair Grounds Race Course, Jazz Fest expanded by utilizing the entire 145-acre (59 ha) site. By 1975, the inaugural year of the Festival's limited-edition, silkscreen poster series, attendance was expected to reach 80,000. 

From 1976 to 1978, Jazz Fest expanded to two full weekends in conjunction with the Heritage Fair, and in 1979, the Festival expanded to three weekends to celebrate its tenth anniversary.

​By the early 1980s, the Festival continued growing in popularity, earning widespread recognition as one of the world's cultural celebrations. From the 1970s to the 1980s, Jazz Fest contributed to an unprecedented boom in tourism that earned Crescent City the moniker "Creole Disneyland". 

In 2017, total attendance for Jazz Fest was about 425,000 over seven days, exceeding the total population of Orleans Parish per prior census estimates. Pre-COVID-19, the attendance had grown to nearly 500,000.

Over the years, the Festival has had its share of financial difficulties, as well as an identity crisis on stage and in the tents. Local African-American activists accused the Festival of exploiting its performers and under-representing the communities that made Jazz Fest possible. 

Internal conflicts also arose which left the 1982 Festival temporarily without board member Quint Davis, who handled the Festival's production. In 1983, Davis returned and has produced it ever since.

The year 2020 marks the first year in the Festival's fifty-year history to be cancelled because of concerns over the COVID-19 pandemic. The event was rescheduled to take place in the Fall 2021, October 8–17, which is within the Atlantic hurricane season.

Yearly Posters:

For every Jazz Fest from 1984 to 2019 & since 2022, there have been a series of posters released that are related to that year’s event. These posters have become some of the most widely recognized pieces of art in the New Orleans/Louisiana area. They are sold at the festival and after the festival online and in many art stores around the area. Posters gain significant value as time goes on.

Festival features:

​The Festival features a variety of local food and craft vendors. The official food policy of the Festival is "no carnival food". There are more than seventy food booths that include local dishes like: 
All food vendors are small, locally owned businesses. Jazz Fest ranks second to Mardi Gras in terms of local economic impact.

Craft vendors are set up throughout the grounds, as are craft-making demonstrations. There are three main areas including:
  1. the Congo Square African Marketplace, which features crafts from local, national, and international artisans;
  2. the Contemporary Crafts area, which features handmade clothing, leather goods, jewelry, paintings, sculptures, and musical instruments;
  3. and the Louisiana Marketplace, which displays baskets, hand-colored photographs, jewelry and landscape-themed art.

The Festival allocates large areas dedicated to cultural and historical practices unique to Louisiana. There are depictions of the many cultures that exist in the state, such as the Cajun culture, and the Los Isleños, who are descendants of native Canary Islanders.

Some of the areas include the Louisiana Folklife Village, which focuses on state art and culture, the Native American Village and the Grandstand. The National Endowment of the Arts has recognized many the work of many of the folk demonstrators.

Parades are also held throughout the event. They include parades by the Mardi Gras Indians, marching bands, brass bands, and social aid and pleasure clubs.

Stages and Tents:
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Jazz Fest grew to become one of the best festivals to watch local artists and musicians, such as: ​
These were in the Tremé backyard. 

After 1972, the festival moved to the Gentilly community. By 2010, Jazz Fest had become more commercialized with headliners such as the Foo Fighters and Christina Aguilera, shifting away from its jazz-dominated roots.

The festival has various performance stages including:
  • The Acura Stage - Main Stage
  • Gentilly Stage - Secondary Main Stage
  • The Congo Square Stage - Afro-centric and World Music
  • Blues Tent - Blues Music
  • Jazz Tent - Contemporary Jazz Music
  • Gospel Tent - Gospel Musicians and Performers
  • Kids Tent - Children's Music and Performances
  • The Sheraton New Orleans Fais Do Do Stage - Cajun & Zydeco Music
  • Jazz & Heritage Stage - Mardi Gras Indians + Brass Band Performances
  • Allison Miner Music Heritage - Panel Discussions, Fest Information + Live Interviews
  • Food Heritage Stage - Live Cooking Demonstrations
  • Cajun Cabin - Live Cajun Cooking Demonstrations
  • Economy Hall Tent - Traditional New Orleans Jazz
  • Lagniappe Stage - A potpourri of sound and style

The Congo Square stage name pays homage to a gathering place where enslaved black people would meet to sell goods to buy their freedom, play instruments, and dance. Under the Code Noir, Catholic slavemasters allowed their slaves to have Sundays off. That day off helped to preserve the tradition and spirit of African dancing and drumming.

The name of the gathering area was changed to Louis Armstrong Park, where drummers traditionally perform on Sundays in honor of their enslaved ancestors.

In 2015, Jazz Fest honored the 40th birthday of New Orleans Center for Creative Arts (NOCCA). Displays included student artwork; live performances of spoken word and musical theater were featured at the Cultural Pavilion. NOCCA Alumni showcased their musical talents at the Zatarains/WWOZ Jazz Tent, where they paid homage to the legacy of Ellis Marsalis Jr. 

The festival has an ongoing partnership with local schools like NOCCA to give young artists an opportunity to showcase their talents to a larger audience.

Performers:
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The festival has featured a variety of musicians and performers every year since its founding, ranging from Louisiana musicians to international pop stars. Many popular New Orleans musicians have played annually for long stretches over the history of the festival such as:
Applications to perform (from the general public) are limited to bands from Louisiana to promote and preserve local culture.

The New Orleans Jazz and Heritage Foundation:

The New Orleans Jazz and Heritage Foundation is a 501(c)(3) organization that presents the New Orleans Jazz and Heritage Festival. The foundation was formed in 1970 as the festival's nonprofit arm.

Festival founders George Wein, Quint Davis and Allison Miner trusted that Jazz Fest would be a success, despite a slow start in ticket sales. Their foresight led to the decision to establish the New Orleans Jazz and Heritage Foundation as a nonprofit, allowing the opportunity to give the proceeds back to the local community by way of cultural programming when revenue increased.

Over the years, festival revenue increased, but the Foundation struggled to cover costs associated with its programs. In 2004, Don Marshall was brought on board as the Foundation's executive director. Other sources of funding come from galas and special events, corporate donors, individual donations and public and private grants.

The Foundation operates with a full-time staff and a four-part board of directors that includes a voting board, advisory council, Past Presidents Senate and an Honor Council. Its mission statement says: "The New Orleans Jazz & Heritage Festival and Foundation, Inc. promotes, preserves, perpetuates and encourages the music, culture and heritage of communities in Louisiana through festivals, programs and other cultural, educational, civic and economic activities."

The Foundation maintains active involvement with the local community through its assets, programming and educational enrichment. The local programs range from teaching Jazz to local teens, to preserving recordings, artifacts and interviews. The programs aid in economic growth by providing jobs for local artists and entertainers while offering entertainment to citizens.

Foundation assets:

The following resources were created by the Foundation as sources of funding to provide year-round programming that focuses on cultural education, economic development and cultural enrichment for the following:

The New Orleans Jazz & Heritage Festival

WWOZ 90.7 FM - a local radio station based in the French Quarter with programs by volunteers whose mission is "to be the worldwide voice, archive, and flag-bearer of New Orleans culture and musical heritage". 

In 2020, the station celebrated its 40th anniversary and gained national news coverage after its efforts to provide a sense of "normalcy" in response to the COVID-19 pandemic .
WWOZ 90.7 FM broadcasts live during Jazz Fest and provides local, cultural content year round.

Jazz & Heritage Foundation Archive - an educational resource that acts as a repository for items of historical and cultural importance in Louisiana. The Archive consists mainly of recordings from the Festival, but also features magazines, posters, film and photographs. The artifacts are available for scholarly research, and fellowships are granted to encourage use of the archive.

The George & Joyce Wein Jazz & Heritage Center - a performance and education venue that also serves as the location for the Don "Moose" Jamison Heritage School of Music and the Foundations year-round programming. The center is named after Jazz Fest founder George Wein and his wife, Joyce.

The Jazz & Heritage Gala - a celebration that raises funds for free music education in New Orleans. The proceeds are donated to the Don "Moose" Jamison Heritage School of Music which provides music education to over 280 students in the city.

Educational programming:

Don "Moose" Jamison Heritage School of Music - The School of Music is the Foundation's unique cultural education program which began in 1990 as an after-school program. Initially, the school was tuition-free and taught only a few students on the campus of Southern University at New Orleans.

In 2014, the George and Joyce Wein Jazz & Heritage Center opened in Tremé. The center is the permanent location of the School and instructs over 200 students each week. Classes now range from after-school to weekends and utilize instrumental techniques, ear training and composition to teach the art of music and performance.

Tom Dent Congo Square Lecture Series - Tom Dent (1932-1998), born to Ernestine and Albert W. Dent. Dent was an African-American cultural activist and poet from New Orleans. He was influenced by cultural writers of African-American struggles. 

Dent served as the executive director of the Foundation from 1987 to 1990. While serving on the board, he founded the Congo Square Lecture Series. After his death, the name was changed to The Tom Dent Congo Square Lecture series in his honor. The series was created to engage local creatives in scholarly conversations surrounding culture and African-American history.

Topics range from Jazz and Creole history, Carnival around the world and the evolution of Jazz funerals in New Orleans.

Class Got Brass Contest - a 'Battle of the Brass Bands' for all middle and high schools in Louisiana that was created to encourage school band programs to participate in the musical culture of New Orleans. The winner receives music education funds for their school. Prizes range from $1,000 to $10,000 and non-winners receive a $1,000 stipend for participating.

Each band is limited to 12 members, and each member must be currently enrolled in the competing school. Judges consider originality, adherence to tradition, improvisation, tightness and overall presentation when deciding winners.

Songwriting Workshops for Kids with PJ Morton - a series of songwriting workshops that are open to middle and high school students in New Orleans. The workshops and applications are free but are limited to 30 students. Students learn songwriting techniques from PJ Morton.

Mardi Gras Indian Beading and African Drumming Workshops - a series of free workshops that take place at the George and Joyce Wein Jazz & Heritage Center. Beading workshops are led by Howard Miller, the chief of the Creole Wild West Mardi Gras Indian tribe. Miller teaches the workshops to students ages 10–17 in New Orleans. Drumming workshops are led by Luther Gray, head of the Congo Square Preservation Society. Gray provides drums to students who cannot provide their own.

Economic development programming:

Jazz & Heritage Music Relief Fund - a statewide relief fund to support musicians who have lost income due to the COVID-19 pandemic. The pandemic caused venue closures all around the world and left many New Orleans' musicians without a source of income. The Fund has provided emergency grants to over 2500 musicians in the city and the campaign for fundraising is ongoing. Donations continue to be received from organizations like Spotify, Michael Murphy Productions, the Goldring Foundation and the Bentson Foundation.

Community Partnership Grants - proceeds from the Festival are invested back into the community. Over $8 million has been redistributed through community partnership grants to fund cultural projects, all of which must align with the Foundation's mission. Recent category additions include the Louisiana Cultural Equity Arts Grant which allows BIPOC creatives to focus on creating new works. Applications are accepted from all over Louisiana, and represent a wide range of diversity.

Jazz & Heritage Film Festival - the Foundation works with the New Orleans Video Access Center to put on a festival that showcases documentaries about south Louisiana or that are produced by New Orleans filmmakers. The festival lasts three days and includes screenings and networking for film industry professionals. A majority of the featured films have been awarded funding from the Foundation's Community Partnership Grants. The festival takes place in February at the George and Joyce Wein Jazz & Heritage Center.

The Catapult Fund - the Foundation supports the local restaurant industry by providing small business owners with funding and business training by way of the Catapult Fund. Funding partners of the Catapult Fund have included: 
  • Capital One Bank,
  • the Louisiana Small Business Development Center (LSBDC,)
  • the Louisiana Cultural Economy Foundation (LCEF,)
  • and the Ashé Cultural Arts Center.

The Fund is open to small business owners in the food and beverage and culinary arts industry. These businesses can include LLC's, sole-proprietorship's and incorporated businesses.

Over a period of five months, accepted applicants attend 17 free instructional classes focused on business development. Those who participate in the course receive a food safety training certification and leave with new knowledge of key strategies for running a successful business by addressing solutions to the unique challenges the restaurant sector faces in New Orleans.

Additionally, a grant pool of $50,000 is portioned and rewarded to participants who successfully complete the course.

Cultural enrichment programming:

Jazz & Heritage Concerts - the Jazz & Heritage Concert Series consists of concerts presented by the Foundation throughout the year, in the off-season of Jazz Fest. The concerts are admission free and held at the George and Joyce Wein Jazz & Heritage Center. The Foundation also presents two free concerts during Jazz Fest each year.

The concerts not only highlight local favorites but artists from different parts of the country. The concert series has followed themes that highlight underrepresented populations. The most recent series, titled "Chanteuse: Celebrating New Orleans Women in Music", was scheduled for the weekend of March 13, 2020, but was postponed because of the COVID-19 pandemic. 

The series focuses on women and/or femme-identifying persons to bring attention to the lack of female representation in the music industry. Reports show that women accounted for 21.7% of all artists in 2019, and the ratio of male to female producers was 37 to 1.

Cyrille Aimée, Germaine Bazzle and Maggie Koerner were among the artists initially scheduled to perform. A visual arts exhibit called Femme Fest, sponsored by the Women's Caucus for Art of Louisiana (WCALA,) was set to be featured at the Jazz & Heritage Art Gallery as a part of the series as well.

Crescent City Blues & BBQ Festival - the Crescent City Blues & BBQ Festival is a free celebration of music, food and art presented by the Foundation. The festivities typically take place in Lafayette Square and showcase artists like Little Freddie King.

Treme' Creole Gumbo Festival and Congo Square Rhythms Festival - the Treme’ Creole Gumbo Festival and the Congo Square Rhythms Festival are admission free festivals presented by the Foundation, and are typically held in Armstrong Park. In 2019 the Congo Square Rhythms Festival took place simultaneously; therefore, the two could work together to increase their impact on the city. African Drumming, Jazz, Funk and Gospel are among the performances that represent the African diaspora's cultural impact on New Orleans.

Louisiana Cajun-Zydeco Festival - an admission free festival presented by the Foundation that focuses on Cajun and Zydeco music and takes place in the Spring at Armstrong Park.

Much like other Foundation festivals, local art, food and entertainment are showcased at this annual two-day event. Vendors sell seafood, especially crawfish, while art markets and youth activities are available.

Johnny Jackson Jr. Gospel Is Alive Celebration - an outreach program for senior citizens in New Orleans. The concert is admission free and held at the Franklin Avenue Baptist Church. Foundation board member, Johnny Jackson Jr. supported this specific concert from its onset in 1990. It was eventually named after him in honor of his support.

Past performers have included the Gospel Soul Children and Rance Allen. Each year Gospel Is Alive! recognizes those who have contributed to the gospel community in a significant way.

See also:
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Dixieland Jazz Pictured below (for real!): Dixieland Jazz: Character Traits of the Musical Style. BOOK US ONLINE: We have been providing music and comedy for all ages across the North Texas and Metroplex areas since 1984.
Dixieland jazz, also referred to as traditional jazz, hot jazz, or simply Dixieland, is a style of jazz based on the music that developed in New Orleans at the start of the 20th century. The 1917 recordings by the Original Dixieland Jass Band (which shortly thereafter changed the spelling of its name to "Original Dixieland Jazz Band"), fostered awareness of this new style of music.

A revival movement for traditional jazz began in the 1940s, formed in reaction to the orchestrated sounds of the swing era and the perceived chaos of the new bebop sounds (referred to as "Chinese music" by Cab Calloway). 

Led by the Assunto brothers' original Dukes of Dixieland, the movement included elements of the Chicago style that developed during the 1920s, such as the use of a string bass instead of a tuba, and chordal instruments, in addition to the original format of the New Orleans style. That reflected that virtually all of the recorded repertoire of New Orleans musicians was from the period when the format was already evolving beyond the traditional New Orleans format.

"Dixieland" may in that sense be regarded as denoting the jazz revival movement of the late 1930s to the 1950s as much as any particular subgenre of jazz. The essential elements that were accepted as within the style were the traditional front lines consisting of trumpets, trombones, and clarinets, and ensemble improvisation over a two-beat rhythm.

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Outline of Jazz, including a List of Jazz GenresPictured below: Louis Armstrong (1901–1971) is considered one of the pivotal musicians in jazz for his contributions as a trumpet player, composer and singer.
Click here for a List of Jazz Genres.

Outline of Jazz follows below:

Jazz – musical style that originated at the beginning of the 20th century in African American communities in the Southern United States, mixing African music and European classical music traditions.

Jazz is a music genre that originated from African American communities of New Orleans in the United States during the late 19th and early 20th centuries. It emerged in the form of independent traditional and popular musical styles, all linked by the common bonds of African American and European American musical parentage with a performance orientation.

Jazz spans a period of over a hundred years, encompassing a very wide range of music, making it difficult to define. Jazz makes heavy use of: 
Although the foundation of jazz is deeply rooted within the black experience of the United States, different cultures have contributed their own experience and styles to the art form as well. Intellectuals around the world have hailed jazz as "one of America's original art forms".

As jazz spread around the world, it drew on different national, regional, and local musical cultures, which gave rise to many distinctive styles. 

New Orleans jazz began in the early 1910s, combining earlier brass-band marches, French quadrilles, biguine, ragtime and blues with collective polyphonic improvisation.

In the 1930s, heavily arranged dance-oriented swing big bands, Kansas City jazz, a hard-swinging, bluesy, improvisational style and Gypsy jazz (a style that emphasized musette waltzes) were the prominent styles. 

Bebop emerged in the 1940s, shifting jazz from danceable popular music towards a more challenging "musician's music" which was played at faster tempos and used more chord-based improvisation. 

Cool jazz developed in the end of the 1940s, introducing calmer, smoother sounds and long, linear melodic lines.

The 1950s saw the emergence of free jazz, which explored playing without regular meter, beat and formal structures, and in the mid-1950s, hard bop emerged, which introduced influences from rhythm and blues, gospel, and blues, especially in the saxophone and piano playing. 

Modal jazz developed in the late 1950s, using the mode, or musical scale, as the basis of musical structure and improvisation.

Jazz-rock fusion appeared in the late 1960s and early 1970s, combining jazz improvisation with rock music's rhythms, electric instruments and the highly amplified stage sound.

In the early 1980s, a commercial form of jazz fusion called smooth jazz became successful, garnering significant radio airplay. Other styles and genres abound in the 2000s, such as Latin and Afro-Cuban jazz.

What type of thing is jazz?

Jazz can be described as all of the following:
  • Music – art and cultural form whose medium is sound and silence. Its common elements are pitch (which governs melody and harmony), rhythm (and its associated concepts tempo, meter, and articulation), dynamics, and the sonic qualities of timbre and texture. The word derives from Greek μουσική (mousike; "art of the Muses").
    • Music genre – conventional category that identifies pieces of music as belonging to a shared tradition or set of conventions. It is to be distinguished from musical form and musical style, although in practice these terms are sometimes used interchangeably.

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Abbey Lincoln
Anna Marie Wooldridge (August 6, 1930 – August 14, 2010), known professionally as Abbey Lincoln, was an American jazz vocalist, songwriter, and actress. She was a civil rights activist beginning in the 1960s. Lincoln made a career out of delivering deeply felt presentations of standards as well as writing and singing her own material.

Musician:

Born in Chicago but raised in Calvin Center, Cass County, Michigan, Lincoln was one of many singers influenced by Billie Holiday. Her debut album, Abbey Lincoln's Affair – A Story of a Girl in Love, was followed by a series of albums for Riverside Records. In 1960 she sang on Max Roach's landmark civil rights-themed recording, We Insist! Lincoln's lyrics were often connected to the civil rights movement in America. After a tour of Africa in the mid-1970s, she adopted the name Aminata Moseka.

During the 1980s, Lincoln's creative output was smaller and she released only a few albums. Her song "For All We Know" is featured in the 1989 film Drugstore Cowboy. During the 1990s and until her death, however, she fulfilled a 10-album contract with Verve Records.

These albums are highly regarded and represent a crowning achievement in Lincoln's career. Devil's Got Your Tongue (1992) featured the following: 
In 2003, Lincoln received a National Endowment for the Arts Jazz Master Award.

Her lyrics often reflected the ideals of the civil rights movement and helped in generating passion for the cause in the minds of her listeners. In addition to her musical career, she ventured into acting as well and appeared in movies such as The Girl Can't Help It, Nothing But a Man and For Love of Ivy.

​She explored more philosophical themes during the later years of her songwriting career and remained professionally active until well into her seventies. She often visited the Blue Note jazz club in New York City.

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Nat King Cole Pictured below: Nat King Cole’s Early Years Are Getting the Archival Treatment (NY Times) (7/19/2019)
Nathaniel Adams Coles (March 17, 1919 – February 15, 1965), known professionally as Nat King Cole (NKC), was an American singer, jazz pianist, and actor. Cole's music career began after he dropped out of school at the age of 15, and continued for the remainder of his life.

NKC found great popular success and recorded over 100 songs that became hits on the pop charts. His trio was the model for small jazz ensembles that followed. Cole also acted in films and on television and performed on Broadway. He was the first African-American man to host an American television series. He is the father of singer Natalie Cole (1950–2015).

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Duke EllingtonPictured below: The Feeling of Jazz - Spotlight-1 on Duke Ellington
Edward Kennedy "Duke" Ellington (April 29, 1899 – May 24, 1974) was an American jazz pianist, composer, and leader of his eponymous jazz orchestra from 1923 through the rest of his life. 

Born and raised in Washington, D.C., Ellington was based in New York City from the mid-1920s and gained a national profile through his orchestra's appearances at the Cotton Club in Harlem.

A master at writing miniatures for the three-minute 78 rpm recording format, Ellington wrote or collaborated on more than one thousand compositions; his extensive body of work is the largest recorded personal jazz legacy, and many of his pieces have become standards.

He also recorded songs written by his bandsmen, such as Juan Tizol's "Caravan", which brought a Spanish tinge to big band jazz. At the end of the 1930s, Ellington began a nearly thirty-year collaboration with composer-arranger-pianist Billy Strayhorn, whom he called his writing and arranging companion. 

With Strayhorn, he composed multiple extended compositions, or suites, as well as many short pieces. For a few years at the beginning of Strayhorn's involvement, Ellington's orchestra featured bassist Jimmy Blanton and tenor saxophonist Ben Webster and reached a creative peak. 

Some years later following a low-profile period (Hodges temporarily left), an appearance by Ellington and his orchestra at the Newport Jazz Festival in July 1956 led to a major revival and regular world tours. Ellington recorded for most American record companies of his era, performed in and scored several films, and composed a handful of stage musicals.

Although a pivotal figure in the history of jazz, in the opinion of Gunther Schuller and Barry Kernfeld, "the most significant composer of the genre", Ellington himself embraced the phrase "beyond category", considering it a liberating principle, and referring to his music as part of the more general category of American Music. 

Ellington was known for his inventive use of the orchestra, or big band, as well as for his eloquence and charisma. He was awarded a posthumous Pulitzer Prize Special Award for music in 1999.

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Billie Holiday Pictured below: In a new Billie Holiday documentary, friends fill in the missing notes
Billie Holiday (born Eleanora Fagan; April 7, 1915 – July 17, 1959) was an American jazz and swing music singer. Nicknamed "Lady Day" by her friend and music partner, Lester Young, Holiday had an innovative influence on jazz music and pop singing. Her vocal style, strongly inspired by jazz instrumentalists, pioneered a new way of manipulating phrasing and tempo. She was known for her vocal delivery and improvisational skills.

After a turbulent childhood, Holiday began singing in nightclubs in Harlem, where she was heard by producer John Hammond, who liked her voice. She signed a recording contract with Brunswick in 1935. Collaborations with Teddy Wilson produced the hit "What a Little Moonlight Can Do", which became a jazz standard.

Throughout the 1930s and 1940s, Holiday had mainstream success on labels such as Columbia and Decca. By the late 1940s, however, she was beset with legal troubles and drug abuse.

After a short prison sentence, she performed at a sold-out concert at Carnegie Hall. She was a successful concert performer throughout the 1950s with two further sold-out shows at Carnegie Hall. Because of personal struggles and an altered voice, her final recordings were met with mixed reaction but were mild commercial successes. Her final album, Lady in Satin, was released in 1958. Holiday died of cirrhosis on July 17, 1959, at age 44.

Holiday won four Grammy Awards, all of them posthumously, for Best Historical Album. She was inducted into the Grammy Hall of Fame and the National Rhythm & Blues Hall of Fame. She was also inducted into the Rock & Roll Hall of Fame, though not in that genre; the website states that "Billie Holiday changed jazz forever". Several films about her life have been released, most recently The United States vs. Billie Holiday (2021).

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Miles Davis Pictured below: Looking Back On 'Bitches Brew': The Year Miles Davis Plugged Jazz In!
​Miles Dewey Davis III (May 26, 1926 – September 28, 1991) was an American trumpeter, bandleader, and composer. He is among the most influential and acclaimed figures in the history of jazz and 20th-century music. Davis adopted a variety of musical directions in a five-decade career that kept him at the forefront of many major stylistic developments in jazz.
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Born in Alton, Illinois, and raised in East St. Louis, Davis left to study at Juilliard in New York City, before dropping out and making his professional debut as a member of saxophonist Charlie Parker's bebop quintet from 1944 to 1948.

Shortly after, David recorded the Birth of the Cool sessions for Capitol Records, which were instrumental to the development of cool jazz. In the early 1950s, Davis recorded some of the earliest hard bop music while on Prestige Records but did so haphazardly due to a heroin addiction.

After a widely acclaimed comeback performance at the Newport Jazz Festival, he signed a long-term contract with Columbia Records and recorded the album 'Round About Midnight in 1955. It was his first work with saxophonist John Coltrane and bassist Paul Chambers, key members of the sextet he led into the early 1960s. During this period, he alternated between orchestral jazz collaborations with arranger Gil Evans, such as the Spanish music-influenced Sketches of Spain (1960), and band recordings, such as Milestones (1958) and Kind of Blue (1959).

The latter recording remains one of the most popular jazz albums of all time, having sold over five million copies in the U.S.

Davis made several line-up changes while recording Someday My Prince Will Come (1961), his 1961 Blackhawk concerts, and Seven Steps to Heaven (1963), another mainstream success that introduced bassist Ron Carter, pianist Herbie Hancock, and drummer Tony Williams. 

After adding saxophonist Wayne Shorter to his new quintet in 1964, Davis led them on a series of more abstract recordings often composed by the band members, helping pioneer the post-bop genre with albums such as E.S.P (1965) and Miles Smiles (1967), before transitioning into his electric period.

During the 1970s, he experimented with rock, funk, African rhythms, emerging electronic music technology, and an ever-changing line-up of musicians, including keyboardist Joe Zawinul, drummer Al Foster, and guitarist John McLaughlin. 

This period, beginning with Davis's 1969 studio album In a Silent Way and concluding with the 1975 concert recording Agharta, was the most controversial in his career, alienating and challenging many in jazz. 

His million-selling 1970 record Bitches Brew helped spark a resurgence in the genre's commercial popularity with jazz fusion as the decade progressed.

After a five-year retirement due to poor health, Davis resumed his career in the 1980s, employing younger musicians and pop sounds on albums such as The Man with the Horn (1981) and Tutu (1986).

​Critics were often unreceptive but the decade garnered Davis his highest level of commercial recognition. He performed sold-out concerts worldwide, while branching out into visual arts, film, and television work, before his death in 1991 from the combined effects of a stroke, pneumonia and respiratory failure. 

In 2006, Davis was inducted into the Rock and Roll Hall of Fame, which recognized him as "one of the key figures in the history of jazz". Rolling Stone described him as "the most revered jazz trumpeter of all time, not to mention one of the most important musicians of the 20th century," while Gerald Early called him inarguably one of the most influential and innovative musicians of that period.

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Herbie HancockPictured below: Photos from Herbie Hancock's Web Site
Herbert Jeffrey Hancock (born April 12, 1940) is an American jazz pianist, keyboardist, bandleader, and composer. Hancock started his career with trumpeter Donald Byrd's group.

He shortly thereafter joined the Miles Davis Quintet, where he helped to redefine the role of a jazz rhythm section and was one of the primary architects of the post-bop sound.

In the 1970s, Hancock experimented with jazz fusion, funk, and electro styles, utilizing a wide array of synthesizers and electronics. It was during this period that he released perhaps his best-known and most influential album, Head Hunters.

Hancock's best-known compositions include "Cantaloupe Island", "Watermelon Man", "Maiden Voyage", and "Chameleon", all of which are jazz standards.

During the 1980s, he enjoyed a hit single with the electronic instrumental "Rockit", a collaboration with bassist/producer Bill Laswell.

Hancock has won an Academy Award and 14 Grammy Awards, including Album of the Year for his 2007 Joni Mitchell tribute album River: The Joni Letters, becoming only the second jazz album to win the award after Getz/Gilberto in 1965.

Since 2012, Hancock has served as a professor at the University of California, Los Angeles, where he teaches at the UCLA Herb Alpert School of Music. He is also the chairman of the Herbie Hancock Institute of Jazz (formerly known as the Thelonious Monk Institute of Jazz until 2019).

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John ColtranePictured below: How John Coltrane made Giant Steps
John William Coltrane (September 23, 1926 – July 17, 1967) was an American jazz saxophonist, bandleader and composer. He is among the most influential and acclaimed figures in the history of jazz and 20th-century music. Born and raised in North Carolina, Coltrane moved to Philadelphia after graduating high school, where he studied music.

Working in the bebop and hard bop idioms early in his career, Coltrane helped pioneer the use of modes and was one of the players at the forefront of free jazz. He led at least fifty recording sessions and appeared on many albums by other musicians, including trumpeter Miles Davis and pianist Thelonious Monk.

Over the course of his career, Coltrane's music took on an increasingly spiritual dimension, as exemplified on his most acclaimed album A Love Supreme (1965) and others. Decades after his death, Coltrane remains influential, and he has received numerous posthumous awards, including a special Pulitzer Prize, and was canonized by the African Orthodox Church.

His second wife was pianist and harpist Alice Coltrane. The couple had three children: John Jr. (1964–1982), a bassist; Ravi (born 1965), a saxophonist; and Oran (born 1967), a saxophonist, guitarist, drummer and singer.

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Ella FitzgeraldPictured below:  This exquisite Ella Fitzgerald song was based on a Debussy piano miniature
​Ella Jane Fitzgerald (April 25, 1917 – June 15, 1996) was an American jazz singer, sometimes referred to as the "First Lady of Song", "Queen of Jazz", and "Lady Ella".

She was noted for her purity of tone, impeccable diction, phrasing, timing, intonation, and a "horn-like" improvisational ability, particularly in her scat singing.

After a tumultuous adolescence, Fitzgerald found stability in musical success with the Chick Webb Orchestra, performing across the country but most often associated with the Savoy Ballroom in Harlem.

Her rendition of the nursery rhyme "A-Tisket, A-Tasket" helped boost both her and Webb to national fame. After taking over the band when Webb died, Fitzgerald left it behind in 1942 to start her solo career.

Her manager was Moe Gale, co-founder of the Savoy, until she turned the rest of her career over to Norman Granz, who founded Verve Records to produce new records by Fitzgerald. With Verve she recorded some of her more widely noted works, particularly her interpretations of the Great American Songbook.

While Fitzgerald appeared in movies and as a guest on popular television shows in the second half of the twentieth century, her musical collaborations with Louis Armstrong, Duke Ellington, and The Ink Spots were some of her most notable acts outside of her solo career. These partnerships produced some of her best-known songs such as :
In 1993, after a career of nearly 60 years, she gave her last public performance. Three years later, she died at the age of 79 after years of declining health. Her accolades included:
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Benny GoodmanPictured below: When Benny was approached about performing in Carnegie Hall, he was fearful that classical audiences would not accept the exciting and different genre that is jazz. Benny was hesitant and nervous. In true Benny fashion, he threw himself into his work and rehearsed until he was confident that he’d reached perfection.
Benjamin David Goodman (May 30, 1909 – June 13, 1986) was an American clarinetist and bandleader known as the "King of Swing".

From 1936 until the mid-1940s, Goodman led one of the most popular swing big bands in the United States. His concert at Carnegie Hall in New York City on January 16, 1938, 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."

Goodman's bands started the careers of many jazz musicians. During an era of racial segregation, he led one of the first integrated jazz groups, his quartet and quintet. He performed nearly to the end of his life while exploring an interest in classical music.

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Dinah WashingtonPictured: How many jazz singers have a Postage Stamp featuring them? See below:
Dinah Washington (born Ruth Lee Jones; August 29, 1924 – December 14, 1963) was an American singer and pianist, who has been cited as "the most popular black female recording artist of the 1950s songs". 

Primarily a jazz vocalist, she performed and recorded in a wide variety of styles including blues, R&B, and traditional pop music, and gave herself the title of "Queen of the Blues". She was a 1986 inductee of the Alabama Jazz Hall of Fame, and was inducted into the Rock and Roll Hall of Fame in 1993.

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Count BasiePictured below: The Count Basie Orchestra
William James "Count" Basie (August 21, 1904 – April 26, 1984) was an American jazz pianist, organist, bandleader, and composer.

In 1935, he formed the Count Basie 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.

Many musicians came to prominence under his direction, including:
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Dave BrubeckPictured below: Album Covers
​David Warren Brubeck (December 6, 1920 – December 5, 2012) was an American jazz pianist and composer. Often regarded as a foremost exponent of cool jazz, Brubeck's work is characterized by unusual time signatures and superimposing contrasting rhythms, meters, and tonalities.

Born in Concord, California, Brubeck was drafted into the US Army, but was spared from combat service when a Red Cross show he had played at became a hit.

Within the US Army, Brubeck formed one of the first racially diverse bands. In 1951, Brubeck formed the Dave Brubeck Quartet, which kept its name despite shifting personnel.

The most successful—and prolific—lineup of the quartet was the one between 1958 and 1968. This lineup, in addition to Brubeck, featured:
A U.S. Department of State-sponsored tour in 1958 featuring the band inspired Brubeck to record the 1959 album Time Out. Despite its esoteric theme and contrarian time signatures, Time Out became Brubeck's highest-selling album, and the first jazz album to sell over one million copies.

The lead single from the album, "Take Five", a tune written by Desmond in 5-4 time, similarly became the highest-selling jazz single of all time. 

The quartet followed up Time Out with four other albums in non-standard time signatures, and some of the other songs from this series became hits as well, including "Blue Rondo à la Turk" (in 9 8) and "Unsquare Dance" (in 7 4). Brubeck continued releasing music until his death in 2012.

Brubeck's style ranged from refined to bombastic, reflecting both his mother's classical training and his own improvizational skills. He expressed elements of atonality and fugue. Brubeck, with Desmond, used elements of West Coast jazz near the height of its popularity, combining them with the unorthodox time signatures seen in Time Out.

Like many of his contemporaries, Brubeck played into the style of the French composer Darius Milhaud, especially his earlier works, including "Serenade Suite" and "Playland-At-The-Beach".

Brubeck's fusion of classical music and jazz would come to be known as "third stream", although Brubeck's use of third stream would predate the coining of the term. John Fordham of The Guardian commented: "Brubeck's real achievement was to blend European compositional ideas, very demanding rhythmic structures, jazz song-forms and improvisation in expressive and accessible ways."

Brubeck was the recipient of several music awards and honors throughout his lifetime. In 1996, Brubeck received a Grammy Lifetime Achievement Award. In 2008, Brubeck was inducted into the California Hall of Fame, and a year later, he was given an honorary Doctor of Music degree from Berklee College of Music.

Brubeck's 1959 album Time Out was added to the Library of Congress' National Recording Registry in 2005. Noted as "one of Jazz's first pop stars" by the Los Angeles Times, Brubeck rejected his fame, and felt uncomfortable with Time magazine featuring him on the cover before Duke Ellington.

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Dizzy GillespiePictured below: ​Dizzy Gillespie and The United Nation Orchestra – Live At The Royal Festival Hall!
John Birks "Dizzy" Gillespie (October 21, 1917 – January 6, 1993) was an American jazz trumpeter, bandleader, composer, educator and singer. 

He was a trumpet virtuoso and improviser, building on the virtuosic style of Roy Eldridge but adding layers of harmonic and rhythmic complexity previously unheard in jazz.

His combination of musicianship, showmanship, and wit made him a leading popularizer of the new music called bebop. His beret and horn-rimmed spectacles, scat singing, bent horn, pouched cheeks, and light-hearted personality provided one of bebop's most prominent symbols.

In the 1940s, Gillespie, with Charlie Parker, became a major figure in the development of bebop and modern jazz. He taught and influenced many other musicians, including the following:
Gilllespie pioneered Afro-Cuban jazz and won several Grammy Awards. Scott Yanow wrote, "Dizzy Gillespie's contributions to jazz were huge. One of the greatest jazz trumpeters of all time, Gillespie was such a complex player that his contemporaries ended up being similar to those of 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 [....] Gillespie is remembered, by both critics and fans alike, as one of the greatest jazz trumpeters of all time".

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Peggy LeePictured below: FEVER! The Life and Loves of Peggy Lee!
​​Norma Deloris Egstrom (May 26, 1920 – January 21, 2002), known professionally as Peggy Lee, was an American jazz and popular music singer, songwriter, composer, and actress, over a career spanning seven decades.

From her beginning as a vocalist on local radio to singing with Benny Goodman's big band, Lee created a sophisticated persona, writing music for films, acting, and recording conceptual record albums combining poetry and music. Called the "Queen of American pop music," Lee recorded over 1,100 masters and composed over 270 songs.

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Louis ArmstrongPictured below: Renowned New Orleans jazz artist Don Vappie joins Music Institute Jazz Studies faculty for a boisterous tribute to the legacy of Louis Armstrong, who spent some of his most formative years in Chicago, the starting point for this American musical journey. 
​Louis Daniel Armstrong (August 4, 1901 – July 6, 1971), nicknamed "Satchmo", "Satch", and "Pops", was an American trumpeter and vocalist. He was among the most influential figures in jazz. His career spanned five decades and several eras in the history of jazz.
Armstrong was born and raised in New Orleans.

Coming to prominence in the 1920s as an inventive trumpet and cornet player, Armstrong was a foundational influence in jazz, shifting the focus of the music from collective improvisation to solo performance. 

Around 1922, he followed his mentor, Joe "King" Oliver, to Chicago to play in the Creole Jazz Band. In Chicago, he spent time with other popular jazz musicians, reconnecting with his friend Bix Beiderbecke and spending time with Hoagy Carmichael and Lil Hardin.

He earned a reputation at "cutting contests", and his fame reached band leader Fletcher Henderson. Henderson persuaded Armstrong to come to New York City, where he became a featured and musically influential band soloist and recording artist.

Hardin became Armstrong's second wife and they returned to Chicago to play together and then he began to form his own "Hot" jazz bands. After years of touring, he settled in Queens, New York, and by the 1950s, he was a national musical icon, assisted in part, by his appearances on radio and in film and television, in addition to his concerts.

With his instantly recognizable rich, gravelly voice, Armstrong was also an influential singer and skillful improviser, bending the lyrics and melody of a song. He was also skilled at scat singing. Armstrong is renowned for his charismatic stage presence and voice as well as his trumpet playing.

By the end of Armstrong's life, his influence had spread to popular music in general. Armstrong was one of the first popular African-American entertainers to "cross over" to wide popularity with white (and international) audiences. He rarely publicly politicized his race, to the dismay of fellow African Americans, but took a well-publicized stand for desegregation in the Little Rock crisis.

He was able to access the upper echelons of American society at a time when this was difficult for black men.

Armstrong appeared in films such as High Society (1956) alongside Bing Crosby, Grace Kelly, and Frank Sinatra; as well as in Hello, Dolly! (1969) starring Barbra Streisand. He received many accolades including three Grammy Award nominations and a win for his vocal performance of Hello, Dolly! in 1964. In 2017, he was posthumously inducted into the Rhythm & Blues Hall of Fame.

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Thelonious Monk
YouTube Video: Thelonious Monk - Don't Blame Me
Thelonious Sphere Monk (October 10, 1917 – February 17, 1982) was an American jazz pianist and composer. Monk had a unique improvisational style and made numerous contributions to the standard jazz repertoire, including:
Monk is the second most-recorded jazz composer after Duke Ellington, which is particularly remarkable as Ellington composed more than a thousand pieces, whereas Monk wrote about 70.

His compositions and improvisations feature dissonances 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 switched key releases, silences and hesitations.

He was renowned for his distinctive style in suits, hats, and sunglasses. He was also noted for an idiosyncratic habit observed at times during performances: 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.

Monk is one of five jazz musicians to have been featured on the cover of Time, after Louis Armstrong, Dave Brubeck, and Duke Ellington and before Wynton Marsalis.

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Wynton Marsalis
YouTube Video: Wynton Marsalis Performs Gershwin's "Embraceable You"
Wynton Learson Marsalis (born October 18, 1961) 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 his Blood on the Fields was the first jazz composition 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), and Jason (drummer). Marsalis performed the national anthem at Super Bowl XX in 1986.

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Kenny GPicture below: Listen: The Funkadelic Kenny G You Never Knew
Kenneth Bruce Gorelick (born June 5, 1956), better known by his stage name Kenny G, is an American saxophonist. His 1986 album, Duotones, brought him commercial success. 

​Kenny G is the biggest-selling instrumental musician of the modern era and one of the best-selling artists of all time, with global sales totaling more than 75 million records.

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