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1960s in jazz

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Jazz by decade

In the late 1960s, Latin jazz, combining rhythms from African and Latin American countries, often played on instruments such as conga, timbale, güiro, and claves, with jazz and classical harmonies played on typical jazz instruments (piano, double bass, etc.) broke through. There are two main varieties: Afro-Cuban jazz was played in the US right after the bebop period, while Brazilian jazz became more popular in the 1960s. Afro-Cuban jazz began as a movement in the mid-1950s as bebop musicians such as Dizzy Gillespie and Billy Taylor started Afro-Cuban bands influenced by such Cuban and Puerto Rican musicians as Xavier Cugat, Tito Puente, and Arturo Sandoval. Brazilian jazz such as bossa nova is derived from samba, with influences from jazz and other 20th-century classical and popular music styles. Bossa is generally moderately paced, with melodies sung in Portuguese or English. The style was pioneered by Brazilians João Gilberto and Antônio Carlos Jobim. The related term jazz-samba describes an adaptation of bossa nova compositions to the jazz idiom by American performers such as Stan Getz and Charlie Byrd.

Bossa nova was made popular by Elizete Cardoso's recording of Chega de Saudade on the Canção do Amor Demais LP, composed by Vinícius de Moraes (lyrics) and Antonio Carlos Jobim (music). The initial releases by Gilberto and the 1959 film Black Orpheus brought significant popularity in Brazil and elsewhere in Latin America, which spread to North America via visiting American jazz musicians. The resulting recordings by Charlie Byrd and Stan Getz cemented its popularity and led to a worldwide boom with 1963's Getz/Gilberto, numerous recordings by famous jazz performers such as Ella Fitzgerald (Ella Abraça Jobim) and Frank Sinatra (Francis Albert Sinatra & Antônio Carlos Jobim), and the entrenchment of the bossa nova style as a lasting influence in world music for several decades and even up to the present.

1960s jazz standards

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1960–1964

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Herbie Hancock emerged as an influential pianist in the 1960s both as a leader and as part of Miles Davis's "second great quintet". Later he became one of the most popular jazz fusion artists. Standards composed by him include "Watermelon Man" (1963), "Cantaloupe Island" (1964), "Maiden Voyage" (1965) and "Chameleon" (1973).

1965–1969

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Wayne Shorter's compositions that have become standards include "Mahjong" (1964), "Speak No Evil" (1965) and "Footprints" (1966).

1960

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Main article: 1960 in jazz

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Album releases

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Births

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Awards

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1961

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Main article: 1961 in jazz

Album releases

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1962

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Main article: 1962 in jazz
Jazz-Optimisten - Jamboree (1962)

Events

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Album releases

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Deaths

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1963

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Main article: 1963 in jazz

Album releases

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Deaths

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1964

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Main article: 1964 in jazz

Album releases

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Deaths

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  • Eric Dolphy (June 20, 1928 – June 29, 1964), American alto saxophonist, flautist, and bass clarinetist
  • Jack Teagarden (August 20, 1905 – January 15, 1964)
  • Cecil Scott (November 22, 1905 – January 5, 1964)

1965

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Main article: 1965 in jazz

Album releases

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Deaths

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1966

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Main article: 1966 in jazz

Events

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Album releases

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1967

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Main article: 1967 in jazz

Album releases

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Births

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Deaths

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Billy Strayhorn

1968

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Main article: 1968 in jazz

Album releases

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Births

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Deaths

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1969

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Main article: 1969 in jazz

Events

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Album releases

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Births

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Deaths

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References

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  1. ^ Impressions at jazzstandards.com - retrieved on February 20, 2009
  2. ^ The Real Book, Volume I, p. 205.
  3. ^ The New Real Book, Volume II, p. 154.
  4. ^ a b c d e f g h i j k Listed in New Real Book, Volume I
  5. ^ a b c d e Listed in The Real Vocal Book
  6. ^ Once I Loved at jazzstandards.com - retrieved on February 20, 2009.
  7. ^ The Real Book, Volume I, p. 311.
  8. ^ One Note Samba at jazzstandards.com - retrieved on February 20, 2009.
  9. ^ The Real Book, Volume I, p. 314.
  10. ^ Stolen Moments at jazzstandards.com - retrieved on February 20, 2009
  11. ^ The Real Book, Volume I, p. 384.
  12. ^ Corcovado (Quiet Nights of Quiet Stars) at jazzstandards.com - retrieved on February 20, 2009.
  13. ^ The Real Book, Volume I, p. 335.
  14. ^ Days of Wine and Roses at jazzstandards.com - retrieved on February 20, 2009.
  15. ^ Meditation at jazzstandards.com - retrieved on February 20, 2009.
  16. ^ The Real Book, Volume I, p. 266.
  17. ^ The Real Book, Volume I, p. 425.
  18. ^ The Real Book, Volume I, p. 50.
  19. ^ The Real Book, Volume I, p. 56.
  20. ^ Four at jazzstandards.com - retrieved on April 29, 2009.
  21. ^ The Real Book, Volume I, p. 149.
  22. ^ The Girl from Ipanema at jazzstandards.com - retrieved on February 20, 2009.
  23. ^ The Real Book, Volume I, p. 158.
  24. ^ How Insensitive at jazzstandards.com - retrieved on February 20, 2009
  25. ^ The Real Book, Volume I, p. 181.
  26. ^ The Real Book, Volume I, p. 204.
  27. ^ The Real Book, Volume II, p. 305.
  28. ^ The Real Book, Volume I, p. 337.
  29. ^ Seymour, Gene (2005) in Kirchner, Bill (ed.) The Oxford Companion to Jazz, Oxford University Press, p. 388.
  30. ^ The Real Book, Volume III, p. 360.
  31. ^ a b c Listed in The Real Jazz Book
  32. ^ St. Thomas at jazzstandards.com - retrieved on February 20, 2009
  33. ^ The Real Book, Volume II, p. 339.
  34. ^ The Real Book, Volume I, p. 14.
  35. ^ Watermelon Man at jazzstandards.com - retrieved on February 20, 2009.
  36. ^ The Real Book, Volume III, p. 429.
  37. ^ The Real Book, Volume II, p. 76.
  38. ^ The Real Book, Volume I, p. 214.
  39. ^ The New Real Book, Volume III, p. 177.
  40. ^ The Real Book, Volume I, p. 230.
  41. ^ The Real Book, Volume I, p. 260.
  42. ^ The New Real Book, Volume II, p. 196.
  43. ^ The Real Book, Volume I, p. 373.
  44. ^ The New Real Book, Volume II, p. 335.
  45. ^ The Real Book, Volume I, p. 72.
  46. ^ The New Real Book, Volume III, p. 76.
  47. ^ Dindi at jazzstandards.com - retrieved on February 20, 2009.
  48. ^ The Real Book, Volume II, p. 105.
  49. ^ Dolphin Dance at jazzstandards.com - retrieved on April 29, 2009.
  50. ^ The Real Book, Volume I, p. 119.
  51. ^ The New Real Book, Volume III, p. 108
  52. ^ The Real Book, Volume I, p. 135.
  53. ^ The New Real Book, Volume III, p. 128.
  54. ^ The Real Book, Volume II, p. 150.
  55. ^ The Real Book, Volume I, p. 261.
  56. ^ The New Real Book, Volume III, p. 229.
  57. ^ Rosenthal 1993, p. 68.
  58. ^ The Real Book, Volume I, p. 378.
  59. ^ Footprints at jazzstandards.com - retrieved on February 20, 2009.
  60. ^ The Real Book, Volume I, p. 144.
  61. ^ The Real Book, Volume II, p. 262.
  62. ^ The Real Book, Volume I, p. 362.
  63. ^ The Real Book, Volume I, p. 152.
  64. ^ The New Real Book, Volume II, p. 110.
  65. ^ Triste at jazzstandards.com - retrieved on February 20, 2009.
  66. ^ The Real Book, Volume I, p. 417.
  67. ^ The Real Book, Volume I, p. 431.
  68. ^ Porter, Lewis (1999). John Coltrane: His Life and Music. University of Michigan Press. ISBN 0-472-08643-X.
  69. ^ Shepherd, John (2003). Continuum Encyclopedia of Popular Music of the World: Performance and Production. Vol. 2. Continuum International Publishing Group. p. 175. ISBN 0-8264-6322-3.

Bibliography

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