The story of jazz music in Belgium is one of transatlantic influences, cultural intersections, and the enduring power of art to bridge divides.
Jazz, a genre born out of the African American experience in the United States, found fertile ground in Europe following the two World Wars, and Belgium was certainly no exception.
During WW1, the appropriately named Lieutenant James Reese Europe – a prominent New York jazz pioneer and the first African American officer to lead troops into battle – after his recovery from an enemy gas attack was to tour European cities with his own band, the Harlem Hellfighters, attracting huge interest, and introducing Europeans to authentic jazz music for the first time
Legendary composer and jazz musician Eubie Blake said of him “He was our benefactor and inspiration. Even more, he was the Martin Luther King of music.”
In Belgium, it was particularly the contribution of black U.S. soldiers, stationed in the country after WW2, that played such a pivotal role in the spread of jazz across a country now famous for its jazz culture. (In fact, one Belgian, Adolphe Sax, gave the world, and in particular the world of jazz, a great gift when in 1846 he patented the Saxophone!)
The performances of two generations of black servicemen in both military clubs and local venues, along with their deep-rooted cultural expression, inspired a new generation of Belgian musicians and enthusiasts, forever intertwining Belgium’s musical identity with jazz.
This article explores the evolution of jazz in Belgium from 1945 to the present day, emphasising the profound influence of these soldiers, and examining how the Belgian jazz scene has flourished over the decades.
The Post-War Jazz Boom: Black U.S. Soldiers and Their Role
The conclusion of World War II in 1945 marked the beginning of a new era in Europe. The war had left Europe devastated, and in the immediate post-war years, American culture began to have a significant influence on the continent, particularly in music.
Jazz, which had emerged in the early 20th century in the U.S., had already made its way to Europe before the war, but it was in the post-war period that its popularity exploded.
Belgium, liberated by Allied forces in September 1944, soon became a hub for American soldiers who remained stationed in the country.
Among these soldiers were many black servicemen, who brought with them their rich musical traditions, particularly jazz and blues.
While jazz had already been known in Belgium, the presence of these soldiers created an unprecedented exposure to authentic American jazz culture. Their informal performances at military bases, local clubs, and bars helped fuel a growing jazz scene in Belgium, where Belgian musicians and audiences were eager to embrace this new, exciting sound.
These soldiers played an essential role in creating a direct link between the origins of jazz, which had been banned in Belgium during the Nazi occupation, and its European counterparts.
“If Hitler had been against jazz, it had to be good,” – German historian Berndt Ostendorf.
Many Belgian musicians had only encountered jazz through records and radio broadcasts before the war, but now they had the opportunity to hear it live and, in many cases, play alongside American musicians. These encounters were invaluable for Belgian jazz musicians, who sought to replicate and eventually contribute to the genre themselves.
Jazz Clubs and the Spread of Jazz in Belgium
The influence of black American soldiers was most visible in Belgium’s burgeoning jazz clubs. Cities like Brussels, Antwerp, and Liège quickly became hubs for jazz activity, and clubs such as the “Blue Note” in Brussels and the “L’Archiduc” became legendary venues for both local and visiting musicians.
These clubs were places where Belgian musicians could meet American soldiers and hear jazz first hand. The soldiers, away from their homes for extended periods, found solace in the music they loved and shared it with the Belgian population.
One of the most famous of these clubs was “La Rose Noire” in Brussels, a meeting place for both Belgian musicians and expatriates, including American servicemen. The performances here often featured soldiers playing alongside Belgian jazz musicians, creating a rich cultural exchange that would define the post-war Belgian jazz scene.
La Rose Noire, where Jacques Brel performed regularly in the early 1950’s has long ago closed its doors, but interested jazz aficionados can find the premises at rue des Bouchers 30, just a few minutes stroll from the famous Grand Place.
Liège, in particular, also became something a jazz hotspot in the 1950s, with G.I.s performing regularly at local clubs. Their performances attracted crowds eager to experience the authentic sound of jazz, and many local musicians began to adopt and develop the style.
The Role of Belgian Musicians
By the 1950s, Belgium had really developed its own jazz scene, still heavily influenced by the music brought over by American soldiers but now also being shaped by local traditions and the contributions of Belgian musicians.
These musicians were not just imitators, they took the jazz idiom and made it their own.
Bobby Jaspar: http://marcmyers.typepad.com/.a/6a00e008dca1f08834013483aedd4d970c-350wi, Fair use, https://en.wikipedia.org/w/index.php?curid=50004540
One of the most prominent figures in this early Belgian jazz scene was the saxophonist Bobby Jaspar, who went on to gain international recognition.
Born in Liège in 1926, Bobby Jaspar was influenced by the influx of American jazz after the war.
He became a central figure in the European jazz scene, particularly for his work with American musicians such as Miles Davis, J.J. Johnson, and Chet Baker.
Jaspar’s approach combined the melodic lyricism of European classical music with the improvisational freedom of jazz, marking him as one of the key figures in the post-war Belgian jazz movement.
In addition to Jaspar, other Belgian jazz pioneers began to make a name for themselves, including guitarist René Thomas, pianist Francy Boland, and saxophonist Jacques Pelzer.
These musicians were not only inspired by the music of black American soldiers but also helped to spread jazz across Belgium and beyond, performing regularly in jazz clubs and on radio stations that were now broadcasting jazz to a much wider audience.
The Role of Jazz Festivals in Belgium
In the 1950s and 60s, jazz festivals in Belgium helped to solidify the country’s reputation as a center for jazz in Europe. The most significant of these festivals was the Comblain-la-Tour Jazz Festival, which began in 1959 and quickly became one of Europe’s most important jazz events.
Located in the Ardennes, the festival attracted many of the biggest names in jazz, including American legends like John Coltrane, Dizzy Gillespie, and Thelonious Monk. The festival also provided a platform for Belgian musicians to showcase their talents alongside their American counterparts, further fostering cross-cultural exchange.
Jazz festivals became a key feature of Belgian cultural life, and they played a crucial role in bringing jazz to a broader audience.
The popularity of these festivals also demonstrated the increasing acceptance and appreciation of jazz among the Belgian public, thanks in part to the groundwork laid by the U.S. soldiers who had introduced the music to the country in the immediate post-war periods.
Evolution of Belgian Jazz: The 1960s to the 1980s
As jazz continued to evolve throughout the 1960s and 1970s, Belgium remained at the forefront of the European jazz scene.
The influence of the soldiers continued to be felt, even as Belgian musicians began to forge their own distinctive jazz identity. One of the most important developments during this period was the emergence of avant-garde jazz and free jazz, which pushed the boundaries of traditional jazz forms.
Belgian musicians such as pianist Fred Van Hove and saxophonist Steve Houben embraced these new forms of jazz, which incorporated elements of European classical music and contemporary avant-garde techniques. This period saw Belgian jazz musicians becoming more experimental, drawing from a wide range of influences to create a uniquely Belgian sound.
The influence of American jazz musicians remained strong, however, and many Belgian musicians continued to collaborate with their American counterparts. Francy Boland, for example, teamed up with American drummer Kenny Clarke to form the legendary Clarke-Boland Big Band, which became one of the most successful big bands in Europe during the 1960s and 1970s.
Jazz in Belgium from the 1980s to the Present
In the 1980s, jazz in Belgium underwent another transformation as the genre continued to diversify. The rise of fusion jazz, which blended elements of jazz with rock, funk, and electronic music, attracted a new generation of musicians and fans.
Belgian musicians such as the great Toots Thielemans, a virtuoso harmonica player and guitarist, became internationally renowned for their innovative approaches to jazz during this period. Thielemans, who had started his career in the 1940s, became one of Belgium’s most beloved jazz icons and collaborated with many American jazz greats, including Quincy Jones and Ella Fitzgerald.
From the 1990s to the present day, the Belgian jazz scene has continued to thrive. Contemporary Belgian jazz musicians such as pianist Jef Neve, saxophonist Robin Verheyen, and trumpeter Jean-Paul Estiévenart have garnered international acclaim for their work, which often blends traditional jazz with modern influences.
Belgium is also home to a number of renowned jazz festivals, including the Brussels Jazz Festival, the Gent Jazz Festival, and the Jazz Middelheim festival in Antwerp.
These festivals attract some of the biggest names in jazz and continue to provide a platform for both established and up-and-coming Belgian musicians.
Music Village Jazz Club: Rue des Pierres 50
1000 Brussels
Brussels, the capital city, is also home to what is regarded as one of the top jazz venues of Europe, the Music Village, which showcases not only rising talent, but hosts some of the biggest names in jazz today.
The club features live music six days a week, from Tuesday through Sunday, all year long, with more than 300 live concerts per year.
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Read also:
Exclusive interview: Jazz legend Scott Hamilton speaks to EU Today in Brussels
New York Jazz maestro Ray Blue at the Music Village, Brussels
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The Enduring Legacy of Black U.S. Soldiers
The contribution of black U.S. soldiers to the Belgian jazz scene cannot be overstated. Their presence in Belgium after World War II introduced many Belgian musicians to jazz in its most authentic form, and their performances in local clubs and venues helped to lay the foundation for the vibrant jazz culture that would emerge in the post-war years.
While the direct influence of these soldiers may have waned as time went on, their legacy can still be felt in the continued popularity of jazz in Belgium and the success of Belgian jazz musicians on the international stage.
The cultural exchange that took place between the American soldiers and Belgian musicians in the post-war period is a testament to the power of music to transcend borders and bring people together.
Jazz in Belgium is a story of cultural exchange, resilience, and innovation. From the post-war influx of black U.S. soldiers who brought jazz to the Belgian public, to the rise of Belgian jazz icons like Toots Thielemans, the country’s jazz scene has evolved into one of the most dynamic and respected in Europe.
Today, Belgian jazz musicians continue to push the boundaries of the genre, drawing from the rich history of jazz while also incorporating new influences and ideas.
The enduring legacy of the black soldiers who helped ignite Belgium’s passion for jazz remains an integral part of this story, illustrating the profound and lasting impact that these musicians have had on the country’s cultural landscape.
