User:Wlylejazz/sandbox

I plan to expand upon this section of the Jazz article, including the resurgence of the career of Betty Carter, as well as Art Blakey's jazz messengers and the influence of the Marsalis family.

Existing text within "Jazz" article:

Resurgence of traditionalism
The 1980s saw something of a reaction against the Fusion and Free Jazz that had dominated the 1970s. Trumpeter Wynton Marsalis emerged early in the decade, and strove to create music within what he believed was the tradition, rejecting both fusion and free jazz and creating extensions of the small and large forms initially pioneered by such artists as Louis Armstrong and Duke Ellington, as well as the hard bop of the 1950s. Whether Marsalis' critical and commercial success was a cause or a symptom of the reaction against Fusion and Free Jazz and the resurgence of interest in the kind of jazz pioneered in the 1960s (particularly Modal Jazz and Post-Bop) is debatable; nonetheless there were many other manifestations of a resurgence of traditionalism, even if Fusion and Free Jazz were by no means abandoned and continued to develop and evolve.

For example, several musicians who had been prominent in the fusion genre during the 1970s began to record acoustic jazz once more, including Chick Corea and Herbie Hancock. Other musicians who had experimented with electronic instruments in the previous decade had abandoned them by the 1980s, for example Bill Evans, Joe Henderson and Stan Getz. Even the 1980s music of Miles Davis, although certainly still fusion, adopted a far more accessible and recognisably jazz-oriented approach than his abstract work of the mid-1970s, such as a return to a theme-and-solos approach.

A similar reaction took place against free jazz. According to Ted Gioia:

the very leaders of the avant garde started to signal a retreat from the core principles of Free Jazz. Anthony Braxton began recording standards over familiar chord changes. Cecil Taylor played duets in concert with Mary Lou Williams, and let her set out structured harmonies and familiar jazz vocabulary under his blistering keyboard attack. And the next generation of progressive players would be even more accommodating, moving inside and outside the changes without thinking twice. Musicians such as David Murray or Don Pullen may have felt the call of free-form jazz, but they never forgot all the other ways one could play African-American music for fun and profit.[161]

Pianist Keith Jarrett — whose bands of the 1970s had played only original compositions with prominent free jazz elements — established his so-called 'Standards Trio' in 1983, which, although also occasionally exploring collective improvisation, has primarily performed and recorded jazz standards. Chick Corea similarly began exploring jazz standards in the 1980s, having neglected them for the 1970s.