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JAZZ POP
Since Louis Armstrong introduced the virtuosity of improvisation into the world of jazz, the question has arisen in the jazz community: can music emphasize melodic accessibility without losing any of its artistic properties. Jazz, by that time, had already established traditions of using standards as a starting point for long improvisations, satisfying jazz lovers who appreciate the unpredictability and various forms of presentation of musical material. However, since the time of the Big Band era, there was another vision of jazz pop traditions in jazz music. It preserves the melodic and rhythmic structure, as well as the basic chord harmonies, but which, like pop, concentrates primarily on catchy melodies, and, as a rule, does not include improvisation.

In the beginning, jazz dance orchestras began to use swing rhythms to keep up with the tastes of the public. Then, over time, the Big Band direction was transformed into two: sweet-voiced groups that retained a bit of swing, but the feeling of the melody was valued above all else, and the so-called hot bands, which were distinguished by greater solo improvisation, rhythmic drive, a sense of blues. The former helped pave the way for the emergence of artists such as Frank Sinatra, Tony Bennett, Mel Tormé, whose work was heavily influenced by jazz. Their manner of execution was calm and even. Many music critics condemned the simplicity of the new sound of jazz-pop compositions, plus everything, they considered the influence of pop trends by commercial interests and pointed to the appearance of polite-pleasant predictability in the compositions.
In the 80s, their fears were justified by the super-popular soprano saxophonist Kenny G, who sold millions of albums and proved that instrumental jazz pop could interest both pop and modern adult jazz audiences. In the 90s, Kenny Gee's success led to the emergence of a smooth-format jazz radio that continued the tradition of jazz pop in the same polished, pleasantly soothing manner.
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