1980s in jazz

Last updated
1970s .1980s in jazz. 1990s
Other topics: N/A
Miles Davis (pictured in 1984), whose 1970s fusion music helped lead to the development of smooth jazz in the 1980s. Miles Davis 23.jpg
Miles Davis (pictured in 1984), whose 1970s fusion music helped lead to the development of smooth jazz in the 1980s.

In the 1980s in jazz, the jazz community shrank dramatically and split. A mainly older audience retained an interest in traditional and straight-ahead jazz styles. Wynton Marsalis strove to create music within what he believed was the tradition, creating extensions of small and large forms initially pioneered by such artists as Louis Armstrong and Duke Ellington. In the early 1980s, a commercial form of jazz fusion called pop fusion or "smooth jazz" became successful and garnered significant radio airplay. Smooth jazz saxophonists include Grover Washington Jr., Kenny G, Kirk Whalum, Boney James, and David Sanborn. Smooth jazz received frequent airplay with more straight-ahead jazz in "quiet storm" time slots at radio stations in urban markets across the U.S., helping to establish or bolster the careers of vocalists including Al Jarreau, Anita Baker, Chaka Khan, and Sade. In this same time period Chaka Khan released Echoes of an Era , which featured Joe Henderson, Freddie Hubbard, Chick Corea, Stanley Clarke, and Lenny White. She also released the song "And the Melody Still Lingers On (Night in Tunisia)" with Dizzy Gillespie reviving the solo break from "Night in Tunisia".

Contents

Overview

Kenny G, one of the leading smooth jazz artists which emerged in the 1980s Kenny-G.jpg
Kenny G, one of the leading smooth jazz artists which emerged in the 1980s

According to Robert Christgau, in the 1980s Miles Davis capitalized on the popularity of the electric fusion style he had pioneered in the 1970s. [1] In the Newsweek article "The Problem With Jazz Criticism", [2] Stanley Crouch considered Davis' playing of fusion as a turning point that led to smooth jazz. In Aaron J. West's introduction to his analysis of smooth jazz, "Caught Between Jazz and Pop" he states, "I challenge the prevalent marginalization and malignment of smooth jazz in the standard jazz narrative. Furthermore, I question the assumption that smooth jazz is an unfortunate and unwelcomed evolutionary outcome of the jazz-fusion era. Instead, I argue that smooth jazz is a long-lived musical style that merits multi-disciplinary analyses of its origins, critical dialogues, performance practice, and reception." [3]

Acid jazz developed in the UK over the 1980s and 1990s and was influenced by jazz-funk and electronic dance music. Vibraphonist Roy Ayers is considered a forerunner of acid jazz. [4] Although acid jazz often contains electronic composition (sometimes including sampling or live DJ cutting and scratching), it is just as likely to be played live by musicians who showcase jazz interpretation as part of their performance. Nu jazz is influenced by jazz harmony and melodies. There are usually no improvisational aspects. It ranges from combining live instrumentation with beats of jazz house, exemplified by St Germain, Jazzanova, and Fila Brazillia, to more band-based improvised jazz with electronic elements such as that of The Cinematic Orchestra, Kobol, and the Norwegian "future jazz" style pioneered by Bugge Wesseltoft, Jaga Jazzist, Nils Petter Molvær, and others. Nu jazz can be very experimental in nature and can vary widely in sound and concept.

Jazz rap developed in the late 1980s and early 1990s, and incorporates jazz influence into hip hop. In 1988, Gang Starr released the debut single "Words I Manifest", sampling Dizzy Gillespie's 1962 "Night in Tunisia", and Stetsasonic released "Talkin' All That Jazz", sampling Lonnie Liston Smith. Gang Starr's debut LP, No More Mr. Nice Guy (Wild Pitch, 1989), and their track "Jazz Thing" (CBS, 1990) for the soundtrack of Mo' Better Blues , sampling Charlie Parker and Ramsey Lewis. Gang Starr also collaborated with Branford Marsalis and Terence Blanchard. Groups making up the collective known as the Native Tongues Posse tended towards jazzy releases; these include the Jungle Brothers' debut Straight Out the Jungle (Warlock, 1988) and A Tribe Called Quest's People's Instinctive Travels and the Paths of Rhythm (Jive, 1990) and The Low End Theory (Jive, 1991).

In 1987, the US House of Representatives and Senate passed a resolution proposed by Democratic Representative John Conyers Jr. to define jazz as a unique form of American music stating, among other things, "...that jazz is hereby designated as a rare and valuable national American treasure to which we should devote our attention, support and resources to make certain it is preserved, understood and promulgated." [5]

1980

Album releases

Deaths

Births

1981

Album releases

Deaths

Births

1982

Album releases

Deaths

Births

1983

Album releases

Deaths

Births

1984

Album releases

Deaths

Births

1985

Album releases

Deaths

Births

1986

Album releases

Deaths

Births

1987

Album releases

Deaths

Births

1988

Events

Album releases

Deaths

Births

1989

Album releases

Deaths

Births

Related Research Articles

<span class="mw-page-title-main">Ray Anderson (musician)</span> American jazz trombonist (born 1952)

Ray Anderson is an American jazz trombonist. Trained by the Chicago Symphony trombonists, he is regarded as someone who pushes the limits of the instrument, including performing on alto trombone and slide trumpet. He is a colleague of trombonist George E. Lewis. Anderson also plays sousaphone and sings. He was frequently chosen in DownBeat magazine's Critics Poll as best trombonist throughout the late 1980s and early 1990s.

<span class="mw-page-title-main">Henry Threadgill</span> American composer, saxophonist and flautist

Henry Threadgill is an American composer, saxophonist and flautist. He came to prominence in the 1970s leading ensembles rooted in jazz but with unusual instrumentation and often incorporating other genres of music. He has performed and recorded with several ensembles: Air, Aggregation Orb, Make a Move, the seven-piece Henry Threadgill Sextett, the twenty-piece Society Situation Dance Band, Very Very Circus, X-75, and Zooid.

<span class="mw-page-title-main">Bobby Previte</span> American drummer

Bobby Previte is a drummer, composer, and bandleader. He earned a degree in economics from the University at Buffalo, where he also studied percussion. He moved to New York City in 1979 and began professional relationships with John Zorn, Wayne Horvitz, and Elliott Sharp.

<span class="mw-page-title-main">Jazz at Lincoln Center</span> American nonprofit organization

Jazz at Lincoln Center is part of Lincoln Center in New York City. The organization was founded in 1987 and opened at Time Warner Center in October 2004. Wynton Marsalis is the artistic director and the leader of the Jazz at Lincoln Center Orchestra.

<span class="mw-page-title-main">Craig Harris</span> American jazz trombonist

Craig S. Harris is an American jazz trombonist, who started working with Sun Ra in 1976. He also has worked with Abdullah Ibrahim, David Murray, Lester Bowie, Cecil Taylor, Sam Rivers, Muhal Richard Abrams, and Charlie Haden. He has recorded since 1983 as leader for India Navigation, Soul Note and JMT. For the latter he recorded with two groups. The Tailgater's Tales was a quintet with clarinetist Don Byron, trumpeter Eddie Allen, Anthony Cox on double bass, and Pheeroan akLaff on drums. His large ensemble Cold Sweat was a tribute to the music of James Brown.

The National Endowment for the Arts (NEA), every year honors up to seven jazz musicians with Jazz Master Awards. The National Endowment for the Arts Jazz Masters Fellowships are the self-proclaimed highest honors that the United States bestows upon jazz musicians. The award is usually given late in a performer's career after they have long established themselves.

<span class="mw-page-title-main">Mark Helias</span> American double bassist and composer

Mark Helias is an American double bass player and composer born in New Brunswick, New Jersey.

<span class="mw-page-title-main">Bobby Watson</span> American saxophonist, composer, and educator

Robert Michael Watson Jr., known professionally as Bobby Watson, is an American saxophonist, composer, and educator.

Fred Hopkins was an American double bassist who played a major role in the development of the avant-garde jazz movement. He was best known for his association with the trio Air with Henry Threadgill and Steve McCall, and for his numerous performances and extensive recordings with major jazz musicians such as Muhal Richard Abrams, Arthur Blythe, Oliver Lake, and David Murray. He was a member of the AACM, and a frequent participant in the loft jazz scene of the 1970s. He also co-led a number of albums with the composer and cellist Diedre Murray. Gary Giddins wrote that Hopkins' playing "fused audacious power with mercuric reflexes." Howard Reich, writing in the Chicago Tribune, stated that "many connoisseurs considered [Hopkins] the most accomplished jazz bassist of his generation" and praised him for "the extraordinarily fluid technique, sumptuous tone and innovative methods he brought to his instrument."

Marvin "Smitty" Smith is an American jazz drummer and composer.

<span class="mw-page-title-main">Ray Drummond</span> American jazz musician

Ray Drummond is an American jazz bassist and teacher. He also has an MBA from Stanford University, hence his linkage to the Stanford Jazz Workshop. He can be heard on hundreds of albums and co-leads The Drummonds with Renee Rosnes and Billy Drummond.

<span class="mw-page-title-main">Pheeroan akLaff</span> American jazz drummer

Pheeroan akLaff is an American jazz drummer and percussionist. He began playing in his hometown of Detroit, Michigan and Ann Arbor, with R & B keyboardist Travis Biggs, funk keyboardist Nimrod “The Grinder” Lumpkin, The Ebony Set and The Last Days. He moved to New Haven, Connecticut, and formed a group with saxophonist/flautist/percussionist Dwight Andrews. He debuted with saxophonist Bill Barron in 1975, followed by a tenure in Leo Smith's ‘New Dalta Ahkri’ (1977-1979).

James Emery is an American jazz guitarist. He grew up in Willoughby, Ohio and Shaker Heights, Ohio. Emery plays archtop guitar, semi-acoustic guitar, electric guitar, and soprano guitar.

<span class="mw-page-title-main">1991 in jazz</span> Overview of the events of 1991 in jazz

This is a timeline documenting events of Jazz in the year 1991.

<span class="mw-page-title-main">1987 in jazz</span> Overview of the events of 1987 in jazz

This is a timeline documenting events of Jazz in the year 1987.

<span class="mw-page-title-main">1983 in jazz</span> Overview of the events of 1983 in jazz

This page is a timeline documenting events of Jazz in the year 1983.

<span class="mw-page-title-main">1981 in jazz</span> Overview of the events of 1981 in jazz

This is a timeline documenting events of Jazz in the year 1981.

In the 1990s in jazz, jazz rap continued progressing from the late 1980s and early 1990s, and incorporated jazz influence into hip hop. In 1988, Gang Starr released the debut single "Words I Manifest", sampling Dizzy Gillespie's 1962 "A Night in Tunisia", and Stetsasonic released "Talkin' All That Jazz", sampling Lonnie Liston Smith. Gang Starr's debut LP, No More Mr. Nice Guy, and their track "Jazz Thing" for the soundtrack of Mo' Better Blues, sampling Charlie Parker and Ramsey Lewis. Gang Starr also collaborated with Branford Marsalis and Terence Blanchard. Groups making up the collective known as the Native Tongues Posse tended towards jazzy releases; these include the Jungle Brothers' debut Straight Out the Jungle and A Tribe Called Quest's People's Instinctive Travels and the Paths of Rhythm and The Low End Theory.

<span class="mw-page-title-main">Jerome Harris</span> American jazz musician

Jerome Harris is an American jazz musician specializing in electric and acoustic bass guitar, electric guitar, voice, and occasionally lap steel and small percussion.

<i>Amarcord Nino Rota</i> Studio album by (Various)

Amarcord Nino Rota is an album by various artists, recorded as a tribute to composer Nino Rota.

References

  1. Christgau, Robert (1990). Christgau's Record Guide: The '80s . Pantheon Books. p.  463. ISBN   067973015X.
  2. Stanley Crouch (2003-06-05). "Opinion: The Problem With Jazz Criticism". Newsweek. newsweek.com. Retrieved 2010-04-09.
  3. "Caught Between Jazz and Pop: The Contested Origins, Criticism, Performance Practice, and Reception of Smooth Jazz". Digital.library.unt.edu. 2010-10-23. Retrieved 2010-11-07.
  4. Ginell, Richard S. "Roy Ayers". AllMusic. Retrieved 4 July 2018.
  5. It passed in the House of Representatives on September 23, 1987, and in the Senate on November 4, 1987. The entire six-point mandate can be found on the HR-57 Center for the Preservation of Jazz and Blues website. HR-57 Center for the Preservation of Jazz and Blues  "HR-57 Center for the Preservation of Jazz & Blues". Archived from the original on 2008-09-18. Retrieved 2008-09-08.
  6. Larrcarlton.com Archived 2010-08-13 at the Wayback Machine