94 Sentences With "jazz like" | Random Sentence Generator

But then also to jazz, like 'oh jazz is intelligent music.

There is something jazz-like in the syncopated music of something like Steely Dan.

Mr. Abrams has been making Afrocentric, droning free jazz like this for a long time.

Wrong. Jazz, like all serious art, is slavish in its adherence to boundaries and rules.

Some passages hint of avant-garde jazz, like an audacious Cecil Taylor improvisation, but with flintier modernist madness.

Before we could even see the venue, I felt the first ominous rumble of notably un-jazz-like bass vibrate through the car.

Even before I got into synths I was listening to a lot of free jazz like Coltrane, Albert Ayler and that kind of shit.

While the low end pummels away, the track's real sense of frenzy comes from jazz-like synth progressions that send it lurching through space.

He worked for decades with the trumpeter Clark Terry, a popular emblem of swinging ebullience, and also commingled with pioneers of free jazz like the alto saxophonist Ornette Coleman.

He finally decided to release them as an album this fall, and it's a good thing: We need more straight-ahead jazz like this to recirculate in the ecosystem.

In fact I'd love to see young people going back to the root and dig into some REAL jazz like Michael Brecker, Pat Metheney, or Chris Potter just to name a few.

"When you hear great jazz, like John Coltrane or Miles Davis, it has this jaw-dropping quality to it, and what's been described as 'a sound of surprise' takes place," Limb said.

Yet if you like innovative jazz like "Cantaloupe Island" by Herbie Hancock, you'll be a little disappointed that the Studio21 tuning doesn't quite bring out the full sound of the orchestra, leaving the song sounding a little contained.

Taken with the inventive fusion of Chick Corea and Stanley Clarke and the jackhammer riffs of the Sex Pistols and the Damned, the group combined jazz-like precision with rock showmanship to help birth what became known as the hardcore genre.

Working with fellow young musicians he had known since grade school, such as Ronald Bruner Jr. and Cameron Graves, he has gone on to record and tour with major Los Angeles musicians outside jazz, like Flying Lotus, Snoop Dogg and Kendrick Lamar.

Mbaqanga music is marabi's successor. It, too, is jazz-like; its roots are in marabi, American jazz, and traditional Zulu music.

Her musical style fused gospel and pop with classical music, in particular Johann Sebastian Bach,. and accompanied expressive, jazz- like singing in her contralto voice..

Chocolate earned the sobriquet, the "Louis Armstrong of India", as he not only played jazz like an African American, but also possessed a similarly dark complexion.

Jazz poetry has been defined as poetry that "demonstrates jazz-like rhythm or the feel of improvisation"Wallenstein, Barry. “JazzPoetry/Jazz- Poetry/‘JazzPoetry’???” African American Review, vol. 27, no.

Unquestionable Presence is the second album by the death metal band Atheist. It was released in 1991 and added a new sound by using jazz-like harmonies, subtle Latin rhythms and unusual time signatures.

You could delve into it and find deeper layers. There was always another level to get into.” He recalls, at age eleven, being a little strange for liking jazz like John Coltrane and Miles Davis.

Music Index, EBSCOhost. Retrieved 8 October 2012. and Second Symphony (1991) was written in response to the Gulf War. His Concerto for Violin and Guitar (1997) has a jazz-like setting with Mahler- influenced lyricism.

Singer and composer Zvonko Bogdan is the most popular performer throughout. Modern violinist Félix Lajkó based his jazz-like opus on a broad spectrum of influences from the music of Pannonian plain, including Hungarian, Vojvodinian and Romani music.

Goddard, pp. 298–301 In the 1930s he tended to simplify his orchestral textures. The lighter tone of the G major Piano Concerto follows the models of Mozart and Saint-Saëns, alongside use of jazz-like themes.Orenstein (1991), pp.

In case of suffix-like derivational elements such as -szerű and -féle '-like', simplification can only be applied to words ending in a single digraph, e.g. viasz + szerű > viasszerű 'wax-like' but not to their doubled forms: dzsessz + szerű > dzsessz-szerű 'jazz-like'.AkH. 94.

"Costa's melodic sensibility shines throughout", according to DownBeat critic Carlo Wolff, who considered the album 'finely crafted' and "an entrancing homage to Brazil". All About Jazz critic Paul Naser says: "Brazilian jazz, like its American counterpart, has fondly remembered its roots as it unabashedly moves forward".

Aside from the song's form, another jazz-like element is the degree of interactivity among the musicians. The bass frequently responds to vocal gestures, and the bass and synthesizer frequently interact. Likewise, the drums interact with the pitched lines. Two main contrasting vocal timbres are heard in this song.

April 2000 (Deutsch) and is often characterized by a confluence of motives from Anatolian folklore, epic song recitals, Renaissance-pieces and jazz-like interludes.Staunen über Mystik des Islam, Kölner Rundschau, Nummer 232, 7. Oktober 1997 (Deutsch) He performs in concerts and international song recitals on a European scale.

He participates in Emma Lake Fiddle Camp. He has played with various other musicians including John Arcand. Some of his music is jazz-like, some from the Métis tradition. He is an inspiration and a mentor to many Canadian fiddlers, including April Verch, Patti Kusturok, and Samantha Robichaud.

Other jazz vocalists include Bessie Smith and Florence Mills. In urban areas, such as Chicago and New York, African-American jazz was played on the radio more often than in the suburbs. Big-band jazz, like that of James Reese Europe and Fletcher Henderson in New York, attracted large radio audiences.

Conaty was originally the band's frontman, and Conaty and Giordano were for a time partners in the band.Remembering Rich, John Platt, wfuv.org, Feb 27, 2017; accessed July 26, 2017 Starting in 2006, Conaty compiled and annotated a series of collections of 1920s and 1930s jazz. Like the show, these were titled The Big Broadcast.

In 1991, he left for Budapest and joined the Franz Liszt Academy. Omar performed as a soloist and with his father Munir until his death in 1997. During his career, he toured many countries and released more than 19 albums. His music is a mix of traditional Arabic music with a jazz-like improvisation.

Acrania is a death metal and thrash metal band, whose music has also been described as "a true Prog/Extreme Metal beast." Acrania mixes their death metal music with "Afro Cuban sounds, Jazz-like ambiances, and an unparalleled use of brass instrumentation." Acrania's sound has been compared with that of American technical death metal band Atheist, in particular with their 1993 album Elements.

San Francisco acid rock generally took a non-commercial approach to song-writing: it often involved almost free jazz-like, free-form hard rock improvisations alongside distorted guitars, and lyrics often were socially conscious, trippy, or anti-establishment. Many of the musicians in the scene, including bands such as the Charlatans and the Quicksilver Messenger Service, became involved in Ken Kesey's LSD-driven psychedelic scene, known as the Merry Pranksters.

It was often compared to ECM acts such as the Pat Metheny quartet and the Keith Jarrett European quartet. In the 1990s, Vitale recorded several tango standards with Juan Carlos Baglietto, and was awarded a Latin Grammy for their collaboration in 2000. Also during those years, Vitale recorded a more jazz- like project with Lucho González and flute player Rubén Mono Izarrualde. This formation performed in the 1998 Montreux Jazz Festival.

The song is Eilish's response to people who she felt kept copying everything she was doing. The following track, "Idontwannabeyouanymore", is a pop and R&B; song, with a jazz and neo soul- influenced melody. The track features Eilish singing about self-doubt and low self-esteem. According to Baeble Music's Olivia Lewis, "My Boy" begins with a "chiller, jazz-like vibe, and a layer of darkness and mystery".

In early 2006, the group made a side-project release, Gosperats, which featured the members in blackface and singing with more soul and jazz-like accompaniment, with Rats & Star members Masayuki Suzuki, Nobuyoshi Kuwano and Yoshio Sato, who originally, along with such a style, established the popularity of R&B; and Doo-wop in the 1980s in Japan. Their single "Sky High" was used as the opening theme for the anime Nodame Cantabile: Paris.

Matti Caspi's song "Noah", for example, has a Latin feel, with strong jazz-like offbeats, chromatic harmonic accompaniments, and words relating to the biblical story of Noah. David Broza made flamenco style music popular in the late 70s and 80s. Kobi Oz of Teapacks Rock was something of a musical revolution for Israel. However, unlike the rock music of America in the 1960s and 1970s, it was not always an expression of social revolution.

This personal and political tension culminated with a long period (about 1972 to 1976) when AMM was rarely active, and then usually as a Prévost-Gare duo. This was arguably AMM's most jazz-like era, with Gare's sputtering, squawking saxophone (unique but showing the influence of John Gilmore and Albert Ayler) brought to the fore, although Prévost has stated the music was "decidedly non-jazz."Warburton, Dan. "AMM at the Roundhouse Review ". Bagatellen.

House of Lords is the fourth album by Lords of the Underground, their first album in eight years. The album was released on August 21, 2007 for Affluent Records and was produced by Marley Marl, K-Def and DJ Lord Jazz. Like the group's previous album Resurrection the album received very little promotion and was a commercial failure, and it did not make it to the Billboard charts nor did it produce any hit singles.

Oscar Klein (5 January 1930 in Graz, Austria – 12 December 2006 in Baden- Württemberg) was an Austrian born jazz trumpeter who also played clarinet, harmonica, and swing guitar. His family fled the Nazis when he was young. He became known for "older jazz" like swing and Dixieland. In the early sixties he joined the famous Dutch Swing College Band in the Netherlands as first trumpeter and he is to be found on several of their recordings.

The group has released two singles through Nation Records: "Big Trouble in Little Asia"/"Let the Hustlers Play" in 1993 and "On a Ride/Vigilante" 1994. They are credited with being one of the first Asian Hip Hop groups. Their music mixes gangsta rap lyrics and stylistics with jazz like beats, which combines to form a unique hip hop sound. The group uses their lyrics to discuss political and social issues pertinent to the Asian community.

The album was never released, but the master tapes were recently rediscovered in the vaults of Capitol Records. Tee's pop was called expressive, his funk ferocious and his jazz "like mirrors in a prism" by longtime producer Leo Sacks, who called Willie Tee "a monster on the B-3 organ" in a Times-Picayune article. Tee's early recordings, many of which were reissued by New York's Tuff City Records, were employed as source material for rappers.

The duo's eponymous song "Mungojerrie and Rumpleteazer" has been revised several times. In the original London production, the number was a singsong-style duet that was mainly composed in time with a slower tempo and more jazz-like sound. When Cats opened on Broadway, the song was rewritten to be faster and more upbeat, alternating between vaudeville-style verses (in time) and a "manic patter" section (in time). The London version was later rewritten to incorporate some aspects of its Broadway counterpart.

Jazz- like songs, sometimes of a strongly patriotic type, continued to be performed, though these songs were usually referred to as "light music."Atkins Blue Nippon, pp. 127-63. After the war, the Allied Occupation (1945–1952) of Japan provided a new incentive for Japanese jazz musicians to emerge, as the American troops were eager to hear the music they listened to back home. Pianist Toshiko Akiyoshi (born 1929) arrived in Tokyo in 1948, determined to become a professional jazz musician.

Most remixes of "Can't Take That Away (Mariah's Theme)" were released in the US only, although few were found in certain territories. David Morales produced the Morales club mix, which uses the song's original vocals with similar chord progressions to those of the original, and the Morales Triumphant mix, which contains re- recorded vocals and new lyrics which transform the song into a jazz-like mix with harmonica sections. A spoken introduction was also added, featuring Carey's spoken voice before the first verse.

Their uncle Rusty Dedrick was a jazz trumpeter with Claude Thornhill and Red Norvo. They formed the band while living in New York City. Chris has said the group was influenced by vocal groups like The Hi-Los (who performed in Greenwich Village frequently at the time) along with Peter, Paul and Mary and the counterpoint experiments of Benjamin Britten. Their trademark sound involved complex harmonies, jazz-like chord progressions, and off-beat time signatures, all products of Chris's classical training.

Their first album was the underground hit Sworn Eyes, produced by Doug Scharin. A few personnel changes followed, and the revamped lineup including members of June of 44. Golden released Our Point of Departure in 1999, which signified a very clear shift toward a more jazz-like sound, followed by a major American and European tour. In 2003, HiM released Many In High Places Are Not Well on Fat Cat Records, which was received as their most successful and fully realized release.

Bossa nova is most commonly performed on the nylon-string classical guitar, played with the fingers rather than with a pick. Its purest form could be considered unaccompanied guitar with vocals, as created, pioneered, and exemplified by João Gilberto. Even in larger, jazz- like arrangements for groups, there is almost always a guitar that plays the underlying rhythm. Gilberto basically took one of the several rhythmic layers from a samba ensemble, specifically the tamborim, and applied it to the picking hand.

Spike's "Rest in Peace" is also a rock song, which Whedon wrote after completing the episode's first song, Tara's "Under Your Spell", a contemporary pop song with radio-play potential. Xander and Anya's duet—the most fun to shoot but difficult to write, according to Whedon—is inspired by Fred Astaire-Ginger Rogers comedies as evidenced by the silken pajama costumes and art deco apartment setting.Wilcox, p. 201. Musically, the song uses influences from Ira Gershwin, a Charleston rhythm, and jazz-like chord slides.

This would mark a watershed in the history of tango and set Piazzolla on a collision course with the tango establishment. The jazz- like improvisations of Malvicino on electric guitar in, for example, Piazzolla's 1955 composition Marron y Azul, had never been heard before in tango. A long association with Piazzolla would see Malvicino join his first Quinteto in 1960, where he alternated with Oscar Lopez Ruiz, his Octeto Electronico in 1976, his second Quinteto in 1978 and his Sexteto Nuevo Tango in 1989.

The lush production, and White's domination of the vocals are not there, and there's greater reliance on other people's material. Such as, curiously enough David Gates Make It With You and even more unlikely, Pete Seeger's Where Have All The Flowers Gone. White wrote or co-wrote four numbers here including the instrumental Power and Mom one of the highlights." Edward Hill of the Plain Dealer said "Released a year after What's Going On, the disc used jazz-like instrumental experimentation expanding on Gaye's vision of the coming desolation.

Breitenbach seemingly had no trouble adjusting to America. New York, the city in which he would spend the rest of his life, became home to him, as evidenced by his photomontage of 1942, "We New Yorkers." He responded to the electric beat of the city, composing photographs such as "Radio City" (1942) that have a jazz-like quality. His first teaching appointment was at Black Mountain College near Asheville, North Carolina, where he was invited by Josef Albers to teach as Visiting Instructor in photography in summer 1944.

Playing the loose blues riff for the intro, on a Sunburst 1958 Les Paul Standard guitar, which ascends into the first chorus. Then, beginning at 1:24 (and lasting until 3:02) the song dissolves to a free jazz-like break involving a theremin solo and a drum solo and the orgasmic moans of Robert Plant. Audio engineer Eddie Kramer explained that he and Page experimented with mixing the album and left in some audio tape bleed through from an earlier vocal take.. Kramerarchives.com. Page also employed the backwards echo production technique.

Critical commentary described "My Boy" as a jazz-influenced pop track. "My Boy" features a minimalist production consisting of a hi-hat and keyboard. According to Baeble Music's Olivia Lewis, the track begins with a "chiller, jazz-like vibe, and a layer of darkness and mystery": "My boy's being sus', he was shady enough, but now he's just a shadow/My boy loves his friends like I love my split ends." After the lyrics: "And by that, I mean, he cuts 'em off", a "funky" tempo change happens.

O'Day, along with Mel Tormé, is often grouped with the West Coast cool school of jazz. Like Tormé, O'Day had some training in jazz drums (courtesy of her first husband Don Carter); her longest musical collaboration was with jazz drummer John Poole. While maintaining a central core of hard swing, O'Day's skills in improvisation of rhythm and melody rank her among the pioneers of bebop. She cited Martha Raye as the primary influence on her vocal style, also expressing admiration for Mildred Bailey, Ella Fitzgerald, and Billie Holiday.

Closing Time features an eclectic mix of musical styles. Songs such as "Ol '55", with its "gentle slipnote piano chords", and "Old Shoes", "a country-rock waltz that picked up the feel of 'Ol' 55'", are usually considered folk-like. Other songs such as "Virginia Avenue", "Midnight Lullaby", whose outro features an instrumental segment of the nursery rhyme "Hush Little Baby", and "Grapefruit Moon" reveal a quieter, more jazz-like temperament. "Ice Cream Man" is often noted as being the most "up-tempo" song of the album, whereas "Lonely" is toned-down and slow-paced.

The third movement is a slow and enigmatic fugue in four voices . The writing reflects the composer's preference at this point in time for pure, absolute music, free of any suggestions of philosophical, literary, or plastic imperatives . The fourth movement, in rapid tempo and at first in a steady triple rhythm, combines the functions of finale and scherzo. In its intricate, jazz-like syncopated rhythms and abundance of large melodic leaps it is close in character to two piano pieces Chávez wrote in the same year: Blues and Fox.

Caravanserai marked a major turning point in Carlos Santana's career as it was a departure from his critically acclaimed first three albums. In contrast with the earlier trademark sound fusion of salsa, rock, and jazz, the album concentrated mostly on jazz-like instrumental passages. All but three tracks were instrumentals. The album is the first in a series of Santana albums that were known for their increasing musical complexity, marking a move away from the popular rock format of the early Santana albums toward a more contemplative and experimental jazz sound.

Congolese music like soukous, as well as Cuban Rumba, exerted a profound influence on Sudanese popular music. An important shift in modern Sudanese music was introduced by the group Sharhabil and His Band – formed by a group of friends from Omdurman – namely Sharhabil Ahmed, Ali Nur Elgalil Farghali Rahman, Kamal Hussain, Mahaddi Ali, Hassan Sirougy and Ahmed Dawood. They introduced modern rhythms relating to Western pop and soul music, using electric guitars, double bass, and jazz-like brass instruments, with the emphasis on the rhythm section. Their lyrics were also poetic and became very popular.

In much of his poetry, to achieve a jazz-like rhythm, Kerouac made use of the long dash in place of a period. Several examples of this can be seen in "Mexico City Blues": Other well-known poems by Kerouac, such as "Bowery Blues," incorporate jazz rhythms with Buddhist themes of Saṃsāra, the cycle of life and death, and Samadhi, the concentration of composing the mind. Also, following the jazz / blues tradition, Kerouac's poetry features repetition and themes of the troubles and sense of loss experienced in life.

Chamberlin comes from a jazz background, and he notes jazz musicians Benny Goodman, Duke Ellington, Gene Krupa, Buddy Rich, and Billy Cobham as influences. He has also been compared to jazz drummer Dennis Chambers for his "quick hands, furious snare rolls, and crackling rimshots." In general, he is one of the few hard rock drummers to combine a driving backbeat with jazz-like flourishes. When asked about his influences in 2007, he responded: > Aside from the obvious – Keith Moon, John Bonham, Ian Paice – I would have > to say Tony Williams, Elvin Jones, any of the jazz greats – Gene Krupa, > those people.

She had fallen in love with "the young man who played jazz like God"; they married in 1943 and remained together for forty years until de Funès' death in 1983. They had two sons: Patrick (born on 27 January 1944, who became a doctor) and Olivier (born on 11 August 1949, who became a pilot for Air France Europe and also followed his father in the acting profession). Olivier de Funès became known for the roles he played in some of his father's films (Les Grandes Vacances, Fantômas se déchaîne, Le Grand Restaurant and Hibernatus being the most famous).

Apart from his plays and dramatic collaborations, Sitas has been celebrated as a poet. His first collection of poetry was met with critical acclaim, and was followed with a collection experimenting with musical form which was included in the anthology, Essential Things. His poetry is demanding from the exuberant collection of poems in Tropical Scars (1989), with its surreal (and political) vision of Durban and its jazz-like crescendos, to his latest The RDP Poems (2004), with its stripped-to-the bone lines. The most demanding is his Slave Trades (2000), which is a panoramic reconstruction of Arthur Rimbaud's Ethiopian years.

James Chance, also known as James White (born April 20, 1953 as James Siegfried in Milwaukee, Wisconsin, United States), is an American saxophonist, keyboard player, songwriter and singer. A key figure in no wave, Chance has been playing a combination of improvisational jazz-like music and punk in the New York music scene since the late 1970s, in such bands as Teenage Jesus and the Jerks, James Chance and the Contortions, James White and the Blacks (as he appeared in the film Downtown 81), The Flaming Demonics, James Chance & the Sardonic Symphonics, James Chance and Terminal City, and James Chance and Les Contortions.

The show's opening and closing sequences are accompanied by an orchestral rendition of the show's bouncy theme music, "The Toy Parade", by David Kahn, Melvyn Leonard, and Mort Greene. For the third season, the tempo was quickened and the tune whistled by a male chorus over an orchestral accompaniment for the closing credits and for the production credits following the opening sequence. For the final season, the song was given a jazz-like arrangement by the veteran composer and arranger Pete Rugolo. Though lyrics exist for the theme tune, an instrumental arrangement was used for the show's entire run.

The song is a slow-paced reflection in three verses on observed events ("Across the evening sky all the birds are leaving""purple" is used in Denny's original home demo, later versions used "evening") Having described these observations, Denny then writes that for her, some things are timeless ("Before the winter's fire, I will still be dreamin'; I have no thought of time") and in the last line of the short chorus asks rhetorically "Who knows where the time goes?". The song is in the key of E major and employs relatively complex jazz-like chord progressions.

Up to the 2010s, Sharhabil's band has been one of the leading names in Sudanese music, performing both at home as well as internationally. – Another popular group of the late 1970s that employed "jazz-like" brass arrangements were The Scorpions and Saif Abu Bakr. Since the 1940s, female singers had slowly become socially acceptable: Well-known singers were Mihera bint Abboud, Um el Hassan el Shaygiya and most of all, Aisha al Falatiya, who as early as 1943 was the first woman to sing on Sudanese radio. During the 1960s, a wave of new female vocal stars became prominent.

Each of the song's three verses begins with a double-stopped guitar intro before Billy Ficca's drums come in, and after the second chorus Richard Lloyd plays a brief guitar solo. After the third chorus, there is a longer solo by Tom Verlaine, based on a jazz-like mixolydian scale, that lasts for the entire second half of the song. On the original vinyl edition of the album, the song faded out just short of ten minutes, but the CD reissues have included the full 10:40 of the take. In concert, the band has sometimes extended the song to as long as fifteen minutes.

When a student failed to render the strokes properly, he admonished him or her to "clean it." On the temporal side, Augustin broke new ground with his kase, which tested the limits of how far one can travel from the principal rhythmic framework without losing it: "More so than any traditional drummer, Augustin has the ability to drop out of the rhythm completely...riffing brilliantly in stunning jazz-like improvisations for carefully calculated intervals, then coming back in, skeletally at first, and finally resuming full melody".Carol Amoruso, "Frisner Augustin, Vodou Ambassador: A Master Spell Caster Drums the Spirits In." RhythmMusic Magazine, Vol. V, No. 12 (December/January 1998), 23.

Thomas had been one of the first black bandleaders in the U.S. Army, was director of the music department at Morgan College, and was the founder of Baltimore's interracial Aeolian Institute for higher musical education. Charles L. Harris, as leader of the Baltimore Colored City Band, took his group to black neighborhoods across Baltimore, playing marches, waltzes and other music, then switch to jazz-like music with an upbeat tempo, meant for dancing. Some of Harris' musicians also played in early jazz clubs, though the musical establishment at the time did not readily accept the style. Fred Huber, Director of Municipal Music for Baltimore, exerted powerful control over the repertoire of these bands, and forbade jazz.

"Slow Love Slow" is not technically a ballad, instead being a jazz-like song inspired by American 1930s nightclub music, a genre new to the band. It is also influenced by David Lynch and his Twin Peaks, and Holopainen has called it a certain surprise for many. "I Want My Tears Back" features Troy Donockley on pipes, and is according to Holopainen one of the more approachable songs on first listen, as well as a possible future single. "Scaretale" has been described as "quite the opposite", and is about childhood nightmares, being Nightwish's version (lyrically) of Metallica's "Enter Sandman", and also homages the Disney song "Grim Grinning Ghosts", with "Scaretale"'s original working title having been "Haunted Mansion Ride".

42–45 They began as a traditional jubilee quartet, combining the clever arrangements associated with barbershop quartets with rhythms borrowed from the blues and jazz like scat singing. They developed a broad repertoire of styles – from Owens' mournful, understated approach in songs such as "Anyhow" or "Hush, Somebody's Calling My Name", to the group's highly syncopated arrangements in "Shadrach, Meshach and Abednego". Like The Mills Brothers in popular music, they would often include vocal special effects in their songs, imitating train sounds in songs such as "Golden Gate Gospel Train". Langford often sang lead, using his ability to range from baritone to falsetto, while Johnson narrated in a hip syncopated style that became the hallmark for the group.

The poems in the second section of Diiie are more militant in tone; according to critic Lyman B. Hagen, the poems in this section have "more bite" and express the experience of being Black in a white-dominated world. He states that Angelou acts as a spokesperson, especially in "To a Freedom Fighter", when she acknowledges a debt owed to those involved in the civil rights movement. According to Bloom, the themes in Angelou's poetry, which tend to be made up of short lyrics with strong, jazz-like rhythms, are common in the lives of many American Blacks. Angelou's poems commend the survivors who have prevailed despite racism and a great deal of difficulty and challenges.

The writer Ronald Bush notes that Eliot's early poems like "The Love Song of J. Alfred Prufrock", "Portrait of a Lady", "La Figlia Che Piange", "Preludes", and "Rhapsody on a Windy Night" had "[an] effect [that] was both unique and compelling, and their assurance staggered [Eliot's] contemporaries who were privileged to read them in manuscript. [Conrad] Aiken, for example, marveled at 'how sharp and complete and sui generis the whole thing was, from the outset. The wholeness is there, from the very beginning.'" The initial critical response to Eliot's The Waste Land was mixed. Bush notes that the piece was at first correctly perceived as a work of jazz-like syncopation—and, like 1920s jazz, essentially iconoclastic.

The book received mixed reviews. Reviewers praised Reed's courage in tackling difficult subjects, with the Chicago Tribune saying "Reed isn't foolhardy, but he is about as brave as can be". The New York Times concluded that "this clever, outrageous novel is just the sort of weapon we need in the war against academic pedantry". However, reviewers also criticized the book's ending, with The Washington Post noting that Japanese by Spring "lapses into the kind of artless agitprop that still too much afflicts even newer generations of the old Negro Problem Novel", and The Times Literary Supplement concluding that "if this writing is jazz-like, it's an improvised set that keeps forgetting what tunes it started out being based on".

Stevie Ray Vaughan was the most prominent figure in one style of Texas electric blues in the late 20th century Texas blues began to appear in the early 1900s among African Americans who worked in oilfields, ranches and lumber camps. In the 1920s, Blind Lemon Jefferson innovated the style by using jazz-like improvisation and single string accompaniment on a guitar; Jefferson's influence defined the field and inspired later performers. During the Great Depression in the 1930s, many bluesmen moved to cities including Galveston, San Antonio, Houston and Dallas. It was from these urban centers that a new wave of popular performers appeared, including slide guitarist and gospel singer Blind Willie Johnson.

Initially popular in the southwest United States, primarily in Texas, California and Arizona, banda has followed the movement of Mexican immigrants to the Midwest United States and the rest of the country. Mexicans who came in contact with Latin-based Jazz of Chicanos or Mexicans born and raised in the United States adopted jazz-like sounds in banda to further enrich the music type. Despite some having provided the music for solo vocalists such as José Alfredo Jiménez and Antonio Aguilar in years past, when it came time to record their own music, brass bandas almost exclusively performed instrumentals. In 1989, Banda El Recodo was the first brass banda to record songs with its own official vocalist, inspiring most bandas to follow suit.

Back in Argentina, Piazzolla formed his Orquesta de Cuerdas (String Orchestra), which performed with the singer Jorge Sobral, and his Octeto Buenos Aires in 1955. With two bandoneons (Piazzolla and Leopoldo Federico), two violins (Enrique Mario Francini and Hugo Baralis), double bass (Juan Vasallo), cello (José Bragato), piano (Atilio Stampone), and an electric guitar (Horacio Malvicino), his Octeto effectively broke the mould of the traditional orquesta típica and created a new sound akin to chamber music, without a singer and with jazz-like improvisations. This was to be a turning point in his career and a watershed in the history of tango. Piazzolla's new approach to the tango, nuevo tango, made him a controversial figure in his native land both musically and politically.

Wills formed several bands and played radio stations around the South and West until he formed the Texas Playboys in 1934 with Wills on fiddle, Tommy Duncan on piano and vocals, rhythm guitarist June Whalin, tenor banjoist Johnnie Lee Wills, and Kermit Whalin, who played steel guitar and bass. The band played regularly on Tulsa, Oklahoma radio station KVOO and added Leon McAuliffe on steel guitar, pianist Al Stricklin, drummer Smokey Dacus, and a horn section that expanded the band's sound. Wills favored jazz-like arrangements and the band found national popularity into the 1940s with such hits as "Steel Guitar Rag", "New San Antonio Rose", "Smoke On The Water", "Stars And Stripes On Iwo Jima", and "New Spanish Two Step".

While working predominant for the writing department he now has also produced more than 40 records which are more in the experimental areas of jazz like ones of Evan Parker, Roscoe Mitchell, Hal Russell, Robin Williamson, Joe Maneri or Mat Maneri. Furthermore, he published the book Horizons Touched: The Music of ECM (2007) with music critic/novelist Paul Griffiths and made contributions to the books Sleeves of Desire: a Cover Story (1996), Windfall Light: The Visual Language of ECM (2010) and ECM - A Cultural Archaeology (2012). In fall 2012 the Munich museum Haus der Kunst opened an exhibition about the work of the label called ECM - A Cultural Archaeology. It pointed out the early jazz-focused years till mid '80s before the New Series was initiated.

A tu per tu con i compositori d'oggi, Postmedia books, 2013 Mambo, for solo piano, is Francesconi's most jazz-like piece, and it reveals clearly his search for an ever uneasy equilibrium between sonoric materials, gathered in their primitive state, and the evocative power of history, from which the composer cannot remove himself. In the piece there is an overlap of a rhythmic ostinato in a low register, a series of ascending-descending diatonic lines, and, finally, a sequence of pounding 4-note chords. In this continual 'friction of contraries' resides the aesthetic motor of Francesconi's music as well as the powerful charge of sonoric seduction that his works carry. Francesconi exploits as a precious resource the capacity for intense analysis developed in Western culture.

Alfredo da Rocha Viana Filho, known as Pixinguinha (; April 23, 1897February 17, 1973) was a Brazilian composer, arranger, flautist and saxophonist born in Rio de Janeiro. Pixinguinha is considered one of the greatest Brazilian composers of popular music, particularly within the genre of music known as choro. By integrating the music of the older choro composers of the 19th century with contemporary jazz-like harmonies, Afro-Brazilian rhythms, and sophisticated arrangements, he introduced choro to a new audience and helped to popularize it as a uniquely Brazilian genre. He was also one of the first Brazilian musicians and composers to take advantage of the new professional opportunities offered to musicians by the new technologies of radio broadcasting and studio recording.

The first season garnered positive reviews, having a score of 72 out of 100 on Metacritic, based on 21 reviews. IGN named it the 94th-best animated series, describing it as a sharp satirical look at American society. Critic Jeffrey M. Anderson of the San Francisco Examiner said, "Each episode is beautifully crafted, with an eye on lush, shadowy visuals and a pulsing, jazz-like rhythm... the show is almost consistently funny, consistently brilliant, and, best of all, compulsively watchable." Mike Hale of the New York Times has considered The Boondocks among the top television shows of 2010, citing "Pause" as a "painfully funny" satire of Tyler Perry being portrayed as a superstar actor and a leader of a homoerotic cult.

During the 1970s, a concert band arrangement of the hymn "Holy Might Majesty" appeared on an album produced by the Young Philadelphians, a student ensemble based at Ambassador College. A jazz-like gospel version of the same hymn was recorded by Chris Jasper (a member of the Isley Brothers from 1973 to 1984) on the 1992 album Praise the Eternal. In the early 1980s, a four-cassette set of hymns was recorded by the Ambassador Chorale and Young Ambassadors of Ambassador College, joined by Worldwide Church of God choir members from nearby congregations in California. In addition, Ross F. Jutsum recorded a four- cassette set of "piano only" recordings of all of Dwight Armstrong's hymns published in the 1974 edition of the Bible Hymnal.

The use of a guitar solo as an instrumental interlude was developed by blues musicians such as John Lee Hooker, Muddy Waters, and T-Bone Walker, and jazz like Charlie Christian. Ernest Tubb's 1940 honky tonk classic, Walking the Floor over You was the first "hit" recording to feature and highlight a solo by a standard electric guitar–though earlier hits featured electric lap steel guitars. Blues master Lonnie Johnson had also recorded at least one electric guitar solo, but his innovation was neither much noted nor influential. Howlin' Wolf, Muddy Waters, Willie Dixon, and Jimmy Reed played in Chicago in a style characterized by the use of electric guitar, sometimes slide guitar, harmonica, and a rhythm section of bass and drums.

The symphony is written in two movements: #Andante #Allegro moderato The first movement, a sublime "divine tropical sunset-with- storm," begins and ends with strings, building into an agitated section, where the winds and brass support them before coming back to the opening phrases. It is considered more "European" than the second movement, which historically is probably the first orchestral setting of a samba. Forty-four measures from the end of the second movement are missing in the manuscript full score; although one conductor suggests this was possibly "for the orchestra to improvise in a jazz-like manner", this seems highly unlikely with such huge instrumental forces, plus the missing passage survives in a contemporary two-piano arrangement by Gottschalk's Brazilian friend and publisher Arthur Napoleão dos Santos. A typical performance takes approximately 20 minutes.

He chose the best musicians of the day: Roberto Pansera (later replaced by Leopoldo Federico) joined him on bandoneon with Atilio Stampone (piano), Enrique Mario Francini and Hugo Baralis (violins), José Bragato (cello), Aldo Nicolini (later replaced by Juan Vasallo) (double bass) and Horacio Malvicino (electric guitar). Piazzolla’s first arrangement for the Octeto was the tango Arrabal by José Pascual, which he had dreamed of playing since he first heard Elvino Vardaro’s version of it as a child. The Octeto created a new sound akin to chamber music and without a singer, normally part of an orquesta típica. Neither the jazz-like improvisations of Malvicino on electric guitar, for example in Piazzolla's 1955 composition Marrón y Azul, nor the cello solos of the classically trained Bragato had ever been heard before in tango.

In the 1970s, a wave of Haitian, mostly musicians, to Dominica and the French Antilles (Guadeloupe and Martinique) brought with them the kadans, a sophisticated form of music that quickly swept the island and helped unite all the former French colonies of the Caribbean by combining their cultural influences. This was followed by mini-jazz like Les Gentlemen, Les Leopards, Les Vikings de Guadeloupe and others. Later in the decade and into the 1980s, the French Antilles became home to a style of cadence music called cadence-lypso. Gordon Henderson's Exile One innovated this style, as well as turned the mini-jazz combos into guitar-dominated big bands with a full-horn section and the newly arrived synthesizers, paving the way for the success of large groups like Grammacks, Experience 7, among others.

Esquivel is considered the king of a style of late 1950s-early 1960s quirky instrumental pop known today as lounge music. Esquivel's musical style was highly idiosyncratic, and although elements sound like his contemporaries, many stylistic traits distinguished his music and made it instantly recognizable, including exotic percussion, wordless vocals, virtuoso piano runs, and exaggerated dynamic shifts. He used many jazz-like elements; however, other than his piano solos, there is no improvisation, and the works are tightly, meticulously arranged by Esquivel himself, who considered himself a perfectionist as a composer, performer, and recording artist. His orchestration tended toward the very lush, employing novel instrumental combinations, such as Chinese bells, mariachi bands, whistling, and numerous percussion instruments, blended with orchestra, mixed chorus, and his own heavily-ornamented piano style.

"Have Yourself a Merry Little Christmas" (Ralph Blane, Hugh Martin) features a downtempo, "jazz-like" solo piano performance by Chris Martin of Coldplay. Tracks exclusive to the album include Vanessa Carlton's piano-driven rendition of the traditional song "Greensleeves" as well as Bright Eyes' cover of "Blue Christmas" (Bill Hayes, Jay Johnson); others include Sense Field's version of John Lennon and Yoko Ono's "Happy Xmas (War Is Over)" and "What a Year for a New Year" by Dan Wilson, lead singer of the rock band Semisonic. Jimmy Eat World's "12/23/95", described by The Austin Chronicle Christopher Gray as "serious emo" and The New York Times Kelefa Sanneh as a "gentle ballad of apology", previously appeared on the band's 1999 album Clarity. The song title and date refer to Little Christmas Eve, the traditional day on which Norwegians decorate Christmas trees.

Frequent pauses in the bassoon's monologue and dry, harsh punctuation add to the effect of "recitativo", and the final and most vehement statement morphs over a protracted trill and flippant F major resolution into the second half of the movement, Allegro gioviale, which features syncopated rhythmsSeen and Heard International, Concert Review, Glyn Pursglove, December 2011. throughout. The orchestra plays a jazz-like chromatic theme and builds darkly towards the bassoon's entry, which in turn plays an acrobatic, ironically jocular theme, rejecting the first one heard in the orchestra. This manic and facetious character persists throughout the movement; the bassoon eventually reprising the expository theme before "breaking character" and distorting it greatly with jarring, angstful interjections (foreshadowing the next movement) and then performing a series of ascending scales, thematically inverting the descending string scales in the exposition, and runs up to a top F before the movement tumbles to a close. The Largo cantabile has been described as haunting, lyrical and colourfulArkivmusic.

Wong had set his breakthrough Days of Being Wild in that time in Hong Kong, when mainland-born Chinese and their memories, including those of Wong, then a young child, had a strong presence in the territory. Still saturated with the sounds of 1930s and 1940s Shanghai singing stars and the ideals they represented, the time also reminded him of the wide array of vibrant dance music floating in over the Pacific from the Philippines, Hawaii, Latin America and the United States, which Wong had used as a backdrop in Days of Being Wild. Wong had regarded Days of Being Wild upon its release in 1990 as an artistic success, and had planned a sequel to it. However, his producers had been disappointed by its box-office returns, particularly given that its shoot had been prolonged and expensive, with Wong, who had come out of the Hong Kong industry, first attempting to work more independently, including collaborating for the first time with cinematographer Christopher Doyle, who favored jazz-like spontaneity in his shooting methods.

Belgium has yielded a relatively high number of world-class jazz musicians: Philip Catherine, Steve Houben, Bert Joris, Charles Loos, Jean-Louis Rassinfosse, Michel Herr, Philippe Aerts, Peter Hertmans, Erwin Vann, Nathalie Loriers, Ivan Paduart, Phil Abraham, David Linx, Diederik Wissels, the Brussels Jazz Orchestra, Aka Moon... And the tradition is kept alive by a new generation of young and promising musicians in a variety of jazz styles: old-style mainstream, big band, bebop, all forms of modern jazz like the ‘’jazz rock’’, avant-garde and free improvisation, Latin jazz and electric Brazilian fusion, acid jazz, world jazz, etc.. Furthermore, musicians of the older generation who are still alive and kicking keep making notable records and are performing at a high level. Toots Thielemans for one is still prominent on the jazz scene. In 2009 he was one of the main attractions during the Night of the Proms in Antwerp, and in March 2010 he played eight shows at the Blue Note Festival in New York. Composer/pianist Jef Neve, born in 1977, has quickly become a prominent figure of Belgian jazz, and his international reputation is still growing.