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Swing jazz emerged as a dominant form in American music, in which some virtuoso soloists became as famous as the band leaders. Key figures in developing the "big" jazz band included bandleaders and arrangers Count Basie, Cab Calloway, Jimmy and Tommy Dorsey, Duke Ellington, Benny Goodman, Fletcher Henderson, Earl Hines, Glenn Miller, and Artie Shaw.
It is the most recorded jazz standard of all time. [2] In the 1930s, swing jazz emerged as a dominant form in American music. Duke Ellington and his band members composed numerous swing era hits that have become standards: "It Don't Mean a Thing (If It Ain't Got That Swing)" (1932), "Sophisticated Lady" (1933) and "Caravan" (1936), among others.
Beautiful Love (1931 song) Begin the Beguine. Blame It on My Youth. Blue Lou. Blue Moon (1934 song) Blues in My Heart. Body and Soul (1930 song) But Not for Me (song) By Myself (1937 song)
This is a timeline documenting events of Jazz in the year 1930 . Musicians born that year included Ornette Coleman, Herbie Mann, Helen Merrill, Sonny Rollins, Ray Charles and Clifford Brown .
In the United States, [1] the tune grew quickly in popularity, and by the end of 1930 at least 11 American bands had recorded it. [1] Louis Armstrong was the first jazz musician to record "Body and Soul", in October 1930, [2] but it was Paul Whiteman and Jack Fulton who popularized it in United States.
Jazz Age. The Jazz Age was a period in the 1920s and 30s in which jazz music and dance styles gained worldwide popularity. The Jazz Age's cultural repercussions were primarily felt in the United States, the birthplace of jazz. Originating in New Orleans as mainly sourced from the culture of African Americans, jazz played a significant part in ...
Jazz: A History of the New York Scene is a book by Len Kunstadt (founder, with blues great Victoria Spivey, of the Spivey Records label) and Sam Charters documenting the 20th-century jazz scene in New York City.
"A Porter’s Love Song to a Chambermaid" is a jazz standard song with music by James P. Johnson [1] and lyrics by Andy Razaf [2] first published in 1930. It was composed for the musical "The Kitchen Mechanics Revue” “a critique of political economy you can dance to.” [3] a “plotless but tightly themed musical celebrating male and female service workers as Harlem’s fountain of wealth ...