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Jazz improvisation by Col Loughnan (tenor saxophone) at the Manly Jazz Festival with the Sydney Jazz Legends. Loughnan was accompanied by Steve Brien (guitar), Craig Scott (double bass, face obscured), and Ron Lemke (drums). Jazz improvisation is the spontaneous invention of melodic solo lines or accompaniment parts in a performance of jazz ...
Jazz poetry has been defined as poetry that "demonstrates jazz-like rhythm or the feel of improvisation" [1] and also as poetry that takes jazz music, musicians, or the jazz milieu as its subject, [2] and is designed to be performed. Some critics consider it a distinct genre though others consider the term to be merely descriptive.
He cites various jazz performers for the natural quality of their sound production, sound that makes each performer readily identifiable. A final brief section in this chapter, on improvisation, states that group improvisation, a hallmark of early jazz, is a distinctively African practice. Schuller counters a variety of other theories of the ...
Jazz Chants appeal to students of all ages, and work with large classes, and stimulate pairwork and role-playing activities. [3] Jazz chants improve the students' speaking competence in terms of pronunciation, grammar, vocabulary, fluency and comprehension. [4] Jazz chants help students sound more natural when they speak English. [5]
Vol. 2: Jazz rhythm and the improvised line (1962) Vol. 3: Swing and early progressive piano styles (1964) Vol. 4: Contemporary piano styles (1965) The Jazz Pianist, in 3 books: Studies in the art and practice of jazz improvisation (1960–61) Styles for the Jazz Pianist, in 3 books (1962–63) Studies in Jazz Harmony (1962)
Flamenco jazz is a style mixing flamenco and jazz, typified by artists such as Paco de Lucia and Camarón de la Isla. 1960s -> Free funk: A combination of avant-garde jazz with funk music 1970s -> Free jazz: Free improvisation is improvised music without any specific rules. By itself, free improvisation can be any genre, it isn't necessarily jazz.
Well-known examples of contrafacts include the Charlie Parker/Miles Davis bop tune "Donna Lee," which uses the chord changes of the standard "Back Home Again in Indiana" [2] or Thelonious Monk's jazz standard [3] "Evidence", which borrows the chord progression from Jesse Greer and Raymond Klages's song "Just You, Just Me" (1929). [4]
Charlie Parker (1920–1955) was one of the pioneers of the Bebop style of jazz. This idiom is characterized by fast tempos, instrumental virtuosity, and improvisation over set harmonic structures. Parker’s style of playing and his harmonic treatment particularly in improvisation continues to be influential across multiple genres and ...