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In 1920, the jazz age was underway and was indirectly fueled by prohibition of alcohol. [5] In Chicago, the jazz scene was developing rapidly, aided by the immigration of over 40 prominent New Orleans jazzmen to the city, continuous throughout much of the 1920s, including The New Orleans Rhythm Kings who began playing at Friar's Inn. [5]
The Jazz Age was a period in the 1920s and 1930s 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.
This is a list of jazz musicians by instrument based on existing articles on Wikipedia. Do not enter names that lack articles. ... (born 1950) Tommy Gumina (1931 ...
While the Big Band Era suggests that big bands flourished for a short period, they have been a part of jazz music since their emergence in the 1920s when white concert bands adopted the rhythms and musical forms of small African-American jazz combos.
In 1950, Bing Crosby, the most successful vocalist of the first half of the 20th century, said, "He is the beginning and the end of music in America." [143] Duke Ellington, DownBeat magazine in 1971, said, "If anybody was a master, it was Louis Armstrong. He was and will continue to be the embodiment of jazz."
The birth of a more urban and industrialized America was in part marked by the new style of music: jazz (Drowne 3). Leading up to 1920, America was becoming much more industrialized which led to the decade starting off with many strikes across different fields. However, as the decade progressed, the number of those in labor unions steadily ...
Nicknames are common among jazz musicians. Nicknames and sobriquets can also sometimes become stage names, and there are several cases of performers being known almost exclusively by their nicknames as opposed to their given names. Some of the most notable nicknames and stage names are listed here.
Relatively little has been written about sacred and liturgical jazz. In a 2013 doctoral dissertation, Angelo Versace examined the development of sacred jazz in the 1950s using disciplines of musicology and history. He noted that the traditions of black gospel music and jazz were combined in the 1950s to produce a new genre, "sacred jazz". [187]