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The first jazz artist to be given some liberty in choosing his material was Louis Armstrong, whose band helped popularize many of the early standards in the 1920s and 1930s. [3] Some compositions written by jazz artists have endured as standards, including Fats Waller's "Honeysuckle Rose" and "Ain't Misbehavin'".
June Smith (jazz singer) (1930–2016) Kate Smith (1907–1986) Keely Smith (1928–2017) Frank Sinatra (1915–1998) Frank Sinatra Jr. (1944–2016) Phoebe Snow (1952–2011) Jeri Southern (1926–1991) Luciana Souza (born 1966) Esperanza Spalding (born 1984) Dusty Springfield (1939–1999) Dorothy Squires (1915–1998) Jo Stafford (1917 ...
“One can plausibly argue that the debate over jazz was just one of many that characterized American social discourse in the 1920s” (Ogren 3). In 1919, jazz was being described to white people as “a music originating about the turn of the twentieth century in New Orleans that featured wind instruments exploiting new timbres and performance techniques and improvisation” (Murchison 97).
Gladys Alberta Bentley (August 12, 1907 – January 18, 1960) [1] was an American blues singer, pianist, and entertainer during the Harlem Renaissance.. Her career skyrocketed when she appeared at Harry Hansberry's Clam House, a well-known gay speakeasy in New York in the 1920s, as a black, lesbian, cross-dressing performer.
Jazz artists like Louis Armstrong originally received very little airtime because most stations preferred to play the music of white American jazz singers. Other jazz vocalists include Bessie Smith and Florence Mills. In urban areas, such as Chicago and New York, African-American jazz was played on the radio more often than in the suburbs.
The 1920s saw the emergence of many famous women musicians including African-American blues singer Bessie Smith (1894–1937), who inspired singers from later eras, including Billie Holiday (1915–1959) and Janis Joplin (1943–1970). [3] In the 1920s, women singing jazz music were not many, but women playing instruments in jazz music were ...
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"The relatively small inner circles of acute jazz listeners in the 1920s recognized that black musicians played better, more mature, and more confident jazz". [ 7 ] Despite a significant bias that only black musicians could play "real" jazz, [ 7 ] white bands such as the New Orleans Rhythm Kings and the Original Dixieland Jazz Band emerged and ...