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Although the pattern is only half a clave, Marsalis makes the point that the single-celled figure is the guide-pattern of New Orleans music. Jelly Roll Morton called the rhythmic figure the Spanish tinge and considered it an essential ingredient of jazz. The Office for Institutional Equity has been designated to handle inquiries regarding non-discrimination policies. For more information, visit The University of Memphis Equal Opportunity and Affirmative Action. I met Amy of Yazz Jazz Music & Productions in January of 2016 and instantly fell in love with her personality and professionalism. Planning my May 2017 wedding with Amy was one of the most joyous and honestly, the most pleasant parts of the whole thing.

Armstrong was a master of his hometown style, but by the time he joined Henderson’s band, he was already a trailblazer in a new phase of jazz, with its emphasis on arrangements and soloists. Armstrong’s solos went well beyond the theme-improvisation concept and extemporized on chords, rather than melodies. Armstrong’s solos were a significant factor in making jazz a true 20th-century language. After leaving Henderson’s group, Armstrong formed his Hot Five band, where he popularized scat singing. After Whiteman’s band successfully toured Europe, huge hot jazz orchestras in theater pits caught on with other whites, including Fred Waring, Jean Goldkette, and Nathaniel Shilkret. According to Mario Dunkel, Whiteman’s success was based on a “rhetoric of domestication” according to which he had elevated and rendered valuable (read “white”) a previously inchoate (read “black”) kind of music.

Preservation Hall — Many regard Preservation Hall as the spot in Louisiana to hear jazz music. It’s a no-frills venue in New Orleans’ French Quarter that has changed little over the decades, featuring the most authentic traditional jazz you’ll find anywhere. Jazz is the music that erupted when African (and Afro-Caribbean) and European traditions converged in America, and nowhere was that mix more potent than in New Orleans.

Secular jazz musicians often performed renditions of spirituals and hymns as part of their repertoire or isolated compositions such as “Come Sunday,” part of “Black and Beige Suite” by Duke Ellington. However, it was only after World War II that a few jazz musicians began to compose and perform extended works intended for religious settings and/or as religious expression. Since the 1950s, sacred and liturgical music has been performed and recorded by many prominent jazz composers and musicians. In the early 1940s, bebop-style performers began to shift jazz from danceable popular music toward a more challenging “musician’s music”. The most influential bebop musicians included saxophonist Charlie Parker, pianists Bud Powell and Thelonious Monk, trumpeters Dizzy Gillespie and Clifford Brown, and drummer Max Roach. Divorcing itself from dance music, bebop established itself more as an art form, thus lessening its potential popular and commercial appeal.

Early examples are Herbie Hancock’s Headhunters band and Miles Davis’ On the Corner album, which, in 1972, began Davis’ foray into jazz-funk and was, he claimed, an attempt at reconnecting with the young black audience which had largely forsaken jazz for rock and funk. While there is a discernible rock and funk influence in the timbres of the instruments employed, other tonal and rhythmic textures, such as the Indian tambora and tablas and Cuban congas and bongos, create a multi-layered soundscape. The album was a culmination of sorts of the musique concrète approach that Davis and producer Teo Macero had begun to explore in the late 1960s. Weather Report’s self-titled electronic and psychedelic Weather Report debut album caused a sensation in the jazz world on its arrival in 1971, thanks to the pedigree of the group’s members , and their unorthodox approach to music.

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