Cool is a style of modern jazz music that arose following the Second World War. It is characterized by its relaxed tempos and lighter tone, in contrast to the bebop style that preceded it. Cool jazz often employs formal arrangements and incorporates elements of classical music.

Broadly, "cool" refers to a number of post-war jazz styles employing a more subdued approach than that found in other contemporaneous jazz idioms. As Paul Tanner, Maurice Gerow, and David Megill suggest, "the tonal sonorities of these conservative players could be compared to pastel colors, while the solos of [Dizzy] Gillespie and his followers could be compared to fiery red colors." The term "cool" started being applied to this music around 1953, when Capitol Records released the album Classics in Jazz: Cool and Quiet.

Mark C. Gridley, writing for All Music Guide to Jazz, identifies four sub-categories, with considerable overlap, that encompass cool jazz:

Ted Gioia identifies cornetist Bix Beiderbecke and saxophonist Frankie Trumbauer as early progenitors of the cool aesthetic in jazz. Gioia cites Beiderbecke's softening of jazz's strong rhythmic impact in favor of maintaining melodic flow, while also employing complex techniques such as unusual harmonies and whole tone scales. Trumbauer, through "his smooth and seemingly effortless saxophone work," greatly affected tenor saxophonist Lester Young, who prefigured – and influenced – cool jazz more than any other musician.

Cool refers to a moderately low temperature. Alternatively, cool or COOL may refer to:

Jazz is a musical style that originated at the beginning of the 20th century in black communities in the Southern United States.

It was born out of a mix of African and European music traditions. Its African pedigree is evident in its use of blue notes, improvisation, polyrhythms, syncopation and the swung note. From its early development until the present day jazz has also incorporated music from American popular music.

As the music has developed and spread around the world it has drawn on many different national, regional and local musical cultures giving rise, since its early 20th century American beginnings, to many distinctive styles: New Orleans jazz dating from the early 1910s, big band swing, Kansas City jazz and Gypsy jazz from the 1930s and 1940s, bebop from the mid-1940s and on down through West Coast jazz, cool jazz, avant-garde jazz, Afro-Cuban jazz, modal jazz, free jazz, Latin jazz in various forms, soul jazz, jazz fusion and jazz rock, smooth jazz, jazz-funk, punk jazz, acid jazz, ethno jazz, jazz rap, cyber jazz, Indo jazz, M-Base, nu jazz, urban jazz and other ways of playing the music.

Miles Dewey Davis III (May 26, 1926 – September 28, 1991) was an American jazz musician, trumpeter, bandleader, and composer. Widely considered one of the most influential musicians of the 20th century, Miles Davis was, with his musical groups, at the forefront of several major developments in jazz music, including bebop, cool jazz, hard bop, modal jazz, and jazz fusion.

Miles Dewey Davis was born on May 26, 1926, to an affluent African American family in Alton, Illinois. His father, Dr. Miles Henry Davis, was a dentist. In 1927 the family moved to East St. Louis, Illinois. They also owned a substantial ranch in northern Arkansas, where Davis learned to ride horses as a boy.

Davis' mother, Cleota Mae (Henry) Davis, wanted her son to learn the piano; she was a capable blues pianist but kept this fact hidden from her son. His musical studies began at 13, when his father gave him a trumpet and arranged lessons with local musician Elwood Buchanan. Davis later suggested that his father's instrument choice was made largely to irk his wife, who disliked the trumpet's sound. Against the fashion of the time, Buchanan stressed the importance of playing without vibrato; he was reported to have slapped Davis' knuckles every time he started using heavy vibrato. Davis would carry his clear signature tone throughout his career. He once remarked on its importance to him, saying, "I prefer a round sound with no attitude in it, like a round voice with not too much tremolo and not too much bass. Just right in the middle. If I can’t get that sound I can’t play anything."Clark Terry was another important early influence.^{[citation needed]}

Arthur Haygarth (4 August 1825 in Hastings, Sussex – 1 May 1903 in Pimlico, London) was a noted amateur cricketer who became one of cricket's most significant historians.

He was educated at Harrow, which had established a rich tradition as a proving ground for cricketers. He later played for Sussex, his home county and also made appearances for MCC and Middlesex.

Haygarth was a right-handed batsman who made 136 appearances in first-class cricket spanning the 1844 and 1861 seasons. He scored 3042 runs in 247 innings with a highest score of 97, one of seven half-centuries that he achieved. He took 65 catches as a fielder. He was an occasional bowler, roundarm and apparently right-arm medium pace. He took only 19 wickets in total but did have a best analysis of 6-37 with 10 wickets in the match.

Haygarth achieved lasting fame after he retired from playing as a cricket writer, historian and biographer. He is renowned as the compiler of Frederick Lillywhite's Cricket Scores and Biographies, published in 15 volumes between 1862 and 1879. Volume 1 covering the 1744 to 1826 seasons is by far the most significant as it is the main source of reference data for late 18th century cricket.