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The three hours flew by like it was nothing, and as fans danced towards the exits, it was clear Jungle left them wanting more — not because there was a single unsatisfying moment, but because ...
By the mid-1970s, the sound known as jazz-funk had developed, characterized by a strong back beat , electrified sounds [203] and, often, the presence of electronic analog synthesizers. Jazz-funk also draws influences from traditional African music, Afro-Cuban rhythms and Jamaican reggae , notably Kingston bandleader Sonny Bradshaw .
This chapter begins by pointing out the way that technological developments (radio and recordings), and the economic lift they provided to musicians, generated crosscurrents in jazz, resulting in a move towards jazz orchestras, the big bands, by the end of the 1920s. Schuller then considers two sites of big band activity: New York and Kansas City.
Paul Winter (born August 31, 1939) [1] is an American saxophonist, composer, and bandleader. He is a pioneer of world music and earth music, which interweaves the voices of the wild with instrumental voices from classical, jazz and world music. [2] The music is often improvised and recorded in nature to reflect the qualities brought into play ...
1936. Genre. Jazz. Composer (s) Juan Tizol, Duke Ellington. Lyricist (s) Irving Mills. " Caravan " is an American jazz standard that was composed by Juan Tizol and Duke Ellington and first performed by Ellington in 1936. Irving Mills wrote lyrics, but they are rarely sung.
This is an A–Z list of jazz tunes which have been covered by multiple jazz artists. It includes the more popular jazz standards, lesser-known or minor standards, and many other songs and compositions which may have entered a jazz musician's or jazz singer's repertoire or be featured in the Real Books, but may not be performed as regularly or as widely as many of the popular standards.
The Shape of Jazz to Come is the third album by the jazz musician Ornette Coleman. Released on Atlantic Records in 1959, it was his debut on the label and his first album featuring the working quartet including himself, trumpeter Don Cherry, bassist Charlie Haden, and drummer Billy Higgins. [3] The recording session for the album took place on ...
[1] [2] Written in A-flat, it is based on the chord changes of the jazz standard "(Back Home Again in) Indiana". [1] Beginning with an unusual half-bar rest, "Donna Lee" is a very complex, fast-moving chart with a compositional style based on four-note groups over each change.