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The first jazz artist to be given some liberty in choosing his material was Louis Armstrong, whose band helped popularize many of the early standards in the 1920s and 1930s. [3] Some compositions written by jazz artists have endured as standards, including Fats Waller's "Honeysuckle Rose" and "Ain't Misbehavin'".
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. ... Clark Terry (1920–2015) Ack van ...
In 1922, the jazz age was well underway. Chicago and New York City were becoming the most important centres for jazz, and jazz was becoming very profitable for jazz managers such as Paul Whiteman. Whiteman by 1922 managed some 28 different jazz ensembles on the East Coast of the United States, earning over a $1,000,000 in 1922. [1]
1930s in jazz: Music: 1934 in music: ... This is a timeline documenting events of Jazz in the year 1934. [1] Events ... American country blues and jazz musician. He ...
Jutta Hipp piano. Zoot Sims 52nd Street Jazz Fair NYC July 6, 1976 January. 6. Jane Harvey, American singer (died 2013).; Leon Abramson or Lee Abrams, American drummer (died 1992).; 7 – Dave Schildkraut, American saxophonist (died 1998).
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.
“One can plausibly argue that the debate over jazz was just one of many that characterized American social discourse in the 1920s” (Ogren 3). In 1919, jazz was being described to white people as “a music originating about the turn of the twentieth century in New Orleans that featured wind instruments exploiting new timbres and performance techniques and improvisation” (Murchison 97).