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The group’s chemistry is ultra-refined at this late date; the carefully calibrated sharing of duties brings a quizzical serenity to this improv-slanted chamber music." [ 12 ] Brian Payne of Jazz Journal commented, "Bley is distinctive on piano throughout the album, Sheppard supple and circuitous on tenor and soprano sax and Swallow rich, warm ...
Carla Bley (born Lovella May Borg; May 11, 1936 – October 17, 2023) was an American jazz composer, pianist, organist, and bandleader. [2] An important figure in the free jazz movement of the 1960s, she was perhaps best known for her jazz opera Escalator over the Hill (released as a triple LP set), as well as a book of compositions that have been performed by many other artists, including ...
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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.
Personal life. Anderson lived at 724 E. 52nd Place from 1930 to 1945 (part of the 52nd Place Historic District). Ivie Anderson was born July 10, 1905, in Gilroy, California. [3] Although her mother's name is unknown, her father was Jobe Smith. From 1914 to 1918 (age nine to 13), Anderson attended St. Mary's Convent and studied voice.
Jazz is a music genre that originated in the African-American communities of New Orleans, Louisiana, in the late 19th and early 20th centuries, with its roots in blues, ragtime, European harmony and African rhythmic rituals.
"Livery Stable Blues" is a jazz composition copyrighted by Ray Lopez (né Raymond Edward Lopez; 1889–1979) and Alcide Nunez in 1917. It was recorded by the Original Dixieland Jass Band on February 26, 1917, and, with the A side "Dixieland Jass Band One-Step" or "Dixie Jass Band One-Step" (a tune later better known as "Original Dixieland One-Step"), became widely acknowledged as the first ...
According to the liner notes by Nat Hentoff [5] the composition was one of Remler's favorites from the Be-bop era. In 1990, Mal Waldron & Steve Lacy covered the tune on their album Hot House. In 1998 trumpeter Arturo Sandoval covered the tune on his big band album Hot House. In 1999, guitarist Larry Coryell covered the tune on his album Private ...
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