Marchin' to New Orleans - Jazz Band

Опубликовано09.11.2018 в 02:17АвторKadal






Dixieland Selection - Classic Jazz Compilation - The Most Beautiful Melodys of Traditional Jazz

When the New Orleans Jazz style swept New York by with the arrival of the Original Dixieland Jazz Band.

The rhythm sections of these bands substitute the string bass for the tuba and the guitar for the banjo. Musically, the Chicagoans play in more of a swing-style 4-to-the-bar manner. The New Orleanian preference for an ensemble sound is deemphasized in favor of solos. Chicago-style dixieland also differs from its southern origin by being faster paced, resembling the hustle-bustle of city life.

Chicago-style bands play a wide variety of tunes, including most of those of the more traditional bands plus many of the Great American Songbook selections from the s by George Gershwin , Jerome Kern , Cole Porter , and Irving Berlin. This modernized style came to be called Nicksieland, after Nick's Greenwich Village night club, where it was popular, though the term was not limited to that club.

It started out as a backlash to the Chicago style, which is closer in development towards swing. Bands playing in the West Coast style use banjo and tuba in the rhythm sections, which play in a two-to-the-bar rhythmic style. Much performed traditional Dixieland tunes include: They came to be grouped as Dixieland standards beginning in the s.

Dutch "Old-style jazz" Largely occurring at the same time as the "New Orleans Traditional" revival movement in the United States , traditional jazz music made a comeback in the Low Countries.

However, most Dutch jazz bands such as The Ramblers had long since evolved into the Swing-era while the few remaining traditional jazz bands such as the Dutch Swing College Band did not partake in the broader traditional revival movement, and continued to play ragtime and early jazz, greatly limiting the number of bands aspiring jazz musicians could join or as they were using instruments unavailable to most Dutch musicians such as double basses and the piano were forced to improvise, resulting in a new form of jazz ensemble generally referred to "Oude Stijl" "Old Style" jazz in Dutch.

Influenced by the instrumentation of the two principal orchestral forms of the wind band in the Netherlands and Belgium , the " harmonie " and the " fanfare ", traditional Dutch jazz bands do not feature a piano and contain no stringed instruments apart from the banjo.

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They include multiple trumpets , trombones and saxophones accompanied by a single clarinet , sousaphone and a section of Marching percussion usually including a washboard. The music played by Dutch jazz bands includes both the original New Orleans tunes, as well as the songs of the revival era. In terms of playing style, Dutch jazz bands occupy a position between revivalist and original New Orleans jazz, with more solos than the latter but without abandoning the principle of ensemble playing.

With the average band containing up to players, Dutch jazz bands tend to be the largest ensembles to play traditional jazz music. Styles influenced by traditional jazz This section does not cite any sources. Please help improve this section by adding citations to reliable sources. Unsourced material may be challenged and removed. February Learn how and when to remove this template message Musical styles showing influences from traditional jazz include later styles of jazz, rhythm and blues , and early rock and roll.

Traditional New Orleans second-line drumming and piano playing are prominent in the music of Fats Domino. Partial list of Dixieland musicians This section does not cite any sources. February Learn how and when to remove this template message Some of the artists historically identified with Dixieland are mentioned in List of jazz musicians.

Kenny Ball , who had a top hit with "Midnight in Moscow" in the early s, is a leader of the British Trad movement.

However, most Dutch jazz bands (such as The Ramblers) had long since evolved into the Swing-era while the.

Eddie Condon , guitarist who led bands and ran a series of nightclubs in New York City and had a popular radio series. Successor bands played until the s, and their mainstream style is still heard today, especially in touring bands led by cornetist Ed Polcer who was a co-owner of Condon's last nightclub in New York. Founded in in partnership with his late father, was originally known as the Happy Jazz Band.

Steamboat Willie , a veteran musician of Dixieland, jazz and ragtime music still playing at the Cafe Beignet in New Orleans today. A successor band continues on in New Orleans today. Pete Fountain , late clarinetist who led popular bands in New Orleans. Al Hirt , trumpeter who had a string of top hits in the s, led bands in New Orleans until his death.

George Lewis was a New Orleans clarinetist featured at Preservation Hall in the s, also led his own band. Turk Murphy , trombonist who led a band at Earthquake McGoons and other San Francisco venues from the late s through the s.

Chris Tyle , cornetist, trumpeter, drummer, clarinetist, saxophonist, leader of the Silver Leaf Jazz Band. Also known as a jazz writer and educator. A member of the Jazz Journalists Association. Chris Barber , trombonist and bandleader, influential figure in the European dixieland and traditional jazz revival after World War II Festivals The International Dixieland Festival in Dresden In the United States , the largest traditional jazz festival, the Sacramento Jazz Jubilee , was held in Sacramento , California annually on Memorial Day weekend, with about , visitors and about bands from all over the world.

It ended in after 44 years. Other smaller festivals and jazz parties arose in the late s as the rock revolution displaced many of the jazz nightclubs. The event culminates in a parade with floats. It is combined with a prestigious road race, the "Bix 7". Periodicals There are several active periodicals devoted to traditional jazz: Quotations Arguably the happiest of all music is Dixieland jazz.

The sound of several horns all improvising together on fairly simple chord changes with definite roles for each instrument but a large amount of freedom, cannot help but sound consistently joyful. First by the trade press, then by the public.

By the end of the decade it all but lost any direct 'Southern' association.

The rhythm sections of these bands substitute the string bass for the tuba and the guitar for the banjo.


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