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A performance at the Jazz in Duketown festival in 2019, located at 's-Hertogenbosch, North Brabant, Netherlands. Jazz is a music genre that originated in the African-American communities of New Orleans, Louisiana, in the late 19th and early 20th centuries, with its roots in blues, ragtime, European harmony, African rhythmic rituals, spirituals, hymns, marches, vaudeville song, and dance music.
This is an A–Z list of jazz tunes, which includes jazz standards, pop standards, and film song classics which have been sung or performed in jazz on numerous occasions and are considered part of the jazz repertoire. For a chronological list of jazz standards with author details, see the lists in the box on the right.
A two bar sequence at the end of a blues progression, rhythm changes progression, or other forms, notably 32-bar AABA jazz song forms, which signals to the listeners and performers that the song ending or subsection ending has been reached, and as such, the song will repeat again from the beginning.
A basic figure is the very basic step that defines the character of a dance. Often it is called just thus: "basic movement", "basic step" or the like. For some dances it is sufficient to know the basic step performed in different handhold [broken anchor] s and dance positions [broken anchor] to enjoy it socially.
Vocal group The Skylines, singing with Ray Anthony's orchestra, revived this ballad in the 1955 Fred Astaire–Leslie Caron musical film, Daddy Long Legs. Johnny Preston released a version of the song on his 1960 album, Running Bear. [5] Andy Williams released a version on his 1964 album, The Wonderful World of Andy Williams.
A remix (called a "Re-Recording") was done for "Jazz (We've Got)" and was featured on The Love Movement and Revised Quest for the Seasoned Traveller. "Your mic & my mic, come on, yo, no equal”, a Q-Tip line on "Jazz (We've Got) (Re-Recording)" can be heard in the chorus on "No Equal" by The Beatnuts from their 1993 EP Intoxicated Demons: The EP.
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]
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.