ABSTRACT
This chapter explores genre, hybridization, and industry questions around postwar intersections of pop, R&B, and jazz. During this period, jazz both emerged as a marketing category distinct from popular music and informed numerous popular idioms through jazz-trained musicians lending their instruments and arranging to pop production. Through considerations of select albums by Isaac Hayes, who topped both Billboard’s early 1970s jazz and soul charts, this chapter focuses on cross-genre idioms in this “family” of music, the postwar roles of jazz musicians in pop production, and the elevated production sound of jazz-related textures in 1970s soul.
