The story of the guitar in Jazz starts at the end of the decade of Charlie Christian who, in just two years, totally revolutionized the interpretation of the instrument. It was with Johnny St. Cyr and Lonnie Johnson who started the history of the jazz guitar itself, thus marking the beginning of two traditions of interpretation that last until today: the rhythmic interpretation and of harmonious accompaniment and the soloist, of lines and monophonic phrase.
Teddy Bunn and Casey were other Guitarists of New Orleans, who tried to unify the traditions initiated by St. Cyr and Johnson. At the entrance of the decade of the guitar he met an explosion of popularity that he owed, above all, to Wes Montgomery in the Jazz, B. King in the blues and Jimi Hendrix in Rock. In Europe highlighted the French Eddy Louiss, of Caribbean Origins, while new values as Carla Bley, Amina Claudine Myers, Chucho Valdés and Chico O’Farrill, but in general you can say that after Khalid Yasin A stagnation occurred in the evolution of the instrument.
The first artists in experimenting with the John Cage synthesizer, Terry Riley Most percussion instruments used in jazz originally came from Latin America, Güiro, Cabasa, Maracas, Congas, Bongós, Timbales, Pandeiro, etc Roach formed groups Similar, but the first renowned percussionist in the jazz world was actually the Nigerian Olatunji, who collaborated with John Coltrane, Clark Terry or Yusef Lateef. The jazzkical tradition of the instrument is relatively short: one of the first flute alone flute on a jazz album was that Wayman Carver executed in Sweet Sue, a recording of the Spike Hughes orchestra that goes back to Jerome Richardson was the first in Record modern solos, and after it emerged Frank Wess and Bud Shank.
The first is directly responsible for the acceptance of the instrument, which was only achieved after the saxophone revolution that had held during the previous decade Lester Young. Hampton – behind Norvo Red – introduced the instrument into jazz at the beginning of the swing era, while Jackson popularized it in front of the famous Modern Jazz Quartet. As had happened with the flute a few years earlier, the violin met in the decade of a period of splendor that was somewhat paradoxical if we take into account the role that the instrument had played in the history of jazz.