More Jazz Styles
Since the early 1950s, there have been several new styles and innovations entering the jazz scene. These new musical ideas did not in any way preclude the continued existence of previous jazz idioms, such as Dixieland and bop, which remained active.
After the demise of the swing era, jazz became a form of music meant for listening rather than for dancing. At jazz concerts, especially on college campuses, audiences heard music being played in new rhythms and harmonies, with unfamiliar meters like 5/4, 7/4, and jazz being played in 3/4 time. Other musical instruments introduced to the jazz scene were the flute, French horn, cello, baritone sax, electric piano and synthesizer.
"Cool jazz," was the first music form to emerge from the bop scene. Unlike bop in style, cool jazz was more sedate and relaxed in expressions. Dominating this new creation were musicians Stan Getz, (tenor sax), Lee Konitz, (alto sax), Gerry Mulligan, (baritone sax), Lennie Tristano, (piano), John Lewis, (piano), Miles Davis, (trumpet), and Gil Evans, (piano and arranger).
Cool jazz was predominantly developed by white musicians who encouraged white audiences to attend the concerts. There were however, some black musicians who were also instrumental in the development of cool jazz, such as Miles Davis and John Lewis.
Cool jazz compositions were longer in length than bop and depended more on written arrangements. Gil Evans, an exceptionally talented arranger, was instrumental in writing charts for Stan Getz, Lennie Tristano and for Miles Davis' popular "Boblicity"- and "Moondreams" on Capitol Records.
Gil Evans, who was a former arranger for the Claude Thornhill band, took up writing for the Gerry Mulligan group and John Lewis' Modern Jazz Quartette featuring Milt Jackson on vibes.
Before long many groups were formed to become part of the cool jazz scene. There was for example, Dave Brubeck's quartette with his ever-popular "Take Five" in 5/4 time .featuring Paul Desmond on tenor sax.
Art Blakey's Jazz Messengers along with Horace Silver, had a seventeen piece jazz band on the east coast. Soon, the cool jazz sound reached the ears of musicians on the west coast, who, in turn, began to incorporate the new style into their performances. Chico Hamilton organized a west coast ensemble, and trumpeter Art Farmer played a major role in the development of cool jazz on both coasts.
Since the east coast musicians were predominately white and the Los Angeles musicians were black, cool jazz became identified as black and white jazz, to signify its point of origin.
