Trad jazz
Humphrey Lyttelton, an advocate for the trad jazz revival
Typical instruments	Trumpets trombones clarinets banjos double basses drums electric guitars pipe organs saxophones electric basses pianos electric organs

Trad jazz, short for "traditional jazz", is a form ofjazz in the United States and Britain that flourished from the 1930s to 1960s,^[1] based on the earlierNew OrleansDixieland jazz style. Prominent English trad jazz musicians such asChris Barber,Freddy Randall,Acker Bilk,Kenny Ball,Ken Colyer andMonty Sunshine^[1] performed a populist repertoire that also included jazz versions of pop songs and nursery rhymes.^[1]

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A Dixieland revival began in the United States on the West Coast in the late 1930s as a backlash to theChicago style, which was close toswing.Lu Watters and theYerba Buena Jazz Band, and trombonistTurk Murphy, adopted the repertoire ofJoe "King" Oliver,Jelly Roll Morton,Louis Armstrong andW. C. Handy: bands included banjo and tuba in the rhythm sections. ANew Orleans–based traditional revival began with the later recordings ofJelly-Roll Morton and the rediscovery ofBunk Johnson in 1942. This revival ultimately led to the founding ofPreservation Hall in the French Quarter of New Orleans during the 1960s.^[2]

EarlyKing Oliver pieces exemplify this style of hot jazz; however, as individual performers began stepping to the front as soloists, a new form of music emerged. One of the ensemble players in King Oliver's Creole Jazz Band,Louis Armstrong, was by far the most influential of the soloists, creating, in his wake, a demand for this "new" style of jazz, in the late 1920s and early 1930s. Other influential stylists who are still revered in traditional jazz circles today includeSidney Bechet,Bix Beiderbecke,Wingy Manone andMuggsy Spanier. Many artists of thebig band era, includingGlenn Miller,Gene Krupa andBenny Goodman, had their beginnings in trad jazz.

In Britain, whereboogie-woogie,"stride" piano andjump blues were popular in the 1940s,George Webb's Dixielanders pioneered a trad revival during the Second World War, andKen Colyer's Crane River band added and maintained a strong thread of New Orleans purism.^[3]Humphrey Lyttelton, who played with Webb, formed his own band based on the New Orleans/Louis Armstrong tradition in 1948 but, without losing the Armstrong influence, gradually adopted a more mainstream approach. By 1958 his band included three saxophones. During the 1950s and well into the 1960s the "Three B's"Chris Barber,Acker Bilk, andKenny Ball were particularly successful, all making hit records. Other successful bands includingTerry Lightfoot,George Chisholm,Monty Sunshine,Mick Mulligan, withGeorge Melly, and Mike Cotton – who "went R'n'B" in 1963–1964 – made regular appearances live, on the air and occasionally in the British charts, as did Louis Armstrong himself. More light-hearted versions were offered by theBonzo Dog Doo-Dah Band,the Temperance Seven andthe New Vaudeville Band. Dixieland stylings can be found here and there on records bythe Rolling Stones,the Beatles,the Small Faces andthe Kinks, whilethe Who actually performed trad jazz in their early days.

In the 1950s a number of provincial amateur bands had strong local followings and occasionally appeared together at "Jazz Jamborees". These bands included the Merseysippi Jazz Band, still active, which toured overseas, Second City Jazzband (Birmingham), Steel City Stompers (Sheffield), Clyde Valley Stompers (Glasgow), the Tranquil Valley Stompers (London) and the Saints Jazzband (Manchester).

Chris Barber gave a stage toLonnie Donegan andAlexis Korner, setting off the craze forskiffle and thenBritish rhythm and blues that powered the beat boom of the 1960s

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