The formal birth of the movement cool took place in 1948 with the publication of the album Birth of the Cool of Thousands Davis, the whole manifesto autodefinitorio and one of the most influential recordings of the history. The new style was stemming straight from the bebop, but it was turning out to be a more cerebral music, which took as a main target the establishment of a “calm” ambience and “meditative”. The cool jazz turned out to be particularly popular between white musicians like Lennie Tristano, partly for its alienation of the African roots of the jazz, but also it found a hollow between the preferences of black musicians who were happening of being simple entertainers to adopt a more active and serious role in the search of its identity musical. Thousands Davis, who had begun its career with Charlie Parker, there gave beginning to the movement with Birth of the Cool (1948), the first one of a series of albumes-Walkin (1954), Thousands (1955), Cookin’, Relaxing, Working or Steaming, all of (1956 – that the bases of the style were sitting. The Modern Jazz Quartet – originally the rhythmic section of Dizzy Gillespie, integrated by Milt Jackson, John Lewis, Percy Heath and Kenny Clarke – published Modern Jazz Quartet with Milt Jackson (1953), Modern Jazz Quartet Volume 2 (1953), and Django (1956), where they were presenting its elegant compositions, in the limit between the baroque thing and the jazzístico. Gunther Schuller was the official initiator of the third stream, a current that was establishing a bridge between the classical music and the jazz, which takes its Jazz Abstractions (1959) as a paradigmatic example, and which counts also between its main representatives Bob Graettinger.
The revolution that the electronic music had brought with it exercised also its influence in the development of the jazz, which was present at the emergence of a new generation of improvisators, who were coming from the tradition of the free jazz but who were gathering the influence of the classic avant-garde and of the electronics: Ben Neill, the guitarist and teclista Kevin Drumm, the Swiss percusionista Günter Müller, or Miya Masaoka, of origin Japanese but born in Washington D. C. Other creators, like Tyondai Braxton, or the Norwegian trumpeter Nils Petter Molvær, experimented with the manipulation of orchestral loops and, I marry also of Greg Headley, they manipulated electronically the sounds of its instruments while, finally, groups as Triosk carried important contributions out in the same one direction.