However, although the war slowed down the development of Britain's unique jazz scene, it did not affect the popularity of the music itself; moreover, jazz ensembles were organized everywhere to entertain soldiers. After the war, in 1948, several young musicians led by Ronnie Scott opened the Eleven Club in London, the centre of modern jazz and bebop (a style with a faster, more complex manner of playing). Scott became the leader of one of the ensembles that constantly performed in Eleven (although he was born in the UK, his father, a saxophonist, had Russian-Jewish roots).
As was the case with Calipzo, the arrival of immigrants from the Caribbean on the ship "Windrash" had a huge impact on the style and sound of British jazz. Key figures in this wave are the trumpeter Dizzy Reece, warmly referenced by Miles Davis, saxophonist Joe Harriott, a follower of Charlie Parker, and saxophonist and flute player Harold McNair.
Harriott's experiments in search of new expressiveness were particularly vivid, sometimes recorded and performed with other graduates of the Alpha Boys Jamaican school in Kingston, as well as with Dizzy Reese and trumpeter Shake Keane from St. Vincent and the Grenadines. Jazz clubs continued to appear in London, and with the continuing de facto ban on American touring bands, the specific sound of British jazz was formed. Ronnie Scott's jazz club, which opened in 1959, remains an important point on the musical map of London to this day.
By 1960, when the "Windrash Generation" finally settled in the UK and integrated into local cultural life, amazing hybrid varieties of jazz were formed. Joe Harriott's free, avant-garde style demonstrated its viability: his 1960 album "Free Form" surpassed American Ornett Coleman's legendary "Free Jazz" album by a full year and is rightly considered one of the most fundamental recordings of free-jazz.
Other styles were offered by South African musicians who left their homeland, including Chris McGregor, Dudu Pukwana, Mongezi Fez, Johnny Deanie, Harry Miller and later Julian Bahula. McGregor founded the Brotherhood of Breath ensemble, where South African jazzmen interacted with British musicians brought up on rhythm and blues and British forms of rock'n'roll; this entailed new stylistic experiments, and as a result British jazz of those years developed its own individual traits, which differed significantly from modern American samples. An important part of it was fusion - a free combination of different musical traditions. In Joe Harriott's 1966 joint album with Indian composer John Mayer, "Indo-Jazz Suite", jazz was mounted with Indian races. Inspired by the fundamental recordings of immigrant musicians who were not afraid to retreat from the jazz tradition and introduce their own racial and ethnic identity, in 1986 25 talented dark-skinned British musicians founded The Jazz Warriors Ensemble.
Many of them, such as Courtney Pine, Steve Williamson, Cleveland Watkiss, Phillip Bent, Orphy Robinson and Gary Crosby, subsequently defined the sound of modern jazz, including outside the UK.
And in 1988, the National Jazz Archive was opened, which forever incorporated the achievements of artists of previous decades, including immigrants, into the musical history of the country, taking into account the aforementioned influx of Caribbean immigrants on the ship "Windrash", all this three-stage evolution (ska - rocksteady - reggae) took place in parallel in Jamaica and in the UK. It is best captured on the records produced by Blue Beat Records during the 1960s, including the recordings of the ska pioneer and Prince Buster's rocksteady recordings.
Hundreds of Blue Beat singles were released with this music, and even a separate Fab rocksteady sub-label eventually appeared, but by 1967 the company had ceased to operate - and it was time for the heyday of British reggae to come, and the taste for sounds from Jamaica had been acquired in the UK since the Calypso era. But in the 1960s, Chris Blackwell of Island Records became the main bodybuilder. Blackwell moved to England in 1962 and quickly established a supply chain for music from the Caribbean region. As a result, in 1964 the song "My Boy Lollipop" in Millie Small's version became a hit, anticipating the arrival of Jamaican music in the British mainstream.
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