When people think of jazz, their minds tend to go to African American culture. But the British jazz scene has its own core identity. Let’s take a look at its journey.  

Early jazz and racial tensions

Jazz arrived in Britain in 1919. But with it came rising racism and resentment from white British workers, despite the admiration for Black American musicians who were seen as the leaders of jazz culture.  

During the 1920s, as immigration policies became more severe, Black American musicians found it increasingly harder to get work permits. This led to a shift from theatre jobs to the underground jazz scene, particularly in London’s West End nightclubs. 

All-Black jazz bands of the 1930s 

By the mid-1930s, musicians from the West Indies were enriching the British jazz scene. One key figure was Leslie Thompson, a Jamaican trumpeter who made a name for himself in London’s West End theatre orchestras. Inspired by the pan-Africanist ideas of Marcus Garvey, Thompson formed an all-Black dance band, marking a significant shift in both the sound and style of British jazz. 

Another important figure was Ken “Snakehips” Johnson, who saw potential for all-Black jazz bands to succeed beyond the United States. After creating a band in the Caribbean, Johnson moved to Britain in 1936 and teamed up with Thompson to create an all-Black jazz orchestra.  

The Johnson Orchestra, made up of musicians from the Caribbean, West Africa, and the UK, became a sensation, performing on the BBC and in prestigious venues like Café de Paris. Despite internal conflicts, Johnson’s orchestra thrived, showcasing the talent of Black British musicians. 

Post-war evolution of British jazz

The influx of Caribbean immigrants following World War II—known as the Windrush generation—further transformed the British jazz scene. Musicians such as Jamaican saxophonist Joe Harriott, guitarist Ernest Ranglin, and trumpeter Shake Keane brought new energy to British jazz. Harriott revolutionised the genre with his experimental albums in the early 1960s. He collaborated with Indian composer John Mayer to create Indo-jazz, a groundbreaking fusion of jazz and Indian ragas. 

Around the same time, Trinidadian singer and saxophonist Mona Baptiste emerged as a star, integrating Caribbean sounds into British jazz. Her hit single ‘Calypso Blues’, released on Melodisc Records, highlighted the immigrant experience and contributed to the growing influence of Caribbean music in Britain. 

Finding safety and belonging

Black musicians in post-war Britain faced segregation and exclusion in public spaces, reinforced by informal “colour bars”. This is where Black people were often denied entry to bars, pubs, and restaurants. Jazz clubs across London soon became havens. 

The British jazz scene also provided a home for South African musicians fleeing apartheid in the 1960s. Bands like The Blue Notes – made up of South African exiles – blended native sounds with jazz, creating a politically charged form of avant-garde jazz.  

Jazz clubs became spaces where shared lived experience, race, and identity were explored through music. 

1980s sees a jazz renaissance 

By the 1980s, a new wave of Black British jazz musicians began to emerge, led by saxophonist Courtney Pine. In 1984, Pine founded Abizi Jazz Arts to encourage young Black musicians to get involved in jazz. A few years later, he established the Jazz Warriors, a large orchestra that fused jazz with other genres, such as reggae and funk. The Jazz Warriors symbolised a new era for Black British music, reflecting the influence of the Windrush generation. 

Their only album, Out of Many, One People, released in 1987, experimented with different musical styles and captured both the confrontational and commemorative aspects of Black British identity. The Jazz Warriors spearheaded a jazz renaissance in Britain, ensuring that Black British musicians remained at the forefront of the scene. 

This Black History Month is all about reclaiming narratives, and we thought it fit to dive into the story of Black British jazz. We took influence from The British Library’s recent exhibition ‘Beyond the Bassline’, where our colleagues learnt about the lesser-known pioneers of Black music in Britain. 

Words by Jess Kovalets, Fundraising and Communications Coordinator