Faith Eleby- Jazz, Pop, Rock
Dr. Keast
The Cool era was filled with hot aggressive rhythms with sophisticated harmonies and notations. It began to flourish and started consecutive from about 1949 - 1951. Ironically, Cool jazz had its African American roots and it was white musicians who began to represent Cool jazz. The Cool Era’s name sake was derived from the way music made the listener feel as well as how the music sounded. Cool Era can be described as having mellow, soft tones and emotion evoking. It is sometime considered the opposite of bebop. Cool Jazz fused classical and jazz together to create the smooth sound. Cool Jazz came on the scene after World War II and ushered in many great groups and musical talents to convey the sounds of the time. Of the many magnificent remnants remaining from the cool jazz era, the modern
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born on December 23, 1929, in Yale, Oklahoma. At 16 dropped out of school to join the Army. He played in bands during his two stints in the armed forces as well as San Francisco jazz clubs while he was stationed in that city. He found admiration in the music of Miles Davis he became involved in the Los Angeles jazz scene. In 1952 his musical career began to prosper after he earned the chance to play the exceptional jazz musician Charlie Parker. Later that year, he joined saxophonist Gerry Mulligan's piano-less quartet. The quartet released many fantastic favorites including “Walkin' Shoes,” “Bernie's Tune” and “My Funny Valentine.” He moved to Europe in 1959, where he found a home in Italy, where he appeared as "Chet l'americano" in musical comedy Howlers of the Dock. Consequently, his continued drug use landed him in legal issues, he had arrests in Italy, England and West Germany, the last of which resulted in his deportation to the United States in 1964. In July 1966, he endured a brutal beating by drug dealers that severely damaged his teeth and left him unable to play the trumpet properly for
As he got older, he was inspired by the black church services that would later serve as an influence to his dance choreographies. In 1942, when he was twelve, him and his mother moved to Los Angeles California, where his interest in athletics such as gymnastics and football were sparked. He fostered an admiration for Gene Kelly and Fred
In Missouri he joined up with the Fate Marable’s band. After three years, Louis’s dreams came true. Joe Oliver asked him to travel to Chicago to join his Creole Jazz Band. It took little time for the city of Chicago to fall in love with Louis’s New Orleanian style of jazz. Louis was becoming a star.
Still grew up in Little Rock, and at the age of 15 he attended violin lessons. He taught himself how to play the saxophone, oboe, double bass, cello and viola, and displayed great interest in music. And at the age of 16, he had graduated from M. W. Gibbs High School in Little
When he was the age 11, he was sent to the Colored Waif’s Home for Boys, where he learned how to play the cornet and realized he wants to makes music for a living. As he returned back home in 1914, he worked jobs selling newspaper and dragging coal to the city’s famed-red-light district. In 1918, as his reputation as a musician maintains to grow, Armstrong joined in Kid Ory’s band, then it became the most popular band in New Orleans. He soon quit his jobs working manual labor jobs and began focusing more on his cornet.
Then hip hop came and it had a faster more set beat but still with a swing
The first bar he started playing at was The Eagle Saloon around 1908. When he first started playing here it was said his playing was loud and horrible, therefore the customers sent him home. This horrible reaction from his audience forced Oliver to return home and practice more in hopes of becoming much better. Between 1910 and 1917 he played in numerous clubs and built his reputation and image. During this time period he also brought together some of the most well-known players of the new jazz music.
Miles Davis, one of jazz’s most influential musicians with career that expanded six decades. Davis was known for his always changing style, from bebop to rock. He had been part of the bebop, cool jazz, hardbop, modal, rock-fusion movements, and shortly before his death working with hip-hop fusion. Throughout his entire career, Miles Davis preferred the audience recognize him for what he was doing then, not what he had done in the past. Over his sixty-year career he had earned several nicknames: The Sorcerer, the Prince of Darkness, and the man who walked on eggshells.
Jazz in New Orleans Jazz is such a unique and distinguished genre of music that delights the ear of every person who listens to it. Found in New Orleans, it grew in fame all around the world and will always be popular. Why New Orleans? The history of the founding jazz and what impacted it is astonishing.
Beboppers ‘spoke’ at whirlwind speed, almost as if to say ‘you can’t catch me’ to their white counterparts. Although some elements of the music carried on from the Swing Era, such as the 32 bar song form and the 12 bar blues foundations, the harmonic and rhythmic complexity was stretching the boundaries further and further from the mainstream popular swing style. Heavy use of flattened ninths, sharpened elevenths and other altered intervals in solos and the speed at which they were used as well as the phrasing of these notes gave the music an off balance quality. Dizzy Gillespie’s tendency towards desceding whole or halfstep patterns such as in “Con Alma” and “A Night in Tunisia”, Charlie Parker’s favoured ii-V substitutions in the famous bridge to “Ko Ko” and “Confirmation” and the mastery of dissonance by Thelonious Monk shows the boppers preoccupation with developing their sound, making statements through their music. (Gioia
In life, there are few things as organic as jazz music. With its raw sound and scrappy roots, one cannot help but feel life head-on whilst witnessing players produce such a sound right before their eyes. Its origins and arch are a product of the United States’ national culture and identity. Jazz exists not only as a deeply rooted form of art but as a cultural marker, particularly during its commercial peak in the first half of the 20th century. Its impact transcends borders, and it is one of the most beloved musical genres worldwide.
Armstrong was born in New Orleans, Louisiana, in 1901, even though he sometimes said later in his life that he was born on July 4, 1900. He was raised by his mother and grandmother after his father, who was a factory worker, left the family while Armstrong was still a child. His family was very poor, and as a child Armstrong worked many odd jobs to help support the family. Armstrong was surrounded by music while working and playing in the streets of New Orleans. Since he could not afford an instrument, he learned to sing and joined a vocal quartet that sang on street corners for a little extra money.
During the Roaring Twenties, people started spending more money and having more free time. They got this free time because of an increase in production, letting them out of the factories more. With more time on there hands, people started to listen to musicians like louis Armstrong. Armstrong played a significant role in the 1920’s by changing the way people looked at jazz music. Armstrong was born August 4,1901 in New Orleans.
Lil suggested to Louis that he should go to New York City to play in the Fletcher Henderson Orchestra. He listened to her and went. He returned to Chicago in 1925 and began making records with
Mark Tucker was a professor, a pianist, and an expert on Duke Ellington’s life and his career. He taught at the Columbia University from 1987 to 1997 and the College of William and Mary in Williamsburg, Virginia from 1997. His scholarly works included Ellington: The Early Years that was published in 1991 and The Duke Ellington Reader that was published in 1993. He was also the co-author of the book Jazz From The Beginning with Garvin Bushell. Tuker organized the article with Ellington’s Early Years, On the Road, Later Year, Composer, Arranger, Songwriter, Bandleader and Pianist, and the Ellington Legacy.
Jazz is most often thought to have been started in the 1920s as this explosive movement, but that is in fact not the case. Starting in the late nineteenth and early twentieth century many African American musicians have started to explore their taste in improvising, and where better to do that than New Orleans (Anderson). Before the 1920s these jazz musicians have already been going around sharing the unique sound, but up until then, jazz had remained majorly in New Orleans. Interestingly during this period, a common jazz band would consist of a cornet, a clarinet, a trombone, and a rhythm section when at this period of time the clarinet is not commonly associated with being a jazz instrument, it moved into being the saxophone rather. A big