Jazz - Revision history

Edb: Add canonical MuGlobe favorite, current-hit and authentic fields to all recording links; preserve existing music and article content

2026-10-22T02:31:47Z

Add canonical MuGlobe favorite, current-hit and authentic fields to all recording links; preserve existing music and article content

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Edb: Research-led Africa musical geography and article revision; existing recording sections and native bindings preserved.

2026-10-22T01:13:33Z

Research-led Africa musical geography and article revision; existing recording sections and native bindings preserved.

Edb: Expand the comprehensive music catalogue with reviewed distinct performances; prioritize recent discovery, retain good older music and preserve existing prose, recordings and fields.

2026-10-19T22:41:06Z

Expand the comprehensive music catalogue with reviewed distinct performances; prioritize recent discovery, retain good older music and preserve existing prose, recordings and fields.

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Edb: Add sourced representative performance playlist; preserve article prose and hotspot mushrooms

2026-10-18T18:02:25Z

Add sourced representative performance playlist; preserve article prose and hotspot mushrooms

@@ Line 16: / Line 16: @@
 == Artists ==
 Louis Armstrong, Duke Ellington, Mary Lou Williams, Charlie Parker, Thelonious Monk, Billie Holiday, Ella Fitzgerald, Miles Davis, John Coltrane and Ornette Coleman open very different listening routes. Toshiko Akiyoshi, Abdullah Ibrahim, Carla Bley and many others broaden the geographic and compositional picture. These names are not a ranking or a checklist of one correct tradition. Choose contrasting ensemble settings, then hear several versions of a composition. Follow arrangers, rhythm-section players and band members as well as leaders: jazz history is often shaped by relationships that headline credits conceal.
 == Related genres ==
@@ Line 2: / Line 2: @@
 	"category": "genre",
 	"templatePageId": 17,
-	"templateRevisionId": 86,
+	"templateRevisionId": 1065,
-	"templateVersion": 8
+	"templateVersion": 9
+}

Edb: Create researched genre article and inferred regional musical landscapes; Ed’s approved authoring method

2026-10-18T02:08:13Z

Create researched genre article and inferred regional musical landscapes; Ed’s approved authoring method

New page

== Summary ==
Jazz is a family of musical practices shaped fundamentally by African American creativity and developed through ensemble interaction, individual sound and changing approaches to rhythm and improvisation. It includes dance music, song interpretation, intricate composition and open-ended collective exploration. No single instrument or rhythm defines every branch. The music rewards attention to how people respond to one another in real time, including when they follow a score. Its global life contains locally rooted cultures and new artistic languages, rather than a series of imperfect copies of an American original.

== Contemporary and trending ==
Clubs, festivals, community organisations, recordings and educational institutions sustain many kinds of jazz at once. Historical styles remain active while musicians combine inherited languages with electronic production, local traditions and new forms. Commercial chart share captures only part of this life: a modest club, an improvised-music collective or a school band can be culturally significant without a mass audience. International scenes contribute creators, organisers and listening publics of their own. Contemporary jazz is therefore better imagined as interconnected musical worlds than as one dominant trend replacing all earlier styles.

== History ==
New Orleans supplied a formative environment where African-descended and Caribbean practices met bands, dances, blues, ragtime and popular song. Migration and touring connected musicians to Chicago, New York, California and other regions, while records and broadcasting changed circulation. Later swing, bebop, free jazz and electric experiments expanded the field without ending earlier practices. Racial segregation shaped opportunities, credit and economics throughout this history. Outside the United States, musicians developed local identities; South African jazz, for example, became deeply entangled with township life, exile and resistance to apartheid. <ref name="new-jazz-nps">[https://www.nps.gov/jazz/learn/historyculture/jazz_history.htm A New Orleans Jazz History,1895–1927 — National Park Service].</ref> <ref name="new-jazz-townships">[https://courier.unesco.org/en/articles/when-jazz-fever-gripped-townships When jazz fever gripped the townships — UNESCO Courier].</ref>

== Musical characteristics ==
Improvisation may involve inventing a melodic line over recurring harmony, changing timbre, reorganising rhythm or collectively determining a piece’s direction. A composed passage can be just as central as an improvised solo. Swing is a major rhythmic resource but not a universal requirement: straight-eighth grooves, Afro-Cuban cycles, rubato and freely changing pulse also belong. Tone, attack and placement make an individual voice recognisable. Listening to the bass and drums, or to silence between phrases, often reveals conversations hidden beneath a prominent lead instrument.

== Geography and communities ==
The United States contains several connected home landscapes, including the Northeast, Great Lakes, Gulf region and West Coast. Europe, Japan, South Africa, Brazil and the Caribbean have substantial adopted and independently creative jazz worlds. The map uses broad fields representing those durable ecologies rather than a few conservatory or recording-studio addresses. Their intensity is an editorial view of practice, infrastructure and attachment, not the percentage of residents listening. Other scenes exist beyond these first-pass fields, so absence of a strong mushroom is not a statement that a place lacks jazz.

== Artists ==
Louis Armstrong, Duke Ellington, Mary Lou Williams, Charlie Parker, Thelonious Monk, Billie Holiday, Ella Fitzgerald, Miles Davis, John Coltrane and Ornette Coleman open very different listening routes. Toshiko Akiyoshi, Abdullah Ibrahim, Carla Bley and many others broaden the geographic and compositional picture. These names are not a ranking or a checklist of one correct tradition. Choose contrasting ensemble settings, then hear several versions of a composition. Follow arrangers, rhythm-section players and band members as well as leaders: jazz history is often shaped by relationships that headline credits conceal.

== Related genres ==
Blues, ragtime, spirituals and Caribbean musical practices are central historical relationships, not interchangeable labels. Swing, bebop, cool jazz, hard bop, free jazz, fusion and Latin jazz receive separate catalogue entries to make their different practices discoverable. Soul, funk, hip-hop and electronic music have ongoing reciprocal relationships with jazz. Improvised music outside the jazz lineage deserves recognition on its own terms rather than automatic inclusion. The broad overlay intentionally overlaps more specific ones; a listener can move from this family-level orientation toward the communities and techniques of a particular branch.

=== References and further reading ===
<references />

* [https://jazzinamerica.org/Overview/Syllabus Jazz in America: General Syllabus — Herbie Hancock Institute of Jazz]

* [https://folkways-media.si.edu/docs/folkways/artwork/SFW40820.pdf Jazz: The Smithsonian Anthology]

== Hotspot mushrooms ==
Jazz has American formation landscapes and substantial independent adopted worlds. Broad overlapping regional fields represent durable community, education and performance ecologies; studio addresses and famous birthplaces are insufficient.

These fields are editorial illustrations of musical affinity and cultural reach, not listener statistics. Radius marks the zero edge of the fade; overlapping fields of this genre combine by maximum.

{| class="wikitable muglobe-hotspots"
|+ MuGlobe hotspot mushrooms
! ID !! Location !! Latitude !! Longitude !! Radius (km) !! Strength !! Notes

|-
| jazz-us-northeast || Northeastern US jazz corridor || 40.5 || -74 || 850 || 1 || Dense historical and contemporary interconnected professional, community and educational worlds.

|-
| jazz-great-lakes || Great Lakes and midwestern jazz communities || 41 || -87 || 1150 || 0.91 || Chicago, Detroit and connected regional scenes, not isolated urban dots.

|-
| jazz-gulf || Lower Mississippi and Gulf jazz landscape || 30.8 || -90.2 || 880 || 0.88 || Formative and continuing community worlds with New Orleans at their centre.

|-
| jazz-california || California and Pacific jazz corridor || 36 || -120 || 950 || 0.86 || Durable independent creative and adopted scenes.

|-
| jazz-europe || Western and central European jazz networks || 49 || 7 || 1700 || 0.86 || Substantial local creation, clubs, festivals and listening cultures.

|-
| jazz-northern-europe || Scandinavian jazz landscapes || 59 || 13 || 1200 || 0.8 || Independent regional creative and educational worlds.

|-
| jazz-japan || Japanese jazz corridor || 35.5 || 137 || 1050 || 0.88 || Long-established adopted and locally creative jazz culture.

|-
| jazz-south-africa || South African jazz communities || -29 || 26 || 1500 || 0.86 || Township, Cape, urban and transnational creative histories.

|-
| jazz-brazil || Southeastern Brazilian jazz/instrumental worlds || -22 || -44.5 || 1100 || 0.73 || Substantial independent exchange with Brazilian musical languages.

|-
| jazz-caribbean || Cuban–Puerto Rican jazz landscapes || 20 || -73 || 1250 || 0.76 || Afro-Caribbean improvisation, band and Latin-jazz creative worlds.

|-
| jazz-australia || Southeastern Australian jazz circuits || -35 || 146 || 1100 || 0.61 || Durable adopted community, professional and educational networks.

|}

← Older revision		Revision as of 01:13, 22 October 2026
Line 12:		Line 12:

	== Geography and communities ==		== Geography and communities ==

	The United States contains several connected home landscapes, including the Northeast, Great Lakes, Gulf region and West Coast. Europe, Japan, South Africa, Brazil and the Caribbean have substantial adopted and independently creative jazz worlds. The map uses broad fields representing those durable ecologies rather than a few conservatory or recording-studio addresses. Their intensity is an editorial view of practice, infrastructure and attachment, not the percentage of residents listening. Other scenes exist beyond these first-pass fields, so absence of a strong mushroom is not a statement that a place lacks jazz.		The United States contains several connected home landscapes, including the Northeast, Great Lakes, Gulf region and West Coast. Europe, Japan, South Africa, Brazil and the Caribbean have substantial adopted and independently creative jazz worlds. The map uses broad fields representing those durable ecologies rather than a few conservatory or recording-studio addresses. Their intensity is an editorial view of practice, infrastructure and attachment, not the percentage of residents listening. Other scenes exist beyond these first-pass fields, so absence of a strong mushroom is not a statement that a place lacks jazz.

			Christopher Ballantine’s research on South African jazz appreciation societies makes listeners’ organized social life visible alongside musicians and institutions. These networks also connect urban and rural experience. A broad South African jazz field is therefore retained as a cultural landscape, not a list of famous venues or a claim that formal conservatories account for the whole audience. <ref name="africa2026-za-ballantine">[https://www.scielo.org.za/scielo.php?pid=S0259-01902023000100006&script=sci_arttext Christopher Ballantine, Public Culture, Sociality, and Listening to Jazz: Aural Memorialisation in the Time of COVID, 2023]. Access note: Public article’s jazz appreciation society and social geography discussion read.</ref>

	== Artists ==		== Artists ==
Line 142:		Line 145:

	=== References and further reading ===		=== References and further reading ===

	<references />		<references />

Line 149:		Line 153:

	== Hotspot mushrooms ==		== Hotspot mushrooms ==

	Jazz has American formation landscapes and substantial independent adopted worlds. Broad overlapping regional fields represent durable community, education and performance ecologies; studio addresses and famous birthplaces are insufficient.		Jazz has American formation landscapes and substantial independent adopted worlds. Broad overlapping regional fields represent durable community, education and performance ecologies; studio addresses and famous birthplaces are insufficient.

	These fields are editorial illustrations of musical affinity and cultural reach, not listener statistics. Radius marks the zero edge of the fade; overlapping fields of this genre combine by maximum.		These fields are editorial illustrations of musical affinity and cultural reach, not listener statistics. Radius marks the zero edge of the fade; overlapping fields of this genre combine by maximum.

			Africa completion review: The connected regional fields are retained; their intensity expresses qualitative musical affinity and is not an audience estimate.

			The fields express editorial judgments about relative musical affinity and reach, not measured audience shares. Radius is the zero edge of a linear fade; same-genre overlaps combine by maximum.

	{\| class="wikitable muglobe-hotspots"		{\| class="wikitable muglobe-hotspots"
	\|+ MuGlobe hotspot mushrooms		\|+ MuGlobe hotspot mushrooms
	! ID !! Location !! Latitude !! Longitude !! Radius (km) !! Strength !! Notes		! ID !! Location !! Latitude !! Longitude !! Radius (km) !! Strength !! Notes

	\|-		\|-
	\| jazz-us-northeast \|\| Northeastern US jazz corridor \|\| 40.5 \|\| -74 \|\| 850 \|\| 1 \|\| Dense historical and contemporary interconnected professional, community and educational worlds.		\| jazz-us-northeast \|\| Northeastern US jazz corridor \|\| 40.5 \|\| -74.0 \|\| 850.0 \|\| 1.0 \|\| Dense historical and contemporary interconnected professional, community and educational worlds.

	\|-		\|-
	\| jazz-great-lakes \|\| Great Lakes and midwestern jazz communities \|\| 41 \|\| -87 \|\| 1150 \|\| 0.91 \|\| Chicago, Detroit and connected regional scenes, not isolated urban dots.		\| jazz-great-lakes \|\| Great Lakes and midwestern jazz communities \|\| 41.0 \|\| -87.0 \|\| 1150.0 \|\| 0.91 \|\| Chicago, Detroit and connected regional scenes, not isolated urban dots.

	\|-		\|-
	\| jazz-gulf \|\| Lower Mississippi and Gulf jazz landscape \|\| 30.8 \|\| -90.2 \|\| 880 \|\| 0.88 \|\| Formative and continuing community worlds with New Orleans at their centre.		\| jazz-gulf \|\| Lower Mississippi and Gulf jazz landscape \|\| 30.8 \|\| -90.2 \|\| 880.0 \|\| 0.88 \|\| Formative and continuing community worlds with New Orleans at their centre.

	\|-		\|-
	\| jazz-california \|\| California and Pacific jazz corridor \|\| 36 \|\| -120 \|\| 950 \|\| 0.86 \|\| Durable independent creative and adopted scenes.		\| jazz-california \|\| California and Pacific jazz corridor \|\| 36.0 \|\| -120.0 \|\| 950.0 \|\| 0.86 \|\| Durable independent creative and adopted scenes.

	\|-		\|-
	\| jazz-europe \|\| Western and central European jazz networks \|\| 49 \|\| 7 \|\| 1700 \|\| 0.86 \|\| Substantial local creation, clubs, festivals and listening cultures.		\| jazz-europe \|\| Western and central European jazz networks \|\| 49.0 \|\| 7.0 \|\| 1700.0 \|\| 0.86 \|\| Substantial local creation, clubs, festivals and listening cultures.

	\|-		\|-
	\| jazz-northern-europe \|\| Scandinavian jazz landscapes \|\| 59 \|\| 13 \|\| 1200 \|\| 0.8 \|\| Independent regional creative and educational worlds.		\| jazz-northern-europe \|\| Scandinavian jazz landscapes \|\| 59.0 \|\| 13.0 \|\| 1200.0 \|\| 0.8 \|\| Independent regional creative and educational worlds.

	\|-		\|-
	\| jazz-japan \|\| Japanese jazz corridor \|\| 35.5 \|\| 137 \|\| 1050 \|\| 0.88 \|\| Long-established adopted and locally creative jazz culture.		\| jazz-japan \|\| Japanese jazz corridor \|\| 35.5 \|\| 137.0 \|\| 1050.0 \|\| 0.88 \|\| Long-established adopted and locally creative jazz culture.

	\|-		\|-
	\| jazz-south-africa \|\| South African jazz communities \|\| -29 \|\| 26 \|\| 1500 \|\| 0.86 \|\| Township, Cape, urban and transnational creative histories.		\| jazz-south-africa \|\| South African jazz communities \|\| -29.0 \|\| 26.0 \|\| 1500.0 \|\| 0.86 \|\| Township, Cape, urban and transnational creative histories.

	\|-		\|-
	\| jazz-brazil \|\| Southeastern Brazilian jazz/instrumental worlds \|\| -22 \|\| -44.5 \|\| 1100 \|\| 0.73 \|\| Substantial independent exchange with Brazilian musical languages.		\| jazz-brazil \|\| Southeastern Brazilian jazz/instrumental worlds \|\| -22.0 \|\| -44.5 \|\| 1100.0 \|\| 0.73 \|\| Substantial independent exchange with Brazilian musical languages.

	\|-		\|-
	\| jazz-caribbean \|\| Cuban–Puerto Rican jazz landscapes \|\| 20 \|\| -73 \|\| 1250 \|\| 0.76 \|\| Afro-Caribbean improvisation, band and Latin-jazz creative worlds.		\| jazz-caribbean \|\| Cuban–Puerto Rican jazz landscapes \|\| 20.0 \|\| -73.0 \|\| 1250.0 \|\| 0.76 \|\| Afro-Caribbean improvisation, band and Latin-jazz creative worlds.

	\|-		\|-
	\| jazz-australia \|\| Southeastern Australian jazz circuits \|\| -35 \|\| 146 \|\| 1100 \|\| 0.61 \|\| Durable adopted community, professional and educational networks.		\| jazz-australia \|\| Southeastern Australian jazz circuits \|\| -35.0 \|\| 146.0 \|\| 1100.0 \|\| 0.61 \|\| Durable adopted community, professional and educational networks.

	\|}		\|}