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The big band album Song for Someone (1973) fused Wheeler's characteristic orchestral writing with passages of free improvisation provided by musicians such as Evan Parker and Derek Bailey, and was also named Album of the Year by Melody Maker magazine in 1975. It has subsequently been reissued on CD by Parker's Psi label. [8]
Bernard Vitet – trumpet; Voice Crack – electronics; Philipp Wachsmann – violin; John Bruce Wallace – electric guitar; Jane Wang (composer and musician) – double bass; Trevor Watts – saxophone; Kenny Wheeler – trumpet; Wolter Wierbos – trombone; Wu Fei - guzheng; Otomo Yoshihide – guitar, turntable; Reynaldo Young – guitar ...
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 ...
In the late 1930s, Hackett played lead trumpet in the Vic Schoen Orchestra, which backed the Andrews Sisters. In the 1940 Fred Astaire movie, Second Chorus. Hackett can be heard on the soundtrack. He dubbed the trumpet playing of Fred Astaire in two numbers. In the movie, Astaire is a trumpet player in Artie Shaw's orchestra. [8]
Porter started in the New York jazz scene in the 1990s while studying classical music under the trumpeter and composer Wynton Marsalis at the Juilliard School. [13] He is a long-standing member of the Absolute Ensemble, directed by Kristjan Järvi, with which he has recorded nine albums, one of which Absolution was nominated for a Grammy Award in 2002, [14] [15] and another Mix, Bach ...
Woody Herman Shaw Jr. (December 24, 1944 – May 10, 1989) [1] was an American jazz trumpeter, flugelhornist, cornetist, composer, arranger, band leader, and educator.Shaw is widely known as one of the 20th century's most important and influential jazz trumpeters and composers.
Free jazz, or free form in the early to mid-1970s, [1] is a style of avant-garde jazz or an experimental approach to jazz improvisation that developed in the late 1950s and early 1960s, when musicians attempted to change or break down jazz conventions, such as regular tempos, tones, and chord changes.
Spivak's experience playing with jazz musicians had little effect on his own band's style, which was straight dance music, made up mainly of ballads and popular tunes. Spivak himself (known as "Cheery, Chubby Charlie") had been noted for his trumpet's sweet tone and his strength for playing lead parts, rather than for any improvisational ability.