Chicago style jazz
A style of small band jazz popular in Chicago in the 1920s and 1930s that derived from New Orleans style, but emphasized greater solo space, fixed ensembles, and a more prominent role for the rhythm section.
A style of small band jazz popular in Chicago in the 1920s and 1930s that derived from New Orleans style, but emphasized greater solo space, fixed ensembles, and a more prominent role for the rhythm section.
An antiphonal pattern common to jazz and all African American folk music, with a "call" played by a soloist and "answered" by the ensemble.
Originally a Cuban orchestra of a flute, violins, and rhythm section, now more often with brass instruments added.
A musical arrangement.
A series of short musical passages (trading fours or twos) played by several players at a fast tempo.
Technical ability; the lips of a brass player.
See changes.
The refrain or the main body of a popular song. See popular song forms.
A series of twelve perfect fifths that circle back to the original tone.
A technique used by wind instrument players and singers to produce a continuous stream of notes without stopping for air. (The air is inhaled through the nose simultaneously while the mouth continues to produce musical sounds.)
The conclusion to a piece of music that functions like a summing-up, or an afterthought. A short coda is called a tag.
Simultaneous improvisation by several musicians (most often heard in early jazz and free jazz).
A small instrumental group of fewer than ten musicians.
The pattern of rhythmic placement of harmony used by keyboardists and guitarists while accompanying soloists.
"Combo": a band of guitar, tres, bass, bongos, trumpets, piano, percussion, and three vocalists, first formed for playing in Cuban carnival (Latin).
See counterpoint.
A jazz style characterized by moderate volume, quiet rhythm sections, low vibrato, and sometimes improvised counterpoint; c. 1950s. (See also West Coast jazz.)
Gerry Mulligan Quartet, "Line For Lyons"
Call-and-response between soloist and the coro (Latin). \
Independent improvised or composed melodies played against each other.
The simultaneous use of two or more different rhythmic patterns; a basic feature of most African American musics.
To outplay other musicians, usually in a jam session.