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Since the 1950s, sacred and liturgical music has been performed and recorded by many jazz composers and musicians, [4] [1] combining black gospel music and jazz to produce "sacred jazz", similar in religious intent, but differing in gospel's lack of extended instrumental passages, instrumental improvisation, hymn-like structure, and concern ...
Sheets of sound was a term coined in 1958 by DownBeat magazine jazz critic Ira Gitler to describe the new, unique improvisational style of John Coltrane. [ 1 ] [ 2 ] Gitler first used the term on the liner notes for Soultrane (1958).
Critic Robert Cummings wrote: "The jaunty, spirited theme hardly sounds like the product of the pre–Civil War era, and would not sound out of place in a ragtime or even jazz musical from the early 20th century. The closing portion of the tune, sung to the words quoted above, is its most memorable portion: the notes plunge emphatically and ...
David Playing the Harp by Jan de Bray, 1670.. Knowledge of the biblical period is mostly from literary references in the Bible and post-biblical sources. Religion and music historian Herbert Lockyer, Jr. writes that "music, both vocal and instrumental, was well cultivated among the Hebrews, the New Testament Christians, and the Christian church through the centuries."
AllMusic awarded the album 3 stars stating: "The music here is a reflection of the church, using a broader base of textures and colors in jazz. The dynamics are powerful in this performance, and the communication between Horn's quintet, the orchestra led by Lalo Schifrin, and the chorus is undeniably magical.
The Dartmouth Jewish Sound Archive; Jewish Music Research Center; Judaica Sound Archives at Florida Atlantic University Libraries Archived 2020-09-29 at the Wayback Machine; The Jewish Music WebCenter; Music and the Holocaust Articles, images and recordings of music of 1933–1945. A list of Jewish composers with sheet music published by IMSLP.com.
This is an A–Z list of jazz tunes which have been covered by multiple jazz artists. It includes the more popular jazz standards, lesser-known or minor standards, and many other songs and compositions which may have entered a jazz musician's or jazz singer's repertoire or be featured in the Real Books, but may not be performed as regularly or as widely as many of the popular standards.
The first version of the song was recorded in Hollywood in 1936 and performed as an instrumental by Barney Bigard and His Jazzopators. [1] Two takes were recorded, of which the first (Variety VA-515-1) was published. The band members were: Cootie Williams – trumpet; Juan Tizol – trombone; Barney Bigard – clarinet; Harry Carney ...