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It was not until after World War II that Australian jazz scene began to diversify as local musicians were finally able to get access to recordings by leading African-American jazz musicians like Charlie Parker, Dizzy Gillespie, Miles Davis and Thelonious Monk, and bebop, cool jazz and free jazz exerting a strong influence on Australian ...
In 1920, the jazz age was underway and was indirectly fueled by prohibition of alcohol. In Chicago, the jazz scene was developing rapidly, aided by the immigration of over 40 prominent New Orleans jazzmen to the city, continuous throughout much of the 1920s, including The New Orleans Rhythm Kings who began playing at Friar's Inn.
David "Fathead" Newman (February 24, 1933 – January 20, 2009) was an American jazz and rhythm-and-blues saxophonist, who made numerous recordings as a session musician and leader, but is best known for his work as a sideman on seminal 1950s and early 1960s recordings by Ray Charles.
This is a list of jazz musicians by instrument based on existing articles on Wikipedia. Do not enter names that lack articles. Do not enter names that lack sources.
Sarah Vaughan. Begone Dull Care is an animated film directed by Norman McLaren and Evelyn Lambart, giving a visual presentation of Oscar Peterson's jazz music.; My Foolish Heart was a film starring Dana Andrews and Susan Hayward that was panned by the critics, but the title song "My Foolish Heart", written by singer Billie Holiday and sung by Martha Mears, was a hit and became a jazz standard.
Curtis Peagler (September 17, 1929 — December 19, 1992) was an American jazz saxophonist who specialized in straight-ahead jazz and hard bop. Early life [ edit ] Peagler was born in Cincinnati, Ohio. [1]
John Birks "Dizzy" Gillespie (/ ɡ ɪ ˈ l ɛ s p i / gil-ESP-ee; October 21, 1917 – January 6, 1993) was an American jazz trumpeter, bandleader, composer, educator and singer. He was a trumpet virtuoso and improviser, building on the virtuosic style of Roy Eldridge but adding layers of harmonic and rhythmic complexity previously unheard in jazz.
His "Universal Music Store" became a kind of warehouse where Belgian jazz musicians could draw on. In the 1920s, there were plenty of Belgian jazz musicians working in dance halls, cinemas, theaters, bars, cafes and 'cabarets chantants'. Musicians and bands could even be engaged for several weeks in the same venue.