Harpenden Bands

Jazz bands in Harpenden can be found on our national database of music and musicians, covering weddings, parties, corporate functions and concert clubs.

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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:-

"  Dixie Four; St. Louis Levee Band; Charley Straight's Orchestra; Sugar Johnny's Creole Orchestra; Joe Sullivan and his Cafe Society Orchestra; Joe Sullivan Trio; Dixie Rhythm Kings; Dixie Serenaders; Dixie Stompers; Dixie Washboard Band; Dixie-Land Thumpers; Dixieland Jug Blowers; Dixon and Channey; Super Syncopators; Wilbur Sweatman and his Band; Wilbur Sweatman and his Jass Band; Wilbur Sweatman's Jazz Orchestra; Wilbur Sweatman's Brownies; Vance Dixon and his Pencils; Dixon's Jazz Duo; Dixon's Jazz Maniacs; Dodds And Parham; Baby Dodds Jazz Four; Johnny Dodds and his Chicago Boys; Johnny Dodds and his Orchestra; Wilbur Sweatman and his Acme Syncopators; Wilbur Sweatman and his Acme Syncopators; Wilbur Sweatman and his Orchestra; Sammy Swift Jazz Band; John Sylvester and his Orchestra; Johnny Dodds' Black Bottom Stompers; Johnny Dodds' Hot Six; Johnny Dodds' Trio; Johnny Dodds' Washboard Band; Doherty's Melody Boys; Pat Dollohan Orchestra; The Dorsey Brothers Orchestra; Synco Jazz Band; Synco Jazers; Syncopating Five; Syncopating Seven; Syncopating Skeeters; The Dorsey Brothers Concert Orchestra; Jimmy Dorsey accompanied by the Dorsey Brothers Orchestra; Jimmy Dorsey accompanied by Spike Hughes and his Three Blind Mice; Tom Dorsey and his Novelty Orchestra; Roberta Dudley accompanied by Ory's Orchestra; Louis Dumaine's Jazzola Eight; René Dumont Jazz Band; Tampa Blue Jazz Band; Tanz-Orchester Bernard Ette; Erskine Tate's Vendome "

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. :-

Like bop, fusion did not occur without controversy. As jazz was establishing its legitimacy, it was taking a risk by fusing with rock. Rock also represented a generational division in the American profile. It accompanied the emergence of the post- World War II baby boom to adolescence. It was the first associated exclusively with the young generation and worked as a banner distinction. Its further association with the social and political polarity of the 1960s tended to reinforce the generation lines. Jazz criticism at that time was founded in the swing and, to a lesser extent, the bop traditions. Rock fusion represented a commercialization of an emerging American art form. As the popularity of rock was carried by the baby boom into the adult listening market, its possible fusion seemed guaranteed.

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