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British jazz
British jazz is a form of music derived from American jazz. It reached Britain through recordings and performers who visited the country while it was a relatively new genre, soon after the end of World War I. Jazz began to be played by British musicians from the 1930s and on a widespread basis in the 1940s, often within dance bands. From the late 1940s British "modern jazz", highly influenced by American bebop, began to emerge and was led by figures such as John Dankworth and Ronnie Scott, while Ken Colyer, George Webb and Humphrey Lyttelton emphasised New Orleans, Trad jazz. From the 1960s British jazz began to develop more individual characteristics and absorb a variety of influences, including British blues, as well as European and World music influences. A number of British musicians have gained international reputations, although this form of music has remained a minority interest within the UK itself.
==The early 20th century==
Jazz in Britain is usually said to have begun with the British tour of the Original Dixieland Jazz Band in 1919. That stated, British popular music aficionados in the 1920s generally preferred the terms "hot" or "straight" dance music to the term "jazz". Jazz in Britain also faced a similar difficulty to Brazilian jazz and French jazz, namely it tended to be seen by figures of authority as a bad influence, but in Britain the concern that jazz was from the United States appears to have been less important than in France or Brazil. Instead those who objected to it did so more because they deemed it "riotous" or unnerving. One of the earliest popular jazz dance bands was that of Fred Elizalde, who broadcast on the BBC from 1926 to 1929.
By the early 1930s music journalism in Britain, notably through the ''Melody Maker'', had created an appreciation of the importance of the leading American jazz soloists and was beginning to recognise the improvising talents of some local musicians. During the 1930s most British jazz musicians made their living in dance bands of various kinds. Jazz became more important, and more separate as its own genre. Louis Armstrong played residencies in London and Glasgow in 1932, followed in subsequent years by the Duke Ellington Orchestra and Coleman Hawkins. But local jazz culture was limited to London where: "jazz was played after hours in a couple of restaurants that encouraged musicians to come in and jam for drinks".〔, p. 250.〕 The groups of Nat Gonella and Spike Hughes became notable within Britain early in the decade; Hughes was even invited to New York to arrange, compose and lead what, in effect, was Benny Carter's Orchestra of the time. Carter himself worked in London for the BBC in 1936. West Indian swing band leader Ken "Snakehips" Johnson and Leslie Thompson, a Jamaican trumpeter, influenced jazz in Britain, with the band fronted by Johnson – "The Emperors of Jazz" – being the first large Black band of note.〔Valerie Wilmer, ("Essay: ‘Blackamoors’ and the British Beat" ), Black Musicians Conference / 1986 Standing on the Shoulders of Giants, University of Massachusetts Amherst.〕 Johnson went on to form one of the top swing bands in the country, known as "The West Indian Orchestra", which became the resident band at fashionable London venue Café de Paris, and it was here that Johnson was among those killed by a German bomb during the Blitz in the early days of the war.〔〔("Ken 'Snakehips' Johnson" ) at www.swingtime.co.uk.〕
抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』
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