NEW ORLEANS JAZZ/ DIXIELAND, sometimes

referred to as hot jazz or traditional jazz, is a style of jazz based on the

music that developed in New Orleans at the start of the 20th century.
The first use of the term "Dixieland" with reference to music was in the
name of the Original Dixieland Jazz Band, whose 1917 recordings fostered
popular awareness of the new style of music. At that time, there was no
issue of subgenres of jazz, so "Dixieland" referred to the band and not the
music. A revival movement for traditional jazz, formed in reaction to the
orchestrated sounds of the swing era and the perceived chaos of the new
bebop sounds of the 1940s (referred to as "Chinese music" by Louis
Armstrong), pulled "Dixieland" out from the somewhat forgotten band's
name for the music they championed. The revival 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 the
fact 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 1940s and 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 2beat rhythm.
The Dixieland revival renewed the audience for musicians who had
continued to play in traditional jazz styles and revived the careers of New
Orleans musicians who had become lost in the shuffle of musical styles
that had occurred over the preceding 20 to 25 years. Younger black
musicians largely shunned the revival, largely because of a distaste for
tailoring their music to what they saw as nostalgia entertainment for white
audiences with whom they did not share such nostalgia.[1][2] The Jim Crow
associations of the name "Dixieland" also did little to attract younger
black musicians to the revival.
The Dixieland revival music during the 1940s and 1950s gained a broad
audience that established traditional jazz as an enduring part of the
American cultural landscape, and spawned revival movements in Europe.
Well-known jazz standard tunes such as "Basin Street Blues" and "When
the Saints Go Marching In" are known even to non-jazz fans thanks to the
enduring popularity of traditional jazz. The Vietnam-era protest song "Feel
Like I'm Fixin' to Die Rag" is based on tonal centers and the "B" refrain
from the New Orleans standard "Muskrat Ramble". Traditional jazz is a

major tourist attraction for New Orleans to the present day. It has been an
influence on the styles of more modern players such as Charles Mingus
and Steve Coleman.
New Orleans music combined earlier brass band marches, French
quadrilles, biguine, ragtime, and blues with collective, polyphonic
improvisation. The "standard" band consists of a "front line" of trumpet (or
cornet), trombone, and clarinet, with a "rhythm section" of at least two of
the following instruments: guitar or banjo, string bass or tuba, piano, and
drums. The Dixieland sound is created when one instrument (usually the
trumpet) plays the melody or a variation on it, and the other instruments
improvise around that melody. This creates a more polyphonic sound than
the heavily arranged big band sound of the 1930s or the straight melodies
(with or without harmonizing) of bebop in the 1940s.
The "West Coast revival" began in the late 1930s in San Francisco which
used banjo and tuba. The Dutch "old-style jazz" was played with trumpets,
trombones and saxophones accompanied by a single clarinet, sousaphone
and a section of Marching percussion usually including a washboard.

Modern Dixieland
Today there are three main active streams of Dixieland jazz:

Chicago style
Further information: Music of Chicago
"Chicago style" is often applied to the sound of Chicagoans such as Jimmy
McPartland, Eddie Condon, Muggsy Spanier, and Bud Freeman. The
rhythm sections of these bands substitute the string bass for the tuba and
the guitar for the banjo. Musically, the Chicagoans play in more of a
swing-style 4-to-the-bar manner. The New Orleanian preference for an
ensemble sound is deemphasized in favor of solos. Chicago-style dixieland
also differs from its southern origin by being faster paced, resembling the
hustle-bustle of city life. Chicago-style bands play a wide variety of tunes,
including most of those of the more traditional bands plus many of the
Great American Songbook selections from the 1930s by George Gershwin,
Jerome Kern, Cole Porter, and Irving Berlin. Non-Chicagoans such as Pee
Wee Russell and Bobby Hackett are often thought of as playing in this
style. This modernized style came to be called Nicksieland, after Nick's
Greenwich Village night club, where it was popular, though the term was
not limited to that club.

West Coast revival

The "West Coast revival" is a movement that was began in the late 1930s
by Lu Watters and his Yerba Buena Jazz Band in San Francisco and
extended by trombonist Turk Murphy. It started out as a backlash to the
Chicago style, which is closer in development towards swing. The
repertoire of these bands is based on the music of Joe "King" Oliver, Jelly
Roll Morton, Louis Armstrong, and W.C. Handy. Bands playing in the West
Coast style use banjo and tuba in the rhythm sections, which play in a
two-to-the-bar rhythmic style.
Famous traditional Dixieland tunes include: "When the Saints Go Marching
In", "Muskrat Ramble", "Struttin' with Some Barbecue", "Tiger Rag",
"Dippermouth Blues", "Milenberg Joys", "Basin Street Blues", "Tin Roof
Blues", "At the Jazz Band Ball", "Panama", "I Found a New Baby", "Royal
Garden Blues" and many others. All of these tunes were widely played by
jazz bands of the pre-WWII era, especially Louis Armstrong. They came to
be grouped as Dixieland standards beginning in the 1950s.

Dutch "Old-style jazz"

Largely occurring at the same time as the "New Orleans Traditional"
revival movement in the United States, traditional jazz music made a
come-back in the Low Countries. However, most Dutch jazz bands (such
as The Ramblers) had long since evolved into the Swing-era while the few
remaining traditional jazz bands (such as the Dutch Swing College Band)
did not partake in the broader traditional revival movement, and
continued to play ragtime and early jazz, greatly limiting the number of
bands aspiring jazz musicians could join or (as they were using
instruments unavailable to most Dutch musicians such as double basses
and the piano) were forced to improvise, resulting in a new form of jazz
ensemble generally referred to "Oude Stijl" ("Old Style") jazz in Dutch.
Influenced by the instrumentation of the two principal orchestral forms of
the wind band in the Netherlands and Belgium, the "harmonie" and the
"fanfare", traditional Dutch jazz bands do not feature a piano and contain
no stringed instruments apart from the banjo. They include multiple
trumpets, trombones and saxophones accompanied by a single clarinet,
sousaphone and a section of Marching percussion usually including a
washboard.
The music played by Dutch jazz bands includes both the original New
Orleans tunes, as well as the songs of the revival era. In terms of playing
style, Dutch jazz bands occupy a position between revivalist and original
New Orleans jazz, with more solos than the latter but without abandoning
the principle of ensemble playing. With the average band containing up to
15-players, Dutch jazz bands tend to be the largest ensembles to play
traditional jazz music.

Styles influenced by traditional jazz[edit]

Musical styles showing influences from traditional jazz include later styles
of jazz, rhythm and blues, and early rock and roll. Traditional New Orleans
second-line drumming and piano playing are prominent in the music of
Fats Domino. The New Orleans drummer Idriss Muhammed adapted
second-line drumming to modern jazz styles and gained crossover
influence on the R&B style of James Brown. Charles Mingus paid homage
to traditional jazz styles with compositions such as Eat Dat Chicken and
My Jellyroll Soul. The contemporary New Orleans Brass Band styles, such
as the Dirty Dozen Brass Band, The Primate Fiasco, the Hot Tamale Brass
Band and the Rebirth Brass Band have combined traditional New Orleans
brass band jazz with such influences as contemporary jazz, funk, hip hop,
and rap. The M-BASE (Multi-Basic Array of Synchronous Extemporization)
improvisational concept used by ensembles including Cassandra Wilson,
Geri Allen, Greg Osby, Steve Coleman, Graham Haynes, Kevin Eubanks
and others is an extension of the polyphonic improvisation of New Orleans
jazz.

Example of Dixieland musicians

Some of the artists historically identified with Dixieland are mentioned in
List of jazz musicians. Some of the best-selling and famous Dixieland
artists of the post-WWII era:

Louis Armstrong All-Stars, organized in the late 1940s, featured at

various times Earl "Fatha" Hines, Barney Bigard, Edmond Hall, Jack
Teagarden, Trummy Young, Arvell Shaw, Billy Kyle, Marty Napoleon,
Big Sid Catlett, Cozy Cole, Barrett Deems and Danny Barcelona.

Cool jazz

is a style of modern jazz music that arose in the United

States after World War II. It is characterized by relaxed tempos and lighter
tone, in contrast to the tense and complex bebop style. Cool jazz often
employs formal arrangements and incorporates elements of classical
music. Broadly, the genre refers to a number of post-war jazz styles
employing a more subdued approach than that found in other
contemporaneous jazz idioms.[1] As Paul Tanner, Maurice Gerow, and David
Megill suggest "the tonal sonorities of these conservative players could be
compared to pastel colors, while the solos of [Dizzy] Gillespie and his
followers could be compared to fiery red colors."[2]
The term cool started being applied to this music around 1953, when
Capitol Records released the album Classics in Jazz: Cool and Quiet.[3] Mark
C. Gridley, writing in the All Music Guide to Jazz, identifies four overlapping
sub-categories of cool jazz:
1. "Soft variants of bebop," including the Miles Davis recordings that
constitute Birth of the Cool; the complete works of the Modern Jazz
Quartet; the output of Gerry Mulligan, especially his work with Chet
Baker and Bob Brookmeyer; the music of Stan Kenton's sidemen
during the late 1940s through the 1950s; and the works of George
Shearing and Stan Getz.
2. The output of modern players who eschewed bebop in favor of
advanced swing-era developments, including Lennie Tristano, Lee
Konitz, and Warne Marsh; Dave Brubeck and Paul Desmond; and
performers such as Jimmy Giuffre and Dave Pell who were
influenced by Count Basie and Lester Young's small-group music.
3. Musicians from either of the previous categories who were active in
California from the 1940s through the '60s, developing what came
to be known as West Coast jazz.
4. "Exploratory music with a subdued effect by Teddy Charles, Chico
Hamilton, John LaPorta, and their colleagues during the 1950s."[1]

Free jazz is an approach to jazz music that was first developed in

the 1950s and 1960s as musicians attempted to alter, extend, or break
down jazz convention, often by discarding fixed chord changes or tempos.
Though the music of free jazz composers varied widely, a common feature
was dissatisfaction with the limitations of bebop, hard bop, and modal jazz
that had developed in the 1940s and 1950s. Often described as avantgarde, free jazz has also been described as an attempt to return jazz to its
primitive, often religious, roots and emphasis on collective improvisation.
As its name implies, free jazz cannot be defined more than loosely, as
many musicians draw on free jazz concepts and idioms, and it was never
completely distinct as a genre. Many free jazz musicians, notably Pharoah
Sanders and John Coltrane, used harsh overblowing or other techniques to
elicit unconventional sounds from their instruments, or played unusual
instruments. Free jazz musicians created a progressive musical language
which drew on earlier styles of jazz such as Dixieland jazz and African
music. Typically this kind of music is played by small groups of musicians.
The music often swings but without regular meter, and there are frequent
accelerandi and ritardandi.
Free jazz is strongly associated with the 1950s innovations of Ornette
Coleman and Cecil Taylor and the later works of saxophonist John
Coltrane. Other important pioneers include Charles Mingus, Eric Dolphy,
Albert Ayler, Archie Shepp, Joe Maneri and Sun Ra. Coleman pioneered
many techniques typical of free jazz, most notably his rejection of prewritten chord changes, believing instead that freely improvised melodic
lines should serve as the basis for harmonic progression in his
compositions. Some of bassist Charles Mingus's work was also important
in establishing free jazz. Of particular note are his early Atlantic albums,
such as The Clown, Tijuana Moods, and most notably Pithecanthropus
Erectus, the title song of which contained one section that was freely
improvised in a style unrelated to the song's melody or chordal structure.
Although today "free jazz" is the generally used term, many other terms
were used to describe the loosely defined movement, including "avantgarde", "energy music" and "The New Thing". During its early and mid1960s heyday, much free jazz was released by established labels such as
Prestige, Blue Note, and Impulse, as well as independents such as ESP
Disk and BYG Actuel.

Keith Johnson of AllMusic describes a "Modern Creative" genre, in which

"musicians may incorporate free playing into structured modes -- or play
just about anything."[1] Johnson includes John Zorn, Henry Kaiser, Eugene
Chadbourne, Tim Berne, Bill Frisell, Steve Lacy, Cecil Taylor, Ornette
Coleman, and Ray Anderson in this genre, which continues "the tradition
of the '50s to '60s free-jazz mode".[1]