did not emerge in reaction to post-modern boptenor saxophonist is the son of avant-garde saxophonist, Dewey. Won the 1991 Thelonius Monk International Jazz Saxophone Competition. Early on, he was cited as one of the bright young post-modern bop jazz artists, he was different than the other neoclassicists, he was open-minded about fusion and free jazz, criticized by the jazz press for making recordings that didn't fit the definition of post-modern bopemerging style, as projected in the music of Wynton Marsalis and other young jazz musicians of that decade, was rooted in the hard bop/cool jazz period of the classic Miles Davis bands of the late 1950s and 1960sthe book, from Jazz: The First 100 Years, by Henry Martin and Keith Waters: "If John Coltrane himself were performing in concert today, he would not duplicate his own well-known solo from an earlier recording."has had a long and varied career breaking in with drummer Buddy Rich playing hard bop in the 1950s; produced pop albums for Carly Simon; founded Steps Ahead with Michael Brecker. In the 1990s, he moved into the avant-garde music; his American Diary albums explored free jazz interpretations of American music, to classical folk. 2003: with Netherlands-based guitarist Marnix Busstra. 1990s: recorded with his own fusion band, influenced by Jimi Hendrix and John ScofieldLed by young trumpeter _____, a new era of jazz emerged in the 1980s whereby the music, for the first time in its history, was rooted in an older stylebest represents the type of jazz musician predicted in 1947 by pianist James P. Johnson in his statement: "Jazz musicians of the future will have to be able to play all different kinds of jazz—in all its treatments—just like the classical musician who, in one concert, might range from Bach to Copland.In the 1990s the concept of _____ past recorded jazz performances became popular- an offshoot of the post modern bop jazz movement, dedicated to the performance of jazz masterpieces of the pastfounded the Lincoln Center Jazz Orchestra in 1988an avant-garde composer/saxophonist who became a key figure in the NY avant garde music scene in the 1980s; impossible to categorize his style; founded the punk jazz band Naked City; composed music for film and documentary; composed Jewish-inspired music for the Klezmer jazz and Masadastudied trumpet at NYU in the mid 1980s, 1990s: NY avant-grade jazz scene participant; recorded and performed Klezmer jazz with John Zorn; formed The Tiny Belll Trio performing a blend of Eastern European folk music and free-form jazz, 1992: formed "string group", the ____ Five: unusual instrumentation: trumpet, violin, cello, bass, drumsThe 1980s and much of the 1990s is now referred to as the ___ era, ____ jazz is another label used by criticsviolinist who studied violin at age 4 in Detroit, played in the Detroit Civic Orchestra while in high school, and played electric violin in a high school funk band. She began her professional career in 1987 after studies at the New England Conservatory of Music; dual careers in jazz and classical music; she has performed violin concertos with major orchestras; virtuosic technique allows her to play in many styles; comfortable playing bluegrass to free jazz; played on Mary J Blige and Faith Evans RecordingWynton Marsalis most modeled himself after in terms of his trumpet sound was _____only musician to win Grammy Awards in both classical and jazz categories in the twentieth centurytype of jazz musician predicted in 1947 by James P Johnson—capable of playing everything from Duke Ellington to Ornette Coleman in a single concert, in 1996 he explored jazz repertory on his album Bug Music; re-created overlooked 1920s and 1930s classics by Duke Ellington, John Kirby, and Raymond Scottclarinetist/saxophonist composes and performs jazz fused with traditional Balkan, Klezmer, Celtic, and Gypsy influences. Became and important fixture in the NY knitting factory club scene in the 1990s; presented avant-garde jazz and other new music styles; Knitting Factory Records label established for releasing recordings of musicians who performed at the club, Darriau's Paradox Trio specializes in fusing Eastern European folk music traditions with avant-garde jazzthe domination of the jazz mainstream by post-modern bop or neoclassic jazz continued into the 21st century, major record labels concentrated on jazz repertory; re-issuing old jazz albums was commercially successful; box sets covering the careers of artists were popular. Small independent labels stepped in to fill the void with recordings of new jazz styles: hip hop jazz, acid jazz, klezmer jazz (Jewish and eastern European folk), avant-grade jazz, nu jazz, world jazz, and crossover jazzplays amplified accordion and piano using digital electronics with laptop computer technology, she considers herself a composer, sound installation artist, and electro-acoustic multi-instrumentalist, involved in the 1990s NY knitting factory club scene; teamed with saxophonist Briggan Krauss, creating stunning elecro-acoustic free-form improvisations—early examples of nu jazza new era of conservatism replaced many years of liberalism echoing that promise, young jazz musicians looked to the past for the first time for inspiration; hard bop/cool jazz era of the 1950s and early 1960s became the "center of gravity" of jazz
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