History of Jazz

Add a Comment

55 Comments

Comment by Lu (Marilu Enterline) on April 20, 2009 at 9:10pm

An announcement for the forthcoming documentary from Kay D. Ray that will examine in detail, the important stories and history of women jazz musicians.

LADY BE GOOD focuses on women who played jazz during decades when to be a woman in jazz was to be truly an exception. Beginning in the 1800's and into the twentieth century, women played in obscurity, gravitating to the all-women jazz bands of the thirties, then to the big bands and swing units of the forties and to the combos of the fifties. This film will chronicle the ongoing testimonies and successes of women in jazz, often against formidable odds and will be an incredible tribute to jazz women pioneers from all ages.
Release dates will be announced when available, in the meantime you can support this film by clicking here to join Ms. Ray in her efforts.

Comment by Gani Jakupi on April 20, 2009 at 10:59am

I would like to insert a short answer to Bill Barnes, on the subject of LE ROI INVISIBLE (the story of Oscar Aleman).
The data missing in the Koert's blog (you may find it only in the book, of course) is the date (1933) of the mine story-line. At the time neither Django nor Oscar were playing Selmer (if I'm not wrong, Django got his' in 1935). But the book is not addressed to the cutting edge specialists, but (I hope) a larger public, and the D-Hole Selmer visually epitomizes best the guitar style of that époque. So I took a small liberty with the reality. Anyway, Oscar did play this model later on (it seams that he liked the low register).
Anyhow, if anyone is interested in more images from the book, I invite you to visit my web page: www.ganijakupi.net

Comment by Noelle on April 12, 2009 at 7:44pm

Sounds interest! Love this site Jaijai!:) Peace...N

Comment by Bill Barnes on April 6, 2009 at 3:41am

I would like to thank Durium for calling to our attention the recent blog entry from Hans Koert (http://keepswinging.blogspot.com/) on LE ROI INVISIBLE, A portrait of Oscar Alemán, a comic book on the life of the largely overlooked swing guitarist from Argentina. Alemán, a close friend and rival of Django Reinhardt, was Josephine Baker's guitarist. Though Django was dubbed "le roi de la guitare" and received most of the limelight, there are many who feel that Alemán's playing was equal to or even superior than the Romani legend who founded the Quintette du Hot Club de France. In THE INVISIBLE KING, artist Gani Jakupi offers an entertaining peep into the life and times of this wonderful guitarist. My only quibble is in regards to the guitar he is depicted playing, which appears to be a Selmer Grande Bouche. Oscar actually played a Regulator, but this is a minor point. Anyway, thanks for posting this item, Durium!

Comment by Esquizito on March 21, 2009 at 2:34pm

Welcome,

I'm a lurker on this discussion, however; I post every Tuesday in BLOGS with: Afro-American Music:101 - where I present archival audio of New Orleans Jazzman, Danny Barker. He was a one-of-a-kind; a fascinating study that I enjoy sharing with others.

Check it out!
Peace,
http://thejazznetwork.ning.com/profiles/blogs/march-17th-2009

Comment by Warren Benbow on March 21, 2009 at 9:37am

Hey everyone,
I'm new here. What's up?
Warren

Comment by Esther Berlanga-Ryan on February 22, 2009 at 11:49am

What a lovely place to be.

:-)

Comment by Damon White ~The SILK ONE!~ on February 9, 2009 at 3:16pm

Your First Jam Session....Back in the day, it was ALL GOOD!!!
(Monika Herzig ask the question so here is some words on that.)

At the jam sessions I've been to, it's customary for the guy coming up on the stage to choose the tunes, so be ready with a few tunes you're comfortable with. If someone suggests a tune you don't know, SAY YOU DON'T KNOW IT. Better to be honest than try to fake it and fail. And you can never, ever go wrong just playing some blues. I would be willing to bet that blues tunes are played more at jam sessions than anywhere else.
__________________
Zack Albetta--Bosphorus Artist

-----------------------------------------------------------------
Yeah .... it is scary but thats part of the buzz init !

you'll enjoy it tho ..... if you
Pick something simple you know inside out
pref a well known standard in its usual key so no-one has to read it
Be VERY prepared with you're tune(s)
you choose the tempo style etc you want it in ......

You are the band leader for that tune so you take the lead on the stand ....
give the band the tempo check alls ok and
count-in really clearly for the guys in the band
play the head strongly and simply
don't widdle on for too long on your solo
get in , get out , good

sometimes on jams you do get a stupid competition thing going on
but it is BS and leads to boring music
If someone tries to cut you , they are the ass not you
music isn't a competition ..... have fun with it

------------------------------

PS I remember seeing a backstage thing with Dizzy and his latest
young hot latin band , he was prepping them before going on and said
something like 'listen we all support each other out there ,
if someone's in trouble you help them out right '
then he got out a small knife and says
'if anyone tries to cut anyone out there, I'll cut them'

you should have seen all their eyes widen at that one !
maybe a bit extreme but he's spot-on
----------------------------------------------------------------
The first time I sat in on a blues at a jam I remember feeling that I knew the form and changes and everything but I had never played in that context and I was so scared that something unforseeable would derail me, but it went okay. Traded fours with a drummer for the first time in my life that day. Scary scary stuff. Left feeling amazing. I knew my playing wasn't smoking or anything but I had played real jazz and survived. Quite like the feeling you get after a bungee jump.
A few weeks later I went back and played a rhythm changes tune (I suggested a blues first but the house band just groaned, don't don't misunderstand me, they were lovely people). I was playing these big four and five note chords (roots and all) and they sounded terrible. Afterwards I decided to develop a three note rootless style and that what I've been doing ever since (except during bass solos, where its three notes including the root). Sucking at jam sessions can be really educational.

Comment by Esquizito on February 9, 2009 at 9:57am

Greetings & Salutations! O Holy Jazz Nerds.

May We Do Our Job Much More Emphatically!

I invite you to view and listen to my postings weekly at the TJN Blog Spot. I am devoting the remainder of '09's offerings to the life and legacy of Danny Barker, a genius of Jazz, in this his centennial year.

Dig.

http://thejazznetwork.ning.com/profiles/blogs/january-13th-2009-danny

Swing'it and your life will change.

Peace,
E.

Comment by Paul " SEQUENCE " Ferguson on January 31, 2009 at 10:32pm

Thank you my friend.

• 1
• 2
• 3
• 4
• 5
• 6