Gwent 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:-

"  Eddie Heywood and his Jazz Six; Edna Hicks accompanied by Fletcher Henderson's Orchestra; Edna Hicks accompanied by Lovie Austin and her Blues Serenaders; Edna Hicks accompanied by Porter Grainger's Sawin' Three; Art Hickman and his Orchestra; Herb Wiedoeft's Cinderella Roof Orchestra; Herb Wiedoeft and his Orchestra; Wiedoeft-Wadsworth Quartet; Clarence Williams and his Band; Clarence Williams' Blue Five; Art Hickman's New York London Five; Hightower's Night Hawks; Alex Hill and his Orchestra; Alex Hill and his Sepians; Earl Hines and his Orchestra; Hitch's Happy Harmonists; Hollywood Shufflers; Clarence Williams' Blue Seven; Clarence Williams and his Bottomland Orchestra; Clarence Williams' Jazz Kings; Clarence Williams' Jug Band ; Clarence Williams' Novelty Band; Saxi Holtsworth's Harmony Hounds; Sol Hoopii's Novelty Trio; Hot Boys Band; Hotsy Totsy Boys; Hot Jazz Ernest Holzer; Hottentots; Paul Howard's Quality Serenaders; Clarence Williams' Novelty Four; Clarence Williams Trio; Clarence Williams and his Orchestra; Clarence Williams' Stompers; Clarence Williams' Washboard Band; Jack Humphrey's London Band; Prince Albert Hunt's Texas Ramblers; Hunter's Serenaders; Alex Hyde and his New York Orchestra; Alex Hyde's Original New Yorker Jazz Band; Jack Hylton's Kit-Cat Band; John Hyman's Bayou Stompers; Clarence Williams' Washboard Five; Clarence Williams' Washboard Four; Fess Williams and his Joy Boys; Fess Williams and his Royal Flush Orchestra; John Williams' Synco Jazzers; Indiana Sycopators; Cliff Jackson "

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. :-

When introduced, bop was as unpopular as swing had been popular. The complexity of the style often left the audience behind. The funky players were interested in recapturing the audience and reestablishing the hot jazz expression that had been abandoned by the cool style. This return was enthusiastic and reached back to the most communicative music in their past- church music. Another motive, less defined and certainly debatable, was the need to reclaim jazz as a predominantly African-American expression. Cool, and particularly West Coast jazz, was predominantly white even though Davis and Young were the forerunners. The structured, soft-spoken arrangements were certainly more typical of the European tradition than the expressive African-American voice heard in the early blues.

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