Jazz soon spread from New Orleans to other parts of the country. Fate Marable led a New Orleans band that played on riverboats traveling up and down the Mississippi River. King Oliver migrated to Chicago, and Jelly Roll Morton performed throughout the United States. Five white musicians formed a band in New Orleans, played in Chicago, and traveled to New York City, calling themselves the Original Dixieland Jazz Band (the spelling was soon changed to "Jazz"). This group made the earliest jazz phonograph records in 1917, and played live in England in 1919 and 1920. Mamie Smith recorded "Crazy Blues" in 1920, and recordings of ragtime, blues, and jazz of various kinds soon popularized the music to a large and eager public.

Armstrong made some of his most famous recordings with his own Hot Five and Hot Seven combos from 1925 to 1928. These recordings rank among the masterpieces of jazz, along with his duo recordings of the same period with pianist Earl "Fatha" Hines. Armstrong also became the first well-known male jazz singer, and popularized scat singing—that is, wordless syllables sung in an instrumental manner.

During the late 1920's and early 1930's, jazz advanced from relatively simple music played by performers who often could not read music to a more complex and sophisticated form. Among the musicians who brought about this change were saxophonists Benny Carter, Coleman Hawkins, and Johnny Hodges; the team of violinist Joe Venuti and guitarist Eddie Lang; and pianist Art Tatum. Many people consider Tatum the most inspired and technically gifted improviser in jazz history.

The swing era flourished from the mid-1930's to the mid-1940's. In 1932, Duke Ellington recorded his composition "It Don't Mean a Thing If It Ain't Got That Swing." "Swing" was soon adopted as the name of the newest style of jazz. Swing emphasizes four beats to the bar. Big bands dominated the swing era, especially those of Count Basie, Benny Goodman, and Duke Ellington.

Benny Goodman became known as the "King of Swing." Starting in 1934, Goodman's bands and combos brought swing to nationwide audiences through ballroom performances, recordings, and radio broadcasts. Goodman was the first white bandleader to feature black and white musicians playing together in public performances. In 1936, he introduced two great black soloists—pianist Teddy Wilson and vibraphonist Lionel Hampton. Until then, racial segregation had held back the progress of jazz and of black musicians in particular. In 1938, Goodman and his band, and several guest musicians, performed a famous concert at Carnegie Hall in New York City. Their performance was one of the first by jazz musicians in a concert hall setting.

Other major bands of the swing era included those led by Benny Carter, Bob Crosby, Jimmy Dorsey, Tommy Dorsey, Woody Herman, Earl Hines, Andy Kirk, Jimmie Lunceford, Glenn Miller, Artie Shaw, Chick Webb, and, toward the end of the period, Stan Kenton. The bands in Kansas City, Missouri, especially the Count Basie band, had a distinctive swing style. These bands relied on the 12-bar blues form and riff backgrounds, which consisted of repeated simple melodies. They depended less heavily on written arrangements, allowing more leeway for rhythmic drive and for extended solo improvisations.

Boogie-woogie was another jazz form that became popular during the 1930's. Chiefly a piano style, it used eight beats to the bar instead of four. Boogie-woogie featured the traditional blues pattern for most themes. The music had an intense quality that created excitement through the repetition of a single phrase. Albert Ammons, Pete Johnson, Meade Lux Lewis, and Pinetop Smith were among its most important artists.

  Jazz vocalists came into prominence during the swing era, many singing with big bands. Many fine jazz singers emphasized popular songs. These singers included Mildred Bailey, Ella Fitzgerald, Billie Holiday, Nat "King" Cole, Carmen McRae, and Sarah Vaughan. Blues singing at its best can be heard in recordings by Jimmy Rushing, Jack Teagarden, Joe Turner, and Dinah Washington. In addition to singing, Nat "King" Cole was a superb jazz pianist and Jack Teagarden was a great jazz trombonist. See also: Ella Fitzgerald: First Lady of Song.

 

In the early 1940's, a group of young musicians began experimenting with more complicated chord patterns and melodic ideas in a combo setting. The group included trumpeter Dizzy Gillespie, alto saxophonist Charlie Parker, pianists Bud Powell and Thelonious Monk, and drummers Kenny Clarke and Max Roach. The style they developed became known as bebop or bop.

Most bop musicians had an exceptional technique. They played long, dazzling phrases with many notes, difficult intervals, unexpected breaks, and unusual turns in melodic direction. On slower tunes, they displayed a keen ear for subtle changes of harmony. Only extremely skilled musicians were able to play bebop well, and only sophisticated listeners at first appreciated it.

In bebop performances, musicians usually played an intricate melody, followed with long periods of solo improvisation, and restated the theme at the end. The bassist presented the basic beat for the group by plucking a steady, moving bass line. The drummer elaborated the beat with sticks or brushes on cymbals, snare drum, and tom-tom. The bass drum was reserved for unexpected accents called "bombs." The pianist inserted complex chords at irregular intervals to suggest, rather than state, the complete harmonies of the piece.
 

Bebop was followed in the 1950's by hard bop, or funky, jazz. This form emphasized some of the traditional values of jazz derived from gospel and blues music, including rhythmic drive, uninhibited tone and volume, and freedom from restricting arrangements. The hard bop leaders were drummer Art Blakey and pianist Horace Silver. Blakey led a combo called the Jazz Messengers from the mid-1950's until his death in 1990. The Jazz Messengers served as a training ground for many of the greatest soloists in jazz history. Trumpeter Clifford Brown and drummer Max Roach were co-leaders of another outstanding hard bop combo.

originated in the works of such musicians as tenor saxophonist Lester Young, who starred with Count Basie, and guitarist Charlie Christian, who played with Benny Goodman. In the late 1930's and early 1940's, these musicians made changes in the sound and style of jazz improvisation. For example, they softened the tones of their instruments, used syncopation more subtly, and played with a more even beat.

In 1948, tenor saxophonist Stan Getz recorded a slow, romantic solo of Ralph Burns's composition "Early Autumn" with the Woody Herman band. This work profoundly influenced many younger musicians. In 1949 and 1950, a group of young musicians that included trumpeter Miles Davis, alto saxophonist Lee Konitz, baritone saxophonist Gerry Mulligan, and arranger Gil Evans recorded several new compositions. These recordings emphasized a lagging beat, soft instrumental sounds, and unusual orchestrations that included the first successful use of the French horn and the tuba in modern jazz. The recordings, with Davis as leader, were later released as Birth of the Cool.

During the 1950's, many combos became identified with the cool movement. Some of the most successful combos were the Gerry Mulligan Quartet, the Modern Jazz Quartet, and the Dave Brubeck Quartet.

In the 1940's and 1950's, the sophisticated forms of bebop and cool jazz began to gain wide acceptance among intellectuals and college students. Jazz concerts became popular. Groups of jazz stars made a series of international tours called Jazz at the Philharmonic. The international growth of jazz resulted in many successful overseas tours by U.S. bands and combos.

The introduction of the 33 ¹/3 rpm long-playing (LP) record, which was first produced commercially in 1948, also helped spread the popularity of jazz. For 30 years, jazz recordings had been limited to 78 rpm records that restricted performances to about 3 minutes in length. The LP allowed recorded performances to run many minutes. The LP also permitted a number of shorter performances to be issued on a single record.

The first foreign jazz musicians to influence Americans were Belgian-born guitarist Django Reinhardt in the late 1930's, and George Shearing, a blind, English-born pianist who immigrated to the United States in 1947. During the 1950's, musicians in other countries began to improve greatly as jazz performers as they were exposed to performances by American musicians through recordings and concerts. Sweden, France, Germany, Japan, and other countries developed players and composers whose work compared favorably with that of the leading Americans.

In 1954, the first large American jazz festival was held at Newport, Rhode Island. Since then, annual festivals also have been held in Monterey, California; New York City; Chicago; Nice, France; Montreux, Switzerland; Warsaw, Poland; Berlin, Germany; and many other locations throughout the world. These festivals have featured almost all of the most popular jazz musicians and have introduced many extended concert works.

Beginning in the 1950's, jazz became even more experimental. Jazz music began to feature nontraditional instruments, such as French horn and bass flute. Jazz musicians began to take an interest in non-Western music, especially the modes (different arrangements of scales), melodic forms, and instruments of Africa, India, and the Far East.

In the late 1950's, John Lewis, musical director of the Modern Jazz Quartet, worked with classical musician and composer Gunther Schuller to write and play orchestral works that combined elements of modern jazz and classical concert music. Stan Kenton also played this so-called third stream music when he toured the United States with a 40-piece orchestra.

Also during this period, pianist George Russell developed a jazz theory of modes. In 1959, the Miles Davis combo, with pianist Bill Evans and saxophonists John Coltrane and Cannonball Adderley, recorded compositions and improvised solos based on modes rather than on patterns of chords.

In 1960, saxophonist Ornette Coleman reshaped the thinking of younger jazz musicians when he recorded the album Free Jazz with a double quartet. In this recording, Coleman discarded harmony, melody, and regular rhythms. He substituted unstructured improvisation played atonally (in no definite key). Pianist Cecil Taylor and bassist Charles Mingus conducted similar atonal experiments.

In the 1960's, the influence of the music of India entered jazz through the adaptations of John Coltrane. Jazz musicians also began to use more unusual meters, such as ⁵/4, ⁷/4, and ⁹/8.

Fusion. In the 1970's, many musicians blended jazz and rock music into fusion jazz. Fusion combined the melodic and improvisational aspects of jazz with the rhythms and instruments of rock. Electronic music played an important part in fusion. Jazz pianists began exploring the increased sound potential of synthesizers. Horn and string players began to use electronics to intensify, distort, or multiply their sounds. Many well-known jazz musicians gained new popularity by playing fusion. Some of the best-known fusion musicians were guitarist George Benson, trumpeters Donald Byrd and Miles Davis, pianist Herbie Hancock, and two combos, Weather Report and the Mahavishnu Orchestra.