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15 Most Influential Jazz Artists

15 Most Influential Jazz Artists
As one of the most well respected American art forms, jazz has shaped the music industry spawning both the careers of various musical geniuses, and an abundance of elemental new music genres. Jazz was developed in the late 19th century and early 20th century as American and European classical music was mixed with African and slave folk songs. These songs were played to a syncopated rhythm, and from this emerged ragtime, then Dixieland and subsequently Big Band, what many consider to be the beginning of modern jazz. [youtube= Art Tatum was a jazz pianist and virtuoso who was nearly blind. [youtube= Some of the most complex and dissonant harmonies can be found in the repertoire of pianist and composer Thelonious Monk, one of the most important contributers to bebop music. [youtube= [youtube= [youtube= [youtube=

Home Page These Millennials Are Shaking Up the Jazz World If the array of fresh faces in these images surprises you, well, it shouldn’t. Jazz has always been a young person’s game. Two of the greatest innovators in the history of jazz, Louis Armstrong and Charlie Parker, were both in their mid-20s when they made their breakthroughs, the ones that changed the music for all time. And most sidemen in the Big Band era were college-age. So, what makes jazz—which is hot, hot, hot these days and nights—so different in the second decade of its second century? With a nod to this youth movement, we’ve defined the start of the contemporary era as 1981, when Wynton Marsalis—the 21st-century ambassador of jazz—recorded his eponymous first album. It is important to note that both the music itself and the ways in which it’s being heard are much more open-ended than ever before. The traditional music industry has been in free fall for the entire careers of these younger players. Related: See Even More Young Jazz Musicians on the Upswing

Jazz | FilterMusic Music– Jazz Artists– Jazz News THE DOZENS: HIP-HOP MEETS JAZZ by Jared Pauley For well over forty years, jazz music and hip-hop music have flirted with each other on numerous occasions. When jazz artists began to experiment with sounds beyond free jazz and the avant-garde, they unknowingly helped plant one of the important seeds for hip-hop music. Hip-hop artists returned the favor in the 1980s, sampling some of the most respected music in the jazz catalogue. In the 1990s, popular hip-hop acts took jazz samples to the top of the charts while others worked directly with respected jazz musicians. This Dozens list represents a small portion of existing music but overall an attempt was made to highlight the important steps and linkages between jazz and hip-hop. Buckshot Lefonque: Breakfast @ Denny's Buckshot Lefonque (Columbia) Buy Track Recorded: 1994 Rating: 93/100 (learn more) Reviewer: Jared Pauley Bob James: Nautilus Buy Track Musicians: Bob James (keyboards), Gary King (bass), Steve Gadd (drums) Recorded: 1974 Guru: Loungin'

Birth of the Uncool: Don Cheadle's Miles Davis Biopic 'Miles Ahead' Quick: Name an adjective you associate with Miles Davis. You picked “cool,” right? Even in settings where the late trumpeter’s music is far out of mind, he pops up as a symbol of cool: Gap ads. Viewed from a certain perspective, jazz is a high-drama form: A group of musicians get together, often with only a melody and a set of chords, and then the players are expected to take turns producing fresh improvised solos on the spot. One of the strengths of Miles Ahead, Don Cheadle’s excellent new Davis biopic, is the way it rejects that approach, capturing its subject’s musical genius while still delivering a quick-paced plot. In the late 1970s, after driving hard into a psychedelic, electric direction, Davis quit music, entering a reclusive haze of debauchery, pornography, cocaine, and dissolution. Reaction to Miles Ahead has focused, sometimes critically, on the fictionalized elements of the movie. Race was never far from Davis’s mind. And both films grapple with drugs.

Drumming Can Largely Improve Your Mental Health, Science Says Drums are more than just an instrument. Percussion instruments have been a part of music therapy for a long time. Science has long shown that music has a positive impact on the brain when its used in a therapeutic manner. In particular, drumming is great because it allows you to do something fun while firing up several important areas of the brain. Here are a few ways that drumming can improve your mental health: It Helps You Get More In Touch With Yourself Playing the drums can help you get more in touch with yourself. One study showed that transmitting rhythmic energy to your brain allows both cerebral hemispheres to sync up. In addition to your two hemispheres, drumming allows syncs up the frontal area and lower of the brain. All this allows you to transcend normal understanding. It Helps Reduce Stress Is there a better stress reliever than being able to hit something without hurting yourself or others? Recent studies have shown that a regular drumming program helps people reduce stress.

Music– Jazz Artists– Jazz News THE DOZENS: TWELVE LATIN JAZZ CLASSICS by Mark Lomanno Editor’s note: Pianist Mark Lommano first traveled to Cuba on a research grant, seeking to unravel the mysteries of the Cuban son. On his second trip, he came as a musician, performing at the Santiago Jazz Festival and working with Joaquin Pozo, the prominent conquero and bandleader, and the great-nephew of the legendary Chano Pozo. Back stateside, he has brought his world fusion experiences to bear on his work with The Mark Lomanno Afro-Cuban Project, as well as his continued scholarly work in the area of Latin music. Here Mark picks twelve of his favorite Latin jazz performances, some well known, others neglected gems from the music’s past. Duke Ellington: Caravan (1937) Ken Burns Jazz: Duke Ellington (Columbia/Legacy CK 61444) Buy Track Musicians: Composed by Duke Ellington & Juan Tizol Recorded: New York, May 14, 1937 Rating: 97/100 (learn more) Reviewer: Mark Lomanno Machito: Tanga Group Machito and his Orchestra Buy Track Buy Track Buy Track

A Brief History of Latin Jazz By Carlos Quintana In general terms, Latin Jazz is a musical label defined by the combination of Jazz with Latin music rhythms. Brazilian Jazz, a style that emerged from the sounds of Bossa Nova thanks to artists like Antonio Carlos Jobim and Joao Gilberto, fits this general concept. Habanera and Early Jazz Although the foundations of Latin Jazz were consolidated during the 1940s and 1950s, there is evidence about the inclusion of Afro-Cuban sounds into early Jazz. This Latin tinge was a direct reference to the influence that the Cuban Habanera, a genre that was popular in the dance halls of Cuba at the end of the 19th century, had in the making of some of the local Jazz expressions that were produced in New Orleans. continue reading below our video Play Video Along those lines, the proximity between New Orleans and Havana also allowed Cuban musicians to borrow elements from the early American Jazz. Mario Bauza and Dizzy Gillespie The Mambo Years and Beyond

Chano Pozo Born 1/7/1915, killed in a bar room fight in Harlem 12/2/48. Played with Charlie Parker, Dizzy Gillespie, Chico O'Farrill, Carlos "Patato" Valdes, Miguelito Valdez, and many others as well. He got his start after moving to New York in 1947 when Mario Bauza got him to play with Dizzy Gillespie, an event that changed the course of American Jazz. Chano Pozo thereby played a major role in the founding of Latin-jazz which was essentially a mixture of bebop and Cuban folk music. He gained his musical background from AfroCuban religions. Among his features with Dizzy were "Cubana Be," "Cubana Bop," "Tin Tin Deo" and "Manteca" which was later a big hit with Eddie Palmieri and Cal Tjader. Unfortunately Chano Pozo had a hot temper and he was killed in a Harlem bar a month shy of his 34th birthday Like many Cuban musicians, he was Abakwa and belonged to the Ekue Munanga Efo lodge.

Abakuá - Abakwa Abakuá members derive their culture from the Efik and Efo of the Cross River region in Nigeria, which Cubans call Carabali. They are organized in a set of over 150 potencias (lodges) located mainly in Havana, Matanzas, and Cardenas. The people of Big Qua Town in Calabar, the capital of Cross River State, Nigeria, are known as the Abakpa, the likely source for the name Abakuá. Big Qua Town is the home of the president of the Calabar Mgbe or Ékpè. The Cuban Abakuá societies have a male-only membership, their Ékpè equivalent in the Cross River State are called lodges in English, they are fraternities. There is also in Cuba an Efo cultural manifestation organized along family lines, the Brikamo, carried by the Calle family in Matanzas. In 2001, the Efik National Association in the US began to have contact with Cuban Abakuá. The Abakuá gave us the rumba, one of Cuba's principal musical traditions. (c) Copyright 2002 by Pedro Perez Sarduy Abakuá procession, 19th century Havana Bibliography Links

Democratic Republic of the Congo Coordinates: The Democratic Republic of the Congo (/ˈkɒŋɡoʊ/; French pronunciation: ​[kɔ̃ɡo]; French: République démocratique du Congo), also known as DR Congo, DRC, DROC, Congo-Kinshasa, or simply the Congo[6][7] is a country located in Central Africa. From 1965 to 1997 it was named Zaire. The Congolese Civil Wars, which began in 1996, brought about the end of Mobutu Sese Seko's 32-year reign[1] and devastated the country. The Democratic Republic of Congo is extremely rich in natural resources, but political instability, a lack of infrastructure, deep rooted corruption, and centuries of both commercial and colonial extraction and exploitation have limited holistic development. Etymology[edit] The country was known officially as the "Democratic Republic of the Congo" from 1965 to 1971, when it was changed to the "Republic of Zaire." History[edit] Early history[edit] Village attacked by Arab-Swahili slavers near Nyangwe, end of 19th century Congo Free State (1877–1908)[edit] Geography[edit]

Afro-Brazilians Afro-Brazilians (Portuguese: afro-brasileiros); Portuguese pronunciation: [ˈafɾu bɾɐziˈle(j)ɾuz] is a term used in the 21st century by some in Brazil to refer to Brazilian people with African ancestry. The term does not have widespread use in Brazil, where social constructs and classifications have been based on appearance. People with noticeable African features and skin color are generally referred to (and they identify) as negro or "preto" ("black"). Preto and pardo are among five color categories used by the Brazilian Census, along with branco ("white"), amarelo ("yellow", East Asian) and indígena (Amerindian).[4] In 2010, 7.6% of the Brazilian population, some 15 million people, identified as "preto," while 43% (86 million) identified as "pardo". Brazilian geneticist Sérgio Pena has criticised American scholar Edward Telles for lumping "pretos" and "pardos" in the same category. Brazilian race/colour categories[edit] Percentage of black Brazilians per state, 2009. History[edit]

Haitians Haitians (French: haïtiens, Haitian creole: ayisyen) are the inhabitants and citizens of Haiti. A Haitian can be also a person born abroad to a Haitian parent or a foreigner living in Haiti who acquired Haitian citizenship. Definitions[edit] According to the Constitution of Haiti, a Haitian citizen is: Anyone, regardless of where they are born, is considered Haitian if either their mother or father is a native-born citizen of Haiti. (A person born in Haiti does not automatically receive citizenship).A foreigner living in Haiti who has had a continuous period of Haitian residence for five years can apply for citizenship and will have the right to vote, but is not eligible to hold public office until five years after their date of naturalization, excluding those offices reserved for native-born Haitians by Constitutional law. Dual citizenship[edit] Ethnic groups[edit] Languages[edit] The official languages of Haiti are French and Haitian Creole. Culture[edit] Art[edit] Music and dance[edit]

Mauritian of African origin Mauritian of African origin, also known as Creole, are Mauritian people whose ancestors are from African countries, mainly from Madagascar and Mozambique. Origins[edit] Brought in as slaves to work the plantations of Mauritius (as well as Réunion and Seychelles), the slaves were Africans mostly brought from East African Mozambique, Malawi, Tanzania, Madagascar and Zambia with smaller numbers from West Africa. The Mauritian Creoles of today are largely French with an admixture of African and Indian languages. Demographical factors[edit] The majority of Creoles are Roman Catholic. See also[edit] References[edit]