Centur y: A View of the Histor y and a Rationale for Its
Survival. Honolulu: University of Hawaii Press,- Puts the strengths and troubles of the na-
tions’ relationship during the 1980’s into the con-
text of its continuous historic development.
Schultz, John, ed.Canada and Japan in the Twentieth
Centur y. Toronto: Oxford University Press, 1991.
The final three sections concern economic ties,
political and social relations, and mutual cultural
interests from the perspective of the late 1980’s;
written by both Canadian and Japanese scholars.
Illustrated, notes, index.
R. C. Lutz
See also Asian Americans; Business and the econ-
omy in Canada; Business and the economy in the
United States; Camcorders; Chrysler Corporation
federal rescue; Cold War; Elections in the United
States, 1988; Foreign policy of Canada; Foreign pol-
icy of the United States; Globalization; Olympic boy-
cotts.
Jazz
Definition American music genre
Jazz in the 1980’s gained the respect it deserved, moving
into mainstream institutions.
Jazz in the 1980’s was everywhere, and jazz fans were
willing to travel across America and beyond its bor-
ders to support their favorite jazz musicians in clubs,
concerts, and festivals. By the time the decade be-
gan, jazz had enjoyed a resurgence in both creativity
and popularity. As a result, jazz found itself inte-
grated into the larger American culture and sup-
ported by mainstream colleges and universities,
major corporations, foundations, city and state gov-
ernments, and even National Public Radio and tele-
vision’s Public Broadcasting Service.
Many jazz fans in the 1980’s flocked en masse to
hear their favorite jazz musicians play every style
from modern jazz to bebop in their favorite venue,
small jazz clubs, where they were often joined by stu-
dents, critics, and academic researchers. Jazz be-
came the art music for listeners, and many fans
thought the only appropriate place to carry out this
serious form of listening was in small clubs. Because
jazz is a fundamentally improvisational form, every
performance is unique and no recording can be de-
finitive. Therefore, fans lined up for hours to attend
live performances at clubs such as Jazz Showcase in
Chicago; Blue Note and Village Vanguard in New
York; Yoshi’s Japanese Restaurant and World Class
Jazz House in Oakland, California; Tipitina’s in New
Orleans; Major Chords in Columbus, Ohio; Rusty’s
Jazz Club in Cleveland, Ohio; and many other clubs
located across the United States and Canada.
New Young Musicians Arrive on the Scene In addi-
tion to established musicians, jazz aficionados en-
countered many new young artists who made the
genre their own. These included Joshua Redman,
Roy Hargrove, Michael and Randy Brecker, Court-
ney Pine, and Branford Marsalis. Many of these
young players learned jazz by attending jazz studies
programs in colleges and universities, and some had
been influenced by their parents’ jazz collections,
which included music by Thelonious Monk, Charlie
“Bird” Parker, John Coltrane, Duke Ellington, Louis
Armstrong, Count Basie, and many other jazz giants.
One of the favorite young, very successful trumpet-
ers who entered the jazz scene in the 1980’s was
Wynton Marsalis, who began his career with Art
Blakey and the Jazz Messengers and then formed his
own modern, mainstream jazz quintet. In 1983, at
age twenty-two, Marsalis wonDown Beatmagazine’s
award for best trumpeter. Throughout the 1980’s,
Marsalis won Grammy Awards for both jazz and clas-
sical music. He also became the cofounder and cre-
ative director of Jazz at Lincoln Center. He was the
winner of the first Pulitzer Prize ever awarded to
a jazz composer for his oratorio, “Blood on the
Fields.” He represented to many the rebirth of jazz
in the 1980’s.
Established Musicians Entertain Listeners While
they welcomed such new talents, jazz fans also re-
mained loyal to their favorite established musicians—
such as Ahmad Jamal, McCoy Tyner, Betty Carter,
Diane Schuur, Max Roach, Billy Eckstine, Abdullah
Ibrahim, Sonny Rollins, and many more—who regu-
larly appeared at small clubs. Fans were willing to
hang out at such clubs until the wee hours of the
morning, listening to the last set of the night. They
also flocked to the many festivals occurring in major
cities across the nation, where jazz greats regularly
performed. These greats included trumpeter Miles
Davis, who, after a five-year absence from the jazz
scene, returned in the 1980’s loaded with fresh new
ideas. Davis was eager to mentor young new talent,The Eighties in America Jazz 545