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History and influence of jazz
History and influence of jazz
History of jazz music timeline essay
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Stan Kenton: Progressive Concepts in Jazz
Stanley Newcomb Kenton is one of the most influential figures to be found in all of jazz history, even being called "the most significant figure of the Modern Jazz age" by Frank Sinatra (Agostinelli, 6). Kenton's progressive concepts of how music is written and performed greatly affected the genre of jazz, and created something new and unique. Always under controversy, Kenton and his band always strove to do something different, never settling into a niche for long periods of time. Even today, when hearing modern jazz performers (particularly big bands) one can often hear the influence from Kenton's music.
Kenton was born in Wichita, Kansas on December 11, 1911, although he spent most of his youth in the Los Angeles area. He began studying piano and composition early with his mother and eventually with bandleader and pianist Earl "Fatha" Hines. Kenton was influenced by many different kinds of music other than jazz, including twentieth century composers Claude Debussy, Igor Stravinsky, and Bela Bartok. Once he was a little older, Kenton began playing around in the Los Angeles and San Diego areas, and formed his first band in 1941, beginning his career as a bandleader. Kenton's music is best organized into the different "eras" of the Kenton bands: Artistry in Rhythm (mid-1940s), Progressive Jazz (mid- to late 1940s), Innovations in Modern Music (early 1950s), New Concepts in Artistry in Rhythm (Contemporary Jazz) (early to mid-1950s), Orchestra in Residence (late 1950s), New Era in Modern Music (Mellophoniums) (early 1960s), Neophonic (mid-1960s), and Fusion (early 1970s). Each era had different elements which made it unique while still maintaining the inimitable Kenton sound. Kenton a...
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.... 24-28 September 1962. CD. Capitol Jazz, 1997.
Kenton, Stan. City of Glass. Rec. 6 December 1947-28 May 1953. CD. Capitol Jazz, 1995.
Kenton, Stan. Cuban Fire. Rec. May 1956. CD. Capitol Jazz, 1991.
Kenton, Stan. Kenton in Hi-Fi. Rec. February 1956. LP. Capitol, 1956.
Kenton, Stan. Live From the Las Vegas Tropicana. Rec. 2 February 1959. CD. Capitol Jazz, 1996.
Kenton, Stan. The Peanut Vendor. Rec. 1961. CD. Eclipse Music Group, Inc., 1994.
Kenton, Stan(ley Newcomb)." New Grove Dictionary of Jazz. Ed. Barry Kernfeld. New York: St. Martin's Press, 1994.
Rosolino, Frank. Free For All. Rec. 22 December 1958. CD. Specialty Records, Inc., 1991.
Sparke, Michael. Liner notes. Live From the Las Vegas Tropicana. Music by Stan Kenton. Capitol Jazz, 1996.
Wooley, Stan. "Pete Rugolo: Artistry in Arranging." Jazz Journal International, June 1989: 12-14.
"Dizzy Gillespie – Jazz and Blues Masters ." american jazz musician . b 1917 . d 1993.
Jazz music of the 1940’s and 1950’s was defined by a history of change since its beginning at the dawn of the 20th century. Almost every decade brought a new flavor to the movement, and by the 1940’s jazz had developed into a mature, complex form of music, with many nuances and avenues for continued change. It is important to trace the early movements in jazz to better understand the innovations of the Bebop and Cool jazz eras of the 40’s and 50’s.
Ferdinand Joseph LaMothe, more commonly known as Jelly Roll Morton, was born to a creole family in a poor neighborhood of New Orleans, Louisiana. Morton lived with several family members in different areas of New Orleans, exposing him to different musical worlds including European and classical music, dance music, and the blues (Gushee, 394). Morton tried to play several different instruments including the guitar; however, unsatisfied with the teachers’ lack of training, he decided to teach himself how to play instruments without formal training (Lomax, 8). ...
Sources cited http://www.acns.nwu.edu/jazz/styles/bebop.html: Net Zero. 6-2-02 http://www.geocities.com/Athens/Forum/4722/jazz.html: Net Zero. 6-2-02 http://www.kennyg.com/biography.html: Net Zero 6-2-02. http://library.thinkquest.org/26656/english/music.html: Net Zero.
Baldwin, James. “Sonny’s Blues.” The Jazz Fiction Anthology. Ed. Sascha Feinstein and David Rife. Bloomington: Indiana UP, 2009. 17-48.
Lewis Armstrong was to jazz music, Bach is to classical music, Presley is to rock music (Berrett 230). This essay will have an introduction to the king of jazz music—— Lewis Armstrong and his great influence on jazz history. It could not be examined when and by whom Jazz music was found. People began hearing jazz music in the early 1900s. It originated from the American in New Orleans city and Jazz founders were mostly black people.
Edward Kennedy Ellington, American jazz composer, orchestrator, bandleader, and pianist, is considered to be the greatest composer in the history of jazz music and one of the greatest musicians of the 20th century. He composed over 2000 works and performed numerous concerts during his musical career. A compilation of some of his most popular music is collected on a CD called "The Popular Duke Ellington."
Jazz music prospered in the 1940’s and 1950’s. Jazz was created by African Americans to represent pain and suffering and also represented the adversity that racial tension brought. (Scholastic) African American performers like Dizzy Gillespie and Charlie “Bird” Parker came to be recognized for their ability to overcome “race relati...
Sundquist, Eric J. “Ralph Ellison, Jazz, and Louis Armstrong.” Bloom’s Literature. Facts on File, Inc., 1995. Web. 9 Jan. 2014.
Carringer, Robert L.. The Jazz singer. Madison: Published for the Wisconsin Center for Film and Theater Research by the University of Wisconsin Press, 1979. Print.
Teachout, Terry. "John Hammond's jazz." Commentary 122.3 (2006): 55+. Academic OneFile. Web. 16 Nov. 2011.
Not only is it nearly impossible to pinpoint jazz’s conception in time, many locations are accredited with its origin, the United States allowed for jazz to start gaining popularity and leading into the change it had to the music scene. When jazz is brought up, many first think of its birth place being New Orleans, Louisiana. New Orleans has always been a big musi...
Being a jazz standard and commonly played by a military and other marching bands, this piece was first composed by Benny Golson and was first recorded for Blue Mitchell’s Riverside album Big 6 on July 2nd and 3rd, 1958. This piece was influenced by New Orleans marching bands, and “starts in long meter form and transforms back into regular time. From Leonard Feather's point of view, “the theme with its slight bugle-call orientation, has a period quality that ties the work
NJ: The Prentice House. Morrison, Toni. (1993) The 'Secondary' Jazz.