Sign Up Now
Get instant access to over 1 million+ study documents
OR
Already registered? click here to login
By creating your account, you agree to our terms of service, privacy policy and student honor code.
Article Review of "Jazz Musicians in Europe- 1919 to 1945"
African American jazz musicians have made their strong place in the music world and were greatly revered for their style. The author of the selected article explores these very jazz musicians' influence on world culture and politics from World War 1 until World War 2. The author argues that jazz had been bringing in the cultures of Europe, America, and Germany together while it was the politics that had been segregating them differently. It started from the end of World War 1 where Germany had lost its position and was entirely against the Americanisms. They believed jazz as a part of the dominance of American culture and thus wanted to stop it. France accepted jazz, but it also changed with the changing political scenarios during 1939 when World War 2 was about to happen.
The author has given the support of evidence from historical times, specifically from the ending of World War 1 till the ending of World War 2, where the significance of jazz and its musicians kept on deteriorating due to their color and racial backgrounds. They were mistaken for being Blacks, and Negros were not welcomed in American societies. Similarly, they were even not hailed by the Germans since they connected the Jews with Blacks and exhibited the "consequence of the inability of the losers of World War 1 to come to terms with a compromising colonial past" (Ross).
The author's research method reviews the historical period of a particular era and mentions the most popular jazz artists chronologically. Primary research has been used since he has presented indications with his facts. He has somewhere used secondary research where he cited publications and articles from other scholars; however, the use of
...
Since Americans did not like the Blacks and kept them at lower levels of their society, jazz musicians like Bushnell mentioned that they had to use back stairs to enter the clubs or face severe American ignorance. At the same time, they played as Americans did not care whether they were playing saxophone or telephone. The 1853 publication made claims parallel to these when Germans corroborated Blacks' link with the Jews and equally bashed them just for…
Work Cited
Ross, Larry. "Jazz Musicians in Europe: 1919 to 1945."
Jazz and Drug Use The music industry has often been associated with drug use, but most people think of rock and roll or rap when they consider musicians who use drugs. It may surprise these people to know that jazz music also has its share of drug use, and that this link has been ongoing since well before the 1960s (Aldridge, 28). This is important to consider, since there are many
Drums, piano, and bass all remain strictly rhythmic elements of this piece, though the latter two also provide melodic and harmonic support to this smooth yet snappy piece that is not quite a ballad yet is not nearly up-tempo enough to be considered be-bop. Johnson drives with his sticks on the drums with some liberal symbol use, and Brown keeps a steady bass line moving underneath the melody and
Jazz "Blues After Dark," Feat. Dizzy Gillespie (trumpet), Sonny Stitt (tenor sax), Lou Levy (piano), Ray Brown (bass), Gus Johnson (drums). In Belgium, 1958 Starting with the dueling instruments, it almost sounds like two muted trumpets, because the harmonics are intense. For a few notes, it remains that way until I see that it is not two trumpets but rather, a trumpet and a saxophone. They are playing together brilliantly. A smooth stand
Jazz Performance: "Blues After Dark," Dizzy Gillespie (trumpet), Sonny Stitt (tenor sax), Lou Levy (piano), Ray Brown (bass), Gus Johnson (drums). In Belgium, 1958 This dynamic performance starts rather tentatively with the trumpet and saxophone, before the band joins in earnestly. Piano, bass, and drums accompany the lead trumpet (Dizzy Gillespie) and tenor saxophone (Sonny Stitt). The introduction builds rather quickly after that, build around a central phrasing structure. There are deliberate
Jazz "Blues After Dark," Dizzy Gillespie (trumpet), Sonny Stitt (tenor sax), Lou Levy (piano), Ray Brown (bass), Gus Johnson (drums). In Belgium, 1958 Style = BeBop Role of Piano = Stride and Comping Role of the Bass = Walking Role of the Drums = Brushing and Riding Role of the Trumpet and Saxophone = Lead and Melody "Blues After Dark" starts off with Dizzy Gillespie and Sonny Stitt, for a few measures only the trumpet and saxophone
Incorporating African and Latin sounds into traditional jazz seems natural. Latin jazz uses familiar percussion instruments including congo and other hand drums as well as an assertive horn section. African-influenced jazz may be heavily percussion-driven or may alternatively rely strongly on choral vocals. European jazz musicians have also transformed the art of jazz by using innovative, experimental sounds and improvisational tools. Jazz is a musical genre that is ever-changing,