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In 1920, the jazz age was underway and was indirectly fueled by prohibition of alcohol. [5] In Chicago, the jazz scene was developing rapidly, aided by the immigration of over 40 prominent New Orleans jazzmen to the city, continuous throughout much of the 1920s, including The New Orleans Rhythm Kings who began playing at Friar's Inn. [5]
While the Big Band Era suggests that big bands flourished for a short period, they have been a part of jazz music since their emergence in the 1920s when white concert bands adopted the rhythms and musical forms of small African-American jazz combos.
There are two main varieties: Afro-Cuban jazz was played in the US right after the bebop period, while Brazilian jazz became more popular in the 1960s. Afro-Cuban jazz began as a movement in the mid-1950s as bebop musicians such as Dizzy Gillespie and Billy Taylor started Afro-Cuban bands influenced by such Cuban and Puerto Rican musicians as ...
The Jazz Age was a period in the 1920s and 1930s in which jazz music and dance styles gained worldwide popularity. The Jazz Age's cultural repercussions were primarily felt in the United States, the birthplace of jazz.
Trad jazz, short for "traditional jazz", is a form of jazz in the United States and Britain that flourished from the 1930s to 1960s, [1] based on the earlier New Orleans Dixieland jazz style. Prominent English trad jazz musicians such as Chris Barber , Freddy Randall , Acker Bilk , Kenny Ball , Ken Colyer and Monty Sunshine [ 1 ] performed a ...
This is a list of jazz musicians by instrument based on existing articles on Wikipedia. Do not enter names that lack articles. ... (1960–2016) Brian Bromberg (born ...
Swing jazz emerged as a dominant form in American music, in which some virtuoso soloists became as famous as the band leaders. Key figures in developing the "big" jazz band included bandleaders and arrangers Count Basie, Cab Calloway, Jimmy and Tommy Dorsey, Duke Ellington, Benny Goodman, Fletcher Henderson, Earl Hines, Glenn Miller, and Artie Shaw.
Around 1960, Western music producers' interest in recording musicians such as Wolfgang Lauth waned, as jazz music no longer seemed to be a good sale. In 1964, Horst Lippmann had noted: [ 12 ] "The German record industry neglected all modern German jazz musicians and only occasionally presented records with amateur Dixieland bands in the area.