Bury St Edmunds Bands

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The names of Jazz Band

Much inventiveness and history has gone into the naming of bands. Here are some band names:-

"  Billy Arnold's Novelty Jazz Band; Billy Arnold et son Orchestre; Paul Ash and his Granada Orchestra; Paul Ash and his Orchestra; John Sylvester and his Orchestra; Synco Jazz Band; Synco Jazers; Syncopating Five; Syncopating Seven; Paul Ash and his Pabst Blue Ribbon Casino Orchestra; Lovie Austin and her Blues Serenaders; Lovie Austin and her Serenaders; Austin and his Musical Ambassadors; Adolfo R. Avilés Jazz Band; Bailey's Dixie Dudes; Bailey's Lucky Seven; Syncopating Skeeters; Tampa Blue Jazz Band; Tanz-Orchester Bernard Ette; Erskine Tate's Vendome Orchestra; Taylor's Dixie Orchestra; Buster Bailey and his Rhythm Busters ; Buster Bailey and his Seven Chocolate Dandies; Buster Bailey and his Sextet; Bal Tabarin Jazz Orchestra; Barbecue Joe and his Hot Dogs; Faye Barnes accompanied by Fletcher Henderson's Orchestra; Walter Barnes and his Royal Creolians; Jasper Taylor and his State Street Boys; Jasper Taylor's Original Washboard Band; Jack Teagarden and his Orchestra; Ray Tellier and his San Francisco Orchestra; Tennessee Ten; Barrel House Five Orchestra; Phil Baxter and his Orchestra; Johnny Bayersdorffer and his Jazzola Novelty Orchestra; Beale Street Washboard Band; King Bechet Trio; Sidney Bechet and his Creole Orchestra; Sidney Bechet and his Orchestra; Tennessee Tooters; Thelma Terry and her Playboys; The Texas Blue Destroyers; Frank Teschemacher's Chicagoans; Thomas's Devils; Bix Beiderbecke and his Gang; Bix Beiderbecke and his Rhythm "

Jazz Styles

Jazz is a reflection of the history of this music from the 1890s to modern day. Many of the great classical composers have drawn on jazz for inspiration. Jazz can be divided into many periods and styles, e.g. :-

Swing is the jazz style that emerged during the early 1930s and emphasized big bands. It spilled into the late 1940s and then remained popular in recordings, film, and television music long after its main proponents had disbanded. Most swing-style groups had at least 10 musicians and featured at least three or four saxophones, two or three trumpets, two or three trombones, piano, guitar, bass violin, and drums. Guitarists, bassists and drummers offered repeating rhythms that were sufficiently simple, buoyant, and lilting to inspire social dancers, the style's largest audience. Musicians strove for large, rich tone qualities on their instruments. Solo improvisers did not seek intricacy in their lines so much as lyricism and a hot, confident feeling that was rhythmically compelling. For these reasons, the musical period of the 1930s and 1940s has been called the swing era and big-band era. Not all dance music played by big bands of the 1930s and 1940s was jazz. A large segment of the public, however considered almost any lively, syncopated popular music to be jazz

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