143 Sentences With "hot jazz" | Random Sentence Generator

He published a memoir, "Hot Jazz, Warm Feet," in 2007.

DEEP RIVER Jeff Barnhart and His Hot Jazz, pop and jazz. Feb.

But they didn't speak until a few months later, at the New York Hot Jazz Festival.

And Ms. Skonberg, a trumpeter capable of evoking Louis Armstrong, leads the New York Hot Jazz Festival All-Stars.

More traditional jazz will have a home at the Django, thanks to programming by the NY Hot Jazz Festival.

What the singer, pianist and cabaret performer Michael Feinstein is to vintage popular songs, Mr. Giordano is to hot jazz.

They are culled from his extensive search for original manuscripts and radio transcriptions of music that the film calls hot jazz.

This is the hot jazz you might have heard in the speakeasy during Prohibition, the kind that kids would really swing to.

Still, Gentry didn't use losing Davis as an excuse for the Pelicans' inability to defend the red-hot Jazz down the stretch.

This concert joins him and his band, the Nighthawks, with kindred spirits from France to savor vintage hot jazz from both sides of the Atlantic.

Keppard was the hot-jazz trumpeter in the Creole Band, which brought jazz to the full U.S.A. when featured in vaudeville 1914 to 1917," Phil says, adding: "Keppard drank a lot!

As part of this year's New York Hot Jazz Festival, Symphony Space presents a night of New Orleans music meant to evoke the sound and atmosphere of the famous red light district where much of jazz's earliest history took place.

Red Hot Jazz website. The Dorsey Brothers Orchestra recorded the song on February 6, 1935 in New York and released it as a 78 single in 1935 on Decca Records, 560B. The record was re-released in 1942 as Decca 4202B, Matrix # 39342.Red Hot Jazz website.

"Tiger Rag" and "Sensation" released on V Disc by the ODJB, No. 214B, VP 435, Hot Jazz, June, 1944, with Eddie Edwards and Tony Sbarbaro.

Still later, jazz musicians played the song at a "hot jazz" tempo.Garrett, Struggling to Define a Nation, p. 121.Magee, The Uncrowned King, p. 100.

George "Little Mitch" Mitchell (March 8, 1899 in Louisville, Kentucky - May 22, 1972 in Chicago) was a cornet player active in the 1920s. He took up the cornet at the age of 12 and joined a local brass band in Louisville.The Red Hot Jazz Archive: Biography Retrieved 30 August 2020. From 1921-3 he recorded with Johnny Dunn's Original Jazz HoundsThe Red Hot Jazz Archive: Jazz Hounds discography Retrieved 16 May 2013.

Wingy Manone. Red Hot Jazz. Decca Records acquired Champion Records in 1935. The recording was re-released in 1937 as a Decca 78 rpm single credited to Wingy Mannone & His Orchestra.

Paul Whiteman recorded the song on August 9, 1920, in Camden, New Jersey. The song was released in December 1920 as a Victor 78 single, 18694-B.Paul Whiteman and his Orchestra. Red Hot Jazz.

However, in 1935, the Goodman Trio began recording. In 1936, the group appeared in a live concert at the Chicago Hot Jazz Society. Hammond fondly remembers this as an innovative moment in jazz history.

The single was released by Gennett Records as 5453-B and also by Claxtonola Records as 40336-B as by the Jazz Harmonizers. The Wolverine Orchestra. Red Hot Jazz. The A side was "Oh Baby", recorded at the same session.

Fletcher Henderson and His Orchestra recorded "Copenhagen" on October 30, 1924, five months after the Beiderbecke version.The Fletcher Henderson Orchestra. Red Hot Jazz. The recording by Fletcher Henderson and His Orchestra, arranged by Don Redman, features a solo by Louis Armstrong.

The concerts were recorded and released the following year as Howard McGhee and his Korean All Stars, Jazz At the Battlefront Volume 1."Overview" allmusic. Retrieved 30 April 2013."Hot Jazz Record Reviews" Billboard at Google Books. Retrieved 30 April 2013.

In March 2007, Northway Books published his autobiography, Hot Jazz, Warm Feet. John Chilton continued to play trumpet with the clarinetist Wally Fawkes in London until he died in 2016. Chilton is survived by three children and lived in London.

The Hot Jazz Duo is a live album by pianist Ron Edgeworth and vocalist Judith Durham. The album was recorded in Hobart and Newport in March and June 1978 and released in April 1979. The album was re-released on CD in 2003.

Events include the Art & Bloom Festival, North Island Hot Jazz Festival, Comox Valley Shellfish Festival, About Town!, Marina Park Main Event, CYMC Summer School & Festival, Vancouver Island MusicFest, Hornby Island Festival, Filberg Festival, Comox Nautical Days, Showcase Festival, Comox Valley Exhibition Fall Fair and Cumberland Wild.

She was a co-founder of the New York Hot Jazz Festival. Skonberg has performed with Bucky Pizzarelli, Howard Alden, and Wycliffe Gordon. Also with Shaye Cohn. In 2017 Skonberg won the Juno Award for Vocal Jazz Album of the Year, for her crowd-funded album Bria.

Davis went to New York and received recognition from the jazz traditionalists there: he played drums in the earliest edition of Vince Giordano's "Nighthawks". In 1976, he performed in Germany with his European colleagues Herbert Christ, Jean-Pierre Mulot and René Franc in the "Hot Jazz Orchestra of Europe". In the American edition of this "Hot Jazz Orchestra" he played in 1979 with Max Kaminsky, Vince Giordano, Bobby Gordon and Dill Jones; In 1983, the clarinetist Jack Maheu and the pianist Don Ewell were part of "Eddy Davis and The Hot Jazz Orchestra". With "Stanley’s Washboard Kings" around Stan King, Davis went on a Japanese tour in the same year. He also orchestrated and conducted a musical by Terry Waldo, with whose "Waldo’s Gutbucket Syncopators", he recorded several albums. When the conductor performed Maurice Peress Paul Whiteman's "Aeolian Hall Concert" from 1924 on its 60th anniversary, he hired Davis as a banjoist. At that time he performed regularly in the club Red Blazer Too in a trio with his banjo colleague Cynthia Sayer and the bassist Pete Compo.

Earle later moved back to Ireland, residing in Rathmines, Dublin. He frequently played with local blues and jazz musicians including Peter Moore, Ben Prevo, Ali & The Dts, The Hot Jazz Trio and Thin Lizzy tribute band Thin as Lizzy. He died on 7 May 2008 at the age of 63.

Early ragtime banjo recordings by Van Eps included "A Bunch of Rags" (1900) and "A Ragtime Episode" (1902)."The First Ragtime Records (1897-1903)," The Red Hot Jazz Archive. Accessed May 24, 2008. He also recorded for a number of other companies, including Columbia (from 1904) and Victor (from 1910).

Red Hot Jazz. The Fletcher Henderson recording lists the songwriters as "Fats Waller/Jo Trent/Paul Whiteman" as "Whiteman, Waller and Trent". Paul Whiteman recorded the song on 11 August 1927 and released it as a Victor 78 single, 21119-A. The music incorporates the themes, motifs, and style of Paul Whiteman.

Retrieved on 30 June 2013. He followed this with the Hot Jazz Violin DVD set (HyperHip Media, 2009). Starting in August 2010, Kliphuis has hosted the annual Grappelli-Django Camp for international gypsy jazz players in the Netherlands. From 2012 to 2017, he was professor of jazz violin at Fontys Conservatoire in Tilburg.

Vassar Carlton Clements (April 25, 1928 – August 16, 2005) was a Grammy Award- winning American jazz, swing, and bluegrass fiddler. Clements has been dubbed the Father of Hillbilly Jazz, an improvisational style that blends and borrows from swing, hot jazz, and bluegrass along with roots also in country and other musical traditions.

Henry Busse. Red Hot Jazz. Lockridge was a Busse trumpeter whose recording of the song was part of an album tribute to Busse shortly after Busse's death in 1955. 1922 release of "Hot Lips (He's Got Hot Lips When He Plays Jazz)" by Paul Whiteman and His Orchestra featuring Henry Busse on trumpet, Victor 18920A.

During 1944 she was leading a trio, with Nina Russell and Mata Roy."Reviews: Nina, Mata and Ginger" Billboard. At Google Books. Retrieved 3 June 2013. In 1951, she led an all- female sextette, featuring Clora Bryant,Mcgee, Kristin A. (2009) Some Liked it Hot: Jazz Women in Film and Television, 1928-1959, p. 211.

Born in Philadelphia, Pennsylvania, between 1921 and 1923 Wooding was a member of Johnny Dunn's Original Jazz Hounds,The Red Hot Jazz Archive: Jazz Hounds discography Retrieved 16 May 2013. one of several Dunn-led lineups that recorded in New York around that time for the Columbia label. Wooding led several big bands in the United States and abroad.

In 1926 Williams formed the Royal Flush Orchestra. The popular hot jazz outfit held residency at Harlem's Savoy Ballroom for most of its life and recorded on the Victor, Vocalion, Gennett, Okeh, Brunswick, Champion, and Harmony labels. Williams, Frank Marvin, and Perry Smith supplied vocals. The flamboyant Williams typically performed wearing a white suit and top hat.

Frankie Trumbauer recorded the first version with Paul Whiteman and His Orchestra on April 17, 1934 in New York which was released as a Victor 78, 24668, Matrix # 82319, backed with "G Blues".Cary Ginell, Liner Notes for the collection The Dorsey Brothers: Stop, Look and Listen: Original 1932-1935 Recordings. Naxos Jazz Legends, 2005.Red Hot Jazz website.

He served as director of Paramount Films's music division for a time, and worked in the Los Angeles Philharmonic Orchestra. In the 1940s he worked as a percussionist in the studios for 20th Century Fox. He died in Hollywood from lung cancer.Vic Burton at Red Hot Jazz Berton's brother Ralph Berton also became a jazz drummer, in addition to his writings on jazz.

1935 Decca 78, 469B.Dese Dem Dose is a 1935 instrumental composed by Glenn Miller and recorded by The Dorsey Brothers orchestra. Dese Dem DoseRed Hot Jazz website, The Dorsey Brothers Orchestra. was recorded in New York on February 6, 1935, and was released as a 78 by The Dorsey Brothers on Decca paired with "Weary Blues" as Decca 469B.45worlds.

The song was recorded on August 29, 1922, in Richmond, Indiana and released as Gennett 4966A, Matrix #11179, as by the Friars Society Orchestra under the direction of Husk O'Hara.New Orleans Rhythm Kings. Red Hot Jazz. It was first released by the New Orleans Rhythm Kings under the name the Friars Society Orchestra and soon was covered by several jazz bands.

He was featured on banjo with the Jean Goldkette orchestra"Jean Goldette and his Orchestra" The Red Hot Jazz Archive. Retrieved 19 June 2013. from 1922 until 1927, one of just two mainstays (saxophonist Doc Ryker was the other) with the Goldkette band from inception to demise. During this period he also recorded with pick-up groups led by Bix Beiderbecke and Frank Trumbauer.

It is also a place where various exhibitions take place. The Philharmonic annually organises Bronisław Huberman International Violin Festival, Reszek Vocal Competition, Festival of Traditional Jazz "Hot Jazz Spring". The Philharmonic also engages in organising the "Night of Culture", the International Festival of Sacral Music "Gaude Mater" and the Bach Family Music Festival. Music education is also an important part of the Philharmonic's activity.

Some accordions have all buttons for both hands. Accordions are used in Zydeco, hot jazz (a type of swing), and many folk and traditional musics. Accordions are becoming less common in North America but they remain popular in Europe. acid rock : A style of rock music from the late 1960s and early 1970s which emphasized psychedelic imagery, unusual sound effects, and distorted guitar playing.

"Then and Now" was recorded on December 7, 1954, and released in 1955 on Coral Records, was composed by Paul Whiteman with Dick Jacobs and Bob Merrill.Paul Whiteman and his Orchestra. Red Hot Jazz. The song was released as a 45 rpm single in 1955 as Coral 61336 backed with "Mississippi Mud" by Paul Whiteman and His New Ambassador Orchestra with the New Rhythm Boys.

In 2007 he also joined Fishtank Ensemble, an eclectic band that plays Gypsy music from all over the world (Balkan, Turkish, Flamenco ...) and hot jazz. Their music is featured in the movie Wild Target starring Emily Blunt, Bill Nighy and Rupert Everett. Fishtank Ensemble has something of a cult following, including celebrities like Tim Robbins and Sue Wong.Stijepovic performing with Tiger Army in Gothenburg, Sweden, in 2016.

Miff Mole, Red Nichols, Jimmy Dorsey, Fred Morrow, Arthur Schutt, Vic Berton, and The Arkansas Travelers also recorded the song. "Sensation" was also released on V Disc by the ODJB as No. 214B, VP 435, Hot Jazz, June, 1944, with Eddie Edwards and Tony Sbarbaro. Yank Lawson and His Orchestra released the song as a single as Signature 15004. Pete Fountain and Freddy Randall and His Band also recorded the song.

The popular hot jazz outfit held residency at Harlem's Savoy Ballroom for most of its life and recorded on the Victor, Vocalion, Gennett, Okeh, Brunswick, Champion, and Harmony labels. Williams, Frank Marvin, and Perry Smith supplied vocals. The flamboyant Williams typically performed wearing a white suit and top hat. During this time he recorded many of his own compositions such as Friction, Here 'Tis and his highest selling record, Hot Town.

The Randolph family moved frequently. At the age of 14, Randolph began earning extra money playing piano and the organ in Cleveland, Ohio. Around 1919, she moved to Cincinnati, Ohio where she recorded several piano rolls of hot jazz and blues music for the Vocalstyle company of Cincinnati while working as a musician in Ohio's Lyric Theatre. These are the only known rolls recorded by a black female pianist.

The song was released as a 78 single on Okeh as 40871, Matrix #81085, on Columbia as 35667, and in the UK on Parlophone as R3419. The flip side of the Okeh single was "Trumbology".Bix Beiderbecke: A Discography by Jean Pierre Lion. The recording was reissued in the 1940s on Columbia Records as a red label 78, 35667, as part of the "A Hot Jazz Classic" series, Matrix #81085.

Kline's artistic training focused on traditional illustrating and drafting. During the late 1930s and early 1940s Kline worked figuratively, painting landscapes and cityscapes in addition to commissioned portraits and murals. His individual style can be first seen in the mural series Hot Jazz, which he painted for the Bleecker Street Tavern in Greenwich Village in 1940. The series revealed his interest in breaking down representative forms into quick, rudimentary brushstrokes.

The band split briefly in 2005, though they reunited for occasional shows in 2005–07, including the Fuji Rock Festival and a tour of Australia as Elana James & The Hot Club of Cowtown, in 2007. Whit Smith performed as Whit Smith's Hot Jazz Caravan, based in Austin, Texas. Elana toured with Bob Dylan in 2005. Changing her last name to James, Elana began performing with her own trio in late 2005.

Ward and Burns, pp. 81–83. When Burnie returned to Davenport at the end of 1918 after serving stateside during World War I, he brought with him a Victrola phonograph and several records, including "Tiger Rag" and "Skeleton Jangle" by the Original Dixieland Jazz Band.Lion, p. 12. From these records, Beiderbecke learned to love hot jazz; he taught himself to play cornet by listening to Nick LaRocca's horn lines.

Carmichael's eulogy for "hot" jazz, however, was premature. Big-band swing was just around the corner, and jazz soon turned in another direction with new bandleaders, such as the Dorseys and Benny Goodman, and new singers, such as Bing Crosby, leading the way. Carmichael's output followed the changing trend. In 1933 he began a long- lasting collaboration with lyricist Johnny Mercer, newly arrived in New York, on "Lazybones", which became a hit.

Hot Record Society was an American jazz record label, founded in 1937 for the purposes of reissuing out-of-print early hot jazz music. It was founded by Steve Smith. The advisory board included John Hammond, Marshall Stearns, Charles Edward Smith, Wilder Hobson, Bill Russell, Charles Delaunay, Hugues Panassié, and Sinclair Traill. The company initially issued out-of-print works, especially from the ARC and Decca catalogs, and collected biographical and discographical information.

In the 1980s Olmerová performed with the Metropolitan Jazz Band, the Steamboat Stompers and with the Senior Dixieland, and occasionally sang with folk and country musicians (Wabi Ryvola among others). In 1986 she recorded the album Dvojčata ("The Twins") with Jitka Vrbová and Hot Jazz Prague. Her health was rapidly deteriorating, due her alcoholism and associated lifestyle. She lived in poor domestic conditions on a low rate of invalidity pension, but continued singing.

Bing with a Beat was Bing Crosby's seventh long play album but his first with RCA Victor. It was recorded at the Radio Recorders "Annex" Studio in Los Angeles and released on vinyl in September 1957. Bing with a Beat is a 1957 concept album where the songs feature "hot" jazz and dixieland arrangements by Matty Matlock, played by Bob Scobey's Frisco Jazz Band. The album was issued on CD by BMG Music and Bluebird Records in 2004.

Their music was characterized by novelty songs and arrangements – such as "I Like Bananas (Because They Have No Bones)" and "From the Indies to the Andes in His Undies" – hot jazz rhythms and the occasional sweet harmonies. They also played the pop songs of the day, like "Nobody's Sweetheart." Ken kicked off the band with "Are you ready, Hezzie?"—directed at his brother Paul—and it became one of the band's big taglines, even entering the common vernacular.

46; and Bigham, Randy Bryan. Lucile – Her Life by Design (2012), 140–45 The slender, elegant Castles were pioneers in other ways: they traveled with a black orchestra, James Reese Europe's Society Orchestra,"Europe's Society Orchestra", Red Hot Jazz Archive (rehotjazz.com), accessed September 19, 2013 and had an openly lesbian manager, Elisabeth Marbury. The Castles endorsed Victor Records and Victrolas, issuing records by the Castle House Orchestra, led by James Reese Europe, a pioneering figure in African-American music.

Ertegun produced the four recording sessions; the label was owned by Marili Morden, proprietor of the Jazz Man Record Shop in Hollywood. Only eight discs were released on the Crescent label, all of them made by the group Ertegun renamed Kid Ory's Creole Jazz Band.Ginell, Cary, Hot Jazz for Sale: Hollywood's Jazz Man Record Shop. Lulu.com: Cary Ginell, 2010 The All Star Jazz Group was founded in February 1944Whaley, Barton, Orson Welles: The Man Who Was Magic, Lybrary.

Jas Obercht Music Archive. 7 June 2010. She was interred in unmarked ground at Frederick Douglass Memorial Park on Staten Island until 2013, when a monument was finally erected. Initially, according to the Jas Obrecht Music Archive website, Smith was buried in an unmarked grave until 1963, when musicians from Iserlohn, West Germany used the money from a Hot Jazz benefit to buy a headstone that read “Mamie Smith (1883–1946): First Lady of The Blues”.

Ginell, Cary, Hot Jazz for Sale: Hollywood's Jazz Man Record Shop. Lulu.com: Cary Ginell, 2010 A second recording session with the Watters band was produced in March 1942. In June 1942 Stuart produced a historic recording session in New Orleans with Bunk Johnson, putting together a group he called Bunk Johnson's Original Superior Band. In December 1942 Jazz Man Records released four unreleased sides by Jelly Roll Morton, recorded in 1938, in partnership with Nesuhi Ertegun.

Benny Strickler & The Yerba Buena Jazz Band recorded it and released it as a single in 1950. It was also covered by the Kid Ory and His Creole Band and stride piano was introduced to it. Willie "The Lion" Smith continued with a stride version backed by a Dixieland band which appeared on his 1957 album Intimate Jazz in Hi Fi. In 2011, the Berlin Hot Jazz Band, a German dixieland group, recorded it for their album Berlin Blues.

By the age of 15, Delisle was working professionally in the music venues of Storyville, an area of brothels and clubs in New Orleans. He developed a style of hot jazz, a.k.a. Dixieland, and was an influence on clarinetists Johnny Dodds and Jimmie Noone. Early in his career Delisle often played a C clarinet, as opposed to the more common B♭; the C was used by other New Orleans clarinetists of the era, such as Alcide Nunez.

Matthias Beckmann and his Band at Hot Jazz Club Münster 2015 Matthias Beckmann (born October 5, 1984) is a German jazz trumpeter and flugelhornist, instructor, composer and arranger. Beckmann was born in Münster, North Rhine- Westphalia and began playing trumpet in a trombone choire as a child. Then he studied music at the Royal Conservatory of The Hague and ArtEZ Conservatorium Enschede under Eric Vloeimans. He joined several master classes amongst others with Ack van Rooyen and Till Brönner.

This shows a very sedate version of dance similar to a Tango or Waltz. It wasn't until dress hem lines rose toward the end of the thirties that the Charleston is again seen in film. A slightly different form of Charleston became popular in the 1930s and 1940s, and is associated with Lindy Hop. In this later Charleston form, the hot jazz timing of the 20s Charleston was adapted to suit the swing jazz music of the 1930s and 1940s.

The versions from Summer Stock finished at #61 in AFI's 100 Years...100 Songs survey of top tunes in American cinema. An instrumental, hot jazz arrangement of the song, performed by Abe Lyman's Brunswick Recording Orchestra, served as the original theme music for Warner Bros.' Merrie Melodies cartoons from 1931 to 1933. The song lyrics incorporate the title phrase in the longer phrase "Come on, get happy", but it should not be confused with the Partridge Family theme song "C'mon Get Happy".

She performed six songs including "Oh Susanna", "When Starlight Fades", "Maggie Mae", "Rock Of Ages", "There's No Place Like Home" and "The Lord Is My Shepherd". During the 1970s she returned to traditional jazz and recorded Judith Durham and The Hottest Band in Town and Judith Durham and The Hottest Band in Town Volume 2 and in 1978, The Hot Jazz Duo. Durham performed at the Newport Jazz Festival in 1978, receiving a standing ovation in front of a crowd of 3,000.

In 1952, Bean made a guest appearance on NBC Radio's weekly hot-jazz series The Chamber Music Society of Lower Basin Street, giving the young comic his first national exposure. The series, burlesquing stuffy symphonic and operatic broadcasts, had the host (always introduced as a doctor of music) reciting dignified commentary in jazz-musician slang. NBC had broadcast the series off and on since 1940, and it was revived for a 13-week run with "Dr. Orson Bean" now as full-time host.

The Two Man Gentlemen Band are a modern musical duo consisting of Andy Bean (lead vocals, tenor guitar, banjo) and Fuller Condon (upright bass, backing vocals). Their musical style is drawn from the tradition of Slim & Slam, and incorporates a contemporary mix of early jazz, western swing, and vaudeville with humorous lyrics. The Two Man Gentlemen Band have released eight studio albums. Their most recent album, Enthusiastic Attempts at Hot Jazz & Swing Band Favorites, was released by Bean-Tone Records in 2014.

A spin on military funerals, New Orleans' traditional funerals feature sad music (mostly dirges and hymns) in processions on the way to the cemetery and happier music (hot jazz) on the way back. Until the 1990s, most locals preferred to call these "funerals with music." Visitors to the city have long dubbed them "jazz funerals." Much later in its musical development, New Orleans was home to a distinctive brand of rhythm and blues that contributed greatly to the growth of rock and roll.

Despite its Southern black origins, there was a larger market for jazzy dance music played by white orchestras. In 1918, Paul Whiteman and his orchestra became a hit in San Francisco. He signed a contract with Victor and became the top bandleader of the 1920s, giving hot jazz a white component, hiring white musicians such as Bix Beiderbecke, Jimmy Dorsey, Tommy Dorsey, Frankie Trumbauer, and Joe Venuti. In 1924, Whiteman commissioned George Gershwin's Rhapsody in Blue, which was premiered by his orchestra.

"I've Never Seen a Straight Banana" is a novelty song from 1926, written by Ted Waite. A short film was made in 1926 in the Phonofilm sound-on-film process with music hall comedian Dick Henderson (1891-1958) singing it. In 1927, it was made popular by Fred Waring and his band Waring's Pennsylvanians who recorded it.Red Hot Jazz entry Later versions were recorded by The Happiness Boys, Jimmy Edwards, Tiny Tim (recorded in 1976 by producer Richard Barone, released 2009), and Brita Borg.

Carmichael composed several hundred songs, including fifty that achieved hit-record status during his long career. In his early days as a songwriter in Indiana (1924–1929), Carmichael wrote and performed in the "hot" jazz improvisational style popular with jazz dance bands. While Carmichael was living in New York City (1929–1936), he wrote songs that were intended to stand alone, independent of any other production, such as a theatrical performance or a motion picture. His songs from this period continued to include jazz influences.

Charles Edward "Charlie" Dixon (December 31, 1898, Jersey City, New Jersey – December 6, 1940, New York City) was an American jazz banjoist. Between 1921 and 1923, Dixon was a member of Johnny Dunn's Original Jazz Hounds,The Red Hot Jazz Archive: Jazz Hounds discography Retrieved 16 May 2013. one of several Dunn-led lineups that recorded in New York around that time for the Columbia label. Dixon played in local ensembles in Boston and New York before becoming a member of Sam Wooding's orchestra in 1922.

While attending the Ohio State University, Freed became interested in radio. Freed served in the US Army during World War II and worked as a DJ on Armed Forces Radio. Soon after World War II, Freed landed broadcasting jobs at smaller radio stations, including WKST (New Castle, PA); WKBN (Youngstown, OH); and WAKR (Akron, OH), where, in 1945, he became a local favorite for playing hot jazz and pop recordings. Freed enjoyed listening to these new styles because he liked the rhythms and tunes.

The sisters were particularly influenced by the cornetist Emmett Louis Hardy, another friend of Clydie's, whose well-documented talent and skill helped shape the sisters' knowledge of jazz harmony, syncopation, and improvisation. Hardy and Clydie both died young and unrecorded, Hardy of tuberculosis at age 22 and Clydie of flu-related complications at 18. After becoming interested in jazz, Vet took up the banjo and Connie the saxophone. Martha continued playing the piano but focused on the rhythms and idioms of ragtime and hot jazz.

Shortly after, he was accepted to Rimon School in Ramat HaSharon. A few months into his jazz studies, he became the winner of a number of local jazz awards, including the third place of “the Jazz Player” national competition in Israel. He also became a member of Rimon Honors Ensemble, “Hot Jazz”, which featured famous Australian jazz fusion guitarist, Frank Gambale.Barry Davis, Kehati's Muse , 2011Official CD Baby Page, , 2011 In 2007, he moved to Boston to pursue his graduate studies at the New England Conservatory.

His music was also available on record and in sheet music. The Weintraub Syncopators were the first hot jazz band in Germany at their summit beginning around 1928. Musicians from many musical backgrounds, composers of classical music concerts such as Paul Hindemith, Ernst Krenek and Kurt Weill, turned to the new music genre that came from America and incorporated it into their musical language. For the classical composers, the orchestral casts, the timbre, syncope, and blues harmonies of jazz were a synonym for the modern era.

He would sometimes hear strange music played by those who could not afford much sheet music, so for variations, they played the sheets upside down.Mercer Ellington to Marian McPartland, on Piano Jazz, rebroadcast on Hot Jazz Saturday Night, WAMU, 2018 April 28. Henry Lee Grant, a Dunbar High School music teacher, gave him private lessons in harmony. With the additional guidance of Washington pianist and band leader Oliver "Doc" Perry, Ellington learned to read sheet music, project a professional style, and improve his technique.

To coincide with the 19th century setting of the film, some traditional song material was utilized for the soundtrack. "When the Saints Go Marching In" is an old gospel hymn that has become a jazz standard associated with the traditional hot jazz of New Orleans. It is paired in a medley with "Down by the Riverside", another traditional gospel song dating back to the relevant time period. Both are in the public domain, and the team of Giant, Baum, and Kaye captured the publishing for Freddy Bienstock and Presley's manager, Colonel Tom Parker.

George H. Douglas writes that the building "remains one of the most appealing and awe-inspiring of skyscrapers". Architect Le Corbusier called the building "hot jazz in stone and steel". Ada Louise Huxtable, an architectural critic, noted that the building had "a wonderful, decorative, evocative aesthetic", while another architectural critic, Paul Goldberger, noted the "compressed, intense energy" of the lobby, the "magnificent" elevators, and the "magical" view from the crown. The city's Landmarks Preservation Commission said that the tower "embodies the romantic essence of the New York City skyscraper".

Holly performed with her father in the late '70s and early '80s singing traditional jazz and blues at Vancouver venues such as the Hot Jazz Club. She recorded Lloyd's original folk song, Where The Coho Flash Silver in 1979, and sang it at major folk festivals across Canada including the Vancouver, Edmonton, Calgary and Winnipeg Folk Festivals. In 2012 the Wilds performed the Coho Song at the Coho Festival in West Vancouver, along with Holly's nephews, Evan Arntzen (clarinet/sax) and Arnt Arntzen (banjo/guitar). Arntzen plays a unique style of dulcimer.

Eric Siday (1 November 1905 – 26 March 1976) was a British-American composer and musician. While most commonly known for his pioneering work in electroacoustic music, his early career was that of a hot-jazz violinist in the London dance bands in the Roaring ’20s, including Ray Starita's Piccadilly Revels. Even then, as a young violinist, his improvised soloing style was amazingly advanced for his era. He played with a remarkably modern chromatic style, verging on atonal, often incorporating multi-stops (playing up to four notes in harmony on the violin simultaneously utilizing multiple fingers).

During this time, a gradual shift occurs in Adrian's focus from the bass sax to the vibraphone. This is not so much that Rollini was giving up on the bass saxophone or his abilities, as that popular tastes had rendered the instrument unmarketable after the hot jazz era of the 1920s. Rollini recorded on bass sax for the last time in 1938. He continued to be active with vibraphone and chimes, but when he gave up his role as a bass saxophonist, his role in jazz went with it.

Ježek's composition titled simply "Polonaisa" (1931; Ultraphon A10355) is a traditional Polonaise clothed in modern instrumentation, harmony and textures. It is as if Chopin and Gershwin had collaborated, the Polish dance rhythms mingling easily with hot syncopation. Ježek also turned the boys loose in records of his arrangements of well-known hot jazz standards, such as "Tiger Rag," "Dinah" and "Chinatown, My Chinatown." These recordings, very few of which could have survived the Nazi occupation and World War II, are almost completely unknown, at least in the United States.

In 1939, Dunham's company gave additional performances in Chicago and Cincinnati and then returned to New York. Dunham had been invited to stage a new number for the popular, long-running musical revue Pins and Needles 1940, produced by the International Ladies' Garment Workers Union. As this show continued its run at the Windsor Theater, Dunham booked her own company in the theater for a Sunday performance. This concert, billed as Tropics and Le Hot Jazz, included not only her favorite partners Archie Savage and Talley Beatty, but her principal Haitian drummer, Papa Augustin.

Retrieved 2008-03-02 Hipsters were more interested in bebop and "hot" jazz than they were in swing, which by the late 1940s was becoming old-fashioned and watered down by "squares" like Lawrence Welk, Guy Lombardo and Robert Coates. In the 1940s, white youth began to frequent African-American communities for their music and dance. These first youths diverged from the mainstream due to their new philosophies of racial diversity and their exploratory sexual nature and drug habits. The drug of choice was marijuana, and many hipster slang terms were dedicated to the substance.

David Griffiths, Hot Jazz: From Harlem to Storyville, Scarecrow Press, 1998, p.99 By 1949, he had started recording in New York with his own trio and singer Richie Cannon (previously of The Ravens). Marv Goldberg, "The Ravens - Part 1", Marv Goldberg's R&B; Notebooks. Retrieved 5 March 2019 He became an established session musician on R&B; recordings in New York in the 1950s, playing on recordings, especially for the Savoy and Atlantic labels, by musicians such as Sister Rosetta Tharpe, Marie Knight, "Abie Baker", Discography of American Historical Recordings.

The Wolverines with Beiderbecke at Doyle's Academy of Music in Cincinnati, Ohio, in 1924 Beiderbecke joined the Wolverine Orchestra late in 1923, and the seven-man group first played a speakeasy called the Stockton Club near Hamilton, Ohio. Specializing in hot jazz and recoiling from so-called sweet music, the band took its name from one of its most frequent numbers, Jelly Roll Morton's "Wolverine Blues."Sudhalter and Evans, p. 95. During this time, Beiderbecke also took piano lessons from a young woman who introduced him to the works of Eastwood Lane.

This album, along with all of the band's releases since 2005, was recorded at Mad Hatter Studios in Los Angeles, CA. Most of their recent recording projects have been done with Grammy winning mixer/engineers Brian Vibberts and Buck Snow. In 2017/18 they released their tenth and eleventh studio album "Diggin' The Roots Vol 1: Rockin' Rhythm & Blues" and "Diggin' The Roots Vol 2: Hot Jazz". These albums pay tribute to influences such as Big Joe Turner and Louis Jordan in Vol 1 and Louis Armstrong and Fats Waller in Vol 2 and have received great reviews.

Dreyfus signed Royal as a house orchestrator and in 1939 he moved into the same building with Robert Russell Bennett, Don Walker and Hans Spialek. His legitimate Broadway start was assisting Spialek and Walker with the orchestration duties for the George White Scandals of 1939, featuring Ella Logan, Ann Miller and The Three Stooges. Quickly followed high-profile collaborations with Russell Bennett on Buddy DeSylva's DuBarry Was a Lady and Mike Todd's Mexican Hayride. He was also a valued "hot jazz" and swing exponent for the team of orchestrators who worked on Annie Get Your Gun and Leonard Bernstein's breakthrough On the Town.

However, in the case of the Censored Eleven, racial themes are so essential and so completely pervade the cartoons that the copyright holders believe that no amount of selective editing could ever make them acceptable for distribution. Two of the Censored Eleven directed by Bob Clampett have been defended by some film historians: Coal Black and de Sebben Dwarfs and Tin Pan Alley Cats. The former is a jazz-based parody of Walt Disney's Snow White and the Seven Dwarfs, while the latter is a hot jazz re-interpretation of Clampett's short Porky in Wackyland (1938).

The story involves the character Piggy, who picks up his girlfriend Fluffy and takes her to a theater where a hot jazz orchestra is playing. Piggy mocks the trumpet soloist, then crashes the stage to play a corny chorus of the 1873 hit "Silver Threads Among the Gold" on the saxophone. The audience, led by three shabbily-dressed drunken dogs in the balcony, mock Piggy with the title song "You Don't Know What You're Doin,'" as Piggy defends his self- perceived "talent." One of the tipplers (a black dog, perhaps a prototype of Goopy Geer) joins Piggy onstage.

2000, page 180.), Sammy Stewart, Clarence M. Jones (1928), Erskine Tate (1930) and Kline Tyndall's Paramount Serenaders. Under his own name, first in a duo with Tyndall or Alex Channey, then with his trio Jazz Maniacs (Kline Tyndall, Lawrence Dixon) - he recorded several titles for Paramount in 1926. In 1929 he followed it up by recording with Hattie McDaniels and Frankie Jaxon as Vance Dixon and His Pencils. In 1931 he recorded several titles for Columbia/Okeh in New York, including the humorous numbers "Laughing Stomp"Vance Dixon at Red Hot Jazz and "Meat Man Pete (Pete, The Dealer In Meat)").

Williams was born in Halls, Tennessee and moved to Alton, Illinois at the age of eight where he later played in the junior high school band, majored in music education at Lincoln University, in Jefferson City, Missouri and taught orchestral music in St. Albans, Queens.Griffiths, David, Hot Jazz: From Harlem to Storyville, Scarecrow Press, 1998, pp. 82-85 He released three albums on the Mainstream label in the early 1970s.Edwards, D., Callahan, Eyries, P., Watts, R. & Neely, T. Discography of the Mainstream Label (Preview), accessed October 18, 2014 Williams also played with Clark Terry, Frank Foster, and singer Ruth Brown.

Lion first heard jazz as a young boy in Berlin. He settled in New York City in 1937, and shortly after the first From Spirituals to Swing concert, recorded pianists Albert Ammons and Meade Lux Lewis in 1939 during a one-day session in a rented studio. The Blue Note label initially consisted of Lion and Max Margulis, a communist writer who funded the project. The label's first releases were traditional "hot" jazz and boogie woogie, and the label's first hit was a performance of "Summertime" by soprano saxophonist Sidney Bechet, which Bechet had been unable to record for the established companies.

Charles Edward Smith (June 8, 1904 in Thomaston, Connecticut – December 16, 1970 in New York City) was an American jazz author and critic. He was the author or editor of several important early books on jazz history. Smith began to collect early hot jazz records in the 1920s and worked with William Russell, Eugene Williams, John Hammond, Hugues Panassié and Charles Delaunay in the Hot Record Society from 1937, from which the jazz label HRS Records sprang. With Steve Smith he was editor of the jazz magazine Hot Record Society Rag.Ralph de Toledano: Frontiers of Jazz 1994. p.

Avakian, in his third year at Yale, leapt at the opportunity to comb through Columbia's vaults in Bridgeport, Connecticut to research and assemble what was to be called the Hot Jazz Classics series. Using the format he established at Decca, Avakian created boxed sets devoted to Louis Armstrong, Bix Beiderbecke, Fletcher Henderson, Bessie Smith, and Billie Holiday, among many others. In the process, he found many unreleased sides and included them in the reissues. Avakian discovered a number of unreleased Louis Armstrong Hot 5 and Hot 7 sides while researching the first album of the series, King Louis.

Their debut recording, the 1924 release "Arkansas Blues" b/w "Blue Blues", was a hit in the Midwest.Red McKenzie's account of its beginnings is quoted on the Red Hot Jazz site They recorded twelve tunes in 1924 and 1925; Frankie Trumbauer and Eddie Lang played on some of the tracks.Yanow After 1925, McKenzie recorded under his own name as a vocalist, but returned to the Mound City name in 1929 for several sessions with jazz stars including Jack Teagarden, Coleman Hawkins, Glenn Miller, and Pee Wee Russell. In 1931, the group recorded with McKenzie, Hawkins, Muggsy Spanier, and Jimmy Dorsey.

"Bugatti Step" (1930; Ultraphone A10166) is an up- tempo number for piano and jazz orchestra, enjoying enduring popularity as a hot jazz piano solo. "Teď ještě ne" (Not Yet) (1931; Ultraphon A10217) is rousing dance music in the Jean Goldkette or Coon-Sanders' Nighthawks style. "Rubbish Heap Blues" (1937; Ultraphon A11421) shows that Ježek not only listened to Duke Ellington's records, but was keeping up with Duke's very latest work. "Rubbish Heap" features a Johnny Hodges-like alto sax and a Cootie Williams-like growl trumpet, plus a three-trombone section to complement the three trumpets.

From 1919, Kid Ory's Original Creole Jazz Band of musicians from New Orleans played in San Francisco and Los Angeles, where in 1922 they became the first black jazz band of New Orleans origin to make recordings. The year also saw the first recording by Bessie Smith, the most famous of the 1920s blues singers. Chicago, meanwhile, was the main center developing the new "Hot Jazz", where King Oliver joined Bill Johnson. Bix Beiderbecke formed The Wolverines in 1924. The same year, Louis Armstrong joined the Fletcher Henderson dance band as featured soloist, leaving in 1925.

Glenn Miller and His Orchestra was an American swing dance band formed by Glenn Miller in 1938. Arranged around a clarinet and tenor saxophone playing melody, and three other saxophones playing harmony, the band became the most popular and commercially successful dance orchestra of the Swing era and one of the greatest singles charting acts of the 20th century. Miller began professionally recording in New York City as a sideman in the Hot jazz era of the late 1920s. With the arrival of virtuoso trombonists Jack Teagarden and Tommy Dorsey, Miller focused more on developing his arrangement skills.

Tommy Dorsey and Frank Sinatra, RCA Victor Studios, 1941 In 2009, Buddy De Franco recalled recording "Opus One" with Dorsey in the 1940s, commenting on Dorsey's desire to be precise and exact. Expanding on De Franco's opinions about Dorsey, writer Peter Levinson said, "He wanted things to be done his way." The band was popular almost from the moment it signed with RCA Victor for "On Treasure Island", the first of four hits in 1935. After his 1935 recording, however, Dorsey's manager dropped the "hot jazz" that Dorsey had mixed with his own lyrical style, and instead had Dorsey play pop and vocal tunes.

Panassié, editor-in- chief since the founding of Jazz Hot before the war, was adamant his entire life that "authentic jazz" was strictly Dixieland of the 1920s and Chicago- style jazz — or hot jazz similar to the style of Louis Armstrong and others. Panassié further insisted that "real jazz" was the music of African Americans and that non-African Americans could only aspire to be imitators or exploiters of African Americans. When Panassié heard a bebop recording of "Salt Peanuts" in 1945, he refused to accept it as jazz and frequently admonished its artists and proponents. He harbored the same objections to cool and other progressive jazz.

Kolben Dance Studio The Gerard Behar Center hosts theatre, music, and dance performances; folk dancing; ethnic shows; Russian-, French-, and Arabic- language shows; plays; comedy shows; and children's performances. From time to time it works with other bodies to stage independent productions, such as a "Hot Jazz Series" which brings together the "best musicians" from Israel and abroad to perform "jazz, salsa, classical, Latin, African and Jewish music". The all-female Theatre Company Jerusalem has staged the world premiere of several works at the Center, including the 1992 Israeli-Palestinian play The Jasmine Bush and the 2000 play Sota. The Center is the home of two dance companies, Vertigo and Kolben.

La Marraqueta in the Festival Internacional Providencia Jazz 2017 The practice of jazz is one of the most popular manifestations of popular music in Chile. The most regular tracks appear towards the 1920s around the figure of the composer, violinist and researcher Pablo Garrido, manager of the first ensembles and local jazz orchestras. From 1940, a new generation of young musicians aligned themselves with jazz improvisation beyond the predecessor jazz, which they considered commercial, baptizing it hot jazz. This would result in the founding of the Club de Jazz de Santiago in 1943 and the formation of the first national all-stars, The Chilean Aces of Jazz, in 1944 and 1945.

In an interview on the Dr. Demento radio program, Bell stated that he kept his straight and blue careers separate for many years, the latter being a secret to most of his fans and associates. His eventual fame would come mostly from his risqué material. His first juke box release was a hot jazz arrangement of a traditional risqué drinking song, "Sweet Violets", but his first big success in this field was an original song, "Take a Ship for Yourself". In 1946, he released his three highest-selling songs: "Take a Ship for Yourself," "Pincus the Peddler" which drew from his personal experience in the trade, and the notorious "Shaving Cream".

Milton Brown (September 8, 1903 – April 18, 1936) was an American band leader and vocalist who co-founded the genre of Western swing. His band was the first to fuse hillbilly hokum, jazz, and pop together into a unique, distinctly American hybrid, thus giving him the nickname, "Father of Western Swing". The birthplace of Brown's upbeat "hot-jazz hillbilly" string band sound was developed at the Crystal Springs Dance Hall in Fort Worth, Texas from 1931 to 1936. Along with Bob Wills, with whom he performed at the beginning of his career, Brown developed the sound and style of Western swing in the early 1930s.

The short begins by showing a map of Music Land, before zooming in to show the Land of Symphony, a massive classical-themed kingdom where the princess (an anthropomorphized violin) grows bored with the slow ballroom dancing and sneaks out. Across the Sea of Discord is the Isle of Jazz, a giant jazz-themed kingdom alive with hot jazz music and dancing, but the prince (an alto saxophone) takes little interest in it. Sneaking out, he spots the princess across the sea with the aid of a clarinet-telescope, and instantly falls in love with her. He quickly travels across the sea on a xylophone boat to meet her.

In 1946, a newspaper columnist wrote that Mooney's music "has the most cynical hot jazz critics describing it in joyous terms such as 'exciting,' 'new,' 'the best thing since Ellington,' [and] 'as new to jazz as the first Dixieland jazz band was when it first arrived.'" As for Mooney himself, the columnist wrote that he "played in virtuoso fashion ... a fellow who knows not only his instrument, but jazz music, both to just about the ultimate degree." In the 1950s, Mooney sang with the Sauter-Finegan Orchestra, and he played with Johnny Smith in 1953. After moving to Florida in 1954 he concentrated more on organ.

In 1956, however, liberalisation began with the "three Ts" ("tiltás, tűrés, támogatás", meaning "prohibition, toleration, support"), and a long period of cultural struggle began, starting with a battle over African American jazz. Jazz became a part of Hungarian music in the early 20th century, and although common place in Budapest's venues such as the Tabarin, the Astoria and Central Cafe which set up its own coffee jazz band, it has not achieved widespread renown until the 1970s, when Hungary began producing internationally known performers like the Benkó Dixieland Band and Béla Szakcsi Lakatos. Other renowned performers from the younger generation are the Hot Jazz Band and the Bohém Ragtime Jazz Band.

Erhard Bauschke (September 27, 1912 in Breslau – October 7, 1945 in Frankfurt) was a German jazz and light music reedist and bandleader. Bauschke learned to play violin, piano, and saxophone as a student in Breslau, and played with José Wolff in 1931 and James Kok in 1934. Kok departed Germany under duress in 1935, after which Bauschke became the leader of his orchestra; he toured widely in Germany and along the Baltic coast, and was the house band at Moka Efti in Berlin from 1936 to 1939. He recorded copiously for Deutsche Grammophon in the late 1930s; some of the recordings are of hot jazz, which was derided by the Nazis as degenerate music.

The Hot Club's first album, 1998's Swingin' Stampede is a collection of standards, fiddle tunes, and classic Western Swing songs, including two written by Bob Wills. Their 1999 follow-up album, Tall Tales, includes original songs by Smith and James, including Darling You And I Are Through by James, and Emily and When I Lost You by Smith, as well as more Western Swing standards by Bob Wills, Pee Wee King, and others. Later albums continued to mix classic Western Swing and hot jazz, with originals in the same style; including the studio albums, Ghost Train (2002) and Wishful Thinking (2009). Their 2011 album What Makes Bob Holler was a tribute to Bob Wills.

"We wanted to do it has a hobby, [but] we found ourselves getting gigs." Over the next couple of years the band attracted musicians from prestigious institutions like the Juilliard School and Berklee, accomplished professionals who were unafraid to "get down and dirty" with early American jazz. Slowly, the core group of the band grew to a septet and then an octet, with Mike Sailors on cornet, Jason Prover on trumpet, Evan "Sugar" Crane on sousaphone and bass, Nick Myers on saxophone and clarinet, and Alex "Tastykakes" Raderman on drums. During the economic downturn known as the Great Recession, the band fortuitously benefited from the mid-2010s hot jazz revival, a Millennial cultural phenomenon emanating from Brooklyn.

After forming Red and the Red Hots which had its beginnings as a part of Linda Ronstadt and Nelson Riddle Orchestra Tour in 1983–84, Red worked the band steadily for 20 years which produced four albums: Red & The Red Hots (1987), Red Hot Jazz (1996), Boogie Man (1998) and Gettin' Around (1999). In addition to recording they were featured in Everybody Loves Raymond and The Donny & Marie Show. He released two Hammond organ albums Brother Red (2000) and The Organizer (2003) He performs throughout the world in many different formats – both piano, organ, on vocals, conducting, producing and arranging. He also works many dates a month throughout Austin and the rest of Texas.

The sound was fully spatialized as the user moved around the physical space. Tickling a player with the joystick resulted in that musician switching to improvisation in a 'hot jazz' or Appalachian bluegrass style. At his software company Headspace Inc in the early 1990s, Dolby developed a set of interactive virtual musical instruments called Glyphs enabling users to jam together over the Internet. In the Fall of 2018, Dolby created a New Media workshop at The Peabody Institute of Johns Hopkins University with VR equipment donated by HTC Vive. Students in his course are learning to compose music for VR and AR. On Oct 4th, 2018 Dolby performed a live score for the High Fidelity VR event ‘Escape from Zombie Island’.

In 2013, she performed with her 'Carling Big Band' at the Royal Palace in Stockholm in the celebration of King Carl XVI Gustaf's Ruby Jubilee. In 2016, Carling performed at King Carl XVI Gustaf's 70th birthday celebration. She was featured as a singer and multi-instrumentalist in several of Scott Bradlee's Postmodern Jukebox's adaptations of pop songs, which include a jazz swing version of Rick Astley's "Never Going to Give You Up", a 1920s jazz swing version of "Material Girl", a vintage jazz version of Europe's "The Final Countdown", a jazz cover of Pharrel Williams' "Happy", and a 1920s hot jazz cover of ABBA's "Dancing Queen". In 2016, she was featured at TEDxArendal, speaking about and playing trombone, which she has said is her favorite instrument.

The ensemble, however, was still so new it was unnamed: fliers for the concert announced them as "Un orchestre d'un genre nouveau de Jazz Hot," or "An orchestra of a new genre of Hot Jazz," led by "Jungo" Reinhardt. It was the success of this concert that finally convinced the rest of the Hot Club to officially sponsor the ensemble. It was not until the second official concert of the group that it had a name; for its performance on 16 February 1935, the group officially became Django Reinhardt et le Quintette du Hot Club de France avec Stephane Grappelli. Pierre Nourry also later convinced the chief of Ultraphone to record the music of the quintette at their Montparnasse studio.

In her biography of her father, My Father—Reith of the BBC, Reith's daughter Marista Leishman said that he banned the playing of jazz music on the BBC, and that he wrote in his diary that "Germany has banned hot jazz and I’m sorry that we should be behind in dealing with this filthy product of modernity." It is arguable that this legacy still has influence today. A 2015 study reported that Jazz as a percentage of total music output was only 1.74% on Radio 2 and 3.62% on Radio 3. Little has changed since then, even though a demographically representative survey of 16-64 year olds in 2019 found that Jazz was more popular in the UK than Classical music.

As Alan cancelled their accommodation in their usual plush hotel during a fit of pique, they are forced to spend the night in a dingy run-down hotel (with a cameo performance by Joyce Grenfell as the proprietress) leaving Wendy feeling less than pleased. They finally join Ambrose and Rosalind for after-dinner drinks, but Rosalind gets very drunk, and insists on playing the trumpet with the house band. To the surprise of all, she performs a hot jazz solo before falling fast asleep moments later, to Wendy's great amusement. (Kendall mimes the performance of "Genevieve" to a rendition by jazz trumpeter Kenny Baker.) Alan and Wendy have an argument over Ambrose's supposed romantic attentions to her, and Alan goes off to the garage to sulk.

The Presidents of the United States of America, 2005 In popular music, Seattle is often thought of as the home of grunge rock, but it is also home to such varied musicians as avant-garde jazz musicians Bill Frisell and Wayne Horvitz, hot Jazz band leader Glenn Crytzer, rapper Sir Mix-a-Lot, smooth jazz saxophonist Kenny G, and such poppier rock bands as Goodness and The Presidents of the United States of America. Such musicians as Jimi Hendrix, Duff McKagan, Nikki Sixx, and Quincy Jones spent their formative years in Seattle. Ann and Nancy Wilson of the band Heart, often attributed to Seattle, were actually from the neighboring suburb of Bellevue, as was progressive metal band Queensrÿche. Seattle hosts a diverse and influential alternative music scene.

In this version of the story, all of the characters are black, and speak all of their dialogue in rhyme. The story is set during World War II in the United States, and the original tale's fairy tale wholesomeness is replaced in this film by a hot jazz mentality and sexual overtones. Several scenes unique to Disney's film version of Snow White, such as the wishing-well sequence, the forest full of staring eyes, and the awakening kiss, are directly parodied in this film. The film was intended to have been named So White and de Sebben Dwarfs, which producer Leon Schlesinger thought was too close to the original film's actual title, and had changed to Coal Black and De Sebben Dwarfs.

At the age of 17 he began playing professionally with Benny Carter and then became part of the Stan Kenton orchestra, touring with that band until he was drafted in 1943. After the war he returned to Los Angeles and joined the Kenton Innovations Orchestra. By the 1950s Pepper was recognized as one of the leading alto saxophonists in jazz, finishing second only to Charlie Parker as Best Alto Saxophonist in the DownBeat magazine Readers Poll of 1952. Along with Chet Baker, Gerry Mulligan and Shelly Manne, and perhaps due more to geography than playing style, Pepper is often associated with the musical movement known as West Coast jazz, as contrasted with the East Coast (or "hot") jazz of Charlie Parker, Dizzy Gillespie and Miles Davis.

A Dixieland revival began in the United States on the West Coast in the late 1930s as a backlash to the Chicago style, which was close to swing. Lu Watters and the Yerba Buena Jazz Band, and trombonist Turk Murphy, adopted the repertoire of Joe "King" Oliver, Jelly Roll Morton, Louis Armstrong and W. C. Handy: bands included banjo and tuba in the rhythm sections. A New Orleans- based traditional revival began with the later recordings of Jelly-Roll Morton and the rediscovery of Bunk Johnson in 1942, leading to the founding of Preservation Hall in the French Quarter during the 1960s. Early King Oliver pieces exemplify this style of hot jazz; however, as individual performers began stepping to the front as soloists, a new form of music emerged.

Promotional photo of George Avakian for Hot Jazz Classics Series, 1946 George Mesrop Avakian (; ; March 15, 1919 – November 22, 2017) was an American record producer, artist manager, writer, educator and executive. Best known for his work from 1939 to the early 1960s at Decca Records, Columbia Records, World Pacific Records, Warner Bros. Records, and RCA Records, he was a major force in the expansion and development of the U.S. recording industry. Avakian functioned as an independent producer and manager from the 1960s to the early 2000s and worked with artists such as Louis Armstrong, Miles Davis, Duke Ellington, Benny Goodman, Dave Brubeck, Eddie Condon, Keith Jarrett, Erroll Garner, Buck Clayton, Sonny Rollins, Paul Desmond, Edith Piaf, Bob Newhart, Johnny Mathis, John Cage, Alan Hovhaness, Ravi Shankar, and many other notable jazz musicians and composers.

He soon abandoned his birth name, taking the name Le Sony'r Ra, shortened to Sun Ra (after Ra, the Egyptian God of the Sun). Claiming to be an alien from Saturn on a mission to preach peace, he developed a mythical persona and an idiosyncratic credo that made him a pioneer of Afrofuturism. Throughout his life he denied ties to his prior identity, saying "Any name that I use other than Ra is a pseudonym." His widely eclectic and avant-garde music echoed the entire history of jazz, from ragtime and early New Orleans hot jazz, to swing music, bebop, free jazz and fusion. His compositions ranged from keyboard solos to works for big bands of over 30 musicians, along with electronic excursions, songs, chants, percussion pieces, and anthems.

The band's name comes from two sources: "Hot Club" from the hot jazz guitarist Django Reinhardt and violinist Stephane Grappelli's Quintette du Hot Club de France, and "Cowtown" from the western influence of Bob Wills and His Texas Playboys and other early Western swing combos, as well as the band's love of fiddle tunes, hoedowns, and songs of the American west. Whit Smith (from Cape Cod, Massachusetts) and Elana James (from Prairie Village, Kansas) met through an ad in the classified music section of The Village Voice in 1994. They played together in New York City before moving to San Diego in 1997, where they spent a year playing for tips and building up their repertoire. In 1998 they moved to Austin, Texas and two years later added Jake Erwin (from Tulsa, Oklahoma) on bass.

Solo 20s Charleston gained popularity in the early 2000s, in many local Lindy Hop scenes around the world, prompted by competitions such as the Ultimate Lindy Hop Showdown (in 2005 and 2006 particularly) and workshops in the dance taught by high-profile dancers such as the Harlem Hot Shots (formerly known as The Rhythm Hot Shots) and a range of independent dancers. Usually danced to hot jazz music recorded or composed in the 1920s, solo 20s Charleston is styled quite differently from the Charleston associated with the 1930s, 1940s and Lindy Hop, though they are structurally similar. Solo 20s Charleston is usually danced to music at comparatively high tempos (usually above 200 or 250 beats per minute, with tempos above 300 BPM considered 'fast'), and is characterized by high-energy dancing. Faster movements are often contrasted with slower, dragging steps and improvisations.

Lynell George, Going solo in a man's world, Los Angeles Times, August 31, 2003 Leitham has performed as a featured artist or group member at major jazz festivals in North America and internationally. and has been a presenter at workshops and clinics in the U.S. She has performed clinics and master classes at many major universities and was jazz bass instructor at CSULB. She has been a featured artist at many of the world’s most prestigious jazz festivals and clubs. She has appeared with her trio at some of the finest venues in the world, including the Blue Note, Iridium, Smalls, and Dizzy’s Club Coca-Cola in New York, The Toronto Pride Fest, also festivals in France and The Netherlands, Hungary and Japan, Mammoth Lakes and Sweet and Hot Jazz Festivals in California, Blues Alley in Washington, DC, Catalina's, Blue Whale, The Jazz Bakery, The Lighthouse, Donte's.

Seattle is considered the home of grunge music, having produced artists such as Nirvana, Soundgarden, Alice in Chains, Pearl Jam, and Mudhoney, all of whom reached international audiences in the early 1990s. The city is also home to such varied artists as avant-garde jazz musicians Bill Frisell and Wayne Horvitz, hot jazz musician Glenn Crytzer, hip hop artists Sir Mix-a-Lot, Macklemore, Blue Scholars, and Shabazz Palaces, smooth jazz saxophonist Kenny G, classic rock staples Heart and Queensrÿche, and alternative rock bands such as Foo Fighters, Harvey Danger, The Presidents of the United States of America, The Posies, Modest Mouse, Band of Horses, Death Cab for Cutie, and Fleet Foxes. Rock musicians such as Jimi Hendrix, Duff McKagan, and Nikki Sixx spent their formative years in Seattle. The Seattle- based Sub Pop record company continues to be one of the world's best-known independent/alternative music labels.

" Bougerol and Palazzo have posited that hot jazz stagnated precisely because it was performed "half-heartedly and repetitively." They further posit that jazz itself lost popular favor as it became more cerebral and individualistic. "If you think of some of the more recent jazz or later jazz, it can appeal to a more intellectual experience of music… it's not about connecting everyone in the room necessarily," Bougerol stated, whereas jazz a hundred-year ago was "pop music" which emphasized "a joyous, connective experience." In order to keep their renditions of old jazz standards fresh and exciting, the band's song preparations are "bare bones and improvised," as well as largely dictated by Palazzo mere seconds before the song's performance: "I put out signs with my hand like a catcher and call the kinds of solos we do, so every time we play a song it is slightly different.

Champian Fulton in a red dress at a grand piano Fulton has performed in New York City venues, including Birdland, Smalls Jazz Club, Dizzy's Club Coca-Cola, the Carlyle Hotel, Cleopatra's Needle, and Shanghai Jazz, New Jersey. At some of those venues she played with Jimmy Cobb, Scott Hamilton (musician), Frank Wess, Lou Donaldson, and Louis Hayes. She has performed at jazz festivals and events across the U.S., including Jazz at Lincoln Center, Detroit Jazz Festival, Litchfield Jazz Festival, Rochester International Jazz Festival, Lincoln Center for the Performing Arts, and the Chicago Humanities Festival. Internationally, she has performed at jazz clubs, jazz festivals, and other venues, including Ascona Jazz Festival (Switzerland), Edinburgh Jazz and Blues Festival (Scotland), Sunset-Sunside Jazz Club (France), Bansko International Jazz Festival (Bulgaria), Gouvy Jazz & Blues Festival (Belgium), Jamboree Jazz (Spain), Tanjazz (Morocco), Hot Jazz (Israel), Cellar Jazz (Vancouver, Canada), Yardbird Suite (Edmonton, Canada), JazzTone (Germany), and the Ystad Jazz Festival (Sweden).

Dixieland, sometimes referred to as hot jazz or traditional jazz, is a style of jazz based on the music that developed in New Orleans at the start of the 20th century. One of the first uses of the term "Dixieland" with reference to music was in the name of the Original Dixieland Jass Band (which shortly thereafter changed the spelling of its name to "Original Dixieland Jazz Band"). Their 1917 recordings fostered popular awareness of this new style of music. A revival movement for traditional jazz began in the late 1940s, formed in reaction to the orchestrated sounds of the swing era and the perceived chaos of the new bebop sounds (referred to as "Chinese music" by Louis Armstrong), Led by the Assunto brothers' original Dukes of Dixieland, the movement included elements of the Chicago style that developed during the 1920s, such as the use of a string bass instead of a tuba, and chordal instruments, in addition to the original format of the New Orleans style.

After the war, he returned to Columbia Records responsible for the Popular Music and International divisions, where he continued production of the Hot Jazz Classics series, as well as the Special Editions and Archives series. In addition to recording jazz and pop artists (such as Sidney Bechet, Arthur Godfrey, Doris Day, and Frank Sinatra), Avakian was assigned the role of head of popular albums, part of which involved issuing the first 100 pop records in the 33rpm long-playing format, a new technology perfected by Columbia that the company was determined to exploit to the full. Avakian was in the forefront of new methods of production to take advantage of the LP, which represented a marketing innovation no less than a technical one. At around the same time he returned to Columbia, Avakian also met his wife-to-be, Anahid Ajemian (1925–2016), a violinist who was at the dawn of what would be a major performing and recording career.

Whiteman's Orchestra enjoyed great commercial success and was a major influence on the sweet bands. Jean Goldkette's Victor Recording Orchestra featured many of the top white jazz musicians of the day including Bix Beiderbecke, Jimmy Dorsey, Frank Trumbauer, Pee Wee Russell, Eddie Lang, and Joe Venuti. The Victor Recording Orchestra won the respect of the Fletcher Henderson Orchestra in a Battle of the Bands; Henderson's cornetist Rex Stewart credited the Goldkette band with being the most influential white band in the development of swing music before Benny Goodman's.Goldkette on The Red Hot Jazz Archive Retrieved 22-05-2017.Nye, Russell B., 1976, Music in the Twenties: The Jean Goldkette Orchestra, Prospects, An Annual of American Cultural Studies 1:179–203, October 1976, DOI: 10.1017/S0361233300004361 As a dance music promoter and agent, Goldkette also helped organize and promote McKinney's Cotton Pickers and Glen Gray's Orange Blossoms (later the Casa Loma Orchestra), two other Detroit-area bands that were influential in the early swing era.

The disc includes obscure B-sides with some of Wills' most popular work, including Big Balls in Cowtown and Stay a Little Longer, Osage Stomp and The Devil Ain't Lazy. In 2016, the Hot Club of Cowtown released its ninth studio album, Midnight on the Trail (Gold Strike Records), a vintage mix of 12 Western swing songs and cowboy ballads "hand-collected to reflect the spirit and joy of the American West," including traditional songs as well as works by Cindy Walker, Gene Autry, Bob Wills, Johnny Mercer, and more. The band's previous release, "Rendezvous in Rhythm" (Gold Strike Records, 2013) was a collection of hot jazz standards and gypsy instrumentals played acoustically in the style of Django Reinhardt and Stephane Grappelli (The Quintette of the Hot Club of France). The Hot Club of Cowtown released a live DVD, "Continental Dance Party," in 2012 which was filmed at the Continental Club Gallery in Austin, Texas.

As a result, there began in New York a "cyclical burst of Jazz Age nostalgia," and this hot jazz revival attracted "a young, fresh crowd" that clamored for a particular strain of throwback jazz "that once would have put it under the Dixieland heading." This revival was largely ascribed to the popularity of television programs such as Martin Scorsese's Boardwalk Empire which renewed interest in the Roaring Twenties and, in particular, the frenzied underground music of the Prohibition-era speakeasies. Amid this jazz revival, a turning point for the Hot Sardines came in 2010 when they performed for the first time at the speakeasy-themed Shanghai Mermaid, a 6,000-square- foot warehouse behind an unmarked door in Crown Heights. During the apex of the economic recession, the "extravagantly theatrical" Mermaid recreated the decadent atmosphere of a red-walled 1930s cabaret and was the epicenter of the throwback jazz scene, with monthly underground costume parties and aerialists swinging from the ceiling.

Chico Arnéz was a London-based Latin bandleader of the 1960s and 1970s.David Griffiths - Hot Jazz: From Harlem to Storyville 1998 p62 "My manager at the time sent me down to London to audition for the famous bandleader, Chico Arnez. I remember going along there and only singing four bars, just four bars of music, and he offered me a twenty-five-year contract with a retainer ..."The Gramophone Volume 52 - Page 1243 1974 "Chico Arnez is less successful with the rather corny "Non-Stop Dance Party" (Music for Pleasure MFP- 50179) Arnez also played bongo drums and authored a textbook on bongo playing (1959).Kenneth A. Mueller Teaching total percussion 1972 Page 213 Bongos Made Easy by Chico Arnez (New Sound in Modern Music; 1959) a fully illustrated book on playing the bongos Latin American Rhythm Instruments and ..."Mark Miller Jazz in Canada: fourteen lives 1982 Page 52 As a member of a Latin band led by one Chico Arnez he went to Germany to play for personnel on the us military bases there.

In 2008, The Hot Club of Cowtown, with James, guitarist Whit Smith and bassist Jake Erwin re-formed, and continued touring and recording. In 2008, the band released The Best of the Hot Club of Cowtown, followed by Wishful Thinking in 2009, and in 2011, a collection of Western swing songs made popular by legendary Texas bandleader Bob Wills, What Makes Bob Holler. The Hot Club of Cowtown's most recent albums include Rendezvous in Rhythm, (Gold Strike Records, 2013), a collection of hot jazz standards and traditional Romanian-style instrumentals performed acoustically, in the style of Django Reinhardt and Stephane Grappelli; Midnight on the Trail, a compilation of early Western swing and cowboy songs; "Crossing the Great Divide," a 7-track EP of songs written by The Band on the occasion of the 50th anniversary of the release of Music from Big Pink and The Band; and Wild Kingdom, an album of original material released on September 27, 2019. James has worked in the Bob Marshall and Lee Metcalf Wilderness of Montana as a wrangler, packer, cook, and guide.

Henderson's band, for example, began playing at the Roseland Ballroom in the early twenties; his repertoire included not only "hot jazz" pieces, but also waltzes in deference to the desires of the Roseland's patrons. Henderson's consideration of his audience points to the importance of entertainment in the performance of the variety of jazz that was overtaking New York City (incidentally, however, Henderson was not considered to possess the same caliber of showmanship as other performers, such as Duke Ellington, and some attribute his lack of showmanship as the primary reason for the commercial struggles he suffered). Variety in a band's repertoire meant the incorporation of both pop and jazz standards into most performances, which also allowed for the organic fusion of the two genres by those who performed both. But whereas Whiteman continued to write and perform an extensive amount of popular music—and did so almost exclusively after he suffered from the economic pressures of the Stock Market Crash of 1929—other big bands, like Henderson's, transitioned into the swing era.

During the initial writing and recording period of White Teeth, Black Thoughts, the Daddies began playing select shows billed as "The Cherry Poppin' Daddies Salute the Music of the Rat Pack", playing an equal mix of the band's own swing songs as well as covers of songs popularized by the "Rat Pack" of Frank Sinatra, Dean Martin and Sammy Davis, Jr.. In a July 2013 interview with Billboard magazine, Perry revealed that the band had concurrently recorded a tribute album featuring these songs and would be releasing it after touring behind White Teeth, Black Thoughts. Please Return the Evening — the Cherry Poppin' Daddies Salute the Music of the Rat Pack! was released on July 29, 2014, promoted by music videos for the album's covers of the Sinatra staples "Come Fly with Me" and "Fly Me to the Moon". The following December, Perry expressed plans on the Daddies' official Facebook page to further explore the band's swing and jazz influences with another cover album, this time centered on the hot jazz of the Cotton Club era of the 1920s and 1930s.

Since plans for a new record were announced, singer/songwriter Steve Perry stated the primary musical direction of the next Daddies album would be returning to swing and jazz music, the band's first swing-oriented album since their 1997 breakthrough compilation Zoot Suit Riot. White Teeth, Black Thoughts features few of the ska and punk influences which the Daddies are generally recognized for incorporating into their swing music, instead primarily drawing from various periods of traditional jazz and swing, including the hot jazz of the 1930s and the jump blues and big band of the 1940s and 1950s. A limited "deluxe edition" of White Teeth, Black Thoughts was co-released alongside the main album, featuring a bonus disc of additional material which Perry explained didn't fit into the stylistic context of the swing album. Heavily influenced by various facets of Americana music, the songs on the bonus disc cover such styles as zydeco ("Tchoupitoulas Congregation"), country ("You Wiped Your Ass With My Heart"), western swing ("Peckerheads & Badasses") and bluegrass ("Ragged Ol' Flag"), as well as several songs influenced by rockabilly.

Between 1938 and 1944, Glenn Miller and His Orchestra released 266 singles on the monaural ten-inch shellac 78 rpm format. Their studio output comprised a variety of musical styles inside of the Swing genre, including ballads, band chants, dance instrumentals, novelty tracks, songs adapted from motion pictures, and, as the Second World War approached, patriotic music. Non- instrumental songs featured Miller's various vocalists, generally Ray Eberle or Marion Hutton before 1940, with Tex Beneke, vocal group The Modernaires, and Skip Nelson all making studio vocal appearances after the turn of the decade. Beginning with An Album of Outstanding Arrangements in 1945, this collection has been repackaged into various album formats over time with release on 78 rpm, 10 and 12 inch LP, 7 inch 45 rpm, compact cassette, 8-track, compact disc (CD), and digital formats. Before his popularity, in the late 1920s, Miller played or wrote arrangements for many hot jazz groups, including a stint as a trombonist-arranger for Red Nichols’ famed Five Pennies recordings.