Improvisation In The 1930's

Jazz is often associated with blackness and slavery. Unsurprisingly, several jazz musicians follow the ideals of Afrofuturism. According to Davids article in 2007, Sun Ra is one of the best examples within the jazz genre. His music shares a lot of the post-human ideals. The ideas

Ellington music was filled with Jazz and included a range of other genres of works. “Caravan” is categorized in the genre of Jazz with styles of swing, big band, and early jazz. This song has a mood of elegance and refined, with a theme of reminiscence. The lyrics are written by Irving Mills and in most versions, are not sung because the words do not appear as strong at the melody. In Ella Fitzgerald’s rendition of the song she does sing the lyrics and they are sought to be very dreamy.

The Roaring Twenties was a time for people to make their dreams come true and for people to try new things. This included three childhood best friends, Paul Mares, George Brunis, and Leon Roppolo, who created one of the most influential jazz bands of the early to mid 1920s (Yanow). It all started with them in a jazz venue located in the basement of Friar’s Inn in Chicago that what was popular for gangsters, businessmen, and just regular people who loved jazz. ( "Tin Roof Blues: The Story of the New Orleans Rhythm King 's"). Over time their group slowly grew into a larger orchestra.

This jazz technique involves percussion and rhythms from Cuba and the Spanish Caribbean with a jazz that combines African and European musical elements, and still has characteristics from Bebop (Source 9). While Bebop is the oldest having been developed in the mid 1940’s, Cubop is the youngest, being developed in the late 1940’s, and can also be considered a bit more complex. For Cubop and Bebop to have been possible, a few encounters had to have taken place. These encounters took place between some of the most influential figures of that era. For example, the time that Gillespie cooperated with the Afro­Cuban Jazz percussionist and composer Chano Pozo and a Afro­Cuban Jazz musician/trumpeter and composer Mario Bauza (Source 3).

An other reason for this was his incredible improvisational skill, which allowed him to provide an audience with endless fascination. Before Armstrong left his fingerprints all over jazz, it was more so an organization of musicians who would perform their own part in a perfected script of set musical notes, so when he did finally come along it was a great shock to everyone’s past idea of jazz music Though he was generally noted for his contribution to jazz, Armstrong also played a significant role in the evolution of pop music entertainment in America. -Scott yanowEarly on in his career, he showcased an almost equally unique ability to his trumpet playing, his singing. Right off the bat Louis undeniably raspy voice set him apart from all other singers. His ability to demonstrate multiple extraordinary talents in a single performance made him a huge hit, and anyone he performed with was no doubt a hit themselves.

The term ‘Jazz Age’ was used by many who saw African American music, especially the blues and jazz, as the defining features of the Harlem Renaissance.” (Wintz 2015) No part of the Harlem Renaissance molded America and the whole world as much as jazz. Jazz ridiculed numerous melodic traditions with its syncopated rhythms and ad libbed instrumental performances. When seen as a melodic theater and diversion, The Harlem Renaissance all began three years before when Shuffle Along opened at the 63rd Street Musical Hall. Shuffle Along was a melodic play composed by a couple of veteran Vaudeville acts—entertainers Flournoy Miller and Aubrey Lyles, and writers/artists Eubie Blake and Noble Sissle. “In the process, it introduced white New Yorkers to to black music, theatre and entertainment and helped generated the white fascination with Harlem and the African American arts that was so much a part of the Harlem Renaissance.

Music Essay Aaliya Shafi 7B Jazz Rock 21/1/2017 Jazz-rock may be known as the loudest, wildest bands from jazz camp. This is also known as Jazz-fusion as a musical genre, which was developed, in the late 19’60s and the early 19’70s. This was when artists merged different characteristics of Jazz harmony, and improvisation with styles such as: rock, funk, blues and Latin Jazz. Different artists started experimenting and trying out electrical instruments for the very first time. Jazz-Rock is quite different from earlier Jazz in a number of ways: • Jazz’s rhythm is renowned by its “swing”, while on the other hand Jazz-fusion is more based on eighth or sixteenth note rhythms.

The nonet was his chance to prove himself to the jazz community, Davis at the time was not as established as many of the other musicians of the cool jazz movement and he was determined to change that. It was during this time Davis forged a working relationship with arranger Gil Evans, Evans and Davis work on few albums together. Both men had a relationship that was like magic; they worked together to release the album, Birth of Cool, in 1954. This album was responsible for drawing attention to the cool jazz movement and influencing the future of the movement. Davis at the time of the cool jazz movement was gripped by heroin addiction and much of his music influenced by the addiction; Davis made the decision to quit the drug and come back a new man.

Jazz advanced into new kind of jazz and blues developed into an alternate sort of blues. Chicago Blues took into account musical sorts to approach. Without Chicago handles, punk, disco, demise metal, pop, funk, hip-bounce, and more would not exist.f technolo-gy and instruments gave new musical thoughts to the performers of the time. Chicago Blues will live on through more current age specialists and gatherings, for example, the Jonas Brothers, Brittney Spears, Lady Gaga, and that 's just the

Jazz and modern dance are two different genres of dance. Jazz dance started in the early 1700’s in Africa and was brought to America through the slave trade. Two pioneers that influenced jazz dance were Jack Cole and Katherine Dunham. Jack Cole was called “the Father of theatrical jazz dance” and is remembered as the prime creator of the jazz heritage. Katherine Dunham was known for her leadership of African American jazz dance and started her own dance company.

Their roots stems from Africa and Europe tradition. Some people say that jazz is a combination of African and European music. They did not start Recording Jazz until 19117. It was difficult due to severe technical limitations. The acoustical recording equipment made it hard to hear the true sound of the bands.

(“Jazz is a music style that first gained popularity in southern cities like New Orleans around the turn of the 20th century. It is a very emotional brand of music that reflects the trials and hardships felt by the people who performed its tunes. A Jazz concert can be a fantastic opportunity to not only hear some great music, but learn about its cultural significance in American history. All of this can be reflected in a well-written report about a jazz concert”.) by Bill Varoskovic.

His fascination with this genre was mostly impart of its ability to make music sound uniquely American. When asked to comment on jazz as a generating force for his compositions, Copland remarked: “You see, I was very aware of how French the French music seemed in those days. And looking for an American idiom, naturally, it was a help to know that it had been created in a field that I considered light music. Very attractively the whole world recognized it as American, so it must 've been American.” He claimed he “began to consider that jazz rhythms might be the way to make an American-sounding music.” Copland had the ability to effortlessly make music sound as if stemming from a specific country, regardless of whether or not it was American. Copland felt impelled to stress his country of origin as well as his individual personality, something which had been greatly accomplished by many composers on the Romantic era.

Then there was Duke Ellington and Thelonious Monk who met their career demise in the early nineteen forties. But Williams, in continuing to outdo herself, also outdid these heroes of her time in several crucial respects: she played better in her sixties than she ever did, reaching an artistic fulfillment in the nineteen-seventies that was due to the triple coincidence of external circumstances of the music world, those of her personal life, and those of her own creative evolution (The New Yorker). I admire Mary Lou Williams’s strength, persistence and talent, what did in her era was monumental. Being a woman. African-American, composing and arranging music; as well as leading a band was not a common thing back in her time.