Editing Jazz (section)

===Straight-ahead jazz===
{{main|Straight-ahead jazz|1980s in jazz}}
[[File:Wynton Marsalis 2009 09 13.jpg|thumb|right|[[Wynton Marsalis]]]]

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 artists such as [[Louis Armstrong]] and [[Duke Ellington]], as well as the hard bop of the 1950s. It is debatable whether Marsalis's 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]]); 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 [[Jazz fusion|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 recognizably jazz-oriented approach than his abstract work of the mid-1970s, such as a return to a theme-and-solos approach.

A similar reaction{{Vague|date=January 2018}} took place against free jazz. According to [[Ted Gioia]]:<blockquote>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.<ref>{{cite web |title=Where Did Our Revolution Go? (Part Three) – Jazz.com &#124; Jazz Music – Jazz Artists – Jazz News |url=http://www.jazz.com/jazz-blog/2008/2/27/where-did-our-revolution-go-part-three  |archive-url=https://web.archive.org/web/20130517181105/http://www.jazz.com/jazz-blog/2008/2/27/where-did-our-revolution-go-part-three |archive-date=May 17, 2013 |access-date=October 2, 2013 |website=Jazz.com}}</ref></blockquote>

[[File:Toshiko_Akiyoshi.jpg|thumb|right|250px|[[Toshiko Akiyoshi]] pioneering jazz pianist, composer, and bandleader who brought both traditional jazz and experimental elements to the forefront, particularly with her big band compositions.]]

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.

In 1987, the United States House of Representatives and Senate passed a bill proposed by Democratic Representative [[John Conyers Jr.]] to define jazz as a unique form of American music, stating "jazz is hereby designated as a rare and valuable national American treasure to which we should devote our attention, support and resources to make certain it is preserved, understood and promulgated." It passed in the House on September 23, 1987, and in the Senate on November 4, 1987.<ref name="HR57">HR-57 Center [http://www.hr57.org/hconres57.html HR-57 Center for the Preservation of Jazz and Blues, with the six-point mandate.] {{webarchive|url=https://web.archive.org/web/20080918100538/http://www.hr57.org/hconres57.html|date=September 18, 2008}}</ref>

In 2001, [[Ken Burns]]'s documentary ''[[Jazz (TV series)|Jazz]]'' premiered on [[Public Broadcasting Service|PBS]], featuring Wynton Marsalis and other experts reviewing the entire history of American jazz to that time. It received some criticism, however, for its failure to reflect the many distinctive non-American traditions and styles in jazz that had developed, and its limited representation of US developments in the last quarter of the 20th century.

==== Neo-bop ====
{{main|Neo-bop|}}
[[File: Betty Carter.jpg|thumb|left|[[Betty Carter]] pioneering jazz singer known for nurturing young talent and maintaining a focus on traditional jazz, she helped shape the next generation of jazz musicians.]]

The emergence of young jazz talent beginning to perform in older, established musicians' groups further impacted the resurgence of traditionalism in the jazz community. In the 1970s, the groups of [[Betty Carter]] and [[The Jazz Messengers|Art Blakey and the Jazz Messengers]] retained their conservative jazz approaches in the midst of fusion and jazz-rock, and in addition to difficulty booking their acts, struggled to find younger generations of personnel to authentically play traditional styles such as [[hard bop]] and [[bebop]]. In the late 1970s, however, a resurgence of younger jazz players in Blakey's band began to occur. This movement included musicians such as [[Valery Ponomarev]] and [[Bobby Watson (American musician)|Bobby Watson]], [[Dennis Irwin]] and [[James Williams (musician)|James Williams]]. In the 1980s, in addition to [[Wynton Marsalis|Wynton]] and [[Branford Marsalis]], the emergence of pianists in the Jazz Messengers such as [[Donald Brown (musician)|Donald Brown]], [[Mulgrew Miller]], and later, Benny Green, bassists such as [[Charles Fambrough]], [[Lonnie Plaxico]] (and later, [[Peter Washington]] and Essiet Essiet) horn players such as [[Bill Pierce (saxophonist)|Bill Pierce]], [[Donald Harrison]] and later [[Javon Jackson]] and [[Terence Blanchard]] emerged as talented jazz musicians, all of whom made significant contributions in the 1990s and 2000s.

The young Jazz Messengers' contemporaries, including [[Roy Hargrove]], [[Marcus Roberts]], [[Wallace Roney]] and [[Mark Whitfield]] were also influenced by [[Wynton Marsalis]]'s emphasis toward jazz tradition. These younger rising stars rejected avant-garde approaches and instead championed the acoustic jazz sound of Charlie Parker, [[Thelonious Monk]] and early recordings of the first [[Miles Davis]] quintet. This group of "Young Lions" sought to reaffirm jazz as a high art tradition comparable to the discipline of classical music.<ref name="Guilliatt, Richard">{{cite web |last1=Guilliatt |first1=Richard |title=Jazz: The Young Lions' Roar |url=https://www.latimes.com/archives/la-xpm-1992-09-13-ca-1495-story.html|website=Los Angeles Times |access-date= January 14, 2018 |date= September 13, 1992}}</ref>

[[File:Trio_3_+_Geri_Allen_featuring_Andrew_Cyrille,_Reggie_Workman_and_Oliver_Lake_-_6122681066.jpg|thumb|right|[[Geri Allen]] talented pianist and composer who worked with [[Betty Carter]] and became a key figure in the neo-traditionalist movement.]]

In addition, [[Betty Carter]]'s rotation of young musicians in her group foreshadowed many of New York's preeminent traditional jazz players later in their careers. Among these musicians were Jazz Messenger alumni [[Benny Green (pianist)|Benny Green]], [[Branford Marsalis]] and [[Ralph Peterson Jr.]], as well as [[Kenny Washington (musician)|Kenny Washington]], [[Lewis Nash]], [[Curtis Lundy]], [[Cyrus Chestnut]], [[Mark Shim]], [[Craig Handy]], Greg Hutchinson and [[Marc Cary]], [[Taurus Mateen]] and [[Geri Allen]]. [[Out of the Blue (American band)|O.T.B.]] ensemble included a rotation of young jazz musicians such as [[Kenny Garrett]], [[Steve Wilson (jazz musician)|Steve Wilson]], [[Kenny Davis (musician)|Kenny Davis]], [[Renee Rosnes]], [[Ralph Peterson Jr.]], [[Billy Drummond]], and [[Robert Hurst (musician)|Robert Hurst]].<ref name="Out">{{cite web|last1=Yanow|first1=Scott |title=Out of the Blue |url=https://www.allmusic.com/artist/out-of-the-blue-mn0000419825/biography|website=AllMusic|access-date= January 14, 2018}}</ref>

Starting in the 1990s, a number of players from largely straight-ahead or post-bop backgrounds emerged as a result of the rise of neo-traditionalist jazz, including pianists [[Jason Moran (musician)|Jason Moran]] and [[Vijay Iyer]], guitarist [[Kurt Rosenwinkel]], vibraphonist [[Stefon Harris]], trumpeters [[Roy Hargrove]] and [[Terence Blanchard]], saxophonists [[Chris Potter (jazz saxophonist)|Chris Potter]] and [[Joshua Redman]], clarinetist [[Ken Peplowski]] and bassist [[Christian McBride]].