Jazz is a music genre that originated in the African-American communities of New Orleans, Louisiana, in the late 19th and early 20th centuries, with its roots in blues and ragtime. Since the 1920s Jazz Age, it has been recognized as a major form of musical expression in traditional and popular music. Jazz is characterized by swing and blue notes, complex chords, call and response vocals, polyrhythms and improvisation. Jazz has roots in European harmony and African rhythmic rituals.
Rhythm and blues, frequently abbreviated as R&B or R'n'B, is a genre of popular music that originated within African-American communities in the 1940s. The term was originally used by record companies to describe recordings marketed predominantly to African Americans, at a time when "rocking, jazz based music ... [with a] heavy, insistent beat" was becoming more popular. In the commercial rhythm and blues music typical of the 1950s through the 1970s. The bands usually consisted of a piano, one or two guitars, bass, drums, one or more saxophones, and sometimes background vocalists. R&B lyrical themes often encapsulate the African-American history and experience of pain and the quest for freedom and joy, as well as triumphs and failures in terms of societal racism, oppression, relationships, economics, and aspirations.
Ferdinand Joseph LaMothe, known professionally as Jelly Roll Morton, was an American ragtime and jazz pianist, bandleader, and composer of Louisiana Creole descent. Morton was jazz's first arranger, proving that a genre rooted in improvisation could retain its essential characteristics when notated. His composition "Jelly Roll Blues", published in 1915, was one of the first published jazz compositions. He also claimed to have invented the genre.
Henry Roeland "Roy" Byrd, better known as Professor Longhair or "Fess" for short, was an American singer and pianist who performed New Orleans blues. He was active in two distinct periods, first in the heyday of early rhythm and blues and later in the resurgence of interest in traditional jazz after the founding of the New Orleans Jazz and Heritage Festival in 1970. His piano style has been described as "instantly recognizable, combining rumba, mambo, and calypso".
The New Orleans Rhythm Kings (NORK) were one of the most influential jazz bands of the early to mid-1920s. The band included New Orleans and Chicago musicians who helped shape Chicago jazz and influenced many younger jazz musicians.
Freddie Keppard was an American jazz cornetist who once held the title of "King" in the New Orleans jazz scene. This title was previously held by Buddy Bolden and succeeded by Joe Oliver.
Latin jazz is a genre of jazz with Latin American rhythms. The two main categories are Afro-Cuban jazz, rhythmically based on Cuban popular dance music, with a rhythm section employing ostinato patterns or a clave, and Afro-Brazilian jazz, which includes samba and bossa nova.
"The Saint Louis Blues" is a popular American song composed by W. C. Handy in the blues style and published in September 1914. It was one of the first blues songs to succeed as a pop song and remains a fundamental part of jazz musicians' repertoire. Benny Goodman, Louis Armstrong, Cab Calloway, Bing Crosby, Bessie Smith, Eartha Kitt, Count Basie, Glenn Miller, Guy Lombardo, Peanuts Hucko, and the Boston Pops Orchestra are among the artists who have recorded it. The song has been called "the jazzman's Hamlet". Composer William Grant Still arranged a version of the song in 1916 while working with Handy.
Afro-Cuban jazz is the earliest form of Latin jazz. It mixes Afro-Cuban clave-based rhythms with jazz harmonies and techniques of improvisation. Afro-Cuban music has deep roots in African ritual and rhythm. The genre emerged in the early 1940s with the Cuban musicians Mario Bauzá and Frank Grillo "Machito" in the band Machito and his Afro-Cubans in New York City. In 1947, the collaborations of bebop trumpeter Dizzy Gillespie and percussionist Chano Pozo brought Afro-Cuban rhythms and instruments, such as the tumbadora and the bongo, into the East Coast jazz scene. Early combinations of jazz with Cuban music, such as "Manteca" and "Mangó Mangüé", were commonly referred to as "Cubop" for Cuban bebop.
Contradanza is the Spanish and Spanish-American version of the contradanse, which was an internationally popular style of music and dance in the 18th century, derived from the English country dance and adopted at the court of France. Contradanza was brought to America and there took on folkloric forms that still exist in Bolivia, Mexico, Venezuela, Colombia, Peru, Panama and Ecuador.
Jelly Roll Morton: The Complete Library of Congress Recordings is a 2005 box set of recordings from jazz pioneer Jelly Roll Morton. The set spans 128 tracks over eight CDs. It won two Grammy Awards in 2006, Best Historical Album and Best Album Notes.
Jelly's Last Jam is a musical with a book by George C. Wolfe, lyrics by Susan Birkenhead, and music by Jelly Roll Morton and Luther Henderson. Based on the life and career of Ferdinand Joseph LaMothe, known as Jelly Roll Morton and generally regarded as one of the primary driving forces behind the introduction of jazz to the American public in the early 20th century, it also serves as a social commentary on the African-American experience during the era. LaMothe was born into a Louisiana Creole family that was established and free before the Civil War.
The music of New Orleans assumes various styles of music which have often borrowed from earlier traditions. New Orleans, Louisiana, is especially known for its strong association with jazz music, universally considered to be the birthplace of the genre. The earliest form was dixieland, which has sometimes been called traditional jazz, 'New Orleans', and 'New Orleans jazz'. However, the tradition of jazz in New Orleans has taken on various forms that have either branched out from original dixieland or taken entirely different paths altogether. New Orleans has also been a prominent center of funk, home to some of the earliest funk bands such as The Meters.
"See See Rider", also known as "C.C. Rider", "See See Rider Blues" or "Easy Rider", is a popular American 12-bar blues song that became a standard in several genres. Gertrude "Ma" Rainey was the first to record it on October 16, 1924, at Paramount Records in New York. The song uses mostly traditional blues lyrics to tell the story of an unfaithful lover, commonly called an "easy rider": "See see rider, see what you have done", making a play on the word "see" and the sound of "easy".
"I'm Alabama Bound" is a ragtime melody composed by Robert Hoffman in 1909. Hoffman dedicated it to an M. T. Scarlata. The cover of its first edition, published by Robert Ebberman, New Orleans, 1909, advertises the music as "Also Known As The Alabama Blues" which has led some to suspect it of being one of the first blues songs. However, as written, it is an up-tempo rag with no associated lyrics. The song has been recorded numerous times in different styles—both written and in sound recordings—with a number of different sets of lyrics.
"Black Bottom Stomp" is a jazz composition. It was composed by Jelly Roll Morton in 1925 and was originally entitled "Queen of Spades". It was recorded in Chicago by Morton and His Red Hot Peppers, for Victor Records on September 15, 1926.
"Original Jelly Roll Blues", usually shortened to and known as "Jelly Roll Blues", is an early jazz fox-trot composed by Jelly Roll Morton. He recorded it first as a piano solo in Richmond, Indiana, in 1924, and then with his Red Hot Peppers in Chicago two years later, titled as it was originally copyrighted: "Original Jelly-Roll Blues". It is referenced by name in the 1917 Shelton Brooks composition "Darktown Strutters' Ball".
"Tin Roof Blues" is a jazz composition by the New Orleans Rhythm Kings first recorded in 1923. It was written by band members Paul Mares, Ben Pollack, Mel Stitzel, George Brunies and Leon Roppolo. The tune has become a jazz standard and is one of the most recorded and often played New Orleans jazz compositions.
Tresillo is a rhythmic pattern used in Latin American music. It is a more basic form of the rhythmic figure known as the habanera.
