Borehamwood London Trios

Jazz trios in Borehamwood London 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 Trio

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

"  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 Orchestra; Taylor's Dixie Orchestra; Jasper Taylor and his State Street Boys; René Dumont von der Villa D'Este; Johnny Dunn and his Band; Johnny Dunn and his Jazz Band; Johnny Dunn and his Original Jazz Band; Johnny Dunn's Original Jazz Hounds; Jimmy Durante's Jazz Band; Eagle Band; Jasper Taylor's Original Washboard Band; Jack Teagarden and his Orchestra; Ray Tellier and his San Francisco Orchestra; Tennessee Ten; Tennessee Tooters; Eddie and Sugar Lou's Hotel Tyler Orchestra; Eddie's Hot Shots; Cliff Edwards accompanied by the Californians; Cliff Edwards and The Eton Boys; Cliff Edwards and his Hot Combination; Cliff Edwards accompanied by Andy Iona and his Islanders; Fred Elizalde and his Anglo American Band; Thelma Terry and her Playboys; The Texas Blue Destroyers "

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. :-

As rural music moved to the city and adopted new instruments, the polyphony typical of the African- American singing tradition found an expression in the style now identified as Early New Orleans Dixieland. It differed from the later Chicago Dixieland and the even later revival Dixieland in its instrumentation and rhythmic feeling. These first groups used a front line of a cornet, clarinet, and a trombone. The rhythm section was made up of banjo, tuba, and drums. The origin of these instruments was in the marching bands reflected the need to move while playing.

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