Showing posts with label Jazz. Show all posts
Showing posts with label Jazz. Show all posts

Friday, February 16, 2018

The Development of BLUES MUSIC

John Lee Hooker at the Long Beach Blues Festival
John Lee Hooker at the Long Beach Blues Festival (Photo credit: Wikipedia)
Jazz, rock music and country and western are just some of the styles that owe a lot of their progression from the original blues. The contribution of Blues music to the development of many other genres of music is very significant. Blues was originally grown out of the hardships endured by many generations of African Americans and first arose from the rural Mississippi region, around about the time of the dawn of the 20th century. The style developed from work shouts (known as Arhoolie) and became the vocal narrative style that we associate with blues music today.

The industry was progressing, and by the 1920's Blues music was also developing - affecting the everyday lives of people involved. There was by this time a very particular style, based around a three-line stanza. The stanza contained just one line of verse, repeated, and then finished with a final line of rhyming verse.

The style also included a repeating blues chord progression, which was the basis of the harmony. The usual rule of thumb was a 12-bar pattern utilizing the 3 major chords of a scale. The text was set to a 12-bar chorus, and typically was between four and eight stanzas in length.

In typical cases, the melody is formed by flattened third, fifth and seventh notes of the major scale. The outcome is the 'bent' notes that lend Blues music that distinctive sound - the bittersweet emotional impact that lacks in other genres. For the majority of blues music, the focus is on the vocals - contradicting the fact that performers will often improvise instrumental solos over the Blues chord progressions.

Many itinerant musicians (the majority of which were men), traveled from one community to the next, singing songs that focused on love, freedom, sex and the general sorrows of life. Often referred to as 'Delta Blues' (in tribute to the Mississippi Delta were they first originated), country blues arose from the Southern rural experience, particularly influenced by the impact of emancipation.

Classic Blues
African Americans began to migrate, mainly looking for work. Areas such as Memphis and New Orleans began to become more populated, and these people brought their own brand of music with them. As they settled in these areas, it led to Blues music becoming much more urban-orientated. The music evolved as their way of life evolved. Male or female vocalists began to appear more regularly, and there was now the addition of a single piano.


The audience also grew, and Blues became more mainstream. Throughout the country as a whole, Blues music could now be heard in dancehalls and barrooms. The music industry as a whole started to take note, and more and more compositions and marketing arrangements emerged, as people began to take notice. The popularity of this kind of music grew exponentially. What would become known as Classic Blues became so popular that many songs were released with the word 'blues' in the title to capitalize on this, even though they bared little or no relation to the style of music.

Its center, previously clustered around Memphis and New Orleans, began to migrate, and soon cities such as Chicago became the central point of much of the music. The appetite for the style of music known as the Blues was quite voracious.

The end of the Second World War brought a new revival into the genre, and artists began to develop the music, primarily through adding a bit of extra emphasis on the bass drums and cranking up the guitar sounds. Artists like Elvis and Bill Haley began to incorporate the Blues methods into their own unique brand of rock n roll. By the 1950's this style was no longer centered around the African American community and was universally practiced across all races.

The influence that Blues music has had on the music industry as a whole is undisputed, and yet Blues music is still evolving, still developing, and still evoking the stirrings of the soul to anyone who cares to listen! The incorporation of the Blues style into different genres still exists today, and Blues music in its own right continues to go from strength to strength - many top-selling artists maintain the original styles.




Tuesday, January 16, 2018

LOUIS ARMSTRONG: Transformation From Reform School to Infamous Trumpets

Head and shoulders portrait of jazz musician L...
Head and shoulders portrait of jazz musician Louis Armstrong. (Photo credit: Wikipedia)
Trumpets have been in existence since primitive times, but they did not really gain the recognition they deserved until the infiltration of jazz into the music world. When Buddy Bolden altered his own music style in the 1890's, it had the first inklings of what jazz music would become with its hearty spirit and spontaneity. He eventually leads the first genuine New Orleans jazz band. Continuing to invent jazz music was Freddie Keppard and Joe "King" Oliver playing the cornet as the lead instrument.

Then along came Louis Armstrong from a poor section of New Orleans where the heroes of the neighborhood were gamblers and pimps. His first musical instrument, within the family of trumpets, was a long, tin horn that he would blast while working on a coal delivery wagon to let clients know the wagon was coming. At age 10 Louis Armstrong had earned enough money to buy a battered cornet in a pawnshop. By age 11 he had left school, left his job, and organized a street corner quartet. Unfortunately, while on the street he committed some minor crimes and was sent to reform school at the age of 12. While in reform school Louis Armstrong joined the band and developed his talent. He became the leader of the band which changed his reputation. By the age of 13, he was back on the street and found small jobs to keep himself out of trouble.

As a teenager, Louis Armstrong worked with professional musicians and joined Fate Marable's band playing on a riverboat in Mississippi. By his early twenties, he could outplay any trumpets at cutting contests where soloists improvised until one was clearly outperforming the others. With the addition of 23-year-old Lois Armstrong to the Fletcher Henderson band in New York, the band began to really swing with their new featured soloist. A year later he formed his own group in Chicago called the Hot Five. He organized the band and music around the solos which became one of the key characteristics of modern jazz.


Louis Armstrong became known as the father of modern jazz trumpets and the first modern jazz soloist. He greatly extended the range of trumpets as he could hit high notes that none of his peers could reach. His main contribution to jazz was his sense of rhythm which had a natural beat that made anyone listening want to get up and dance. Louis Armstrong taught the world how to really swing. He also taught jazz musicians how to extend the melodic line with improvisations on trumpets. Louis Armstrong used trumpets to belt out loud, sharp cutting sounds that commanded his listeners to pay attention. He had made trumpets the leading instruments with cornets virtually disappearing from the jazz scene.

Trumpets were not the only driving force in Louis Armstrong's career. Not only did he extend the range of trumpets, but he also showcased the extension of his own range of talents. He had a unique compositional and vocal ability, he was comedic, he had charisma, and he had charm. All of these talents wrapped up together made for a famously popular musician and showman.

    By Dianna Joseph
    Dianna Joseph is the owner of DJ Music Store. She is a saxophonist, novice pianist, and novice guitarist. In addition, she is an occupational therapist who works with a host of disabilities utilizing sensory integration and neurodevelopmental therapy in combination with music and a variety of other techniques to assist these persons in achieving the highest level of function and quality of life possible.
    Article Source: EzineArticles



Monday, January 8, 2018

The Great RAGTIME Pianists Through the Years

English: Copy of sheet music for Maple Leaf Ra...
 Maple Leaf Rag, published in US pre-1923.
(Photo credit: Wikipedia)
Ragtime is a style that developed from the roughest of neighborhoods and was originally performed in brothels. A precursor to jazz, it is enjoying a resurgence in popularity today. There are quite a few famous ragtime pianists, though many of the originators of the genre died before audio recording was widely available.

Though not famous purely for his piano playing, Scott Joplin remains the most influential ragtime composer. Joplin wrote the first instrumental ("Maple Leaf Rag") to sell over one million copies. Though he never recorded a note, famous friends bore witness to his skills, saying that he played slowly but with perfect execution.

Joplin created several piano rolls for companies, some of which survive today. Unfortunately, the illness that eventually killed him also caused his later playing to suffer, which is why there is debate as to his technical skill. Still, Joplin's mastery of ragtime composition laid the groundwork upon which later pianists would embellish.

Another ragtime composer noted for his piano skills was Ferdinand "Jelly Roll" Morton. Beginning his training at a young age in a local brothel, Morton developed both great technical skills and a rather infamous ego. He brought the techniques he had learned from playing ragtime piano to Chicago, where he wrote the first jazz song, "Jelly Roll Blues." Morton brought traditions from New Orleans to the rest of the world and turned piano playing, and music in general, completely upside down.

The image of composer, Eubie Blake (1887-1983).
Eubie Blake (1887-1983).
(Photo credit: Wikipedia)
Eubie Blake was yet another practitioner of the style, though he incorporated other musical genres into his playing. As a boy of four or five, he climbed onto an organ bench while shopping with his mother. Blake started fooling around with the instrument, causing the store owner to proclaim him a genius. His parents bought a pump organ, and he received lessons from his neighbor. He also played in a bordello before moving on to play in proper bands.

Blake composed the song Charleston Rag, which became a huge crossover hit. He went on to write one of the first Broadway musicals written and directed by African Americans.

Sometimes referred to as New York Ragtime, stride piano developed from traditional styles into its own form of playing. Developed during World War I by Luckey Roberts and James Johnson, it relies heavily on the left hand playing a bass line and the right hand playing chords on alternating beats. Though it is often related more to jazz playing, stride was given birth through ragtime.

Modern pianists continue to keep ragtime in the public eye. Butch Thompson was an integral part of A Prairie Home Companion between 1974 and 1986, serving as both the house pianist and band leader. Thompson began playing at the age of three, taking up lessons a few years later. After playing the clarinet in high school, he went to college and joined a local jazz group. After this, he traveled to New Orleans to learn from the masters of jazz and ragtime. He currently tours the world and hosts a jazz program on the radio in Minneapolis.




Wednesday, December 13, 2017

The Joy Of PIANO Improvisation

Jesus "Chuchito" Valdes - Detroit Jazz Festival 2009
Photo  by Brian Callahan (Luxgnos.com) 
If you have never experienced the fun and joy of improvising on the piano, then you are missing out on a great experience. Imagine an artist who does not know how to draw or paint without tracing or copying another’s work.

That is unheard of. Yet, many piano players lack the ability to improvise on the piano! This is caused by years of rigid piano lesson/structure and a lack of proper guidance.

Many piano players rely on sheet music to be able to play, which would be like an artist only copying another’s artwork and never creating something unique. Improvisation is a fun process. It enables the pianist to bring out the latent potential of creativity and expression inside them.

One thing that will help any piano player to improve on the art of improvisation is to allow unstructured creative time during one's piano practice hours.

Time to just sit down and make up music on the piano is crucial. No agenda, no structure, no goals to accomplish. This process is extremely important in the world of piano playing.

In order to allow the inner expression to come out, one needs to let it reveal itself. A good example of this is how young children play the piano. If you can observe a child learning the piano do so. Very often, young children are able to reach a creative and fun play "scheme" without any guidance at all. Similarly, any piano player should allow 15-30 minutes of "free play" without worrying about hitting the wrong notes.

Traditional piano lessons emphasize the ability to read notes. Reading ability is no doubt one of the most important skills any piano player can possess. This emphasis, however, has created some "lopsided" players who can only play piano by reading. Eventually, this type of player will lose their interest and passion for music.

Many young children drop out of piano lessons as a result of struggling with music reading. Children who are younger than 5 or 6 are discouraged from traditional piano lessons due to the fact that they cannot yet read musical notes properly.

Music is commonly referred to as a "language." There are many ways of learning a language. Young children master the language skill by frequently talking and interacting with their peers and caretakers as well as imitating other people. The ability to read comes a little later in their life. A similar approach needs to be taken to foster the love of piano music among young children. Sometimes by just allowing young children to make up music on the piano without placing emphasis on playing the correct notes can be just as important.




Wednesday, November 8, 2017

ELLA FITZGERALD: American Jazz Singer, Queen of Jazz, The First Lady of Song and a 50 Year Career

Ella Fitzgerald in 1968
Ella Fitzgerald in 1968 (Photo credit: Wikipedia)
Ella Fitzgerald was classified as a Jazz singer but this talented lady singer was so much more than that. She could sing Jazz, Ballads, Swing, and Pop. And she had the special talent of being able to sing Scat. She started singing scat while working with Dizzy Gillespie's band. In reference to this Ella said, "I just tried to do with my voice what I heard the horns in the band doing". The New York Times described her Scat recording of "Flying Home" as one of the most influential vocal jazz records of the decade."

Ella started her professional singing career in 1935 with Big-bands such as Chuck Webb's Orchestra. At the time they were playing at Harlem's Savoy Ballroom. She recorded several hit song such as "Love and Kisses", and "If You Can't Sing It You'll Have to Swing It." She recorded over 150 songs while with the orchestra.

In 1942, Ella left the band scene to begin a career as a solo singer. She signed with the Decca label and she had several hit songs while working with Jazz producer Norman Granz. In the mid-1940s following swing music, jazz began to take on a different style called Bebop.

In 1955 Ella left Decca to sing on Norman Granz's new record label, Verve Records. Ella said that Granz produced her album of The Cole Porter Songbook and it was a turning point in her life. It was the first of eight multi-album "Songbook" sets that she would record for Verve until 1964.

Another album production of Granz was "Ella Fitzgerald Sings The Duke Ellington Songbook." It was the only Songbook that the composer of the songs actually played with her.

During the years that she was recording the Songbooks, she also toured 40-45 weeks per year in the United States and internationally which helped her to become one of the most important live jazz performers.

In her later life, Ella kept busy touring but her health began to decline. She had heart surgery in 1986. She also had diabetes, her eyesight was failing, and both of her legs were amputated below the knee. She was unable to perform and she never completely recovered. She died in 1996 at her home in Beverly Hills, California.

One can tell much about a person by some of the comments she has made over the years.

She said, "I sing like I feel." That comment shows that a singer has to have emotion about the song she is recording. Without emotion, it is pretty bland.

She also said "A lot of singers think all they have to do is exercise their tonsils to get ahead. They refuse to look for new ideas and new outlets, so they fall by the wayside". With those words, she is so right. Anyone that just does what she is referring to has no concept what it is to develop as a singer and indeed would not have a clue as to why they are not progressing.

And finally, she stated, "The only thing better than singing, is more singing". By that, she is saying she just loves to sing. She is passionate about singing. It's what makes her successful.



Read what others had to say about Ella.

Arthur Fielder "Ella's voice becomes the orchestra's richest and most versatile sound."

Bing Crosby "Man, woman or child, Ella is the greatest of them all."

Richard Rogers "Whatever she does to my songs, she always makes them sound better."

Perry Como "She has been one of my all-time favorite singers for many years and still is - she's terrific."

Johnny Mathis "She was the best. She was the best there ever was. Amongst all of us who sing, she was the best."

Vincente Minnelli "If you want to learn how to sing, listen to Ella Fitzgerald".

Pearl Bailey "Ella is simply the greatest singer of them all."

She won 13 Grammy awards and sold over 40 million records. In 1987 President Ronald Regan awarded her the National Medal of Arts.

We are so blessed to have this talented lady singer be a part of our music profession. The one thing I want to say about this superb singer is "Swing Ella, Swing!"




Wednesday, October 11, 2017

Homage to LOUIS ARMSTRONG

English: Head and shoulders portrait of jazz m...
Head and shoulders portrait of jazz musician Louis Armstrong.
(Photo credit: 
Wikipedia)
For the last 15 years, I have been living in Lausanne, Switzerland, where the International Olympic Committee has its HQ, and where the writer (most famously for A Many-Splendoured Thing) and controversial "provocative" Han Suyin lived before she passed away on 2 November this year, among other things. It is also where the world-famous business school IMD is located where I have been working. I love this world, and when one is in love with the world Lausanne is not a bad place to be.

It is by the lake Léman, surrounded by snow-capped mountains, with most of the time blue skies, no pollution, and riotous colors of nature in the city as well as around. My flat is about 15 minutes' walk to IMD. I am often away and travel perhaps 75% of my time. But when I am here, I invariably walk to work and in so doing pass by gardens, hear birds, see squirrels, sometimes, if it's especially early, a fox or two, all depending on the season of course, but always splendid. I get to my office and hum Louis Armstrong's What a Wonderful World!

As far as I can remember, I have always loved the world. But not just the flowers, lakes, trees and hills, nor just the birds, squirrels, and deer, but also the men and the women - or at least many of them, the tremendous variety of languages, cultures, histories, literature, painting, music, topographies, architecture, food and drink, and so on. Of course, there is a lot of evil in this world, there is misery, which needs to be combated; there are lots of jerks; but in aggregate, what a wonderful world indeed.

Danger to the wonderful world
But the world is in grave danger of losing its splendor, its identity, and its diversity. On the last, diversity, I refer not only to biodiversity, but also to cultural diversity and indeed cultural identity. The world has never been so interconnected and so open. Yet, as an educator, I am constantly struck by how little people actually know or learn about not only other countries but often even their own!
An illustration: A few days ago I took a flight from Dhaka to Istanbul. 



Just before departure an announcement came on that the audio/visual system was not functioning, hence there would be no "entertainment". The business class was full. With very, very few exceptions (I was one), the passengers, when not sleeping, spent the nine hours flight staring into emptiness. They had no books with them, nothing to read, nothing from which to learn, nothing to challenge their minds. They are traveling physically, but not intellectually.

In his brilliant book Collapse, author Jared Diamond has shown how societies can commit ecocide and indeed have committed ecocide. That is a major threat this wonderful world faces. Another major threat is the destruction of civilization due to excessive materialism and absence of curiosity.



Thursday, September 21, 2017

SWING JAZZ Guitar Solos - George Barnes Had A Unique DIXIELAND Style!

George Barnes was born in Chicago, Illinois on July 17, 1921, and came from a household that was full of artists! He began to play the guitar at 9 with his father who was his very first teacher. Barnes was raised in Chicago, a city that had actually ended up being a major center of jazz music advancement. He stated that his primary musical influences were Jimmy Noone (in whose band he played at the age of 16), Benny Goodman, and Louis Armstrong.

One of several studio portraits of Broonzy.
One of several studio portraits of Broonzy.
(Photo credit: 
Wikipedia)
As a youth George Barnes was associated with the excellent blues guitarist Lonnie Johnson who obviously had a major influence on him. He also listened to numerous records by the French gypsy jazz guitar player Django Reinhardt. At 14 Barnes already had his own jazz quartet. He won a Tommy Dorsey Amateur Swing Contest when he was 16 and at 17 was working on the Chicago NBC personnel staff as a guitar player, conductor, and arranger which was a truly amazing accomplishment!

During the seven years that preceded 1942, George Barnes was regularly included in tape-recording sessions with lots of legendary folk and blues artists including Big Bill Broonzy, Washboard Sam, and Blind John Davis. Upon leaving the military after the war, Barnes returned to a life which ended up becoming one of the busiest in jazz history. In 1951 he moved from Chicago to New York City. Here his phenomenal musical talents won him a job with Decca Records as arranger, guitarist, and composer.

Because of his multiple skills, George Barnes was much in demand for many years as a backing guitar player for top vocalists and jazz artists consisting of Frank Sinatra, Bing Crosby, and Louis Armstrong. He made many historical jazz recordings with his own numerous quartets and quintets however his most important contribution to jazz guitar history was his creative guitar duets with Carl Kress (and later Bucky Pizzarelli after the death of Kress) in addition to the quintet he led collectively with cornetist Ruby Braff.

Always a strong individualist, George Barnes had a really distinct sound partly due to his personally developed archtop jazz guitar constructed without the typical "F" sound holes. This instrument was made specifically for him by the Guild Guitar Company. He likewise utilized an unwound 3rd string which was unusual for a guitarist of his generation. In 1975 Barnes transferred to Concord, California. There he devoted his time to playing in jazz clubs, recording, and teaching until his death following a cardiac arrest on September 5, 1977.




Thursday, August 31, 2017

SAXOPHONES, Jazz Musicians, and the Influence of Inner Personal Conflicts

Saxophones, in comparison to many other instruments, do not have a very long history. The first one was designed around 1840 by a Belgian named Adolphe Sax in an attempt to improve the sound of the clarinet. Adolphe planned the saxophones as a family of instruments ranging in size from the sopranino, soprano, alto, tenor, baritone, bass, contrabass, and sub-contrabass. Saxophones were first introduced into a musical score in 1844 by Jean-George Kastner. Saxophones were initially used in symphonies, military bands, and chamber music, then in big bands, and in the 1920's saxophones were incorporated into jazz music.

DSC_5884
Saxophone Music - Photo  by  screen-box.de 
Jazz music began it's infiltration into American music in March 1917. The principal instruments used included the trumpet, cornet, slide trombone, valve trombone, French horn, baritone, clarinet, family of saxophones, percussion, string bass, and piano. When members of the Original Dixieland Jazz Band were recording their music in a New York studio, they were instructed to play faster in order to fit the whole song on a record. This exciting, lively, assertive, rowdy, and bold music is what caught the attention of everyone's listening ears. It was a time when America was hard at work and needed an outlet, a way to play. They grasped this new style with full force and made jazz a favorite pastime.

Although this seemed like new music, it was not totally new in the truest sense of the word. It involves taking apart an already established song and then putting it back together in a novel way. Jazz also involves, to a large extent, the component of improvisation in order to interpret the melody or harmony in a fresh way. Playing jazz involves elements of spontaneity, spirit, creativity, and rhythmic drive. As stated by Gary Giddins, "It's the ultimate in rugged individualism. It's going out there on that stage and saying: It doesn't matter how anybody else did it. This is the way I'm going to do it." Jazz allows the expression of a full range of emotions with whichever instrument the musician is using.

Clearly, one of the most expressive instruments in this type of music are saxophones with their ability to squeal, laugh, shriek, and whisper. Saxophones are able to release the inner voice, the feelings, the inner personality of the musician playing them. Not only is jazz music an outlet for those listening to it, but also for the musicians playing the music with their saxophones. Certainly what wasn't able to be said in words was often verbalized musically whether through a soulful lament or a happy energetic, playful sound, especially with the tenor, alto, or soprano saxophones.


This means of expression is portrayed in the music of not only the early innovators of swing, but also in bebop, hard bop, jazz, free jazz, and electric jazz/rock/funk. Some of the best and most renowned music came from those musicians with the most difficult inner personal conflicts. It seems though that those with the most troubled lives had the most inner drive to make their music as brilliant as possible.


    This author is a saxophonist, novice pianist, and novice guitarist. In addition, she is an occupational therapist who works with a host of disabilities utilizing sensory integration and neurodevelopmental therapy in combination with music and a variety of other techniques to assist these persons in achieving the highest level of function and quality of life possible.
    Article Directory: EzineArticles


Wednesday, August 16, 2017

JAZZ MUSIC: A Quick Lesson on Its Roots

Ask anyone, even Jazz experts or Jazz musicians and they will have very different definitions to describe the music, or they will tell you that defining Jazz is impossible. It is, of course, easy to identify when you hear it despite the diversity of the genre. It is a home grown, the United States born music with its birthplace credited to New Orleans and it is highly associated with the South.

Original Dixieland Jazz Band. Scanned by Infro...
Original Dixieland Jazz Band. Scanned by Infrogmation from original 1918 promotional postcard while the band was playing at Reisenweber's Cafe in New York City. Shown are (left to right) Tony Sbarbaro (aka Tony Spargo) on drums; Edwin "Daddy" Edwards on trombone; D. James "Nick" LaRocca on cornet; Larry Shields on clarinet, and Henry Ragas on piano.
(Photo credit: 
Wikipedia)
To understand how diverse the genre of Jazz music can be one has only to view some of its sub categories: Bebop, Ragtime, Dixieland, Cool Jazz, Hard Bop, Modal Jazz, Free Jazz, Latin Jazz, Post Bop, Soul Jazz, Swing Jazz, Jazz Fusion, Jazz Funk, Smooth Jazz, Acid Jazz, and Punk Jazz, and many others. The word "Jazz" is as hard to define as the music itself. 

The origin of the word has been heavily researched and the American Dialect Society named it the "Word of the Twentieth Century" because of the difficulty in finding the origin and original use of the word and the amount of research that has gone into understanding the word. Despite the music being played many years before the use of the word "jazz" to describe it, the use became common in Chicago around 1915. The first use of the word found is actually in a baseball article from 1913 and it was not associated with anything having to do with music, instead it was a form of slang mostly heard on the West Coast, yet it soon became a well-known term for the unique and individualistic music to become well known as Jazz music.

There are many that claim to have first used it to describe the music genre. Wherever the origin, it is one of the most recognized terms to describe a music genre despite there being few that can define it fully. The music just defines itself without words having the ability to fully do it justice.

"Individual and unique" are very good words to describe Jazz. The Jazz artist is often considered to be interpreting the music when they play. It is usually enjoyed live more than recorded due to the ability of the musician to individually interpret and play the music differently throughout performances. This is a unique property of Jazz music.

What has been commonly known as the "Jazz Age" is the time period of the 20's to early 30's that included the rise of speakeasies" where an older generation regarded the new music played in these clubs as immoral. It was so degraded by many that were threatened by the new wave of music, that they even blamed Jazz as having caused a heart attack of one music composer. The music persevered past its critics and soon there were standout Jazz musicians that were making a name for themselves that would keep them as historical figures. Louis Armstrong, Bessie Smith, Miles Davis, Billie Holiday, and Duke Ellington became well known and respected musicians and helped bring more fans to Jazz music.

Jazz has been described as "moving, passionate, and strongF320 music influencing the senses of the body and soul". For those that discover a love for their particular brand of Jazz, it becomes a sought after music for times of relaxation, rejuvenation, and celebration. For those that have yet to fully discover all that Jazz Music has to offer, visiting a live Jazz concert, or a Jazz festival can be a very enlightening and enjoyable experience. Due to the popularity of Jazz and its American roots, there are many opportunities for someone to experience the music live in clubs, concerts, and events across the United States.

One of the most popular Jazz Festivals on the east coast of the United States is the DC Jazz Festival, or lovingly nicknamed the "DC Jazz Fest". It unofficially kicks off the Summer season for those that are familiar with the event. It takes place this year from June 1 through June 13 and will include over 100 performances at over 45 venues across the city. It is the largest music festival in the Nation's Capital. The festival offers a wide variety of Jazz music types and top musicians from all over the globe. There is not a better place to get a real lesson in Jazz Music.



CAISO is proud to be a part of the music performance lineup for the 7th Annual DC Jazz Festival and will be performing on June 4 from 3 to 4 PM at Gallery O on H, 1354 H Street Northeast, Washington, DC. For more information on the DC Jazz Festival visit their Web site: http://www.dcjazzfest.org
For more great information about CAISO SteelBand's Blog visit: http://www.CaisoSteelBand.com



Saturday, July 29, 2017

3 Absolutely Essential Tips For Buying Used JAZZ RECORDS Today

English: Art Hodes Docot Jazz - Blue Note records
Art Hodes Docot Jazz - Blue Note records 

(Photo credit: Wikipedia)

Right now there is a resurgence in interest for vinyl records. Amidst all of the genres that you can look at, jazz is a premier one. Collectors in this genre aren't just willing to buy new recordings, they are willing to shell out a lot of money for a good condition vintage record. Not just from the mainstays in the genre, but also rarities, singles, and a lot more. If it's in good condition, chances are that a collector will want to spend upwards of thousands of dollars to get their hands on it. If you're one of the many fans of this musical genre, or perhaps you want to buy records for fun and profit, then you need to adhere to these 3 tips.

Know The Value of The Record
First and foremost, you should know the inherent value of a recording. You can go to a variety of locations to do this, but chances are you will not find accurate data. The best way to gauge public interest and sales price for you to move forward will be to search auctions. When you search auctions, look for the ended listings, and see what the top price paid for each item you want to buy, or sell. Keep tabs on the shifts in price, and see what a premium, mint condition album was sold for. Once you know that, you will be able to determine whether or not it's worth picking up or it's best to focus on another option.

English: Dixieland Jubilee Records 78rpm disc ...
Dixieland Jubilee Records
78rpm disc label
(Photo credit: 
Wikipedia)
Look For Grading Protocol
Every piece of vinyl from the jazz age will have a grading if sold. These range from Near Mint (NM) to Good (G) and beyond. These are important. You need to know how conservative a seller is in regards to this. Sometimes, when you're purchasing items online or in stores, you will find that they list things based on their perceptions, and therefore, you may be buying wax that has fine lines, scratches, scuffs, and a lot more. Grading protocol shifts depending on a variety of different factors, so make sure that you take time to really understand this for the albums you want to buy.

Look At Thrift Stores
In recent years, the amount of records that have landed into thrift stores has grown exponentially. If you're serious about finding some long lost and loved treasures, this is where to look. Thrift stores are notorious for not organizing, caring for, or pricing records. The clerks just don't know a lot about what they have on their hands, so you could turn a one-dollar investment into a thousand dollar one, if you know what jazz artist you're looking for and the records they've put out.
These tips are meant to help you get some used recordings for cheap. Of course, you could always go to a flea market, used music store, or just about anywhere media is sold. Chances are you can find great things for a discounted rate, if you just keep searching.

    By Jorge Orduna

    Sell Out Records is a music blog that aims to review just about every record possible. If you're looking for music conversation, reviews, notes, and more, check out the constant stream of updates on Sell Out Records HERE and discover new and used music from past, present, and future.
    Article Source: EzineArticles



Thursday, July 6, 2017

Origins of JAZZ MUSIC

There are a lot of people nowadays who enjoy great jazz music. In fact, almost every home has somebody who loves to listen to its cool rhythm and its moving beat. However, jazz music did not come along that easy since it all started. In fact, based on the origin of jazz, this type of music genre had its share of low times before it hit the popularity spot. While jazz is now being enjoyed by a lot of people, there was a time in its history when it was not as accepted as it is today.

Papa Dré's Dixie Paraders
Photo  by    FaceMePLS   (cc)
Somehow, the popularity of jazz or its unpopularity at the onset had to do with its being clearly identified as black music. But now, when the issues of racial discrimination is slowly starting to wane, anyone can say that jazz music, which is being played not only by black people but also by white, is here to stay.

In general, the origin of jazz was believed to have started in New Orleans before it spread to Chicago and then on to Kansas City, then to New York City and finally the West Coast area. Both the vocals and the instrumental sides of the blues are known to be essential components that we can still predominantly see in this music genre today. There have been and there still are many types of the genre and this was all started with the ragtime that officially started in New Orleans or what is also known as the Dixieland jazz. Then, after this, there came the swing jazz, which was also known as the bop or bebop. Cool or progressive jazz followed thereafter, which was also then succeeded by the hard bop or the neo-bop.

Then, there was the third stream and the mainstream modern and the jazz type that a lot of people like to dance, which is the Latin jazz. Of course, rock and roll also made its influence on this music genre with the coming out of the jazz rock, which was followed lastly by the avant-garde or what is commonly known as the free jazz.

The origin of jazz actually started out in the later years of the 19th century and this was derived from the work songs of the blacks, their sorrow songs, their field shouts, their hymns and their spiritual songs, the melodic, rhythmic and harmonic elements of which were seen to have been dominated by African influence. However, because it was seen as a music genre that was improvisational, emotional and spontaneous in nature and because it was mainly associated with the blacks, jazz did not garner the level of recognition that it deserved.



It was the European audiences that showed warmer reception to jazz, making the jazz musicians of America go to this country to work on their trade. Jazz only gained a wider audience when adaptations or imitations of it were made by white orchestras. It was in the later part of the 1930's when it was known to have become a legitimate entertainment and this was when Benny Goodman initiated concerts at the Carnegie hall of groups having mixed racial origins.




Monday, July 3, 2017

CHARLIE PARKER Bio Alto SAXOPHONIST Legend

Alto saxophonist Charlie Parker was one of the most influential jazz musicians of all time. Known also as Yardbird, or simply Bird, Charlie was an early bebop pioneer; many of his songs remain standards to this day.

It might surprise you, but Charlie Parker started playing the saxophone at age 11, but wasn't a child prodigy by any stretch of the imagination. He joined the school band at age 14, and by one account, was kicked out because of his bad playing as a result of his lack of formal training. Charlie didn't let setbacks bother him though, and an in interview once said that for three to four years he practiced 15 hours a day. Part of this practice regime included playing the blues songs he learned in all 12 keys. During this time, Parker's improvisational skill flourished, and he began to develop some of the musical ideas that would give birth to bebop.

Charlie Parker, Tommy Potter, Miles Davis, Max Roach (Gottlieb 06941).jpg



In the late thirties, Charlie played with local jazz bands in the Kansas City area. Ensembles led by Count Basie and Bennie Moten were popular in the area around this time and influenced Charlie's playing. By 1938 Charlie Parker had joined pianist Jay McShann's band, Jay McShann's Territory Band. The band played all over the southwest and occasionally travelled to bigger markets such as Chicago and New York.

It was with Jay McShann that Parker would play on his first professional recording. Bird moved to New York in 1939 and took a job as a dishwasher at Jimmy's Chicken Shack to supplement the income he made with Jay McShann's Territory Band. Pianist Art Tatum frequently played at the venue and his use of fast paced arpeggios would have an influence of Parker's playing.

In 1942 Charlie Parker left Jay's band to play with Earl Hines' band. A band that included Dizzy Gillespie on trumpet. A musician's strike from 1942-1943 has made it difficult to document much of what happened during that period. We do know, however, that in that year Paker played with a group of young musicians who embraced the new bebop form of jazz. This group of musicians included not only Parker and Gillespie but other soon to be legends, such as Thelonious Monk, Charlie Christian and Kenny Clarke.



During these formative years of the genre, most of the older, established jazz musicians did not embrace it. Some, however, such as Coleman Hawkins and Benny Goodman, appreciated the new art form, playing and recording with bebop stylists. The genre which Charlie Parker all but invented, had arrived.

Charlie was famous for showing up to gigs without an instrument and borrowing one from somebody else at the last minute. For this reason, he could be seen playing many different makes and models of sax. These include Conn 6Ms, Selmer model 22s, and 26s, and even a Grafton plastic saxophone. In 1947 he had a King Super 20 made exclusively for him. He seemed to prefer Brilhart mouthpieces, having used both Ebolin and Tonalin Streamlines. According to rumor he used hard Rico reeds early in his career but later switched to a 2 ½ in the fifties.