 | | The Treme Brass Band is one of the nouveau brass bands in New Orleans that owes a musical debt to both the late, great Danny Barker, who jump-started the dying brass band tradition with his Fairview Baptist Church School for Brass Bands, and the innovative Dirty Dozen Brass Band. |
 | | Due to the difference of opinion between his followers (who claimed he was a brilliant stylist) and his detractors (who felt that his playing was worthless), Bunk Johnson was a controversial figure in the mid-'40s, when he made a most unlikely comeback. |
 | | As New Orleans music became more popular in the Northeast and festivals around the U.S. in the 1980s, two prominent brass bands from New Orleans took their music on the road: the Rebirth Brass Band and the Dirty Dozen Brass Band. |
 | | Formed in 1990, the A la Carte Brass & Percussion Band combines traditional New Orleans sounds with Latin salsa, hip-hop, and rock. |
 | | Based in their home city of New Orleans, Louisiana, the Hot 8 Brass Band was founded in 1995 by Bennie "Big Peter" Pete (tuba). |
 | | In the '80s, the Dirty Dozen Brass Band introduced a new generation of listeners to a New Orleans brass band tradition that had its origins in the Civil War era. |
 | | The New Birth Brass Band are part of a long line in the New Orleans brass band tradition, but their relative youth means their music yields an eclectic set of musical genres. |
 | | The New Orleans group the Soul Rebels, which combines elements of hip-hop with a traditional brass band sound, was formed by former drum majors from the marching bands of Southern, Grambling, and Texas Southern University. |
 | | Ziggy Elman (born Harry Finkelman) had an influence on both big band, swing, jazz, and klezmer music. |
 | | Louis Armstrong was the first important soloist to emerge in jazz, and he became the most influential musician in the music's history. |
 | | One of the New Orleans cornet "kings" (succeeding Buddy Bolden and preceding King Oliver), Freddie Keppard was one of the few innovators of the 1910 era who had a chance to record later on, giving listeners a glimpse of his abilities. |
 | | Founded by saxophonist Harold Dejan in 1958, the Olympia Brass Band has continued to satisfy New Orleans audiences at funerals, Mardi Gras parades, and concerts in the French Market (as well as sundry other occasions), making it one of the most enduring of all such units. |
 | | No relation to the Olympia Orchestra (Freddie Keppard's band of 1906-1914), the Olympia Brass Band was founded in 1958 by altoist Harold Dejan. |
 | | Although he was quite spirited playing jug, Clarence Williams was only a decent pianist and a likable but limited vocalist. |
 | | Joe "King" Oliver was one of the great New Orleans legends, an early giant whose legacy is only partly on records. |
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 | | In their prime, the Dirty Dozen Brass Band successfully mixed together R&B with the instrumentation of a New Orleans brass band. |
 | | The Revolutionary Snake Ensemble was co-founded in Boston by alto saxophonist Ken Field and trumpeter Scott Getchell. |
 | | One of the very first giants of jazz, Jelly Roll Morton did himself a lot of harm posthumously by exaggerating his worth, claiming to have invented jazz in 1902. |
 | | Rock-oriented New Orleans brass band Bonerama were formed by trombonists Mark Mullins and Craig Klein, both of whom had been members of Harry Connick's band since 1990. |
 | | One of the most famous of all New Orleans jazz clarinetists, Pete Fountain has the ability to play songs that he has performed a countless number of times (such as "Basin Street Blues") with so much enthusiasm that one would swear he had just discovered them. |
 | | As one of England's leading trad jazz exponents, Ken Colyer's influence would have been confined to his own country were it not for a spin-off that would inadvertently lead to great changes in the music world at large. |
 | | One of the all-time great tenor saxophonists, Johnny Griffin will go down in the annals of jazz as a performer easily able to negotiate the tricky harmonic changes and swift tempos of modern music. |
 | | Trombonist and bandleader Chris Barber spearheaded the Anglo-European trad jazz movement during the late '50s and early '60s and devoted 60 years to the endless celebration of old-fashioned music. |
 | | A mellow-toned swing trumpeter with a distinctive sound and a lyrical style, Bill Coleman was a consistent if never particularly famous musician. |
 | | Donald Harrison, Jr. (who is also known as Big Chief Donald Harrison of Congo Nation) is a celebrated jazz saxophonist, composer, and educator who resides both in New Orleans and New York City. |
 | | Wooden Joe Nicholas was one of the more primitive trumpeters to record in New Orleans. He was perhaps most notable in his early days for his very loud volume and for his endurance, important assets for brassmen at parades. |
 | | Possessor of the happiest sound in jazz, flügelhornist Clark Terry always plays music that is exuberant, swinging, and fun. |
 | | A groundbreaking saxophonist (primarily on the C melody saxophone but on the alto as well) of the 1920s and '30s, Frankie Trumbauer was a major influence on jazz leaders to follow -- notably Lester Young. |
 | | Not only was Fats Waller one of the greatest pianists jazz has ever known, he was also one of its most exuberantly funny entertainers -- and as so often happens, one facet tends to obscure the other. |
 | | One of the great alto saxophonists, Cannonball Adderley had an exuberant and happy sound that communicated immediately to listeners. |
 | | The great veteran pianist Jay McShann (also known as Hootie) enjoyed a long career and it is unfair to primarily think of him as merely the leader of an orchestra that featured a young Charlie Parker. |
 | | One of the last great New Orleans trumpeters to emerge during the post-Louis Armstrong era, Henry "Red" Allen has long been overshadowed by Satch and his successors but actually had a fresh new approach of his own to offer. |
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 | | Alto saxophonist William "Sonny" Criss was an anomaly of the jazz musicians who came up during the bebop era. |
 | | It took Edmond Hall a long period to develop his own musical individuality, but by the early '40s he had a very distinctive and dirty sound on the clarinet that was immediately recognizable within one note. |
 | | Cyrus Chestnut first studied piano with his father at the age of five, with official lessons beginning two years later. |
 | | Muggsy Spanier was a predictable but forceful cornetist who rarely strayed far from the melody. Perfectly at home in Dixieland ensembles, Spanier was also an emotional soloist (equally influenced by King Oliver and Louis Armstrong) who was an expert at using the plunger mute. |
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 | | Dizzy Gillespie's contributions to jazz were huge. One of the greatest jazz trumpeters of all time (some would say the best), Gillespie was such a complex player that his contemporaries ended up copying Miles Davis and Fats Navarro instead, and it was not until Jon Faddis' emergence in the 1970s that Dizzy's style was successfully recreated. |
 | | Red Garland mixed together the usual influences of his generation (Nat Cole, Bud Powell, and Ahmad Jamal) into his own distinctive approach; Garland's block chords themselves became influential on the players of the 1960s. |
 | | From the perspective of the 21st century, it is clear that few jazz musicians have had a greater impact on the contemporary mainstream than Horace Silver. |
 | | With an unmistakable blues wail, full of emotion and poignancy, altoist Hank Crawford bridges the gap between that tradition and that of jazz more completely than any other living horn player. |
