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Drummers at the funeral of jazz musician Danny Barker in 1994. They include Louis Cottrell, (great-grandson of New Orleans' innovative drumming pioneer, Louis Cottrell, Sr. and grandson of New Orleans clarinetist Louis Cottrell, Jr.) of the Young Tuxedo Brass Band, far right; Louis "Bicycle Lewie" Lederman of the Down & Dirty Brass band, second from right.
A jazz funeral for the Equal Rights Amendment took place in the city of New Orleans, Louisiana on July 3, 1982. [1] The event was a public mourning for the failure of the proposed Amendment to the United States Constitution to be ratified by the required 38 states (3/4 of the 50 states) before the congressionally imposed 1982 deadline.
"Oh, Didn't He Ramble" is a New Orleans jazz standard, copyrighted in 1902 by J. Rosamond Johnson, James Weldon Johnson, and Bob Cole. It is frequently used at the end of jazz funerals . Several sources trace its origins to the English folk song " The Derby Ram " ( Roud 126 ).
Instrumental New Orleans jazz version by Bunk Johnson " Just a Closer Walk with Thee " is a traditional gospel song and jazz standard that has been performed and recorded by many artists. Performed as either an instrumental or vocal, "A Closer Walk" is perhaps the most frequently played number in the hymn and dirge section of traditional New ...
Funeral for a Friend is a documentation of a New Orleans "funeral with music", the original environment of the brass band form. They appeared on the 2005 benefit album A Celebration of New Orleans Music to Benefit MusiCares Hurricane Relief 2005, and on two tracks on Modest Mouse's album Good News for People Who Love Bad News.
"New Orleans, Louisiana" by Dr. John and Chris Barber "New Orleans Low Down" by Duke Ellington "New Orleans Mambo" by James Rivers Quartet "New Orleans (Mardi Gras)" by Southwind "New Orleans Moan" by Roselyn Lionhart (of duo David and Roselyn) "New Orleans Music" by Rebirth Brass Band "New Orleans Music" by Tony Wilson (a member of Hot ...
Grandpa Elliott was born as Elliot Small on July 10, 1944 in New Orleans, Louisiana. [1] [2] Growing up in the Lafitte Housing Projects, Small developed a love of music as a young boy, in part to deal with the pains of an unhappy home life.
Although technically, the pattern is only half a clave, Marsalis makes the important point that the single-celled figure is the guide-pattern of New Orleans music. The New Orleans musician Jelly Roll Morton considered the tresillo/habanera (which he called the Spanish tinge) to be an essential ingredient of jazz. [26]