Shanghai has an exciting and vibrant jazz scene, according to author, historian and teacher Andrew David Field, who gives regular jazz tours of the city. The author of Shanghai's Dancing World: Cabaret Culture and Urban Politics, 1919-1954 and co-author of Shanghai Nightscapes the Making of a Nighttime Metropolis 1910-2010, Field says that Shanghai has a curious history and a fascinating present with respect to its jazz scene.

Overseas musicians

The stage for jazz music was set with foreigners first bringing Western music to Shanghai. The Shanghai Conservatory of Music was created during this time, and people inside this institution were starting to take an interest in Western classical music. Musicians were then modernizing traditional Chinese music by setting it to Western classical forms. At this time, however, jazz was largely snubbed by the conservatory instructors, and dismissed as music for the lower class of people.

Despite being looked down upon, jazz gained steam in Shanghai during the 1920s and 30s as a result of imported jazz musicians. This transnational musical form increased in popularity as people in China wanted to be a part of the "Jazz Age," enjoyed in countries throughout the world. Chinese people then started getting involved with jazz, although mostly for its dancing opportunities initially, according to Field.

"To me, they weren't really interested so much in the music. Dancing was the focal point," said Field.

During this time, nationalistic songwriter Li Jinhui began writing popular music with a folksy sound. In the 1930s, he used jazz rhythms and composition styles in his popular music, for which he is today recognized as the "godfather" of modern Chinese pop music.

Still, many people believed jazz music was unworthy of Chinese progress. Jazz, which was thought to be degenerate, was also thought not to be helpful to "social growth." As time went on, the jazz clubs were closed and the music was forbidden as representative of a decadent and lazy culture.

"It just ceased to exist," Field said of jazz's fate.

Jazz resurfaced somewhat in the 1980s with dancehalls, but a large jazz movement did not prosper until the 1990s. It was then that the House of Blues and Jazz, which is now on Fuzhou Road, first opened. Since then other clubs have popped up including the JZ Club and the Cotton Club.

Though not a professional musician, Field plays piano and guitar and enjoys the modern jazz scene very much. He believes that this city is especially creative in its jazz music.

"There are different musicians with different ideas," he said. He adds that some of the acts are "cutting edge." And, as opposed to the early days of jazz in Shanghai when performers segregated themselves by nationality, these modern performers are listening to one another and creating new styles.

Fusion sounds

One of the hottest acts in town, according to Field, is the Theo Croker Sextet at the Peace Hotel. He also recommends Alec Haavik, who plays at the JZ Club, because Haavik has created an unusual jazz fusion style that brings jazz together with funk and other forms.

Modern Shanghai performers are also creating interesting music by "jazzifying" Chinese traditional music. Local colorful celebrity Coco Zhao has been performing since the late 1990s. Jasmine Chen, meanwhile, sings 1930s-style pop, sometimes with a jazz band, at venues around town. Field also recommends jazz pianist Steve Sweeting, who blends Chinese folk music with jazz.