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May 8, 2019 · Early jazz is often referred to as “Hot Jazz,” and sometimes “Dixieland music.” It incorporated the fast and spirited nature of ragtime, and the use of trumpets, trombones, drums, saxophones, clarinets, banjos, and either a bass or a tuba.
Jazz-rock fusion appeared in the late 1960s and early 1970s, combining jazz improvisation with rock music's rhythms, electric instruments, and highly amplified stage sound. In the early 1980s, a commercial form of jazz fusion called smooth jazz became successful, garnering significant radio airplay.
- Scott Joplin (1868–1917) Scott Joplin is considered the foremost composer of ragtime music. Many of his compositions, including “Maple Leaf Rag” and “The Entertainer,” were published and sold across the country.
- Buddy Bolden (1877–1931) Wikimedia Commons/Public Domain. Trumpeter Buddy Bolden is credited with bringing a loose, raw approach to instrumental jazz with his loud tone and emphasis on improvisation.
- King Oliver (1885–1938) Best known as a bandleader, King Oliver was also Louis Armstrong’s teacher and was responsible for launching Armstrong’s career by featuring him in his band.
- Nick LaRocca (1889–1961) Cornetist and trumpeter LaRocca was the leader of the Original Dixieland Jass Band (later changed to the Original Dixieland Jazz Band) which made the first jazz recordings in 1917.
Feb 24, 2017 · ‘Jazz’ was named the Word of the 20th Century by the American Dialect Society, which is remarkable since we don’t actually know for sure from where the term originates. One of the most striking...
Sep 11, 2024 · Early attempts to define jazz as a music whose chief characteristic was improvisation, for example, turned out to be too restrictive and largely untrue, since composition, arrangement, and ensemble have also been essential components of jazz for most of its history.
- Gunther Schuller
Early Jazz: Its Roots and Musical Development, by Gunther Schuller, is a seminal study of jazz from its origins through the early 1930s, first published in 1968. [1] It has since been translated into five languages (Italian, French, Japanese, Portuguese and Spanish). [2]
Spring 2003. This seminar will undertake critical reading of the earliest commentaries on jazz (including the writings of musicians, literary critics, educators, the popular press, and artists (especially the Futurists, Surrealists, and Dadaists), and of the first attempts at jazz history.
