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During World War II jazz music was banned by the occupying Germans and therefore was forced to go underground. Even so, it seemed to flourish more than ever. Belgian orchestras continued to make new recordings and new bands kept popping up. Few records reached Europe, and of course no American bands were touring Belgium. This situation forced the public to settle for homegrown musicians and these much sought-after bands were often very successful. Jazz musicians were clever enough to 'adjust' the names of the songs they recorded to work around the official ban on American music.

There were also new jazz organizations such as the "Swing Club de Belgique" and the club "Sweet and Hot". After the liberation in the jazz scene in the United States had changed, and "bop" or bebop had become the latest thing. Characterized by its virtuosity, harmonic complexity and tempo changes, bebop brought about a stylistic revolution. The big names were now Dizzy Gillespie and Charlie Parker , and Europeans learned about this new style of jazz when American records became available. In Belgium swing music was at its peak. She was accompanied by the band of De Kers, among others.

After the war, jazz became popular throughout Europe. These orchestras could count on a large crowd of spectators wherever they came, because the soldiers of the liberation armies appreciated the music of the often highly professional Belgian bands. A number of jazz musicians also turned to the new bop style.

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In the period after there was a renewed interest in Europe for the old styles, especially for New Orleans music. Many American musicians went to Belgium and to Europe in general in the early s to live and perform there. Conversely, Belgian jazz musicians also enjoyed success in the States, among them guitarist and harmonica player Toots Thielemans , vibraphonist Fats Sadi , trumpet player Sandy Herman and saxophonist Jack Sels. Bop, modern jazz, also found fertile ground in Belgium.

Guitarist Bill Alexander teamed up with bassist John Warland and recorded Charlie Parker's Ornithology in , one of the first bebop recordings in Europe. Bobby Jaspar was later influenced by musicians like Stan Getz and 'converted' to the cool jazz school. At the outbreak of the war, during a tour in England, Django left Grappelli behind and returned to Paris, where in he recorded his famous song Nuages with jazz saxophonist and clarinetist Hubert Rostaing.

Belgian jazz

After the war, in , Django Reinhardt went to the States where he performed and recorded with jazz greats like Duke Ellington. Together with Charlie Christian and Wes Montgomery , he is now - even outside jazz - considered one of the most influential guitarists ever. Django's style, jazz manouche or gypsy jazz , keeps attracting new jazz musicians all over the world, and the number of bands playing in this style is still growing.

In Belgium, Fapy Lafertin probably is he best known representative of modern jazz manouche. The Django d'Or awards, originally organized in Paris as a tribute to Django Reinhardt, now ranks samong the most prestigious jazz prizes awarded to deserving musicians. Since the s more countries outside France organize their own Django d'Or awards. The early s in the United States was the period of cool or west coast jazz, more peaceful than bebop, and with a more outspoken interest in composition and arrangement.

Later, he would organize his Jack Sels Chamber Music band. In Paris, Sadi also started up his own big band, for which he composed and arranged. In jazz circles he was considered the best European vibraphonist, in the tradition of Milt Jackson. Bobby Jaspar remained a wonderful "cool" soloist on flute and tenor sax. In New York he played, among others, with J. Johnson and Miles Davis. His most loyal partner and friend was Jacques Pelzer who, after the adventure with the Bob Shots , imposed himself in this decade as an outstanding musician of European jazz.

At the end of the s there were three young musicians who came to prominence on the Belgian jazz scene. Richard Rousselet was Belgium's first modern hardbop trumpet player, and would collect several awards abroad.


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    • Guitarist Philip Catherine , even before his twentieth year, jammed at la Rose Noir , played at the festivals of Comblain and Ostend and toured Europe with Lou Bennett. After he also started to compose. The s saw the emergence of free jazz in the United States and the rise of the supremacy of rock. The popularity of jazz music after the golden days of swing was waning everywhere and now seemed to eclipse in favor of more danceable popular music. Most people did not like to hear bebop or freejazz, and jazz had become the music of a few insiders. Not only was the audience for jazz shrinking, but it also lost young jazz musicians who in previous periods had taken initiative, and now were more attracted to pop.

    Of course, besides showing interest in free jazz also called "New Thing" , most Belgian musicians continued to play the older styles New Orleans was especially popular in Flanders and bebop cool jazz included , while mainstream swing was still in demand. In the absence of employment in Belgium a lot of musicians were associated with orchestras abroad.

    Large outdoor gatherings called "festivals" were organized. Comblain-la-Tour is the oldest: the first edition took place in Although rock still dominated in the s, musical styles began to interpenetrate. With Miles Davis, jazz electrified and flirted with rock. In the United States the new style was baptized "jazz-rock", giving rise to European bands like the British group Soft Machine. Typical for jazz rock is the replacement of acoustic instruments guitar, bass and piano by their electric version.

    These new sounds had the advantage of bringing the rock audience closer to jazz. The recording of jazz music took a new start, often by independent labels.

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    Meanwhile, Toots Thielemans was touring and recording in the U. In Flanders, Etienne Verschueren toured with his sextet. Up to approximately the s jazz history was more or less a succession of stylistic periods, a development that was entirely situated in America. Jazz had become an international language. From the late s on it became difficult to describe the direction jazz has taken.

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