Jazz Music

The top nightclub in the city at that time was Mike Fritzel's Chez Paree which was located at 610 N. Fairbanks Ct. All of the top entertainers from Sophie Tucker to Mae West to Frank Sinatra to Sammy Davis, Jr. to Nat King Cole performed there. The club opened in 1933 and closed in the early 1960s. For more information, there is a Chez Paree website.

Francis Scott Key Fitzgerald.

During the 1930's the flappers represented a change in the American woman in society. They started showing skin with shorter skirts. They started wearing shorter hair and makeup. They skinny boyish figure was stylish at this time as well as unisex fashion. They drank, smoked cursed, danced, participating in petting parties, etc.

Grace notes, note bending, slurring, octave jumping, bar line blurring, utilising chord progressions.

Bi Mir Bist do Schoen

Jazz music was created from the black culture in New Orleans in 1804. It was a hard time in life for most, and they needed a way to get through it all. So, letting out their feelings, they created...jazz.

Jazz was actually the result of many cultures and musical heritages being combined in New Orleans. A city often given credit for the creation of jazz, New Orleans was very diverse in heritage and that, combined with a transitioning of styles and preferences of the people, contributed to the creation of jazz.

Jazz gained popularity in America and worldwide by the 1920s. Nothing quite like it had ever happened before in America. New exuberant dances were devised to take advantage of the upbeat tempo's of jazz and ragtime music.

The bass serves multiple purposes in jazz music, depending on the situation. The most predominant role that bass will always serve is the bridge between the melody and the rhythm of the song, but in jazz it also serves to outline the chord changes in the music sometimes even walking around chord changes to emphasis the unique voicings of specific chords and not just the root tones, but even can serve as the focal melodic point thanks to bassist like Jaco Pistorious, Marcus Miller, John Patitucci, etc.

John Lennon had two sons: Julian Lennon, born to Cynthia Lennon in 1963, and Sean Ono Lennon, born to Yoko Ono in 1975.

Yoko Ono had a daughter named Kyoko (later called Rosemary), who was about the same age as Lennon's son Julian, by her previous husband Anthony Cox. Yoko won custody of Kyoko, but she and Cox disappeared for several years.

Yoko also miscarried a boy by Lennon late in 1968, who was far along enough (five months) to require a death certificate. They named him John Ono Lennon II.

Brian Wilson

Yes, of course. there have been many famous jazz violin players down the years, Stephane Grappelli, Stuff Smith, Joe Venuti, Eddie South, Ray Nance, Svend Asmussen, Claude Williams, Jean Luc Ponty, Didier Lockwood, Michel Urbaniak, Regina Carter, Billy Bang to name some of the most important voices. There are many others.

"The Roots of Jazz

Before 1850

Though jazz and classic blues are really early twentieth-century black music innovations, certain characteristics found in jazz do have their roots in much earlier musical traditions. Call and response, improvisation, the appropriation and reinvention of elements from Western art music: black music in the twentieth-century has never held a monopoly on these musical practices. For instance, the era American historians call "antebellum" (roughly 1815-1861) holds much of interest to researchers looking for the deep roots of jazz.

There was one condition that had to be met for a black tradition unique to North America to develop. There had to be a creole population in place, i.e. a population of blacks born not in Africa but in America. Historically, and for various complicated reasons, slaves in the United States began reproducing their numbers after the closing of the African slave trade in 1808. The creole birthrate actually climbed in the United States, as opposed to most Latin and Caribbean American colonies. Unlike in Brazil or Cuba direct African infusions into black American culture were much less pronounced in the early and middle nineteenth-century. After 1808, blacks in North America began remembering--as well as forgetting--African musical traditions, reinventing them to fit their needs in an entirely different American context. This is an important thing to remember, especially if you hold with Amiri Baraka that "Blues People" have always been curiously American "Negroes."

But the North American variation and reinvention of African tradition in the early nineteenth-century was not monolithic. That is to say, depending on the region and the demands of the musical audience--whether it be fellow slaves or plantation-owners--the music varied from place to place. Perhaps the difference between 'downtown' and 'uptown' black style even began during this era. On the one hand there were the plaintive call-and-response hollers and 'sperchils' to be found in the tobacco fields, cotton plantations, and sugar marshes that stretched from Virginia to Texas. These instances of black music-making were largely produced by and for a black slave community that understood the significance of the music in ways that whites never could. Scholars have often noted the hidden meaning of field hollers and the significance of the drums to communication between various slave groups. The drums were even banned in the British Caribbean. Meanwhile, 'uptown', there were the slaves that played for planter functions. Think here of Solomon Northup, abducted from New York and sold into slavery in the New Orleans area. He would play his violin with other slaves to entertain plantation misters and mistresses at quadrilles and fancy balls. Others slave musicians would play at the so-called quadroon balls, New Orleans galas where light-skinned slave women were auctioned off to the highest bidder. There were striking similarities between these balls and the Storyville milieu where Jelly Roll Morton learned to entertain prostitutes and their patrons.

Despite the fact that the vast majority of blacks lived in the South, there were some freemen and women in the North. Indeed, they even had their own autonomous cultural venues, like the African Grove theater in New York City. But perhaps an even more important agent in spreading black musical style to the North during the first half of the nineteenth century was minstrelsy. The minstrel show was born in the same year as William Lloyd Garrison's Liberator, 1831, when Dan Rice-for the first time in American history-"blacked up" for a variety show in New York's Bowery district. The show became increasingly formalized after the Christie Minstrels devised a much-imitated structure for it in the 1840s and . Two ubiquitous components of this structure were the Stephen Foster songs and a generic instrumentation including banjoes, "bones" (jawbones scraped together for percussive effect), fiddle, and tambourine. Minstresly had of course a more spurious connection to black musical traditions than did, say, the spirituals. But it should be remembered that most Northern minstrels did go to great lengths to acknowledge the black stevedores or plantation slaves from whom they had stolen their material. This sort of Love and Theft, according to Eric Lott, set a precedent for a whole tradition of blackface in America where white performers would borrow lovingly, profitably, and heavily from black musical styles, from Dan Rice to Elvis.

Louis Armstrong (the great Satchmo) matches that description.

the clairnet

According to an article in the Guardian in March 2012, Sade lives in a cottage in South Western England with her boyfriend Ian and teenage daughter.

lucy pinder and megan fox

No, they're not a couple; though I do suspect that they might have had some fire between them in their earlier days. Sister Bliss is married to some bloke named Nick, who she also has a child with. I don't know about Maxi's deal. He's a rapper who drives motorcycles and he's a DJ so chances are, he gets a lot of booty. Nonetheless, he's also a devout Buddhist so he might have taken up momentary celibacy.

Some contributions include:

All of those wonderful big band recordings

The first major jazz concert at Carnegie Hall (1938)

Many famous musicians came up through Goodman's band and went on to bigger

and better things. Gene Krupa, Lionel Hampton, Jess Stacy, Teddy Wilson, Harry

James, Ziggy Elman to name a few.

His band was one of the first to feature several different players.

His quartets and quintets were some of the first successful modern combos.

One of the first, and the first of the really successful, racially integrated bands.

Saving the music of Fletcher Henderson - his band didn't succeed, but Goodman

used his arrangements.

His classical performances renewed interest in classical clarinet.

Just too many to list.

bongos in African music and saxophones in jazz!!

I wouldn't say so. It depends on your individual style and what YOU want. Some people would argue country, classical, or any other genre of music. Personally, I think blues and a few other jazz styles are relaxing, but once again, that's my opinion. You have to decide what works best for you.

Oh, give me a home where the buffalo roam

And the deer and the antelope play

Where seldom is heard a discouraging word

And the skies are not cloudy all day

Home, home on the range

Where the deer and the antelope play

Where seldom is heard a discouraging word

And the skies are not cloudy all day

How often at night when the heavens are bright

With the light from the glittering stars

Have I stood there amazed and asked as I gazed

If their glory exceeds that of ours

Home, home on the range

Where the deer and the antelope play

Where seldom is heard a discouraging word

And the skies are not cloudy all day

Where the air is so pure, the zephyrs so free

The breezes so balmy and light

That I would not exchange my home on the range

For all of the cities so bright

Home, home on the range

Where the deer and the antelope play

Where seldom is heard a discouraging word

And the skies are not cloudy all day

Oh, I love those wild flow'rs in this dear land of ours

The curlew, I love to hear scream

And I love the white rocks and the antelope flocks

That graze on the mountaintops green

Home, home on the range

Where the deer and the antelope play

Where seldom is heard a discouraging word

And the skies are not cloudy all day

All improvisation is the same in concept. The only things that differ are rhythms and accents. For example if I was to solo on a blues progression the accent notes would be beats 1 and 3, and it would include a mixture of swing eighth notes and/or triplets. However if I was doing a solo on a latin progression, my accents would be dependent on the drumming style. A typical samba would be like 2 and 4+ straight eighths.

As for forms, I would say scales are the only things able to influence the sound of improvisation. By changing your mode according to the chord you can get a wide variety of sounds. For example, a C Major chord. It's notes are C-E-G. I could use all of these scales within reason:

C = Ionian, Mixolydian.

E = Aeolian, Lydian, Dorian, Phrygian.

G = Ionian, Phrygian.

Pretty much how I got that was I took the mode and if it fit the chord you can use it. So you can't use it if there was a conflict such as G# in the scale. That would conflict with the G and make it extremely dissonant. Experimentation is the key in all improvisation.

The only exception to Improv would be classical music. Where there may be cadences/breaks. Mozart wrote a lot of these where he would write a single note under a fermata and it was up to the musician to make up the rest. In that case you are restricted heavily into Ionian. Some cases, depending on the context you might use phrygian (minor keys). Hope this helped.

polished improvisation is drama is where a cast in a improvisation game for example has time to create a storyline or something like that before they go on the stage. Which means they have little time to come up with something and they can rehearse a couple of minutes before they go on the stage.

you need not only the love and comitment to playing but you need to be able to read the music on the sheets while you are playing the guitar. you need to understand the beats and the notes and you need to know which fret and string to play and at what time. it will take about 6-7 years to learn to play and you need alot of practice. that's why most arstist start when they are in the younger years.

In the early stages of his career, when he was merely a bandsman playing trumpet in other people's bands, he worked primarily in America. Once he was signed by the Joe Glaser agency, Glaser was determined to promote Louis as a global jazz phenomenon and in so doing make a lot of money for himself. He created the Louis Armstrong All Stars and successfully did this but the cost to Louis was a never ending stream of concerts all around the world, virtually up to the day that he died, with little chance for occasional respites from the arduous round concert after concert after concert. This sheer grind of hard work was probably a factor in Louis' eventual demise.