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Jazz saxophonists are musicians who play various types of saxophones (alto saxophone, tenor saxophone, baritone saxophone etc.) in jazz and its associated subgenres. The techniques and instrumentation of this type of performance have evolved over the 20th century, influenced by both movements of musicians that became the subgenres and by particularly influential sax players who helped reshape ...
Bob Baldwin; David Benoit; Alex Bugnon; Brian Culbertson; Eumir Deodato; Terry Disley; George Duke; Ronnie Foster; Jonathan Fritzén; Chris Geith; Tom Grant; Dave Grusin
Andre Michael Ward (born February 23, 1984) is an American former professional boxer who competed from 2004 to 2017. He retired with an undefeated record and held multiple world championships in two weight classes , including unified super middleweight titles between 2009 and 2015, and unified light heavyweight titles between 2016 and 2017.
One is the first solo album, and third album overall, by jazz keyboardist Bob James.It was an important album in the early smooth jazz genre and is famous for its end track, "Nautilus", which became important to hip hop as one of the most sampled tracks in American music.
The mid- to late-1970s included songs "Breezin'" as performed by another smooth jazz pioneer, guitarist George Benson in 1976, the instrumental composition "Feels So Good" by flugelhorn player Chuck Mangione, in 1978, "What You Won't Do for Love" by Bobby Caldwell along with his debut album was released the same year, jazz fusion group Spyro Gyra's instrumental "Morning Dance", released in ...
Nelson extracted the material for the release from his existing catalog of songs written between 2001 and 2007, and began recording the material in 2006. The album features the original version of "I Don't Wanna Be In Love" (co-written by jazz artist Brian Culbertson) which also appears on the 2007 release Crystal City by Andre Ward.
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In Aaron J. West's introduction to his analysis of smooth jazz, "Caught Between Jazz and Pop" he states, "I challenge the prevalent marginalization and malignment of smooth jazz in the standard jazz narrative. Furthermore, I question the assumption that smooth jazz is an unfortunate and unwelcomed evolutionary outcome of the jazz-fusion era.