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The tune is a jazz standard that has been widely recorded, both by vocal artists from Billie Holiday and Tony Bennett to the Miracles and Dee Dee Bridgewater, and such instrumentalists as James Moody, [1] Chet Baker, Gerry Mulligan, Bill Evans, Sonny Clark with Donald Byrd and John Coltrane, Roy Hargrove, Coleman Hawkins, Woody Shaw, Bobby Shew ...
This is an A–Z list of jazz tunes which have been covered by multiple jazz artists. It includes the more popular jazz standards, lesser-known or minor standards, and many other songs and compositions which may have entered a jazz musician's or jazz singer's repertoire or be featured in the Real Books, but may not be performed as regularly or as widely as many of the popular standards.
Relatively little has been written about sacred and liturgical jazz. In a 2013 doctoral dissertation, Angelo Versace examined the development of sacred jazz in the 1950s using disciplines of musicology and history. He noted that the traditions of black gospel music and jazz were combined in the 1950s to produce a new genre, "sacred jazz". [187]
When Porter learned that Louis Armstrong was going to appear in the film, he decided he had to write a jazz song. To help with his research, he called Fred Astaire and suggested they attend a Jazz at the Philharmonic concert. Later, he spoke to jazz impresario Norman Granz on the telephone, and Granz gave him a short introductory course in jazz ...
While the all-star cast appearing on the record was seen as an attempt at commercial success, [3] the players had all previously worked together and were part of the underground jazz scene in New York City during the 1990s. Among the tracks on Deep Song are two jazz standards, "If I Should Lose You" and "Deep Song".
The single "Me Myself and I" became a huge hit, further cementing the group's popularity. However, the sixties pop group The Turtles sued De La Soul for using a sample from their 1969 hit "You Showed Me" for the interlude track "Transmitting Live from Mars". [9] Lyrically, much of 3 Feet High and Rising focused on striving for peace and harmony.
"Valentine" addresses Laufey's experiences and continuous reflection of her first love. [4]The song's genre has been described as 50s traditional pop and classical jazz due to its jazz vocals and scat singing, as well as guitar and piano instrumentation joined by light percussion played with a drum brush.
The song was introduced in vaudeville by Henry E. Murtagh, and popularized by Paul Whiteman's 1929 Columbia recording featuring Bix Beiderbecke.It has become a jazz standard and has been recorded by artists including Louis Armstrong, Mildred Bailey, Sidney Bechet, Gene Kardos, Benny Goodman, Lionel Hampton, Isham Jones, Red Nichols, Charlie Parker, Oscar Peterson, Django Reinhardt and Fats Waller.