Back in the 60s and 70s, jazz musicians and singers were playing to empty rooms as music fans flocked to hear the new and “here to stay” rock and roll. How did the jazzers respond? That’s what the label MPS was for; some challenged the Philistines head on, some adapted and a few ignored. Many plugged in just to survive. Here is a collection of circa albums to compare and contrast what
jazz artists did as they felt their grip on the culture slowly slip away.
Pianist supreme Oscar Peterson adapted to the times by experimenting with his band of Sam Jones/b, Bobby Durham/dr and Bucky Pizzarelli/g with a mix of orchestral arrangements by the famed Claus Ogerman on this 1964 session. The choice of material is 
a bit eyebrow raising, including some Beatles tunes like “Yesterday” and “Eleanor Rigby” as well as a surprisingly successful take of “Ode to Billy Joe”. And only Peterson could swing “Sunny” this well. A compromise that works.
In 1980, tenor saxist Joe Henderson essentially ignored both rock and fusion, sticking to his guns on this session with all 
stars Chick Corea/p, Ron Carter/b and Billy Higgins/dr. Corea sizzles on his own “Blues for Lieberstraum” and his title track has Henderson deftly dancing over Higgins’ brushes. The rhythm team loosely boogies on “Joes Blues” and is relaxed as Henderson blows smoke rings on “What’s New”. Acoustic gems.
In 1969, Freddie Hubbard was the cock of the trumpet walk, and this album with Eddie Daniels/ts, Louis Hayes/dr, Richard Davis/b and Roland Hanna/p is likewise a fight to the death against the onslaught of fusion and rock. The team is in quicksilver form as the race like there’s no tomorrow on a lightning fast “Just One Of Those Things”. WHEW!! The Hub is gorgeously muted on “Blues for Duane” and the team is gorgeous on a fragrantly lyrical “Things We Did Last Summer”. The barriers against the barbarians hold!
Ella Fitzgerald seems to have panicked in 1969, feeling she’d lost an entire generation, forcing her to cover songs like a gospel take of The Beatles’ “Hey Jude” and Cream’s “Sunshine of Your Love”. Pianist Tommy Flanagan must have done a double take here, along with Frank De La Rose/b, Ed Thigpen/dr and orchestra arranger Bill Holman. There’s also a pop take of Illinois Jacquet’s “Don’ Cha Go Away Mad” with the band finally at home in an over the top swinge rof “All Right, OK, You Win” and a not too bad read of “Old Devil Moon”. Ella in polyester.
Bill Evans, like Peterson, also tried in 1974 to meld his piano work with an orchestra, but instead of jazz standards, he went Third Stream, melding jazz and classical. There is a three part “Moderato” as well as a pair of “Largos”, with the outcome resulting in a sort of soundtrack for an artsy documentary. Evans is able to eke out some solo work, and actually sounding fairly fluid, making you wish these solos could be juxtaposed into a true trio setting. A quixotic one off.
The biggest surprise is the successful 1973 double album by George Duke, who brought in a surfeit of jazzers like Jerome Richardson/ts-ss-fl, Dick Berk/dr, John Heard/b and Luis Gasca/tp. You get a Coltranesque meditation on “Peace” as well as some avant garde wailing on “Solus” while “Nigerian Numberuma” takes you to equatorial Africa. Duke shows he can also swing with the best on “Feels So Good” making this album fit just about every taste and style. Still sounds fresh!
After he left reggae legend Bob Marley, pianist Monty Alexander hit the jazz circuit with this ’76 gig being a trio gig with John Clayton/b and Jeff Hamilton/dr. The acoustic set works well, with Alexander delivering a hip take of “Battle Hymn of the Republic” as well as a successful read of the pop blather of “Feelings”. He digs deep on “Work Song” and reminds the crowd of Ellington on “Satin Doll”. Timeless tunes.
Brazilian guitarist Baden Powell is foundin 1972 with Ernesto Gonsalves/b, Alfredo Bessa/perc and Joaquim Henriques/dr in a series of duets with Janine de Waleyne. The successful outing includes fragrant instrumentals like “Petit Waltz”, “Conversacao COmigo Mesmo” and “E De Lei” with mystical voice on “Conto” and a sizzling “Blues a Volonte”. Brazilian beauties to treasure.