Search results
Results From The WOW.Com Content Network
A second line snare drummer commonly follows the brass band, playing off the marching beat with improvised polyrhythmic figures that can inspire second line dancers or, if the band is improvising, the band itself. Second line drumming styles became a feature of early jazz drumming and the New Orleans Rhythm and Blues of the 1950s.
The Second Line (1950–present) is the official magazine of the New Orleans Jazz Club. Formed in April 1950, the magazine is dedicated to jazz musicians, teachers, and enthusiasts who have attempted to preserve New Orleans jazz music from commercialization. [1] Its name is a reference to the practice of the second line.
One of the final influences on the development of early jazz, specifically its drumming and rhythms, was Second line drumming. The term "Second line" refers to the literal second line of musicians that would often congregate behind a marching band playing at a funeral march or Mardi Gras celebration. There were usually two main drummers in the ...
Bourbon Street Parade" is a popular jazz song written by drummer Paul Barbarin in 1949. The song is an example of how early marching bands influenced New Orleans jazz. It has become a Dixieland classic and New Orleans Jazz standard. [1] It is often performed as part of "Second line" parades in New Orleans.
Drummers at the funeral of jazz musician Danny Barker in 1994. They include Louis Cottrell, (great-grandson of New Orleans' innovative drumming pioneer, Louis Cottrell, Sr. and grandson of New Orleans clarinetist Louis Cottrell, Jr.) of the Young Tuxedo Brass Band, far right; Louis "Bicycle Lewie" Lederman of the Down & Dirty Brass band, second from right.
Hear Live Jazz at Preservation Hall. New Orleans is full of incredible music everywhere you turn, but Preservation Hall on St. Peter's St. in the French Quarter is the cornerstone of New Orleans ...
Dixieland jazz, also referred to as traditional jazz, hot jazz, or simply Dixieland, is a style of jazz based on the music that developed in New Orleans at the start of the 20th century. The 1917 recordings by the Original Dixieland Jass Band (which shortly thereafter changed the spelling of its name to "Original Dixieland Jazz Band") fostered ...
Tresillo is also heard prominently in New Orleans second line music. Jelly Roll Morton in 1917–1918. Early New Orleans jazz bands had habaneras in their repertoire and the tresillo/habanera figure was a rhythmic staple of jazz at the turn of the 20th century.