The Evolution of Jazz Music

While jazz music has its roots in the African American communities of the late 19th and early 20th centuries, specifically in New Orleans, over a century later the genre has grown to a much more diverse and extensive, never-ending set of subgenres encompassing from ragtime to big band, bebop, cool jazz, nu jazz, jazztronica and many others including European and Asian varieties. 

This article ever so briefly discusses the rich evolution and innovation jazz music has undergone throughout the decades as well as listing its most prominent figures within these. Far from a lesson in jazz history, it is a very quick snapshot of the evolution of this rich genre and the spinoffs it generated throughout the decades.

The earliest forms of jazz were known as "New Orleans jazz" and were characterized by a collective improvisation style, where each musician would take turns playing solos while the rest of the band would play background rhythms. Early days instrumentation typically included a trumpet, a clarinet, a trombone, piano, string bass, drums, and banjo or guitar. This style was popularized by musicians such as Buddy Bolden and Jelly Roll Morton and put jazz music on the map for both US and global audiences, establishing it as a bona fide mainstream cultural phenomenon. 

But it wouldn’t be until the 1920s when jazz music would start getting significant makeovers, specifically with the rise of big band music. Some of the most notable musicians like Duke Ellington or Count Basie would rely less on improvisation and more on performing the music the way it was written. Big bands included 10 or more musicians distributed among four sections: saxophones, trombones, trumpets and rhythm sections in addition to a band leader who would stick to the original score and arrangement and highlight the sections and not the soloists. Other big band leaders like Artie Shaw or Benny Goodman liked to maintain a clarinet, often replacing one of the saxophones to add a milder sound into the mix. But the main difference was the lack of improvisation and focus on the sections as opposed to the soloists. Another notable innovation and contribution came from George Gershwin, who introduced elements of classical music in his compositions, most notably Rhapsody in Blue in the mid 20s, a masterpiece for piano and jazz band with no room for improvisation.

In the 1930s, as jazz traveled further north out of New Orleans and into New York and Chicago, it established itself as a key dance option, which gave way to Swing. By the mid 1930s Swing rose to prominence cementing the genre as a distinctive style. It emerged as a more structured and danceable style of jazz, characterized by a steady, swinging rhythm and more organized ensemble playing. Throughout the Great Depression, jazz and swing were upbeat forms of live entertainment that allowed people to find temporary relief from their economic issues. In many ways, the socio economic environment of the time actually paved the way for the popularization of jazz music. And Swing even witnessed a transformation within the decade, where big bands started to feature the solo figure into the band, as was the case with Gene Krupa (drums), Lionel Hampton (vibes), Harry James (trumpet) or star vocalists like the young Frank Sinatra or Ella Fitzgerald.

The 1940s moved from the swinging 30s to a more experimental progression of jazz music, as the end of the Great Depression gave musicians and producers more optimism to try new artistic formulas. For one, it was the emergence of "bop" or "bebop." This style, led by musicians such as Charlie Parker, Dizzy Gillespie, and Thelonious Monk, was characterized by complex harmonies, fast tempos, and virtuoso instrumental solos. Bop musicians often used unconventional chord progressions and dissonant harmonies to challenge the listener and push the boundaries of traditional jazz. During this decade, jazz also began to incorporate elements of blues, gospel, and R&B. This was reflected in the emergence of "jump blues" and "rhythm and blues" which provided a more upbeat and danceable sound. Also in this period we saw the emergence of "Third Stream" jazz, a style that sought to blend elements of classical music and jazz. Musicians like Gunther Schuller and John Lewis, were key figures in this subgenre and sought to create a more sophisticated and intellectual approach to jazz.

The 1950’s gave birth to a great deal of musical creativity beyond jazz, like the birth of rock ‘n roll. And jazz did not stay behind, bringing yet more change and innovation. One of the most significant developments of this decade was the emergence of "cool jazz," so named because of the cool breeze that ran through the clubs as they had to clean out the smoke from the evenings’ performances. This style, led by musicians such as Miles Davis and Gerry Mulligan, was characterized by a more relaxed and understated approach to jazz, with a focus back to melodic improvisation and a more subdued ensemble sound, often borrowing elements of classical music, as can be appreciated in Davis’ Sketches of Spain recorded late in the decade. It further brought about "hard bop," which blended elements of bebop, R&B, and gospel music. Musicians like Horace Silver, Art Blakey and again Miles Davis, were key figures in this subgenre and created a more funky and soulful sound that gained popularity with audiences.

In the 1960s jazz musicians continued pushing the creative envelope into avant garde territory with the emergence of "modal jazz,” pioneered by the likes of Miles Davis and John Coltrane, and characterized by the use of modal scales rather than traditional chord progressions. This allowed for greater freedom in improvisation and a focus on melody rather than harmony, which eventually led to "free jazz," led by musicians such as Ornette Coleman and Cecil Taylor, and characterized by a similar absence of traditional chord progressions and a more experimental approach to improvisation. Free jazz musicians often used dissonant harmonies, unconventional rhythms, and extended improvisation to push the boundaries of traditional jazz. The 1960s also saw the rise of "soul jazz," which blended elements of R&B and gospel music with more traditional forms. Musicians like Horace Silver and Ramsey Lewis, were key figures in this subgenre and created a more accessible and groovy sound that resonated with audiences.

The 1970s was the era of fusion, which emerged as a combination of jazz and rock, with musicians like Miles Davis, Chick Corea and John McLaughlin incorporating elements of rock, funk and R&B into their music. Fusion relied heavily on the use of electric and electronic instruments, such as electric guitar and bass, electric keyboards and synthesizers, with a continued focus on extended improvisation and ensemble interplay. Furthermore, the decade witnessed the creation of "smooth jazz," which, contrary to the innovation of previous decades, was characterized by a more commercial and accessible sound. To this date, many jazz aficionados don’t quite consider smooth jazz, jazz. Yet musicians like Grover Washington Jr., George Benson and David Sanborn gained great popularity blending elements of R&B and funk into their music and featured more straightforward melodies and grooves with little or no room for improvisation. Interestingly, there was also a return to more traditional jazz styles, such as New Orleans jazz and swing. Musicians like Wynton Marsalis and the Preservation Hall Jazz Band, started to revive and reinterpret these earlier jazz styles.

Jazz Rock intensified electric and introduced electronic instruments into the genre.

The 1980s was a bit of an extension of the 70s, with more fusion and more international, non-American artists getting into the jazz scene. In addition the era gave way to "acid jazz,” a style led by musicians such as Incognito and Brand New Heavies, mixing elements of funk, soul, and rock with traditional jazz, creating a more upbeat and danceable sound.

The 1990s continued building on the developments of the previous decades. One of the most significant evolutions was the birth of "jazz-rap" which blended elements of jazz and hip-hop. Jazz-rap was led by musicians such as A Tribe Called Quest, Gang Starr and Digable Planets, and it became popular among a younger audience. Another important subgenre was "nu jazz." This style, led by Bugge Wesseltoft and Esbjorn Svensson Trio merged elements of electronic music, creating a more experimental and abstract sound. Also, “post-bop” came along with a more complex harmonic and rhythmic language, and a focus on virtuosity and improvisation. This subgenre was led by musicians like Joshua Redman, Christian McBride, and Roy Hargrove, and was popular among a more sophisticated audience. On the opposite side of the spectrum and as in previous decades, we also saw a revived interest in traditional jazz styles, such as swing and bebop. Musicians like Benny Green, Joshua Redman, and Brad Mehldau, began to revive and reinterpret these earlier jazz classics, seeking to preserve the jazz tradition.

While electronica music was making its way in the post-grunge 1990s, it reached jazz music in the 2000s with "jazztronica,” a style that introduced elements of electronic music. Different from the electronic fusion of Weather Report or Return to Forever in the 1970s, Jazztronica turned away from analog synthesizers to digital synths and samplers. It was led by musicians such as The Cinematic Orchestra, and it gained fans among younger audiences. "Neo-soul jazz" was another style that saw the light in the 2000s, fusing jazz, funk, R&B, and hip-hop. This was led by musicians like Erykah Badu, D'Angelo, and Jill Scott, and it was popular among a more diverse audience. As in other decades, we also saw the polar opposite  resurgence of interest in traditional styles, such as swing and bebop. In this decade, musicians like Brad Mehldau, Robert Glasper and Gregory Porter, began to revive and reinterpret these earlier jazz styles, again in a continued effort to preserve traditional forms.

While jazz continued to evolve in the 2010s, drawing influences from various other styles of music, it was a decade of previous extension as opposed to any major innovations. Some of the notable jazz musicians and bands that gained recognition in this decade include Kamasi Washington, Robert Glasper, Esperanza Spalding, Snarky Puppy, and Gregory Porter, among others. But no major musical spinoffs came out in this decade. Perhaps the biggest change was boosted by the rise of jazz festivals and jazz clubs and lounges, as well as the increasing availability of jazz music on streaming platforms, as opposed to inventive, new music.

The jury is still out as to what jazz will bring us in the 2020s. But early signs show the to-be-expected increasing importance of technology and digital platforms, which have made it easier for musicians to connect with fans and distribute their music. Many jazz musicians are embracing digital tools and platforms to reach new audiences and collaborate with other artists from around the globe. The emphasis today seems more on the medium as opposed to the message, as one could argue is also the case with rock ‘n roll and hip hop. While it may seem somewhat trivial, it seems promising in recruiting new Millennials and Gen Zers to gain exposure and embrace the genre.