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EAGLE BAND. A New Orleans–based Early Jazz band that was popular in the early 1900s. The Eagle Band was initially founded by the trumpet legend Buddy Bolden. After Bolden left the band, the trumpet chair was passed down to many of the great Early Jazz trumpet legends including Freddie Keppard and King Joe Oliver. Other future jazz artists such as Sidney Bechet, Bunk Johnson, and Baby Dodds were a part of the group as well. The group temporarily folded in 1917 but performed several times in the 1920s. In the 1960s, an Early Jazz tribute group used the name Eagle Band for touring purposes.

EARLY JAZZ. A term used interchangeably with Traditional Jazz, Early Jazz can refer to the New Orleans or Chicago styles popular during the 1910s and 1920s. Also referred to as Dixieland, the music is most often performed with a front line consisting of clarinet, trumpet, and trombone, and a rhythm section of piano or banjo, bass or tuba, and drum set. Significant Early Jazz groups include Louis Armstrong’s Hot Five and Hot Seven, and the Creole Jazz Band. See also BECHET, SIDNEY; BEIDERBECKE BIX; EUROPE, JAMES REESE; MORTON, JELLY ROLL; OLIVER, JOE “KING”; ORY, KID; VACHÉ, WARREN; YOUNG, TRUMMY.

EAST COAST JAZZ. Another name for the Hard Bop and Soul styles that were developed during the 1950s and 1960s. East Coast Jazz was a term used to counter the idea of West Coast or Cool Jazz that was taking place during the same time. Rarely were the Hard Bop or Soul Jazz styles referred to as East Coast Jazz, and the term never had the impact that musicians who coined the term hoped it would.

EAST WEST. An American record label founded by Atlantic Records in 1957, now owned by Warner Music Group.

EAST WIND (I). Established in 1974, East Wind was a Japan-based record label that recorded mostly Japanese jazz musicians. See also JAPAN.

EAST WIND (II). A Connecticut-based record label, founded in 1984 that was dedicated to recording and preserving jazz music made in Russia or by Russian musicians.

ECHO EFFECT. A device used oftentimes as a pedal to simulate or create echoes to the sound. This can be established by digital means or by using a tape loop to create an echo effect.

ECKSTINE, WILLIAM CLARENCE “BILLY” (1914–1993). Eckstine took up singing in his early teens, and after a brief attempt at playing football that ended up in a broken collarbone, he decided to pursue a singing career. After relocating from Pittsburgh to Chicago, Eckstine’s unique and robust voice helped him secure work, most notably with the Earl Hines Orchestra, one of the top groups of the day. Other musicians performing with the group at this time included Dizzy Gillespie and Charlie Parker. Eckstine stayed with the group from 1939 to 1943 until he was encouraged by his peers to start his own band. Gillespie and Parker followed Eckstine in his new endeavor and were joined later by many other future jazz stars including Dexter Gordon, Miles Davis, Kenny Dorham, Sonny Stitt, and Art Blakey. The band was very successful, and Eckstine quickly became one of the most popular singers of the 1940s. Eckstine recorded several albums during this time, including Blowing the Blues Away (1953, Swingtime); Airmail Special (1945, Drive Archive); and Mister B and the Band (1946, Savoy).

After the band folded in 1947, Eckstine was signed by MGM to record albums of ballads. The majority of Eckstine’s recordings after the 1940s focused on his ballad singing and utilized strings instead of only a band. Although his contract with MGM expired during the 1950s, Eckstine continued to perform in this manner for the remainder of his career. He was joined by Sarah Vaughan (another Earl Hines alumnus) during the 1960s for a few recordings. See also BANDLEADER.

ECM. Founded by producer Manfred Eicher, ECM has been one of the most influential jazz labels since its creation in 1969. Primarily recording European Free Jazz and Fusion artists, ECM greatly influenced the jazz world with recordings such as Keith Jarrett’s The Koln Concert (1975, ECM) and Jan Garbarek’s Witchi-Tai-To (1972, ECM). ECM has a catalog of over 600 albums in addition to having a Japanese affiliate, Japo.

ECONOMY HALL. A jazz club in New Orleans. Located just outside of the French Quarter, Economy Hall was founded before the 1900s. See also CLUBS.

EDDIE CONDON’S. A jazz club run by guitarist Eddie Condon in New York from the mid-1940s until 1967. Condon had secured a record deal with Columbia Records, and many of the artists that performed at the club were recorded live. Included among these artists were Early Jazz musicians such as Wild Bill Davison, Budd Freeman, and Pee Wee Russell. See also CLUBS.

EDISON. A record label created by Thomas Alva Edison in the early 1900s. Edison’s recordings were made on both cylinders and vertically cut discs which were known as Edison Diamond Discs. The significance of this company is that it was one of the very first recording companies. Edison recorded only a few jazz tunes. Edison Records closed in 1929.

EDISON, HARRY “SWEETS” (1915–1999). Originally from Columbus, Ohio, Edison picked up the trumpet while living in Cleveland in 1927. He began to play professionally soon after and relocated to St. Louis to pursue further musical opportunities. After several years in St. Louis, Edison moved to New York and was quickly picked up by Count Basie to perform in his big band. Edison remained with the group until 1950. Edison freelanced with many groups during the 1950s and 1960s including Jazz at the Philharmonic, Count Basie’s big band, and the Nelson Riddle orchestra. Edison also recorded several of his own albums that included dates with tenor saxophonist Eddie “Lockjaw” Davis: Jawbreakers (1962, Original Jazz Classics) and Just Friends (1975, Black and Blue). Edison continued to perform both as a soloist and in big bands throughout the 1980s and 1990s.

EDISON-BELL. A London-based record label that primarily distributed American records to England. Created in the early 1890s, Edison-Bell worked with American partner labels including Emerson and Paramount to distribute dance band and Early Jazz recordings to the United Kingdom. Records of Fletcher Henderson and Louis Armstrong were notable items released by Edison-Bell. See also ENGLAND.

EDWARDS, TEDDY (1924–2003). Edwards, like many of his peers, was born into a family of musicians. By the age of 12, he had chosen to focus on the alto saxophone. In 1936, he began touring with a variety of bands from the Detroit area until his family relocated to Florida. At the age of 20, Edwards was invited to join Roy Milton’s band in Los Angeles, a location Edwards would make home for the majority of his career. Trumpet player Howard McGhee heard Edwards in Los Angeles and asked him to join his small group to play tenor saxophone. Edwards dedicated the rest of his career to performing on the tenor saxophone and became quite active in the Los Angeles jazz scene. Equally adept in both big band and small-group settings, Edwards worked as a leader and with a variety of groups including ones led by Max Roach, Benny Carter, Benny Goodman, Howard Rumsey, Gerald Wilson, and Bill Berry. Edwards recorded as a leader many times during the 1960s, including the releases Teddy’s Ready (1960, Original Jazz Classics) and Together Again (1961, Contemporary). The latter featured former bandmate Howard McGhee. Edwards continued performing late in his life and was still recording into the late 1990s.

EIGHTS. A term referring to when members of the ensemble alternate improvising over eight-measure sections of a song. Often, eights are traded between a front line player and the drummer. See also FOURS; TWOS.

ELDRIDGE, (DAVID) ROY (1911–1989). Born in Pittsburgh, Pennsylvania, Eldridge received his formal training playing with different touring bands in the 1920s. Eldridge moved to New York in 1930 and was hired by Fletcher Henderson several years later. Eldridge’s style was highly influential to rising star Dizzy Gillespie, and he is often referred to as being the musical link between Louis Armstrong and Gillespie.

In the 1940s, Eldridge played with Gene Krupa and Artie Shaw until he was hired for several tours with Norman Granz’s Jazz at the Philharmonic. Eldridge continued to play with several of his bandmates from Jazz at the Philharmonic during the 1960s including Ella Fitzgerald and Coleman Hawkins. Eldridge, also known as “Little Jazz,” continued to play until late in his life, including sessions as a leader and frequent appearances as a sideman.

ELECTRICAL AND MUSICAL INDUSTRIES (EMI). The result of the merging of two of the leading recording companies of the early 20th century, Electrical and Musical Industries (EMI) became one of the most significant recording companies ever. EMI acquired many start-up companies from a variety of music genres and is most famously known for producing many of the Beatles most popular albums. EMI is important to jazz because it acquired many important jazz labels, including jazz’s signature label, Blue Note Records, in the 1980s.

ELECTRICAL RECORDING. The process of capturing sound through the use of electrical signals. Electrical recording was a very important breakthrough of the early 1920s and provided recording companies with a much more accurate method of capturing sound. Electrical recording was the most prominent means of capturing sound for several decades until the development of digital recording.

ELECTRIC BASS (GUITAR). A member of the guitar family, it is used as a replacement for the acoustic bass. An electric bass guitar has four strings (like its acoustic counterpart) but has greater flexibility with amplification and sound production. The electric bass guitar was created in 1951 by Leo Fender and has several different variations including the six-string bass guitar and the fretless guitar. Significant jazz performers of the electric bass include John Patitucci, Jaco Pastorius, and Marcus Miller. See also SWALLOW, STEVE.

ELECTRIC GUITAR. The electric counterpart to the acoustic guitar. The electric guitar matches the acoustic guitar in its string setup and tuning and features knobs that allow the user to alter the tone and volume of the instrument. There are two major forms of the electric guitar, the solid-body and hollow-body. There have been several important jazz innovators of the electric guitar including Charlie Christian and Les Paul. Other important jazz guitarists include, Kenny Burrell, Jim Hall, Wes Montgomery, and John Scofield. See also ELECTRIC BASS (GUITAR).

ELECTRIC PIANO. The electric piano is a member of the keyboard family. Its primary function is to serve as an electric reproduction of an acoustic piano. Electric pianos offer the user significantly fewer features such as patches or synthesized sounds in comparison to most electronic keyboards. See also ELECTRONIC KEYBOARDS.

ELECTROLA. A German subsidiary of the Gramophone Company, it was created in the 1920s. Electrola was included as part of the Columbia/Gramophone merger that resulted in the creation of Electrical and Musical Industries (EMI) in the 1920s. Electrola was responsible for issuing RCA Victor albums in Germany and in the 1980s reissued many Blue Note albums from several decades prior.

ELECTRONIC KEYBOARDS. An electronic instrument with keys arranged like a piano that is often equipped with a multitude of synthesized sounds that allow the user to mimic other instruments or other sounds. Electronic keyboards became popular in the 1970s when the Fusion movement was taking place. Famous pianists to utilize electronic keyboards include Herbie Hancock, Chick Corea, and Joe Zawinul. See also ELECTRIC PIANO.

ELEKTRA MUSICIAN. A record label formed in the 1980s by future Blue Note president Bruce Lundvall. Elektra Musician was dedicated to recording all forms of jazz and signed several major artists including pianist Bill Evans, John McLaughlin, Woody Shaw, Dexter Gordon, and McCoy Tyner. The label became less organized when Lundvall left for Blue Note in 1985, and it was eventually merged with Warner and Atlantic.

ELEMENTS. A Fusion and world music group created by Pat Metheny Group alumnus Mark Egan. The group took the official name Elements in 1983 and recorded several albums during the next decade including Elements (1982, Antilles); Illumination (1987, Novus); and Spirit River (1990, Novus).

ELIAS, ELIANE (1960– ). Elias began her musical career as a pianist during her childhood in Brazil and toured with groups from the region when she was in her late teens. On the recommendation of bassist Eddie Gomez, she moved to New York at the age of 20. She freelanced with several groups including Steps Ahead and developed a repertoire for the group’s trumpet player, Randy Brecker. Elias and Brecker were married for a short while and had a child, which limited Elias’ availability for touring during the next several years. During the late 1980s and most of the next few decades, Elias toured and recorded with her groups. Elias signed a contract with Blue Note Records in 1989 and recorded a series of albums for the label that include Fantasia (1992, Blue Note) and Solos & Duets (1994, Blue Note).

ELLINGTON, EDWARD KENNEDY “DUKE” (1899–1974). Ellington studied piano as a youth and began playing professionally by the age of 17. He was hired by several groups during the 1920s, most notably the band led by Elmer Snowden. Included in the group were many musicians who became important to Ellington including Bubber Miley, Otto Hardwick, Sonny Greer, and “Tricky” Sam Nanton. After a few years, Ellington assumed control of the ensemble and in 1927 began a famous residency at the Cotton Club in New York. During this time, Ellington continued to add musicians to his band, the most significant addition being alto saxophonist Johnny Hodges, who would play a vital role in the Ellington sound.

During the 1930s, Ellington had many popular hits and had one of the most popular working units in the nation. Toward the end of the decade, Ellington hired several influential musicians, including Ben Webster and Billy Strayhorn, the latter of whom would also become a vital arranger and composer for Ellington. Throughout the 1940s, Ellington presented concerts around the world and continued to compose both large- and small-scale works.

During the 1950s, Ellington’s band continued to work, and Ellington was asked to write several movie scores and completed jazz renditions of Peter Tchaikovsky’s Nutcracker ballet and a suite based on works by William Shakespeare. Ellington also expanded and worked in smaller groups with Charles Mingus, Max Roach, and John Coltrane in the 1960s. Throughout the next decade and a half, Ellington would be a revered figure in jazz, and much of his work was religion related. He is considered today to be the most prolific and greatest jazz composer. Ellington’s son, Mercer, would take control of Ellington’s orchestra after Ellington died.

ELLINGTON, MERCER KENNEDY (1919–1996). Ellington’s musical training started early with his father, the great big band leader and composer, Duke Ellington. In his early twenties, Ellington attempted to run his own band but was never able to fully escape his father’s shadow despite having reputable musicians such as Dizzy Gillespie, Carmen McRae, and Kenny Dorham in the band. After several failed attempts at being a bandleader, Ellington spent time as a manager for groups, primarily the big band led by Cootie Williams during the 1940s and 1950s. Ellington received the opportunity to join his father’s band in a similar capacity in the 1960s and remained with it until his father’s death in 1974, at which point he took over complete bandleading duties for the Duke Ellington Orchestra. Ellington would remain in this capacity well into the 1990s. In addition to his bandleading, Ellington played trumpet and was a composer, most notably contributing “Things Ain’t What They Used to Be” to the jazz repertoire. Ellington also recorded several albums with the Duke Ellington Orchestra including Digital Duke (1987, GRP).

ELLINGTON, RAY (1915–1985). Born in London, Ellington participated in several English military bands during the 1930s and 1940s and became an important element in the British Bebop scene during the late 1940s. He led his own quartet for many years, touring, recording, and participating in British radio broadcasts of the late 1940s and 1950s. Ellington’s career was further heightened with his participation in The Goon Show, a radio program for which he sang, acted, and performed. After the program ended, Ellington’s popularity diminished, although he was a regular in many London jazz clubs until his death.

ELLIS, DON(ALD) (1934–1978). Upon graduating from Boston University, Ellis established himself quickly as an innovative composer and capable trumpet player. In the 1950s, Ellis was hired by several cutting-edge groups including those of Charles Mingus and George Russell. Ellis made several recordings as a leader in the early 1960s that showcased his small-group playing, including How Time Passes (1960, Candid) and Out of Nowhere (1961, Candid).

Toward the mid-1960s, Ellis shifted his musical interests to leading a big band and began a very unique style of composition. Frequently, Ellis would make use of a variety of instruments including African percussion, doubling of instruments that were not typically doubled (such as the acoustic bass), and a variety of electronic instruments. Ellis would also make use of a variety of atypical time meters and had a grasp on the Free Jazz movement that was taking place. Until his death, Ellis made recordings with his big band for many albums considered to be classics, including Don Ellis at Monterey (1966, Pacific Jazz); Don Ellis at Fillmore (1970, Columbia); and Tears of Joy (1971, Columbia).

ELLIS, HERB(ERT) (1921–2010). Playing guitar since the age of seven, Ellis attended college in his home state of Texas before beginning work with the famous Casa Loma Orchestra. Ellis primarily freelanced in the 1940s, most notably with Jimmy Dorsey. Ellis received a tremendous popularity boost when he was officially made a member of the Oscar Peterson trio in the 1950s. Ellis left Peterson in the late 1950s and began accompanying vocalists, including Ella Fitzgerald and Julie London. Ellis resided in Los Angeles during this time and worked regularly as a studio musician to accompany his regular playing.

The 1970s brought Ellis an opportunity to share his guitar abilities with several of his guitar-playing peers, and he played in groups with Charlie Byrd, Barney Kessel, and Joe Pass. Ellis continued to freelance and record with a variety of artists, in addition to branching out and leading sessions under his own name. The Great Guitars group that included Byrd and Kessel continued to play well into the 1990s, and Ellis continued to play regularly into the 2000s.

EMARCY. A record label founded in 1954 that released several significant albums by trumpet player Clifford Brown.

EMERSON. A record label founded by Victor Emerson. Emerson recorded several jazz artists during its nine-year existence from the late 1910s to the 1920s. Included among recorded artists were Eubie Blake and Bessie Smith.

ENGELS, JOHN, JR. (1935– ). Born in the Netherlands, Engels received his first big break as a drummer playing with Mary Lou Williams. Engels was frequently hired by a variety of European-based jazz bands including ones led by Harry Pohl, Cees Singer, and Louis Van Dijk. Engels was also regularly called to play for touring American musicians. Zoot Sims, James Moody, Thad Jones, Lew Tabackin, Jimmy Knepper, and Art Farmer were all musicians who performed with Engels. See also DRUM SET; EUROPE.

ENGLAND. The jazz scene in England was very focused on dance music during the 1910s after the spreading of various dance styles by Vernon and Irene Castle in Europe. England remained this way from the 1920s to the 1930s and never really developed a familiarity with the Dixieland or New Orleans Jazz styles during this period. One of Great Britain’s first jazz bandleaders, George Webb, was highly influential in the country and was an important figure in the establishment of jazz. Jazz, or at least jazz that was of a different variety than dance band music, is said to have made its first true appearance in the country in 1943. Native Englishmen began to develop the British jazz scene as additional jazz styles became prominent.

Toward the end of the 1940s, saxophonist John Dankworth pioneered jazz small groups in England and was responsible for helping shape a new modern sound in England. Another significant figure in the development of English jazz was musician and entrepreneur Ronnie Scott, a pivotal jazz figure whose club, Ronnie Scott’s, remains an important performance venue for musicians across the globe. Scott is credited with helping to convince saxophonist Dexter Gordon to relocate to Europe in the 1960s. Several prominent jazz musicians moved from England to the United States including Victor Feldman and George Shearing, and many left their mark in the 1950s and 1960s.

Jazz continued to flourish during the 1970s and 1980s in Europe thanks in large part to several individuals including John Taylor, Kenny Wheeler (who is originally from Canada), and Evan Parker. American jazz vocalists Mark Murphy and Jon Hendricks relocated to England in the 1960s and 1970s when they discovered that they could work much more frequently than in the United States.

ENJA. A record label founded in Germany during the early 1970s. Founders Mathias Winckelmann and Horst Weber were responsible for the creation of the label and frequently recorded jazz artists. The label expanded and had an operations center in New York along with a studio in Munich. Enja released albums recorded by Tommy Flanagan, Elvin Jones, Albert Mangelsdorff, John Scofield, and Woody Shaw. Enja remained active for several decades. See also EUROPE; RECORD LABEL.

EP. Acronym for “extended play,” EP is a type of record released during the 1950s that was shorter in duration than an LP. See EXTENDED-PLAY DISC.

EPIC. Only in existence for approximately 10 years, the Epic record label was used by Columbia Records to release recordings of jazz artists during the 1950s and early 1960s. Artists recorded on the Epic label include Horace Silver, Art Blakey, Slide Hampton, Mose Allison, and Lester Young.

ERICSON, ROLF (1922–1997). Drawing inspiration from Louis Armstrong, Swedish-born trumpet player Ericson moved to the United States after touring with several Swedish bands. Ericson lived in New York and Los Angeles for a collective three years, playing with several jazz bands including the Woody Herman Orchestra. Ericson spent parts of the next two decades performing in the United States and Sweden. During this time, Ericson was either involved with his groups or working with established jazz legends including Harry James, Tommy Dorsey, Charlie Parker, Benny Goodman, and Duke Ellington. Ericson led his own groups in Germany for most of the 1970s and 1980s before moving back to the United States again for several years until a green card issue forced him back to Sweden, where he remained until his death.

ERSKINE, PETER (1954– ). A drummer since he was a young child, Erskine is another successful product of the Stan Kenton summer jazz camps. As a teenager, Erskine played with Kenton in the 1970s before working with trumpeter Maynard Ferguson and the Fusion supergroup Weather Report. Erskine spent much of the 1980s working with several Fusion-inspired groups including Steps Ahead and groups led by fellow Weather Report member Jaco Pastorius. Erskine has toured and recorded with a who’s who of jazz greats, including Gary Peacock, Gary Burton, Joey Calderazzo, Jan Garbarek, and Eddie Gomez. In the 2000s, Erskine founded a steady working trio featuring Allan Pasqua, in addition to serving on the faculty at the University of Southern California. Erskine is a highly regarded educator and has written several texts on jazz drumming. See also DRUM SET.

ERWIN, GEORGE “PEE WEE” (1913–1981). A Swing era trumpet prodigy, Erwin’s career was highlighted by performances in the 1930s with bands led by Benny Goodman, Glenn Miller, and Ray Noble. He played with Tommy Dorsey in 1937–1939 and then led his own big band from 1941 to 1942. He became active in radio and television work as a staff studio musician for the Columbia Broadcasting System (CBS). Erwin led groups in the 1970s dedicated primarily to music of the Swing era and toured frequently in the United States and Europe.

ESP-DISK. A New York–based record label active in the 1960s and 1970s that made several significant recordings of Free Jazz artists that include Albert Ayler, Ornette Coleman, Henry Grimes, and Sunny Murray. The label was later used for reissuing, primary releasing albums of pianist Bud Powell late in his career.

ESQUIRE. A British-based record label that was active from 1941 to the late 1960s that primarily documented the roots of early British jazz. English jazz icons John Dankworth and Ronnie Scott were documented on the Esquire label. See also ENGLAND.

EUREKA BRASS BAND. An important New Orleans–based brass band that at different times was led by George Lewis and Willie Wilson. The Eureka Brass Band was actively working from 1920 to 1975 and is considered to be important toward the preservation of the New Orleans Brass Band tradition.

EUROPE. Before spreading to America, the dance band craze that led to the Swing era started in Europe. France and England were two of the areas visited by dancers Vernon and Irene Castle who sparked a tremendous following. With the development of recording technology, Europeans were able to hear American jazz musicians in the 1910s before musicians were able to tour frequently overseas. Jazz bands such as those of Paul Whiteman and Will Marion Cook visited Europe toward the end of the 1910s and then constantly throughout the 1920s and 1930s. In many cases, members of these touring groups found Europe’s love for jazz inspiring and elected to remain there. Clarinetist and soprano saxophonist Sidney Bechet was one of the first musicians to purchase a home overseas after he elected to stay in France following a tour with Cook’s band.

The European jazz scene before the war was very sparse and existed mostly in Western European countries. With the exception of France, jazz was actively recorded or performed in public in very few countries. Most of the music was very informal. Musicians played in dance-style groups that performed for private parties or other social gatherings. Touring bands from the United States were groups that focused on a variety of styles that were becoming popular in the United States. These groups ranged from dance and popular music groups like the Paul Whiteman Orchestra, New Orleans jazz bands like King Oliver’s Creole Jazz Band, and a variety of American military bands and orchestras. In the 1930s, only France had an established jazz scene with icons like Sidney Bechet, Django Reinhardt, and Stéphane Grappelli.

Throughout the 1920s and 1930s, a steady stream of musicians left the United States for Europe in hopes of escaping the racial problems that existed in the United States, artistically and economically. Musicians would continue to pursue this self-exile for the next four decades. Citing a variety of issues, including racial issues, educational issues, lack of teaching opportunities, and the uncompromising capital nature of America’s recording scene, musicians like Ben Webster would end up spending major parts of their careers overseas.

Following the end of World War II, Europe continued to be a prime spot for escaping jazz musicians. Rising jazz stars such as Dizzy Gillespie and Billy Eckstine were able to tour frequently, and many boasted about how much better the conditions were for musicians compared to being on the road in the United States. During the 1940s, a number of Americans defected, including saxophonists Don Byas and James Moody and drummer Kenny Clarke. All of these musicians made significant marks on the jazz scene in various countries and would become influential musicians on the global scale.

In the late 1950s through modern day, jazz has developed into a highly artistic music in Europe, more so perhaps than in America. Many musicians who left the United States point to Europe as being much more receptive, respectful, and understanding of jazz in comparison to the United States. Throughout the 1960s, 1970s, and 1980s, Free Jazz and creative music took precedence in the European jazz scene, including inspiring numerous jazz festivals in Switzerland, Germany, and Italy that featured all forms of jazz.

EUROPE, JAMES REESE (1881–1919). A highly influential leader of military and dance bands, Europe made his mark in the early 1900s. Considered one of the first jazz band leaders, Europe frequently performed concerts and helped break racial boundaries by using groups that were racially mixed. One of Europe’s first big breaks occurred when he directed a 125-piece orchestra of African-Americans at Carnegie Hall in 1912. Europe is also credited with being associated with Vernon and Irene Castle, a pioneering dance group who helped spark the popularity of dance bands. Through his popularity with this group, Europe was signed to a record deal in 1913, the first African-American led orchestra conductor to do so. Europe is also credited as being highly influential toward the development of Ragtime and its transition into Early Jazz and Stride. Europe died after being stabbed by a band member.

EUROPEAN JAZZ FEDERATION. An influential jazz organization founded to unite separate countries in jazz education efforts. Founded in 1969, the European Jazz Federation became known as the International Jazz Federation in 1977.

EVANS, GIL (1912–1988). Evans led bands at the early age of 21, playing piano until he was hired by several groups, most notably Claude Thornhill, to serve as arranger. Evans was a pioneer for arranging works for jazz big band that would include additional instruments less common in jazz, including the tuba and French horn. He would also produce compositions that weren’t dependent on outstanding soloists but focused instead on the arrangement. Evans’ arrangements caught the ear of Miles Davis, and the two collaborated on a number of projects for Columbia including Miles Ahead (1957), Porgy and Bess (1958), Birth of the Cool (1950), and Sketches of Spain (1960). The relationship between Davis and Evans would last almost a decade.

Evans continued practicing new concepts in orchestration with his own groups throughout the 1960s, 1970s, and 1980s. Evans further expanded the instrumentation of his band and frequently used electronic instruments and synthesizers in his later years. He incorporated popular music from the 1970s and 1980s into arrangements for his group, including compositions by Sting and Jimi Hendrix. Evans’ groups with Davis and with his own projects featured many top-notch musicians including Elvin Jones, Ron Carter, and Steve Lacy.

EVANS, WILLIAM JOHN “BILL” (1929–1980). Evans’ career would turn out to be among the most influential of any jazz musician. He was born in New Jersey and studied piano during his college years. After serving in the army, Evans relocated to New York to continue his education while also performing. Between 1956 and 1960, Evans met, played with, and recorded with Charles Mingus, Miles Davis, and Paul Motian. Considered to be a focal point of the first major Miles Davis quintet, Evans’ playing was captured on several recordings of the group. After Evans left Davis’ group, he began a solo career highlighted by his first trio featuring drummer Paul Motian and prodigious bassist Scott LaFaro.

Evans would primarily play in the trio setting for the remainder of his career. Focusing on developing rich harmony while also exploring new ways to play tunes, Evans’ influence was great on the next generation of pianists, including Herbie Hancock and Keith Jarrett. Evans’ sensibilities continue to be highly influential to current pianists Brad Mehldau and Fred Hersch.

From the 1960s to 1980, Evans’ trios featured fluctuating personnel. Bassists that played in Evans’ groups include Eddie Gomez, Gary Peacock, Chuck Israels, and Marc Johnson. Evans’ career was marked with several difficult time periods, including the suicide of his older brother Harry in 1979. Evans’ playing is often described as melancholy, despite the advanced level of harmony constructed in much of his playing.

EVERYBODY’S. A short-lived record label based out of New York in 1925, Everybody’s distributed albums recorded by other New York companies and was responsible primarily for the release of one of Duke Ellington’s first albums.

EXCELLOS FIVE. A Traditional Jazz band, based out of Brussels and led by Robert Kierberg in the 1920s.

EXCELSIOR BRASS BAND. A highly influential early New Orleans jazz group founded in the late 1890s. The Excelsior Brass Band played a diverse repertoire of music ranging from marches to dance music and was an important group in the development of the brass band style. Led by Theogene Bacquet, the group remained active until the 1930s.

EXCLUSIVE. A record label founded in Los Angeles, Exclusive Records released a few albums during the 1940s that included several recordings of tenor saxophonist Lucky Thompson. See also RECORD LABEL.

EXPERIMENTAL BAND. A group founded by Muhal Richard Abrams that is considered to be the precursor to the highly influential Chicago-based Association for the Advancement of Creative Musicians (AACM).

EXTENDED CHORD. A term describing chords that include notes, sometimes diatonic, that are considered extensions to the preexisting harmony.

EXTENDED-PLAY DISC. An important development in recording technology, the extended-play disc was recorded at 45 rpm and allowed jazz performances to be longer than previous LPs. An extended-play disc was generally used when an artist wanted to release only a few tracks instead of a full album. See also EP.