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Doreen J. Ketchens (born October 3, 1966) is an American jazz clarinetist who performs Dixieland and trad jazz.She has performed at concert halls, music festivals, and U.S. embassies, as well as in decades of weekly performances in Dixieland's tradition in the Royal Street Performing Arts Zone in the French Quarter of New Orleans with her band, Doreen's Jazz New Orleans.
His friend and jazz enthusiast Al Rose said Burke spent no more than ten weeks outside of New Orleans. [2] Burke was the nephew of Jules Cassard, a jazz trombonist who played with the Reliance Brass Band, and the cousin of Dixieland musician Harold Peterson. [3] Burke said that his first instrument was a flute he carved from a fishing pole.
Michael White (born November 29, 1954, in New Orleans) is a jazz clarinetist, bandleader, composer, jazz historian and musical educator. Jazz critic Scott Yanow said in a review that White "displays the feel and spirit of the best New Orleans clarinetists".
Picou rearranged it giving it a gentle swing and paraphrased the piccolo part to create his famous clarinet solo. [1] This became a local standard part, and no younger New Orleans clarinetist was considered proficient until he could play a duplication of Picou's part. [1] Unusually in a music that values improvisation, it became a set piece ...
It was a typical New Orleans jazz band in instrumentation, consisting of trumpet, clarinet, and trombone backed by a rhythm section. The original New Orleans jazz style leaned heavily on collective improvisation , in which the three horns together played the lead: the trumpet played the main melody , and the clarinet and trombone played ...
The New Orleans Jazz Club presented "Pete Fountain Day" on October 19, 1959, with celebrations honoring the pride of their city, concluding with a packed concert that evening. His Quintett was made up of his studio recording musicians, Stan Kenton 's bassist Don Bagley, vibeist Godfrey Hirsch, pianist Merle Koch, and the double bass drummer ...
Their method of playing the instrument (which involved the Albert system, a double-lip embouchure and soft reeds) was seminal in the development of the jazz solo. The three Tios helped bring classical music theory to the ragtime, blues and jazz musicians of New Orleans; Lorenzo Jr. eventually played jazz himself. [1]
In New Orleans, Louisiana, Alphonse Picou adapted the piccolo part into a clarinet variation, [2] sometimes considered one of the earliest documented jazz solos. The Picou variations became standard in New Orleans jazz (unusual in a form that values improvisation); many traditional jazz clarinetists from the generation just after Picou until ...
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