A venue for people to express themselves and leave it all out on the dance floor. A moment that unites dancers and spectators together in shared creativity and inspiration. Montreal Swing Riot features a full weekend of dancing in the heart of the Montreal International Jazz Festival, competitions and showcases, three nights of live music.
Etymology[ edit ] "In spite of the explanations of the origins of these words, players actually did sing the words "bebop" and "rebop" to an early bop phrase as shown in the following example.
The path towards rhythmically streamlined, solo-oriented swing was blazed by the territory bands of the southwest with Kansas City as their musical capital; their music was based on blues and other simple chord changes, riff-based in its approach to melodic lines and solo accompaniment, and expressing an approach adding melody and harmony to swing rather than the other way around.
Ability to play sustained, high energy, and creative solos was highly valued for this newer style and the basis of intense competition. Swing-era jam sessions and "cutting contests" in Kansas City became legendary. The Kansas City approach to swing was epitomized by the Count Basie Orchestrawhich came to national prominence in He was especially enthralled by their tenor saxophone player Lester Youngwho played long flowing melodic lines that wove in and out of the chordal structure of the tune but somehow always made musical sense.
Young was equally daring with his rhythm and phrasing as with his approach to harmonic structures in his solos. He would frequently repeat simple two or three note figures, with shifting rhythmic accents expressed by volume, articulation, or tone.
His Swing and bebop was far removed from the two or four bar phrases that horn players had used until then. They would often be extended to an odd number of measures, overlapping the musical stanzas suggested by the harmonic structure. He would take a breath in the middle of a phrase, using the pause, or "free space," as a creative device.
The overall effect was that his solos were something floating above the rest of the music, rather than something springing from it at intervals suggested by the ensemble sound.
When the Basie orchestra burst onto the national scene with its recordings and nationally broadcast New York engagements, it gained a national following, with legions of saxophone players striving to imitate Young, drummers striving to imitate Jo Jonespiano players striving to imitate Basie, and trumpet players striving to imitate Buck Clayton.
That understatement of harmonically sophisticated chords would soon be used by young musicians exploring the new musical language of bebop. In his early days in New York, Parker held a job washing dishes at an establishment where Tatum had a regular gig. The small band format lent itself to more impromptu experimentation and more extended solos than did the bigger, more highly arranged bands.
The recording of " Body and Soul " by Coleman Hawkins with a small band featured an extended saxophone solo with minimal reference to the theme that was unique in recorded jazz, and which would become characteristic of bebop.
That solo showed a sophisticated harmonic exploration of the tune, with implied passing chords. Hawkins would eventually go on to lead the first formal recording of the bebop style in early In New York he found other musicians who were exploring the harmonic and melodic limits of their music, including Dizzy Gillespiea Roy Eldridge -influenced trumpet player who, like Parker, was exploring ideas based on upper chord intervals, beyond the sevenths that had traditionally defined jazz harmony.
Guitarist Charlie Christianwho had arrived in New York with the Benny Goodman Orchestra in was, like Parker, an innovator extending a southwestern style.
Christian commonly emphasized weak beats and off beats and often ended his phrases on the second half of the fourth beat.
Christian experimented with asymmetrical phrasing, which was to become a core element of the new bop style. Drummers such as Kenny Clarke and Max Roach were extending the path set by Jo Jones, adding the ride cymbal to the high hat cymbal as a primary timekeeper and reserving the bass drum for accents.
Bass drum accents were colloquially termed "bombs," which referenced events in the world outside of New York as the new music was being developed. The new style of drumming supported and responded to soloists with accents and fills, almost like a shifting call and response.
This change increased the importance of the string bass. While small swing ensembles commonly functioned without a bassist, the new bop style required a bass in every small ensemble. The bop musicians advanced these techniques with a more freewheeling, intricate and often arcane approach.
They would often deploy phrases over an odd number of bars and overlap their phrases across bar lines and across major harmonic cadences. Christian and the other early boppers would also begin stating a harmony in their improvised line before it appeared in the song form being outlined by the rhythm section.
This momentary dissonance creates a strong sense of forward motion in the improvisation. Byas became the first tenor saxophone player to fully assimilate the new bebop style in his playing.
In the crew of innovators was joined by Dexter Gordona tenor saxophone player from the west coast in New York with the Louis Armstrong band, and a young trumpet player attending the Juilliard School of MusicMiles Davis.
It did not attract the attention of major record labels nor was it intended to.
Some of the early bebop was recorded informally. The Eckstine band was recorded on V-discswhich were broadcast over the Armed Forces Radio Network and gained popularity for the band showcasing the new bebop style. The format of the Eckstine band, featuring vocalists and entertaining banter, would later be emulated by Gillespie and others leading bebop-oriented big bands in a style that might be termed "popular bebop".
Thereafter, Gillespie would record bebop prolifically and gain recognition as one of its leading figures. Breakout[ edit ] By bebop was established as a broad-based movement among New York jazz musicians, including trumpeters Fats Navarro and Kenny Dorhamtrombonists J.
The new music was gaining radio exposure with broadcasts such as those hosted by "Symphony Sid" Torin. Parker remained in Los Angeles after the rest of the band left, performing and recording for six months before suffering an addiction-related breakdown in July, then was again active in Los Angeles in early Gillespie, with his extroverted personality and humor, glasses, lip beard and beret, would become the most visible symbol of the new music and new jazz culture in popular consciousness.
That of course slighted the contributions of others with whom he had developed the music over the preceding years.Le Temple du Swing est une école parisienne de danses de couple, spécialisée en bebop de Saint-Germain-des-Prés depuis plus de 30 ans. L'école propose aussi du west coast swing, du lindy hop, du zouk brésilien et de la kizomba.
Toutes nos danses sont enseignées par un couple de professeurs.. Nos cours et nos stages sont réguliers à . In the teen years of the 21st Century, a hundred years since jazz exploded into international prominence, attempting to capture the music's sprawling, constantly expanding reaches - more diverse now than ever - is a little like attempting to contain an ocean in a sieve.
A TOP choice for augmenting your Jazz Guitar instruction & a very helpful supplement to your Jazz resources.
This book/CD package provides jazz stylistic instruction-practice and includes chord progressions, voice-led ending chords, vamps (bebop, swing, Latin, ballads), extended ideas, classic intros, many concepts, and more.
Barrelhouse Blues: West Country based blues band. They play a weird and wonderful junkshop-full of instruments: the usual guitars, dobro, banjo, harmonica and mandolin, plus ukelele, jugs, kazoos, drums, kettles and "assorted noises". Feb 27, · As one of the most well respected American art forms, jazz has shaped the music industry spawning both the careers of various musical geniuses, and an .
Product Description. This is an opportunity to learn with one of jazz guitar's most gifted artists, the late Emily Remler. All of the essentials of true jazz bebop and swing are taught here, including Wes Montgomery and Pat Martino styles, working with the metronome on 2 and 4, learning to identify changes, jazz-style blues, turnarounds, practice tips, passing notes and chords, chord.