The
different forms of improvised music - still conveniently collected under
the label of jazz - were not, of course, the exclusive property of
black musicians at this time. Numerous white musicians also appropriated
the heritage of jazz: David Liebman and Richard Beirach, more than
anyone else, continued to deepen the heritage of John Coltrane and Bill
Evans; Keith Jarrett gave new life to old standards and to the
traditional rhythm section in the vein of Bill Evans; Pat Metheny fed
his super productions, tinged with pop, Brazilian and country music, with
inspirations from Ornette Coleman and Wes Montgomery.
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| David Liebman |
Black producers, from Quincy Jones to Marcus Miller, have had an
undeniable impact in the last decade. But another force since the
sixties has been the white jazz musicians who have changed the direction
of the sound as well, thanks to personalities such as Michael Brecker,
David Sanborn and the guitarist Larry Carlton. These name are always
mentioned in this context.
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| Richard Beirach |
Studio work has allowed
jazz-rock to become open to a variety of other influences. Jazz has
profited commercially from such borrowings.
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| Marcus Miller; as Bass Player... |
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| ... and as Producer |
The
popularity of Latin music represented a dual appeal; it fulfilled a
public demand for upbeat music - evocative of sun and health- as well as
responding to a youthful audience concerned with making the most of the
positive aspects of its racial diversity.
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