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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'". The most recorded 1920s ...
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. [5] Some compositions written by jazz artists have endured as standards, including Fats Waller's "Honeysuckle Rose" and "Ain't Misbehavin'". The most recorded 1920s ...
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.
This is a list of jazz musicians by instrument based on existing articles on Wikipedia. Do not enter names that lack articles. ... (born 1950) Tommy Gumina (1931 ...
Hard bop, an extension of bebop (or "bop") music that incorporates influences from rhythm and blues, gospel music, and blues, especially in the saxophone and piano playing, developed in the mid-1950s, partly in response to the vogue for cool jazz in the early 1950s. The hard bop style coalesced in 1953 and 1954, paralleling the rise of rhythm ...
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 ...
Continental jazz: Early jazz dance bands of Europe in the swing medium, to the exclusion of Great Britain. Cool jazz: Contrasts with the hard, fast sound of bebop. A more relaxed, subdued style, with more formal arrangements and elements of swing and classical. 1940s–1960s Crossover jazz: Artists mix different styles of music into jazz. 1970s ...
Trumpeter Wynton Marsalis emerged early in the decade, and strove to create music within what he believed was the tradition, rejecting both fusion and free jazz and creating extensions of the small and large forms initially pioneered by artists such as Louis Armstrong and Duke Ellington, as well as the hard bop of the 1950s.
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