Jazz
31 artículos disponibles en línea
Miembro
Serie El jazz y la trompa • Parte 8
Jazz and the Horn
Dale Clevenger
Principal horn of the Chicago Symphony Orchestra, Dale Clevenger spent his Tuesday evenings playing jazz, discovering a freedom that classical training alone could not provide.
Por Jeffrey Agrell
Miembro
Parte 1
From musical wallpaper to the twelve-note row
The trombone in the chamber ensemble at the beginning of modern music (1913-1934)
Between 1913 and 1934, the trombone gained an unexpected place in chamber music as Satie, Milhaud and Stravinsky challenged orchestral traditions with jazz and new sounds.
Por Michael Struck-Schloen
Miembro
Serie El jazz y la trompa • Parte 6
Jazz and the Horn
Peter Gordon
Classically trained but drawn elsewhere, Peter Gordon made the horn at home in jazz, studios and popular music without abandoning its orchestral foundations.
Por Jeffrey Agrell
Gratuito
Serie El jazz y la trompa • Parte 5
Jazz and the Horn
Tom Varner
Choosing jazz over the orchestral path, Tom Varner confronts the horn’s stiffness, projection and unlikely place as a front-line improvising voice.
Por Jeffrey Agrell
Miembro
Serie El jazz y la trompa • Parte 7
Jazz and the Horn
John Clark
John Clark made the horn a jazz voice on its own terms, balancing improvisation, studio realities and an instrument still fighting to escape classical expectations.
Por Jeffrey Agrell
Miembro
George Swift, You see who I mean?
In the 1930s, George Swift brought cornet virtuosity and jazz influences to the concert trumpet, building a remarkable reputation through just a handful of recordings.
Por Michel Laplace
Miembro
Serie El jazz y la trompa • Parte 4
Jazz and the Horn
Thomas Bacon
Classical discipline meets jazz-rock freedom as Thomas Bacon confronts improvisation, stylistic crossover and the physical demands placed on the horn.
Por Jeffrey Agrell
Miembro
Serie El jazz y la trompa • Parte 2
Jazz and the Horn
Julius Watkins
A pioneering career, landmark recordings and collaborations with jazz legends gave the French horn a place it had never occupied before.
Por Jeffrey Agrell
Miembro
Parte 4
The Trumpet and the Cornet in Jazz and Popular Music
The instrument for jazz
Jazz trumpet playing balances equipment, embouchure and articulation, as changing sound ideals reshape mouthpieces, technique and the physical approach to playing.
Por Michel Laplace
Miembro
Aimé Barelli
Trumpet crooner
French jazz, wartime Paris and changing styles shaped a trumpeter whose playing balanced virtuosity, melody and expression across several musical worlds.
Por Michel Laplace
Miembro
Parte 5
The Trumpet and the Cornet in Jazz and in Popular Music
Breathing
Breathing, Valsalva, mouthpiece position and daily practice collide with received wisdom as trumpet technique is reconsidered from the body outward.
Por Michel Laplace
Gratuito
Parte 1
The trombone in Jazz and Popular Music
Jazz did not invent the modern trombone: early virtuosos, New Orleans players and changing techniques reveal a more complex path toward flexibility and legato.
Por Michel Laplace
Parte 2
Does Jazz still have a soul?
Por Michel Laplace
To be «Lead Trumpet» in a Jazz Orchestra
Glenn Stuart explores the demanding role of the lead trumpet in a jazz orchestra, combining leadership, endurance and musical vision to shape the sound of the entire band.
Por Glenn Stuart
Miembro
Parte 6
The Trumpet and the Cornet in Jazz and Popular Music
Special jazz techniques
Vibrato, half-valves, growls and shakes lead to a larger argument: jazz transformed trumpet technique, yet its contribution remained strikingly undervalued.
Por Michel Laplace
Miembro
Parte 3
The trombone in Jazz and Popular Music
Pluralism of expression since 1945
Bebop, cool jazz, free jazz and neo-classicism transformed the trombone after 1945, as new players, techniques and instruments pushed its boundaries.
Por Michel Laplace
Gratuito
Miles Davis
Encuentro a través de la cocina
Verduras, caballos y un Ferrari rodean a un Miles Davis lejos del escenario, entre vida cotidiana, música, provocación y una feroz necesidad de independencia.
Por Robert L. Watt
Miembro
Serie El jazz y la trompa • Parte 1
Jazz and the Horn
The horn was once considered incompatible with jazz until changing ideas of sound and musicians like John Graas quietly overturned that certainty.
Por Jeffrey Agrell
Miembro
Serie El jazz y la trompa • Parte 3
Jazz and the Horn
Getting started
For the classically trained horn player, jazz replaces the security of the printed page with listening, swing and improvisation—and a different kind of discipline.
Por Jeffrey Agrell
Miembro
Maurice Ravel and the new trombone
Dance-band trombonists reshaped orchestral expectations in the 1920s and 30s, leaving their mark on Ravel’s Boléro and a generation of players.
Por Michel Laplace
Can jazz performance be taught?
A profile of Charlie Shoemake
Por Thomas Stevens
Parte 1
Does Jazz still have a soul?
Por Michel Laplace
Gratuito
Parte 1
The Trumpet and the Cornet in Jazz and Popular Music
Before Louis Armstrong became the defining figure, jazz already carried competing traditions of tone, style and technique shaped by cornet players across New Orleans and beyond.
Por Michel Laplace
Miembro
Harry James (1916-1983)
Young Man With A Horn
Harry James stood between jazz virtuosity and popular showmanship, turning the trumpet into a mass-audience voice without losing the respect of classical players.
Por Michel Laplace