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In 2012, it was shortened to Best Jazz Instrumental Album, encompassing albums that previously fell under the categories Best Contemporary Jazz Album and Best Latin Jazz Album (both defunct as of 2012). [1] A year later, the Best Latin Jazz Album category returned, disallowing albums in that category to be nominated for Best Jazz Instrumental ...
Pages in category "Grammy Award for Best Jazz Instrumental Album" The following 56 pages are in this category, out of 56 total. This list may not reflect recent changes .
In 1960 it was awarded as Best Jazz Performance - Soloist; From 1961 to 1971 the award was combined with the Grammy Award for Best Jazz Instrumental Album, Individual or Group; From 1972 to 1978 it was awarded as Best Jazz Performance by a Soloist; From 1979 to 1988 it was awarded as Best Jazz Instrumental Performance, Soloist
From 1963 to 1964 and from 1967 to 1970 it was awarded as Best Instrumental Theme; In 1965 it was awarded as Best Instrumental Composition (other than jazz) From 1971 to the present it has been awarded as Best Instrumental Composition; Years reflect the year in which the Grammy Awards were presented, for works released in the previous year.
Carrington, the acclaimed jazz drummer and artistic director of Detroit's Carr Center, is up for best jazz instrumental album at Sunday's Grammys.
Grammy Award for Best Jazz Vocal Performance, Male (9 P) Pages in category "Grammy Awards for jazz" The following 8 pages are in this category, out of 8 total.
Originally called the Grammy Award for Best Contemporary Jazz Performance, the award was first presented to the Manhattan Transfer in 1992. From 1993 to 1994 the category was known as Best Contemporary Jazz Performance (Instrumental) , from 1995 to 2000 the name changed to Best Contemporary Jazz Performance , and since 2001 the name of the ...
The album received the Grammy Award for Best Instrumental Jazz Performance, Individual or Group in 2000 and reached Number 12 on the Billboard Top Jazz Albums chart. [1]In his AllMusic review, David R. Adler calls the album "a knockout," saying the quartet "deftly [executes] a dizzying series of tempo shifts and subtle cues, all seamlessly worked into a fabric of extended, burning improvisation."