KEY JAZZ MUSICIANS
Scott Joplin (1868–1917)
Known as the "King of Ragtime," Scott Joplin was a pioneering African-American composer and pianist whose innovative compositions laid a foundational influence on jazz. His iconic works, such as "Maple Leaf Rag" (1899) and "The Entertainer" (1902), blended syncopated rhythms with classical structures, defining the ragtime genre and influencing early jazz piano.
Buddy Bolden (1877–1931)
Known as the “first king of jazz,” Bolden, a New Orleans cornetist, pioneered early jazz in the 1890s–1900s with his loud, improvisational style in Storyville. His unrecorded music influenced the New Orleans sound, blending African rhythms and blues. Mental health issues ended his career by 1907.
King Oliver (1885–1938)
A New Orleans cornetist, Oliver led the Creole Jazz Band in Chicago, mentoring Louis Armstrong. His 1923 recordings, like “Dippermouth Blues,” defined New Orleans jazz with tight ensemble interplay. His influence waned during the Great Depression.
Kid Ory (1886–1973)
A Louisiana trombonist, Ory’s tailgate style on Armstrong’s Hot Five recordings and his own 1920s bands shaped New Orleans jazz. He led a revival in the 1940s with “Muskrat Ramble.” His career spanned from Storyville to the Dixieland resurgence.
Jelly Roll Morton (1890–1941)
A New Orleans pianist and composer, Morton formalized jazz with compositions like “King Porter Stomp,” blending ragtime, blues, and Creole influences. His 1920s Red Hot Peppers recordings showcased structured improvisation. He claimed to “invent” jazz, reflecting his pivotal role in its early codification.
Johnny Dodds (1892–1940)
A New Orleans clarinetist, Dodds’ soulful playing on Armstrong’s Hot Five/Seven recordings (1925–1928) defined early jazz. His work with King Oliver and Jelly Roll Morton captured the New Orleans sound. He remained a Chicago jazz staple until his death.
James P. Johnson (1894–1955)
A New Jersey pianist, Johnson pioneered stride piano with compositions like “Carolina Shout,” influencing Fats Waller. His 1920s recordings bridged ragtime and jazz, shaping Harlem’s jazz scene. He also composed for Broadway, blending jazz with theater.
Bessie Smith (1894–1937)
Known as the “Empress of the Blues,” Smith’s powerful vocals on 1920s recordings like “Downhearted Blues” influenced jazz singers. Her emotive style bridged blues and jazz, impacting artists like Billie Holiday. She died tragically after a car accident.
Bennie Moten (1894–1935)
A Kansas City bandleader, Moten’s orchestra in the 1920s–1930s, with Count Basie, laid the groundwork for swing with hits like “Moten Swing.” His riff-based style influenced big band jazz. He died during surgery, leaving a lasting legacy.
Fletcher Henderson (1897–1952)
A Georgia-born bandleader, Henderson’s 1920s–1930s orchestra, featuring Louis Armstrong and Coleman Hawkins, standardized big band swing. His arrangements for Benny Goodman, like “King Porter Stomp,” fueled the swing era. He was a key architect of jazz orchestration.
Sidney Bechet (1897–1959)
A New Orleans clarinetist and soprano saxophonist, Bechet brought expressive vibrato to jazz. His 1920s–1940s recordings, like “Blue Horizon,” blended Creole and African influences. He gained fame in Europe, especially France, in the 1950s.
Lil Hardin Armstrong (1898–1971)
A Memphis-born pianist, Hardin played on Armstrong’s Hot Five/Seven recordings and composed tracks like “Struttin’ with Some Barbecue.” As Louis Armstrong’s wife, she shaped his early career. She was a pioneering woman in jazz, performing into the 1960s.
Duke Ellington (1899–1974)
A pianist and bandleader, Ellington elevated jazz with sophisticated compositions like “Mood Indigo.” His 1920s–1960s Cotton Club and Carnegie Hall performances defined big band jazz. He composed over 1,000 works, earning global acclaim.
Louis Armstrong (1901–1971)
A New Orleans trumpeter and vocalist, Armstrong revolutionized jazz with his virtuosic improvisation and scat singing in the Hot Five and Hot Seven recordings (1925–1928). His charismatic performances, like “West End Blues,” made him a global icon. He shaped swing and popularized jazz vocals.
Bix Beiderbecke (1903–1931)
A cornetist from Iowa, Beiderbecke brought a lyrical, introspective style to 1920s jazz with groups like the Wolverines. His recordings, like “Singin’ the Blues,” influenced cool jazz. Alcoholism led to his early death.
Earl Hines (1903–1983)
A Pittsburgh pianist, Hines modernized jazz piano with his “trumpet style” in Armstrong’s 1928 Hot Five sessions. His 1920s–1940s big band leadership and recordings like “A Monday Date” influenced bebop. He mentored younger pianists like Nat King Cole.
Count Basie (1904–1984)
A Kansas City pianist and bandleader, Basie’s minimalist style drove his swing orchestra, famous for hits like “One O’Clock Jump.” His 1930s–1950s recordings emphasized rhythm and soloists like Lester Young. He remained active into the 1980s.
Coleman Hawkins (1904–1969)
A Missouri tenor saxophonist, Hawkins legitimized the saxophone in jazz with his 1939 “Body and Soul.” His robust tone with Fletcher Henderson’s band in the 1920s set a standard. He adapted to bebop in the 1940s.
Fats Waller (1904–1943)
A Harlem stride pianist and composer, Waller’s exuberant playing and humorous vocals shone in songs like “Ain’t Misbehavin’.” His 1920s–1930s recordings blended jazz and Tin Pan Alley. He was a prolific songwriter and performer until his untimely death.
Benny Carter (1907–2003)
A New York multi-instrumentalist (alto sax, trumpet), Carter’s 1930s–1940s arrangements and recordings, like “Honeysuckle Rose,” bridged swing and bebop. His work in Hollywood scoring broke racial barriers. He remained active into the 1990s.
Johnny Hodges (1907–2003)
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Bunny Berigan (1908–1942)
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Lionel Hampton (1908–2002)
A Kentucky vibraphonist and drummer, Hampton’s energetic playing with Benny Goodman in the 1930s integrated jazz. His 1940s–1950s big band recordings, like “Flying Home,” popularized swing. He performed into his 80s.
Benny Goodman (1909–1986)
A Chicago clarinetist, Goodman, the “King of Swing,” popularized jazz with his 1938 Carnegie Hall concert. His integrated bands with Teddy Wilson and Lionel Hampton broke racial barriers. His 1930s–1940s recordings shaped the swing era.
Lester Young (1909–1959)
A Mississippi-born tenor saxophonist, Young’s lyrical style with Count Basie’s band in the 1930s, like “Lester Leaps In,” influenced cool jazz. His delicate tone contrasted with Coleman Hawkins’ robust sound. Alcoholism marred his later years.
Art Tatum (1909–1956)
An Ohio pianist, Tatum’s virtuosic technique and harmonic complexity in 1930s–1950s recordings, like “Tiger Rag,” awed peers like Charlie Parker. His solo and trio work set unmatched standards. He was nearly blind from childhood.
Mary Lou Williams (1910–1981)
A Pittsburgh pianist, Williams arranged for Duke Ellington and mentored Thelonious Monk. Her 1920s–1970s recordings, like Zodiac Suite, spanned swing to bop. She was a pioneering woman in jazz.
Django Reinhardt (1910–1953)
A Belgian-Romani guitarist, Reinhardt’s Quintette du Hot Club de France in the 1930s blended jazz with Gypsy influences in “Nuages.” His virtuosic, two-fingered style (after a hand injury) inspired jazz guitarists. He brought jazz to Europe.
Roy Eldridge (1911–1989)
A Pittsburgh trumpeter, Eldridge’s fiery style in the 1930s–1940s bridged Armstrong and Dizzy Gillespie, as heard in “After You’ve Gone.” His work with Gene Krupa’s band broke racial barriers. He influenced bebop’s high-register playing.
Stan Kenton (1911–1979)
A California bandleader, Kenton’s progressive big band in the 1940s–1950s, with City of Glass, pushed jazz toward orchestral complexity. His “Artistry in Rhythm” orchestra nurtured talents like Maynard Ferguson. He influenced West Coast jazz.
Gil Evans (1912–1988)
A Canadian arranger, Evans’ lush orchestrations for Miles Davis’ Sketches of Spain (1960) and Porgy and Bess (1959) redefined jazz arranging. His 1940s work with Claude Thornhill influenced cool jazz. He collaborated with Jimi Hendrix before his death.
Teddy Wilson (1912–1986)
A Texas pianist, Wilson’s elegant swing style with Benny Goodman’s integrated trio in the 1930s set a standard. His 1930s–1940s recordings with Billie Holiday showcased lyrical interplay. He taught at Juilliard, influencing jazz education.
Sun Ra (1914–1993)
An Alabama-born pianist and bandleader, Sun Ra’s Arkestra blended free jazz, African rhythms, and cosmic philosophy in Space Is the Place (1973). His 1950s–1980s work pushed avant-garde boundaries. He claimed to be from Saturn, embodying jazz’s experimental spirit.
Billie Holiday (1915–1959)
A Philadelphia-born vocalist, Holiday’s emotive singing on “Strange Fruit” (1939) addressed racial injustice. Her 1930s–1950s recordings with Lester Young and Count Basie defined jazz vocals. Substance abuse led to her tragic decline.
Charlie Christian (1916–1942)
A Texas guitarist, Christian pioneered electric guitar in jazz with Benny Goodman’s sextet in the late 1930s, as heard in “Solo Flight.” His single-note solos influenced bebop and rock. He died young of tuberculosis.
Ella Fitzgerald (1917–1996)
A Virginia-born vocalist, Fitzgerald’s virtuosic scat and pure tone shone in her 1950s Songbook series, like Ella Sings Gershwin. Discovered at the Apollo Theater, she dominated swing and bebop. She won 13 Grammys.
Dizzy Gillespie (1917–1993)
A South Carolina trumpeter, Gillespie co-created bebop with Charlie Parker, recording “A Night in Tunisia” (1946). His Afro-Cuban fusion in the 1940s influenced Latin jazz. He mentored Miles Davis and others.
Thelonious Monk (1917–1982)
A North Carolina pianist and composer, Monk’s quirky, dissonant style in “Round Midnight” shaped bebop and beyond. His 1940s–1960s recordings, like Monk’s Dream, gained belated recognition. He was a key innovator of modern jazz.
Tadd Dameron (1917–1965)
An Ohio composer and pianist, Dameron’s lyrical bebop arrangements for Dizzy Gillespie, like “Hot House,” defined the 1940s sound. His 1962 album The Magic Touch blended bop and big band. He battled health issues later in life.
Art Blakey (1919–1990)
A Pittsburgh drummer, Blakey led the Jazz Messengers, a hard bop incubator for talents like Lee Morgan. His 1958 album Moanin’ defined the genre’s gospel-infused sound. He performed until his death.
Lennie Tristano (1919–1978)
A Chicago pianist, Tristano’s 1949 recordings like “Intuition” pioneered free jazz improvisation. His cool, cerebral style influenced students like Lee Konitz. He focused on teaching in the 1950s–1970s, shaping avant-garde jazz.
Nat King Cole (1919–1965)
An Alabama-born pianist and vocalist, Cole’s King Cole Trio pioneered the piano-guitar-bass format in the 1940s. His smooth vocals on “Nature Boy” made him a pop star, but his jazz roots remained influential. He broke racial barriers in media.
Charlie Parker (1920–1955)
A Kansas City alto saxophonist, Parker, nicknamed “Bird,” revolutionized jazz with bebop’s fast tempos and complex harmonies in “Ko-Ko” (1945). His 1940s–1950s recordings shaped modern jazz. Addiction led to his early death.
Dave Brubeck (1920–2012)
A California pianist, Brubeck popularized jazz with Time Out (1959), featuring “Take Five” in 5/4 time. His quartet’s rhythmic experiments broadened jazz’s appeal. He performed globally into his 90s.
Errol Garner (1921–1977)
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Charles Mingus (1922–1979)
Arizona bassist and composer, Mingus blended gospel, blues, and bebop in Mingus Ah Um (1959). His innovative compositions, like “Goodbye Pork Pie Hat,” pushed jazz’s boundaries. He was a fierce advocate for musicians’ rights.
Thad Jones (1923–1986)
Michigan-born trumpeter and composer, Thad Jones co-led the Thad Jones/Mel Lewis Orchestra, whose 1966 album Live at the Village Vanguard redefined modern big band jazz with sophisticated arrangements like “A Child Is Born.” His work with Count Basie in the 1950s honed his arranging skills, influencing post-swing orchestration.
Dexter Gordon (1923–1990)
A Los Angeles tenor saxophonist, Gordon’s robust bebop style shone in 1960s recordings like Go! His time in Europe popularized jazz overseas. He returned to the U.S. in 1976, sparking a bebop revival.
Fats Navarro (1923–1950)
A Florida trumpeter, Navarro’s virtuosic bebop style in the 1940s, with Tadd Dameron, shone in “The Squirrel.” His lyrical tone influenced Clifford Brown. Addiction led to his early death at 26.
Wes Montgomery (1923–1968)
An Indiana guitarist, Montgomery’s smooth, thumb-picked style in The Incredible Jazz Guitar (1960) popularized jazz guitar. His 1960s pop-jazz hits broadened his audience. He died of a heart attack at 45.
Bud Powell (1924–1966)
A New York pianist, Powell adapted Parker’s bebop to piano with virtuosic recordings like “Tempus Fugit” in the 1940s. His innovative style influenced modern jazz pianists. Mental health struggles and addiction shortened his career.
Paul Desmond (1924–1977)
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Max Roach (1924–2007)
A New York drummer, Roach co-developed bebop with Parker and pioneered rhythmic complexity in Freedom Now Suite (1960). His innovative approach influenced free jazz and fusion. He was a civil rights activist.
J.J. Johnson (1924–2001)
An Indiana trombonist, Johnson brought bebop’s speed to the trombone in 1940s–1950s recordings with Kai Winding, like “Jay and Kai.” His virtuosity redefined the instrument’s role. He also composed for film and TV.
Oscar Peterson (1925–2007)
A Canadian pianist, Peterson’s dazzling technique and swing in Night Train (1962) made him a global star. His trio with Ray Brown redefined jazz piano standards. He overcame arthritis to perform late in life.
Miles Davis (1926–1991)
An Illinois trumpeter, Davis pioneered cool jazz (Birth of the Cool, 1949), modal jazz
(Kind of Blue, 1959), and fusion (Bitches Brew, 1969). His emotive, minimalist style reshaped jazz. He mentored Coltrane and Hancock.
John Coltrane (1926–1967)
A North Carolina tenor saxophonist, Coltrane’s spiritual A Love Supreme (1964) and free jazz explorations (Ascension, 1965) redefined jazz. His work with Miles Davis and his own quartet set new standards. He died of liver cancer.
Stan Getz (1927–1991)
A Philadelphia tenor saxophonist, Getz’s cool, lyrical tone shone in 1960s bossa nova hits like “The Girl from Ipanema.” His 1950s work with Dizzy Gillespie bridged bebop and cool jazz. He battled addiction.
Gerry Mulligan (1927–1996)
A New York baritone saxophonist, Mulligan’s cool jazz quartet with Chet Baker in the 1950s produced hits like “My Funny Valentine.” His work on Miles Davis’ Birth of the Cool shaped the genre. He was a prolific arranger.
Elvin Jones (1927–2004)
A Michigan drummer, Jones’ polyrhythmic style drove Coltrane’s quartet in the 1960s, as heard in My Favorite Things. His work with Wayne Shorter and his own bands influenced modern jazz drumming. He performed until his death.
Cannonball Adderley (1928–1975)
A Florida alto saxophonist, Adderley’s soulful hard bop in Mercy, Mercy, Mercy (1966) bridged jazz and pop. He played with Miles Davis’ sextet and led his own quintet. His joyful style uplifted audiences.
Horace Silver (1928–2014)
A Connecticut pianist, Silver’s funky, gospel-infused hard bop in Song for My Father (1965) defined the genre. His quintet nurtured talents like Joe Henderson. He shaped 1950s–1960s jazz.
Eric Dolphy (1928–1964)
A Los Angeles multi-instrumentalist (alto sax, bass clarinet, flute), Dolphy’s avant-garde work on Out to Lunch! (1964) pushed harmonic limits. His collaborations with Mingus and Coltrane were groundbreaking. He died young of a diabetic coma.
Bill Evans (1929–1980)
A New Jersey pianist, Evans’ lyrical, harmonic sophistication shaped cool jazz in Miles Davis’ Kind of Blue (1959). His trio recordings, like Sunday at the Village Vanguard (1961), set new standards for interplay. Addiction plagued his life.
Chet Baker (1929–1988)
An Oklahoma trumpeter and vocalist, Baker’s lyrical, cool jazz style in the 1950s, like “Let’s Get Lost,” gained a cult following. His work with Gerry Mulligan defined West Coast jazz. Addiction and legal issues marred his career.
Cecil Taylor (1929–2018)
A New York pianist, Taylor’s atonal, percussive style in Unit Structures (1966) pioneered free jazz. His 1950s–1980s performances challenged conventional harmony. He was a leading avant-garde figure, also exploring poetry.
Mel Lewis (1929–1990)
A New York drummer, Mel Lewis co-founded the Thad Jones/Mel Lewis Orchestra, bringing dynamic, subtle rhythms to albums like Consummation (1970), which blended swing and modern jazz. His work with Stan Kenton and Gerry Mulligan in the 1950s–1960s shaped West Coast jazz drumming.
Sonny Rollins (b. 1930)
A New York tenor saxophonist, Rollins, dubbed “Saxophone Colossus,” recorded Saxophone Colossus (1956) with hits like “St. Thomas.” His improvisational brilliance bridged bebop and hard bop. He remains active, emphasizing acoustic jazz.
Clifford Brown (1930–1956)
A Delaware trumpeter, Brown’s warm tone and technical precision shone in 1950s recordings with Max Roach. His death in a car accident at 25 cut short a brilliant career. He influenced hard bop.
First tracks: "Joy Spring" (1954), "Daahoud" (1954); "Sandu" (1955)
Ornette Coleman (1930–2015)
A Texas alto saxophonist, Coleman pioneered free jazz with The Shape of Jazz to Come (1959). His “harmolodic” approach broke harmonic conventions. He influenced avant-garde jazz and beyond.
Andrew Hill (1931–2007)
A Chicago pianist, Hill’s angular, avant-garde compositions in Point of Departure (1964) bridged hard bop and free jazz. His work with Eric Dolphy was groundbreaking. He gained renewed acclaim in the 2000s.
Joe Zawinul (1932–2007)
An Austrian keyboardist, Zawinul co-founded Weather Report, pioneering fusion with Heavy Weather (1977). His work with Miles Davis and compositions like “Mercy, Mercy, Mercy” blended jazz and global sounds. He was a synthesizer innovator.
Wayne Shorter (1933–2023)
A New Jersey saxophonist, Shorter’s compositions for Art Blakey and Miles Davis, like “Nefertiti,” defined post-bop. His Weather Report fusion work and quartet recordings earned acclaim. He was a prolific innovator.
Jimmy Garrison (1934–1976)
A Philadelphia bassist, Garrison anchored John Coltrane’s quartet in A Love Supreme with his steady, modal lines. His 1960s work with Ornette Coleman also shone. He was a quiet but essential modern jazz figure.
Paul Chambers (1935–1969)
A Pittsburgh bassist, Chambers’ lyrical lines on Miles Davis’ Kind of Blue and Coltrane’s Giant Steps defined 1950s jazz bass. His work with Wynton Kelly was iconic. He died young of tuberculosis and addiction.
Joe Henderson (1937–2001)
An Ohio tenor saxophonist, Henderson’s 1960s Blue Note albums, like Mode for Joe, defined post-bop. His work with Horace Silver and Herbie Hancock showcased versatility. He gained renewed fame in the 1990s.
Ron Carter (b. 1937)
A Michigan bassist, Carter’s versatile playing on Miles Davis’ Kind of Blue and his own Where? (1961) spanned cool and hard bop. His 1960s–1980s work with Herbie Hancock set standards. He’s recorded over 2,000 sessions.
Alice Coltrane (1937–2007)
A Detroit pianist and harpist, Coltrane’s spiritual jazz in Journey in Satchidananda (1971) blended Indian music and free jazz. She continued John Coltrane’s legacy after his death. Her ashram and devotional music expanded jazz’s scope.
Freddie Hubbard (1938–2008)
An Indiana trumpeter, Hubbard’s 1960s Blue Note albums, like Ready for Freddie, defined hard bop. His work with Herbie Hancock and Art Blakey showcased virtuosity. He later explored fusion and pop-jazz.
McCoy Tyner (1938–2020)
A Philadelphia pianist, Tyner’s percussive style anchored John Coltrane’s quartet in A Love Supreme. His 1960s–1970s solo work, like The Real McCoy, explored modal and African influences. He shaped modern jazz piano.
Lee Morgan (1938–1972)
A Philadelphia trumpeter, Morgan’s hard bop hit “The Sidewinder” (1964) blended jazz and soul. His work with Art Blakey’s Jazz Messengers in the 1950s launched his career. He was tragically killed at 33.
Herbie Hancock (b. 1940)
A Chicago pianist, Hancock joined Miles Davis’ quintet, shaping post-bop with Maiden Voyage (1965). His fusion work, like Head Hunters (1973), blended jazz with funk. He’s won 14 Grammys and remains active.
Pharoah Sanders (1940–2022)
An Arkansas saxophonist, Sanders’ spiritual, free jazz with John Coltrane in Ascension (1965) and his own Karma (1969) explored cosmic themes. His intense, vocalized tone influenced modern jazz. He collaborated with Alice Coltrane.
Chick Corea (1941–2021)
A Massachusetts pianist, Corea blended bebop, fusion, and Latin jazz in Return to Forever and Spain (1972). His work with Miles Davis and solo career earned 23 Grammys. He was a versatile innovator.
John McLaughlin (b. 1942)
A British guitarist, McLaughlin’s Mahavishnu Orchestra pioneered fusion with The Inner Mounting Flame (1971). His work with Miles Davis on Bitches Brew blended jazz and rock. He later explored Indian music with Shakti.
Tony Williams (1945–1997)
A Chicago drummer, Williams’ dynamic playing with Miles Davis’ 1960s quintet, like Nefertiti, redefined jazz rhythms. His fusion band Lifetime with John McLaughlin pushed boundaries. He was a prodigy, joining Davis at 17.
Keith Jarrett (b. 1945)
A Pennsylvania pianist, Jarrett’s solo improvisations, like The Köln Concert (1975), redefined jazz performance. His Standards Trio with Gary Peacock and Jack DeJohnette set benchmarks. He’s known for eclectic versatility.
Michael Brecker (1949–2007)
A Philadelphia saxophonist, Brecker’s fiery post-bop and fusion work with the Brecker Brothers and Steps Ahead (1983) earned 15 Grammys. His 1980s–2000s solo albums showcased technical brilliance. He died of leukemia.
Jaco Pastorius (1951–1987)
A Florida bassist, Pastorius revolutionized electric bass with Weather Report’s Heavy Weather (1977) and his solo Jaco Pastorius (1976). His virtuosic, melodic style influenced jazz and funk. He died tragically after a violent altercation.
Stanley Clarke (b. 1951)
A Philadelphia bassist, Clarke’s work with Return to Forever and his solo School Days (1976) defined jazz-fusion bass. His virtuosic electric and upright playing bridged genres. He’s also a prolific film composer.
Dick Oatts (b. 1953)
Iowa-born alto saxophonist, Oatts is a key member of the Vanguard Jazz Orchestra (successor to Thad Jones/Mel Lewis), with recordings like Monday Night Live at the Village Vanguard (2008) showcasing his lyrical improvisations.
Pat Metheny (b. 1954)
Missouri guitarist, Metheny’s fusion and folk-infused style in Bright Size Life (1976) and with the Pat Metheny Group won 20 Grammys. His lyrical playing bridges jazz and world music. He remains a leading figure.
Kenny Kirkland (1955–1998)
New York pianist, Kirkland’s dynamic playing with Wynton and Branford Marsalis in the 1980s, as heard on Black Codes (From the Underground) (1985), fused post-bop with funk and Latin elements. His work with Sting and his solo album Thunder from Down Under showcased his versatility.
Jeff "Tain" Watts (b. 1960)
Pittsburgh drummer, Wynton and Branford Marsalis in the 1980s and 1990s,
Branford Marsalis (b. 1960)
New Orleans saxophonist, Marsalis’s post-bop and classical work with his quartet and Sting, like Random Abstract (1987), showcased versatility. He bridges traditional and modern jazz.
Kenny Garrett (b. 1960)
A Detroit saxophonist, Garrett’s fiery alto and soprano work on Songbook (1997) and with Miles Davis’ 1980s band blends hard bop, modal jazz, and African influences. His Grammy-nominated albums, like Seeds from the Underground (2012), reflect his global perspective.
Wynton Marsalis (b. 1961)
A New Orleans trumpeter, Marsalis led a neotraditional revival in the 1980s with Black Codes (1985). As artistic director of Jazz at Lincoln Center, he’s championed jazz education. His virtuosity spans classical and jazz.
Terence Blanchard (b. 1962)
A New Orleans trumpeter, Blanchard’s cinematic hard bop in Mo’ Better Blues (1990) and his Spike Lee film scores earned acclaim. His 2000s albums, like A Tale of God’s Will, address social issues. He’s a leading contemporary composer.
Marcus Roberts (b. 1963)
A Florida-born pianist, Roberts’ classically influenced style on The Truth Is Spoken Here (1989) and work with Wynton Marsalis revives traditional jazz with a modern twist. His compositions, like Romance, Swing, and the Blues, blend swing, stride, and bebop, earning him acclaim as a neotraditionalist.
Joey Calderazzo (b. 1965)
A New York pianist, Calderazzo’s lyrical yet intense style shines in his work with Branford Marsalis’ quartet, as heard on Music Evolution (1997), and his solo In the Door (1990). His collaborations with Michael Brecker and his own trio explore post-bop and modal jazz.
Donny McCaslin (b. 1966)
A California saxophonist, McCaslin’s bold, modern sound on Blackstar (2016) with David Bowie and his own Beyond Now (2016) blends jazz with rock and electronic music. His leadership of his quartet and work with Maria Schneider highlight his versatility in post-bop and fusion.
Chris Potter (b. 1971)
A Chicago-born saxophonist, Potter’s virtuosic, genre-blending style shines in albums like Underground (2006), fusing post-bop with funk and electronic influences. His work with Dave Holland and Pat Metheny showcases his improvisational depth, earning him a leading role in contemporary jazz.
Christian McBride (b. 1972)
A Philadelphia bassist, McBride’s virtuosic playing with Wynton Marsalis and his own Gettin’ to It (1995) spans hard bop and fusion. He’s won eight Grammys and leads the Newport Jazz Festival. He’s a modern jazz ambassador.
Robert Glasper (b. 1978)
A Texas pianist, Glasper fused jazz, hip-hop, and R&B in Black Radio (2012), earning Grammys. His work with Kamasi Washington and Terrace Martin reflects modern jazz’s inclusivity. He’s a leading contemporary voice.
Cécile McLorin Salvant (b. 1989)
A Miami vocalist, Salvant’s versatile, theatrical style in Dreams and Daggers (2017) evokes Billie Holiday and opera. Her Grammy-winning albums explore jazz’s history and social themes. She’s a leading voice in contemporary jazz.