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"Milestones" is a jazz composition written by Miles Davis.It appears on the album of the same name in 1958. It has since become a jazz standard. "Milestones" is the first example of Miles composing in a modal style and experimentation in this piece led to the writing of "So What" from the 1959 album Kind of Blue.
Jeff Kashiwa was born in 1963 in Louisville, Kentucky but moved to Seattle, Washington as a young child. He credits the public school's music program for inspiring his interest in music, [1] along with his father, who died in 1992, who was a fan of jazz music including Benny Goodman and Glenn Miller.
On All About Jazz, Mark F. Turner said "there are more subdued voices who let their music do the talking, as is the case for Ron Miles' Quiver, a project led by the Denver-based trumpeter and his talented cohorts, guitarist Bill Frisell and drummer Brian Blade. These gentle masters are highly respected leaders with expansive discographies and ...
Just when you thought Gen Z had exhausted every possible retro revival look, they’ve unearthed a new (yet old) obsession: vintage jazz. According to Pinterest’s latest report, “Jazz-inspired ...
Straight-ahead jazz is a genre of jazz that developed in the 1960s, with roots in the prior two decades. It omits the rock music and free jazz influences that began to appear in jazz during this period, instead preferring acoustic instruments, conventional piano comping, walking bass patterns, and swing- and bop-based drum rhythms.
Avant-garde jazz (also known as avant-jazz, experimental jazz, or "new thing") [1] [2] is a style of music and improvisation that combines avant-garde art music and composition with jazz. [3] It originated in the early 1950s and developed through to the late 1960s. [4] Originally synonymous with free jazz, much avant-garde jazz was distinct ...
Free jazz, or free form in the early to mid-1970s, [1] is a style of avant-garde jazz or an experimental approach to jazz improvisation that developed in the late 1950s and early 1960s, when musicians attempted to change or break down jazz conventions, such as regular tempos, tones, and chord changes.
Backdoor compared with the dominant (front door) in the chromatic circle: they share two tones and are transpositionally equivalent. In jazz and jazz harmony, the chord progression from iv 7 to ♭ VII 7 to I (the tonic or "home" chord) has been nicknamed the backdoor progression [1] [2] or the backdoor ii-V, as described by jazz theorist and author Jerry Coker.