Belgian jazz facts for kids
The story of jazz in Belgium is quite exciting! It all began with Adolphe Sax, who invented the saxophone. This instrument became super important in jazz music. From the late 1800s, jazz in Belgium grew alongside jazz in its birthplace, America.
Two key people, Félix-Robert Faecq and Robert Goffin, really helped jazz become popular in Belgium. Belgium has also produced many famous jazz musicians. These include Toots Thielemans, who played harmonica and guitar, and the amazing gypsy jazz guitarist Django Reinhardt.
The Start of Jazz in Belgium
Before Jazz (1800s)
Before jazz became its own style, there was a period called "Pre-Jazz." This was in the late 1800s. During this time, new ways to record sound appeared. In 1877, Thomas Alva Edison invented the phonograph. This machine could record and play sounds. It was shown in Brussels a year later.
Belgium didn't have its own recording studios back then. So, early music came from foreign record labels. Companies like "Colombia" and "Zonophone" brought music to Belgium.
Another big invention was Adolphe Sax's saxophone. By 1890, saxophones were popular in the United States. Belgian saxophone players like Jean Moermans helped make the instrument famous. The saxophone quickly became a symbol of the new music style. Belgian musicians were among the first to record saxophone solos in America.
In 1881, the first American "minstrel show" came to Belgium. More shows like it followed over the years. By 1900, Belgian music lovers knew about American brass bands. John Philip Sousa's orchestra was very famous. They played marches and also "Cakewalks" and "Ragtimes." These songs had catchy, syncopated rhythms. A Belgian composer, Louis Frémaux, even wrote a cakewalk called "Bruxelles Cake-Walk."
Early 1900s: Ragtime Takes Off
Around 1900, people in Belgium became interested in new American music. Many new dances also arrived, replacing older ones. This rhythmic music became very popular in cities like Antwerp and Brussels. People loved it for its energy and danceability.
In America, this music was called "ragtime." In Belgium, it was often called "intermezzo." Ragtime was a mix of styles and led directly to jazz. Many Belgian composers wrote ragtime songs, but sadly, few recordings remain. Brass bands and military music were also very popular. John Philip Sousa's American Orchestra, with some Belgian musicians, was well-known.
A big year for American music in Belgium was 1903. John Philip Sousa's band toured Belgium. They performed at an international show in Brussels. In 1907, Louis Frémaux's ragtime song "Toboggan" became famous across Europe. It was a great time for ragtime in Belgium.
1918-1930: Jazz Becomes Popular
After World War I, jazz really took off in Belgium. This was thanks to Félix-Robert Faecq and Robert Goffin. Faecq discovered jazz after meeting American soldiers who helped free Belgium. Goffin heard soldiers singing ragtime songs.
At first, jazz was mostly dance music. But when Faecq and Goffin saw black American bands like "Mitchell's Jazz Kings," they realized jazz was much more. Belgium became a "jazz capital" in Europe for a while. White jazz bands also became successful. "The Georgians" with Charles Remue were pioneers. Remue's band, "The Bing Boys," helped bring the Dixieland style to Belgium.
The "Mitchell's Jazz Kings" from New York were the first black jazz band to play in Brussels. On January 24, 1920, the word "jazz" first appeared on a poster in Belgium for their show. Many other groups in Brussels and Antwerp started playing this new music. They often copied the Dixieland style from the U.S.
Faecq helped bring the first Belgian jazz records to Belgium. In 1924, he started "Music Magazine." It was one of the first music magazines in the world to write seriously about jazz. Robert Goffin also wrote a famous book called Aux frontières du Jazz ("The frontiers of jazz"). This book helped make jazz even more popular in Belgium.
In 1927, The Jazz Singer, one of the first American sound films, came out. That same year, Félix Faecq discovered Charles Remue and his "New Stompers." Faecq took them to London. On June 17, 1927, they made the first Belgian jazz recording. They recorded American hits and also Belgian songs. These included "Wladivostok" and "Pamplona."
In 1928, Peter Packay and his "Red Robins" recorded a new album. Faecq became a central figure for Belgian jazz. He helped musicians get the latest jazz music scores. His "Universal Music Store" became a place where Belgian jazz musicians could find what they needed.
In the 1920s, many Belgian jazz musicians worked in dance halls, cinemas, and theaters. They could even get jobs for weeks at a time. Belgian musicians also traveled abroad to play and record. Some worked on ocean liners, like David Bee on the Ile de France. This helped them meet international musicians and visit America, where jazz began.
1930-1940: The Swing Era
In the early 1930s, radio broadcasting started in Belgium. Many new American records were played on the radio. In 1932, Faecq started the "Jazz Club de Belgique." Robert Goffin published his first jazz books. Faecq organized yearly tournaments for amateur musicians.
The music of Louis Armstrong also reached Belgium. Goffin quickly saw how brilliant Armstrong was. He wrote about him and later became his friend. Goffin called Armstrong "the true genius of jazz."
The 1930s saw two Belgian trumpet players become very important: Robert De Kers and Gus Deloof. In America, the swing era began with big bands. American orchestras visited Belgium and inspired local musicians. By 1936, Belgium had three major big bands: Fud Candrix, Stan Brenders, and Jean Omer.
Jean Omer opened his nightclub Le Boeuf sur le toit ("The Ox on the Roof") in Brussels in 1937. His own big band played there. Stan Brenders formed his "Big Jazz Orchestra of Belgium" for the radio. This orchestra played American swing music. Its rhythm section became internationally famous.
In 1939, a "Band battle" took place between Brenders' orchestra and a famous Dutch band. Brenders' band won easily. Brenders later worked with Django Reinhardt. He also became a famous composer. Many new bands appeared because of these musicians. They provided steady jobs for many musicians.
1940-1960: War, Bebop, and New Orleans Jazz
The 1940s
During World War II, the Germans banned jazz music. So, jazz went underground. But it seemed to become even more popular! Belgian orchestras kept making new recordings. Few foreign records reached Europe, and no American bands toured Belgium. This meant people listened to Belgian musicians.
Jazz musicians cleverly changed the names of American songs. For example, Honeysuckle Rose became "Rose de Miel." New jazz clubs also opened. Big bands like Robert De Kers and his Cabaret Kings played regularly.
After the war ended in 1945, a new jazz style called "bop" or bebop appeared in the U.S. It was fast and complex. Dizzy Gillespie and Charlie Parker were big names in bebop. Europeans learned about it when American records became available. In Belgium, swing music was at its peak.
After the war, jazz was popular all over Europe. Famous American bands like Don Redman's and Louis Armstrong's toured Belgium. Belgian bands also played swing music in clubs. Many American musicians came to live and play in Belgium in the early 1950s.
Belgian jazz musicians also became successful in the U.S. These included Toots Thielemans and Fats Sadi. Other Belgians toured Europe with American bands.
Bebop, or modern jazz, also grew in Belgium. Guitarist Bill Alexander made one of the first bebop recordings in Europe in 1946. The Bob Shots from Liège was a major bebop band. Toots Thielemans, Bobby Jaspar, Jacques Pelzer, and René Thomas played in this band. Bobby Jaspar later played with jazz legends like Miles Davis and John Coltrane.
In 1934, the Belgian gypsy guitarist Django Reinhardt formed the Hot Club de France quintet. He played with French violinist Stéphane Grappelli. During the war, Django recorded his famous song Nuages. After the war, he played with Duke Ellington in the U.S. Django Reinhardt is now seen as one of the most important guitarists ever. His style, gypsy jazz, continues to inspire musicians worldwide. In Belgium, Fapy Lafertin is a well-known gypsy jazz player. The Django d'Or awards celebrate deserving jazz musicians.
The 1950s
In the early 1950s, "cool jazz" became popular in the U.S. It was calmer than bebop. The Antwerp saxophonist Jack Sels led the All Stars Bop Orchestra. Fats Sadi started his own big band in Paris. He was considered the best European vibraphone player. Francy Boland worked with Count Basie and Benny Goodman in the U.S. Bobby Jaspar continued to be a great "cool" soloist.
At the end of the 1950s, three young Belgian musicians became famous: drummer Félix Simtaine, trumpet player Richard Rousselet, and guitarist Philip Catherine. Philip Catherine started playing at festivals and touring Europe even before he was 20.
The 1960s: Changes in Jazz
In the 1960s, free jazz appeared in the U.S., and rock music became very popular. Jazz music became less popular. Many people didn't like bebop or free jazz. Jazz became music for a smaller group of fans. Young musicians were more attracted to pop music.
Most Belgian musicians continued to play older styles like New Orleans jazz and bebop. Mainstream swing was still in demand. Some Belgian musicians, like Fred Van Hove, did explore free jazz.
Many Belgian musicians worked abroad. Jacques Pelzer toured with Chet Baker in Italy. Toots Thielemans worked in Germany and Sweden. He composed his famous song Bluesette. He then returned to the U.S. in 1964.
Despite these tough times, some young musicians became known. These included Marc Moulin (piano) and Bruno Castellucci (drums). New jazz clubs opened in Brussels, Liège, and Heist-Op-Den-Berg. Large outdoor "festivals" also started. The Comblain-la-Tour festival began in 1959.
The 1970s: Jazz-Rock Fusion
In the 1970s, rock music was still dominant. But musical styles started to mix. Jazz began to use electric instruments and blend with rock. This new style was called "jazz-rock" or "Fusion." Many Belgian artists played this style. These included Philip Catherine, Jacques Pelzer, and Marc Moulin.
New musicians like Michel Herr (piano) and Steve Houben (saxophone) joined this style. Jazz-rock often used electric guitars, basses, and pianos instead of acoustic ones. This new sound helped bring rock fans closer to jazz. Recording jazz music started again, often by smaller record labels.
Popular jazz-rock groups included Placebo (Marc Moulin) and Open Sky Unit (Pelzer). Meanwhile, Toots Thielemans was touring and recording in the U.S. with famous artists like Quincy Jones and Paul Simon.
By the late 1980s, it became harder to describe jazz. So many different styles and trends existed. Jazz had become a truly international language.
The 1980s: A Comeback for Jazz
In the early 1980s, jazz made a comeback. This was partly because of the compact disc (CD), which appeared around 1984. Many classic jazz albums were re-released on CD. Famous jazz labels became widely available again.
Even though CD sales for jazz were still small, jazz became more visible. It appeared more often in advertising and newspapers. Radio stations also played more jazz. The best sign of jazz's return was the growth of new jazz festivals in Europe. Festivals like Gouvy, Ostend, and Brosella started during this time.
Jazz Today
Belgium continues to produce many world-class jazz musicians. These include Philip Catherine, Steve Houben, Bert Joris, and the Brussels Jazz Orchestra. A new generation of young musicians keeps the tradition alive. They play many different jazz styles. These include mainstream jazz, big band, bebop, jazz-rock, and Latin jazz.
Older jazz musicians are still active and making great music. Toots Thielemans remained a prominent figure until his passing. In 2010, he played eight shows at the Blue Note Festival in New York. Composer and pianist Jef Neve, born in 1977, has quickly become a leading Belgian jazz musician. His international fame is growing.
In 2012, Belgium had three main jazz magazines: Jazz'halo, Jazz Around, and Jazzmozaïek. Centrum De Werf in Bruges organizes jazz concerts. It mainly features American and Belgian jazz musicians.
Following in the footsteps of earlier pioneers is jazz pianist Seppe Gebruers. He is known for improvising with microtones. He uses two grand pianos tuned a quarter tone apart. He improvises with free jazz veterans and also plays jazz standards.
The Brussels Jazz Orchestra made history in 2012. They were invited to play at the famous Blue Note Jazz Club in New York. Before them, only Toots Thielemans had this honor.
Today, jazz education is more formal. Many Belgian musicians study at schools like Berklee College in Boston. Jazz teaching is also available in Belgium. The Liège Conservatory and the Jazz Studio in Antwerp offer advanced jazz education.
The "Europ Jazz Contest Hoeilaart" was the main Belgian jazz competition for a long time. Now, there is also the "Jong Jazz Talent" (Young Jazz Talent) contest in Ghent.
Belgian Jazz Awards
- Django d'Or
- RTBF / VRT Jazz Referendum (with awards from listeners and critics)
- Nicolas Dor SABAM Prize for the best Belgian jazz band at the Liège Jazz Festival
- Octaves de la Musique / Jazz (for French-speaking Belgium)
- Klara Muziekprijzen / Jazz (Klara Music Awards) / Jazz (with an award for best album of the year)
- Toots Thielemans Jazz Award
See also
- Jazz Center Flanders, an archive and museum in Dendermonde
- Dutch jazz
