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MistyFountain (Solo Career), CBS/Sony (1982-97, as a member of T-Square) Alma mater. Keio University. Hirotaka Izumi (和泉宏隆, Izumi Hirotaka; September 28, 1958 – April 26, 2021) was a Japanese keyboardist, pianist, and composer who was a former member of the jazz fusion band T-Square. [1] Besides T-Square, he was also active in the ...
Jazz box or jazz square is a dance move seen in numerous dances of various styles, including line dance, novelty dances, jazz dance, disco, and hip hop. The name comes from its basic footwork : its four steps form a square pattern.
List of jazz contrafacts. A contrafact is a musical composition built using the chord progression of a pre-existing song, but with a new melody and arrangement. Typically the original tune's progression and song form will be reused but occasionally just a section will be reused in the new composition. The term comes from classical music and was ...
"The quest to make jazz more relevant to popular audiences, while retaining its artistic integrity, is a constant and prevalent theme in the history of postwar jazz." [137] During its swing period, jazz had been an uncomplicated musical scene; according to Paul Trynka, this changed in the post-war years: Suddenly jazz was no longer straightforward.
T-Square recorded another T-Square plays The Square album, Yume no Uta (夢曲) released in October 2011, much like the year prior. [74] Keizoh Kawano recorded and released his own solo album, Dreams, in November. [75] At the end of 2011, they performed a new song, "Bird of Wonder", which was released with their 2012 album Wings. [76]
Jazz rap is a fusion subgenre of hip hop music and jazz, developed in the late 1980s and early 1990s. The lyrics are often based on political consciousness, Afrocentrism, and general positivism. 1980s ->. Jazz rock. The term "jazz-rock" (or "jazz/rock") is often used as a synonym for the term "jazz fusion". 1960s ->.
Masabumi Kikuchi (菊地 雅章, Kikuchi Masabumi, 19 October 1939 – 6 July 2015) was a Japanese jazz pianist and composer known for his unique playing style. [1] He worked with many diverse musicians, including Sonny Rollins, Miles Davis, McCoy Tyner, Elvin Jones, Gary Peacock and Paul Motian, and collaborated with Gil Evans and Tōru Takemitsu.
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.