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    • Louis Armstrong (1932) and Duke Ellington (1933)

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      • The arrival in London of seminal American musicians, especially Louis Armstrong (1932) and Duke Ellington (1933), inspired the British jazz community, generating excited publicity, popular and professional interest – and occasional controversy.
      nationaljazzarchive.org.uk/explore/jazz-timeline
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  2. European jazz? In Western Europe from the 1950s onward, European musicians no longer wanted to be considered as secondary actors in comparison to their American colleagues, and began to assert their influence on the global scene. The first of them was no doubt the guitarist Django Reinhardt.

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  3. en.wikipedia.org › wiki › British_jazzBritish jazz - Wikipedia

    During the 1950s mass emigration into the UK, brought an influx of players from the Caribbean such as Joe Harriott and Harold McNair, though some, among them Dizzy Reece, found the shortage of genuine jazz work frustrating - dance music remained popular - and migrated to the United States.

  4. Mar 17, 2021 · 1920s – Jazz takes root in Britain. By the mid-1920s jazz was a thriving preoccupation in British culture, and publication of the magazine Melody Maker from 1926 and the BBC's first broadcasts (principally of dance music) helped to build popularity.

  5. nationaljazzarchive.org.uk › explore › jazz-timelineJazz Timeline

    Funk, hip hop and rap continue to influence Britain’s jazz scene encouraging regular crossover between these genres. And black British jazz traditions have been strengthened by the re-assessment of Joe Harriott.

  6. Sep 8, 2015 · Phronesis’ line-up – a Dane, a Swede and a Brit – reflects how important the influence of Europe has become to Jazz both in Britain and internationally.

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  7. The Oxford History of Jazz in Europe is a reception history in five volumes (3000 pages), edited by Walter van de Leur. The chapters are written by some 75 authors from some 25 countries, affiliated with 60 different research institutions in Europe and the U.S.

  8. Dec 28, 2018 · Six themed chapters address early African-American entertainers in Europe, Django Reinhardt and jazz manouche, the influence of Jewish music, the avant-garde and the cross-Atlantic dialog, jazz in films, and finally, jazz festivals.

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