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1.9 Latin jazz

Main article: Latin jazz

Latin jazz has two varieties: Afro-Cuban and Brazilian. Afro-Cuban jazz was played in the U.S. directly after the bebop period, while Brazilian jazz became more popular in the 1960s and 1970s.

Afro-Cuban started as a movement after the death of Charlie Parker. Notable bebop musicians like Dizzy Gillespie and Billy Taylor started Afro-Cuban bands at that time. Gillespie's work was mostly with big bands of this genre. While the music was influenced by Cuban and Puerto Rican musicians like Tito Puente, there were many Americans who were drawing upon Cuban rhythms for their work.

The related term jazz-samba essentially describes an adaptation of bossa nova compositions to the jazz idiom by American performers such as Stan Getz and Charlie Byrd , and usually played at 120 beats per minute or faster. Samba itself is actually not jazz, but being derived from older Afro-Brazilian music it shares some common characteristics.

1.10 Jazz and rock music: jazz fusion

Main article: Jazz fusion

With the growth of rock and roll in the 1960s, came the hybrid form jazz-rock fusion, again involving Davis, who in 1968 released the fusion albums In a Silent Way and Bitches Brew. Jazz at this stage was no longer center stage in popular music, but was still breaking new ground and combining and recombining in different forms. Notable artists of the 1960s and 1970s jazz and fusion scene include: Carlos Santana, Chick Corea, Herbie Hancock, John McLaughlin and the Mahavishnu Orchestra, Joni Mitchell, Sun Ra, Peter Skellern , Soft Machine, Caravan, Narada Michael Walden (who would later enjoy huge success as a music producer), Wayne Shorter, Jaco Pastorius, and Weather Report. The only band that has developed continuously from the late 1970s until the present day (2004) and has known an unusual popular reception for a jazz band is the Pat Metheny Group.

1.11 Recent developments

The stylistic diversity of jazz has shown no sign of diminishing, absorbing influences from such disparate sources as world music and avant garde classical music, including African rhythm and traditional structure, serialism, and the extensive use of chromatic scale, by such musicians as Ornette Coleman or John Zorn.

Starting in the 1970s with artists like Keith Jarrett, Pat Metheny Group, Jan Garbarek, Ralph Towner , and Eberhard Weber, the ECM record label established a new chamber-music aesthetics, preferably on acoustic instruments, heading to a world-music concept, also sometimes referred to as the European leg of jazz.

However, jazz's audience has shrunk dramatically and split, with a mainly older audience retaining an interest in traditional, "straight-ahead" jazz styles, a small core of practitioners and fans interested in highly experimental modern jazz, and a constantly changing group of musicians fusing jazz idioms with contemporary popular music genres, forming styles like acid jazz, which contains elements of 1970s disco; acid swing which combines 1940s style big-band sounds with faster, more aggressive rock-influenced drums and electric guitar; and nu jazz which combines elements of jazz and modern forms of electronic dance music.

Exponents of the "acid jazz" style which was initially UK-based included the Brand New Heavies, James Taylor Quartet, Young Disciples , and Corduroy , and on the other side of the Atlantic in the United States the Groove Collective , Soulive , and Solsonics . In a more pop or smooth jazz context, jazz enjoyed a resurgence in the 1980s with bands like Pigbag and Curiosity Killed the Cat achieving chart hits in Britain. Sade Adu became the definitive voice of smooth jazz.

With the rise in popularity of various forms of electronic music during the late 1980s and 1990s, some jazz artists have attempted a fusion of jazz with more the experimental leanings of electronica (particularly IDM) with different degrees of success, which has been variously dubbed "future jazz", "jazz-house" or " nu jazz". At the more experimental and improvisional end of the spectrum include Scandanavian based artists such as pianist Bugge Wesseltoft, trumpeter Nils Petter Molvær (who both began their careers on the ECM record label), and the trio Wibutee , all of whom have learned their chops as instrumentalists in their own right in more traditional jazz circles. The Cinematic Orchestra from the UK has also gained praise in this area. Towards the more pop or pure dance music end of the spectrum of nu-juzz are producers such St Germain and Jazzanova who incorporates some live jazz playing with more metronomic house beats.

In the 2000s we have seen "jazz" hit the pop charts with artists like Diana Krall and Norah Jones. These artists are light on the improvisation, a key characteristic of jazz. However, their instrumentation and rhythms are similar to other jazz music, and the label has stuck.

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