1980s in jazz
In the 1980s in jazz, the jazz community shrank dramatically and split. A mainly older audience retained an interest in traditional and straight-ahead jazz styles. Wynton Marsalis strove to create music within what he believed was the tradition, creating extensions of small and large forms initially pioneered by such artists as Louis Armstrong and Duke Ellington. In the early 1980s, a commercial form of jazz fusion called pop fusion or "smooth jazz" became successful and garnered significant radio airplay. Smooth jazz saxophonists include Grover Washington Jr., Kenny G, Kirk Whalum, Boney James, and David Sanborn. Smooth  jazz received frequent airplay with more straight-ahead jazz in "quiet storm" time slots at radio stations in urban markets across the U.S., helping to establish or bolster the careers of vocalists including Al Jarreau, Anita Baker, Chaka Khan, and Sade. In this same time period Chaka Khan released "Echoes of an Era", which featured Joe Henderson, Freddie Hubbard, Chick Corea, Stanley Clarke, and Lenny White. She also released the song "And the Melody Still Lingers On (Night in Tunisia)" with Dizzy Gillespie reviving the solo break from "Night in Tunisia". Overview. According to Robert Christgau, in the 1980s Miles  Davis capitalized on the popularity of the electric fusion style he had pioneered in the 1970s. In the "Newsweek" article "The Problem With Jazz Criticism", Stanley Crouch considered Davis' playing of fusion as a turning point that led to smooth jazz. In Aaron J. West's introduction to his analysis of smooth jazz, "Caught Between Jazz and Pop" he states, "I challenge the prevalent marginalization and malignment of smooth jazz in the standard jazz narrative. Furthermore, I question the assumption that smooth jazz is an unfortunate and unwelcomed evolutionary outcome of the jazz-fusion era. Instead, I argue that smooth  jazz is a long-lived musical style that merits multi-disciplinary analyses of its origins, critical dialogues, performance practice, and reception." Acid jazz developed in the UK over the 1980s and 1990s and was influenced by jazz-funk and electronic dance music. Vibraphonist Roy Ayers is considered a forerunner of acid jazz. Although acid jazz often contains electronic composition (sometimes including sampling or live DJ cutting and scratching), it is just as likely to be played live by musicians who showcase jazz interpretation as part of their performance. Nu jazz is influenced by jazz harmony and melodies. There are usually  no improvisational aspects. It ranges from combining live instrumentation with beats of jazz house, exemplified by St Germain, Jazzanova, and Fila Brazillia, to more band-based improvised jazz with electronic elements such as that of The Cinematic Orchestra, Kobol, and the Norwegian "future jazz" style pioneered by Bugge Wesseltoft, Jaga Jazzist, Nils Petter Molvær, and others. Nu jazz can be very experimental in nature and can vary widely in sound and concept. Jazz rap developed in the late 1980s and early 1990s, and incorporates jazz influence into hip hop. In 1988, Gang Starr released the debut single "Words I Manifest , sampling Dizzy Gillespie's 1962 Night in Tunisia", and Stetsasonic released "Talkin' All That Jazz", sampling Lonnie Liston Smith. Gang Starr's debut LP, "No More Mr. Nice Guy" (Wild Pitch, 1989), and their track "Jazz Thing" (CBS, 1990) for the soundtrack of "Mo' Better Blues", sampling Charlie Parker and Ramsey Lewis. Gang Starr also collaborated with Branford Marsalis and Terence Blanchard. Groups making up the collective known as the Native Tongues Posse tended towards jazzy releases; these include the Jungle Brothers' debut "Straight Out the Jungle" (Warlock, 1988) and A Tribe Called Quest's "People's Instinctive Travels and  the Paths of Rhythm" (Jive, 1990) and "The Low End Theory" (Jive, 1991). In 1987, the US House of Representatives and Senate passed a resolution proposed by Democratic Representative John Conyers Jr. to define jazz as a unique form of American music stating, among other things, "...that jazz is hereby designated as a rare and valuable national American treasure to which we should devote our attention, support and resources to make certain it is preserved, understood and promulgated."