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King of Jazz: Paul Whiteman; King of the Jazz Guitar: Django Reinhardt; King of the Jukebox: Louis Jordan; King of Swing: Benny Goodman a.k.a. "the Patriarch of the Clarinet", "the Professor", "Swing's Senior Statesman" Klook-Mop or Klook: Kenny Clarke; Knife (The): Pepper Adams
In the same year, Paterson relocated to New York City to further his professional music career and gain more exposure in the jazz world. Paterson has performed as an opening act for B.B. King , Buddy Guy , and Steely Dan , at the 2010 Montreal Jazz Fest , the 2006, 2009, and 2013 Chicago Jazz Fests, the 2007, 2008, and 2011 Chicago Blues Fests ...
Jazz noir (also known as "doom jazz" or "dark jazz") is noted for its often somber, mysterious or even sinister tone. It takes inspiration from film noir soundtracks and dark ambient music. [4] 1990s -> Nu jazz [5] Music that blends jazz elements with other musical styles, such as funk, soul, electronic dance music, and free improvisation. 1990s ->
This is an alphabetized list of musicians notable for playing or having played jazz piano. The piano has been an integral part of the jazz idiom since its inception, in both solo and ensemble settings. Its role is multifaceted due largely to the instrument's combined melodic, harmonic, and rhythmic capabilities. [1
His father began teaching him jazz piano around age 12. Another of his father's students, Jack Weigand , influenced Coates and talked him into joining the Trenton musicians union at age 12. By age 14 he was playing gigs two nights a week, as well as weekends.
Bill Evans performing at the Montreux Jazz Festival in 1978. Mastering the various chord voicings—simple to advanced—is the first building block of learning jazz piano. Jazz piano technique uses all the chords found in Western art music, such as major, minor, augmented, diminished, seventh, diminished seventh, sixth, minor seventh, major seventh, suspended fourth, and so
His most recent work was in 2008, as both a mentor and musician with Generations, a group of jazz musicians headed by veteran drummer Jimmy Cobb. He contributed two new compositions for the album that was released by San Francisco State University's International Center for the Arts on September 15, 2008.
A New York Times reviewer commented in 2011 that Mitchell "feels close to the consensus language of straight-ahead jazz but wants to get beyond it. He does it with hands moving in independent parts, with polyrhythms, with music that approaches the technical level of études but that churns and whirls and leaves spaces for broad interpretation."