Scott Joplin had played in New York, and other great musicians followed in his footsteps. After The Original Dixieland Jazz Band played on Broadway, jazz musicians imitated the New Orleans sound. While not attaining the undisciplined and wildly erratic beat of New Orleans jazz, the popularity of jazz in New York increased drastically. The 1920s proved to be a Golden Age of jazz in New York. Jazz was diverse and appealed to people from every echelon of society.
Sharon Bellingeri English III: 1 Mrs. Sledden 25, May 2011 Sounds of a Nation The loud, ringing sound of a trumpet’s blare, the fresh rhythm of guitars, and the clear crisp voices uplifted in song; these were just a few of the common sounds that could be heard during the 1920s. The Jazz Age incorporated more than just jazz, with blues booming, ballads and ragtime filling the air, and show tunes enrapturing audiences on and off the stage, the 1920s were alive with all kinds of music. The 1920s brought significant changes to music in America with new musicians, styles, and innovations, all of which would influence music around the world for years to come. Jazz music was a significant source of music in the 1920s, a style which originated
The organizational structure of paragraphs two, three, and four could be described as a. definition b. chronological order c. listing d. example _____ 6. Which of the following statements best expresses the main idea of the selection? a. Despite many hardships Louis Armstrong became a great success. b. Louis Armstrong was the first ambassador of jazz.
“The King of Swing: Benny Goodman and his Lasting Influences” Known as the “King of Swing”, Benny Goodman used his love of jazz and classical music to propel a career that spanned nearly six decades and drove jazz varieties to unprecedented levels of popularity. His influences on music included the introduction of the Swing Era, the propulsion of Bebop, and the commission of some of the greatest classical clarinet compositions of all time. Yet Goodman was more than a musician, and his desire to achieve perfection led him to break racial barriers in the music scene at a time when the nation was deeply divided by color. Born to a large, poverty stricken family in 1909, Benny Goodman first discovered the clarinet at age 10 (“Benny Goodman”, 2011). Two years later, while playing onstage at a small regional show, he caught the ear of bandleader Ben Pollack and was given a spot in Pollack’s band.
His style then became simpler, replacing the experimentation of his earlier years with a more mature approach that used every note to its greatest advantage. He rerecorded some of his earlier songs with great results. In 1924, Armstrong enjoyed a brief stint with bandleader and arranger Fletcher Henderson in New York City. By the time jazz pianist Lil Hardin, who would become the second of his three wives, persuaded Armstrong to work independently around 1925, he had switched from the cornet to the trumpet. During the next few years he made recordings fronting his own musicians; depending on the number assembled, they were known as the Hot Five or the Hot Seven.
When speaking to anyone who is familiar with dance found in the 1920’s through the 1960’s, it is naturally commonly acknowledged that the father of not only the Jive but also the entire Swing Dance division was the Lindy Hop. It is accepted that the true start of the Lindy Hop was in the early 1920’s, yet there are some pieces of evidence that can be interpreted to similar dances, dated back to nearly the 18th century. Combining a wide variety of popular dances worldwide led to the creation of the Lindy Hop. Many of these dances were created and developed in the African American dominated communities. Similar to the way that Jazz was viewed as a music that could absorb and evolve with alternative forms of music; the Lindy Hop was designed to also encompass the constant evolution of social desires and cultural needs, while keeping a basic foundation.
Mambo music is up tempo and mainly instrumental that has many different distinctions and definitions. It is a big-band dance music genre featuring antiphonal sectional arrangements for contrasting brass instruments. Typical instruments involved in a mambo song are the conga, cajon, bongo, timbales, claves, upright bass, piano, trombones, trumpets, and saxophone. Mambo has its origins in American big band style of music mashed together with Cuban ideas of the montuno and danzon. The montuno involves a rhythmic backbeat infused with often-improvised solos.
If you have ever heard the original versions of “Take The “A” Train”, “It Don’t Mean A Thing…”, “Satin Doll”, or “Stompin At The Savoy”, and the long list of jazz hits goes on and on, then you have undoubtedly had the pleasure of listening to one of the greatest composers and musicians that has ever lived. If you have heard those works performed live by the originator, then you have sat amongst greatness. Many great names come to mind when jazz is mentioned but there is one that leads the crowd and has left a legacy that will not soon be forgotten. While his birth certificate may read Edward Kennedy Ellington, he is more commonly known through out the world as “Duke”. He was born on 29 April 1899 to mother Daisy Kennedy Ellington and
By 1943 he began a series of annual concerts at Carnegie Hall, which was an indication of how much jazz was now accepted in prestigious western classical concert venues. Ellington used this opportunity to write longer and more ambitious works in several movements, like the epic musical history of African-American life, Black, Brown and Beige. Between 1927 and 1931 the Ellington Orchestra played its most famous residency. At the Cotton Club in Harlem, the band backed ‘jungle’ dance-theatre routines in a variety of shows, part of a new popular interest in African-American culture later known as the Harlem Renaissance. During the Cotton Club years, the Ellington band
History Of Jazz Mus 225 Professor Hebert A. Smith, M.A 1. Race Record played what value in the development of African American music. Prior to the emergence of rhythm & blues as a musical genre in the 1940s, "race music" and "race records" were terms used to categorize practically all types of African-American music. Race records were the first examples of popular music recorded by and marketed to black Americans. Reflecting the segregated status of American society and culture, race records were separate catalogs of African-American music.