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Riggs is the leader and founder of The Official Texas Jazz Orchestra, a Dallas-based ensemble dedicated to performing state of the art large jazz ensemble music. Riggs has conducted All-State Jazz Bands in Michigan, Ohio, Oklahoma, Kentucky, Tennessee. Riggs has appeared as a featured performer and clinician at Jazz Festivals throughout the USA ...
Texas in the United States. The U.S. state of Texas has long been a center for musical innovation and is the birthplace of many notable musicians. Texans have pioneered developments in Tejano and Conjunto music, Rock 'n Roll, Western swing, jazz, punk rock, country, hip-hop, electronic music, gothic industrial music, religious music, mariachi, psychedelic rock, zydeco and the blues.
Ernie Caceres. Tony Campise. John Carter (jazz musician) James Clay (musician) Sonny Clay. Arnett Cobb. Henry Coker. Bongo Joe Coleman. Ornette Coleman.
Hubert Laws (born November 10, 1939) [1] is an American flutist and saxophonist with a career spanning over 50 years in jazz, classical, and other music genres. He is one of the most recognized and respected jazz flutists in the history of jazz.
The Jazz Age was a period in the 1920s and 30s in which jazz music and dance styles gained worldwide popularity. The Jazz Age's cultural repercussions were primarily felt in the United States, the birthplace of jazz. Originating in New Orleans as mainly sourced from the culture of African Americans, jazz played a significant part in wider ...
The University of North Texas’ long-running jazz radio station has switched genres in favor of indie and alternative music, hoping to capture student engagement.
University of Texas Jazz Orchestra chronology. Sixth Floor Jazz. (1995) Once in a Blue Moon. (2000) Good Days. (2002) Once in a Blue Moon is an album by the University of Texas Jazz Orchestra that was released in 2000. It features Gary Foster on saxophone.
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.