A history of the saxophone in jazz is in many ways a history of jazz itself, inasmuch as many of the essential protagonists, those who took style and aesthetics forward, were saxophonists. This is also a story from the twentieth century, of an art form born in the early years and fast-forwarded through many of the changes that classical music history took much longer to experience. Perhaps that is in its nature as an oral art form, relying much more on spontaneous composition than on the written work for posterity. Jazz artists tend to be creators rather than interpreters, and consequently as much will be made in this chapter of performers' creativity as of their technical skills.

The story of jazz in the twentieth century is a story of music in the United States, of black and white popular culture. Latterly, Europe becomes important. Throughout, male domination of the creative process is self-evident. It is hoped that all of the significant saxophonists in jazz will be mentioned here – although some will be disappointed that their favourites have not been included. Rather than follow each career extensively, I have tried to indicate major soloists, along with the main features of their stylistic contributions.

Early soloists

The development of the saxophone in jazz from that of a negligible bit-player, through tonal feature, to essential requirement, includes influencing factors both from within jazz and from wider society. The early jazz ensemble evolved into front line and rhythm section instruments, where the front line consisted of cornet, trombone and clarinet, whilst the rhythm section used piano/banjo/guitar, tuba/string bass and drums. The rhythm section as a functional unit (bass – harmonic rhythm; drums – decorative percussion; piano – harmonic filling and clarification) remained fairly constant up to the 1970s, once the banjo had disappeared and the string bass eased out its brass cousin. The front line, however, was to undergo regular upheaval.