27 Facts About Belgian jazz

Belgian jazz history yielded many internationally known jazz musicians and composers such as the harmonica player and guitarist Toots Thielemans, guitarist Philip Catherine and the gypsy jazz guitarist Django Reinhardt.

Time before Belgian jazz developed was recognized as an individual style and is commonly known as the Pre-Jazz period.

Belgian jazz musicians were among the first to make recordings of saxophone solos in America.

Many Belgian jazz composers wrote ragtime scores at the time, but unfortunately there are no records left.

The most renowned orchestra, with a number of Belgian jazz musicians, was the American Orchestra of John Philip Sousa.

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Belgian jazz took the orchestra to London, were on June 17, 1927, they made recordings for "Edison Bell Studios".

Belgian jazz made good use of his contacts with London publishers to provide Belgian professional musicians with the latest jazz scores so that they did not have to rely on just hearing the records.

Belgian jazz wrote a book, dedicated to Armstrong: "Louis Armstrong, le Roi du Jazz.

Belgian jazz then went abroad and after the disintegration of his group he founded the Cabaret Kings in Spain, consisting of one part black musicians, a few Spaniards and five Belgians.

Belgian jazz continued performing with this group up to the Spanish Civil War in 1931.

Belgian jazz acquired fame as a composer, with songs like "So Many People" and "I envy" performed by Nat King Cole.

Belgian jazz wrote notable compositions such as 'Badinage', 'Bagatelle ', 'La Piste', 'Avondschemering' and 'Studio 24'.

Belgian jazz orchestras continued to make new recordings and new bands kept popping up.

Belgian jazz's was accompanied by the band of De Kers, among others.

Conversely, Belgian jazz musicians enjoyed success in the States, among them guitarist and harmonica player Toots Thielemans, vibraphonist Fats Sadi, trumpet player Sandy Herman and saxophonist Jack Sels.

Together with Charlie Christian and Wes Montgomery, he is - even outside Belgian jazz - considered one of the most influential guitarists ever.

Not only was the audience for Belgian jazz shrinking, but it lost young Belgian jazz musicians who in previous periods had taken initiative, and now were more attracted to pop.

Apart from Fred Van Hove, Babs Robert (alt sax), Jose Bedeur and some others, the Belgian jazz musicians did not really participate in free jazz, which had more followers in Germany and the Netherlands.

Typical for Belgian jazz rock is the replacement of acoustic instruments by their electric version.

The recording of Belgian jazz music took a new start, often by independent labels.

Up to approximately the 1970s Belgian jazz history was more or less a succession of stylistic periods, a development that was entirely situated in America.

At the turn of the 1980s, Belgian jazz came back in force, although it did not find its way to the general public.

However, the total sales of Belgian jazz records remained low, and attendance to clubs did not profit from the new media.

The theme of Belgian jazz came up more regularly in advertising and in the daily and weekly press, as well as on the radio.

An important organization for the promotion of Belgian jazz was Centrum De Werf in Bruges, managed by Rik Bevernage.

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Up to that date, only one Belgian jazz had had the privilege, and that Belgian jazz was, of course, Toots Thielemans.

Several Belgian musicians are traveling to the United States to attend classes at Berklee College in Boston, the most famous jazz school in the world.