Cambridge Trios

Jazz trios in Cambridge 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:-

"  Black Birds Of Paradise; Black Pirates; Clarence Black's Savoy Trio; Blake's Jazzone Orchestra; Savoy Bearcats; Savoy Orpheans; Savoy Quartet; Bobbie Sax and his Orchestra; Efim Schachmeister mit seunem Jazz Symphonie Orchester; Eubie Blake and his Orchestra; Eubie Blake and his Shuffle Along Orchestra; Eubie Blake Trio; Blind Willie Dunn and his Gin Bottle Four; Blind Willie Dunn and Lonnie Johnson; Blue Grass Foot Warmers; The Blue Rhythm Orchestra; Elmer Schoebel and his Friars Society Orchestras; Bernie Schultz and his Crescent Orchestra; Scorpion Washboard Band; Cecil Scott and his Bright Boys; Lloyd Scott and his Orchestra; Blue Ribbon Syncopators; Blythe and Burton; Blythe and Clark; Jimmy Blythe and his Ragamuffins; Blythe's Owls; Blythe's Sinful Five; Blythe's Washboard Band; The Scranton Sirens Orchestra; Searcy Trio; Seattle Harmony Kings; Emil Seidel and his Orchestra; Ben Selvin and his Orchestra; Blythe's Washboard Ragamuffins; James Boucher et son Jazz; Bogan's Birmingham Busters; Eric Borchard's Atlantic Jazz Band; Eric Borchard's Jazz Band; Borbee's Jass Band; Boston Orchestra; Boyd Senter and His Senterpedes; Boyd Senter Trio; Sepia Serenaders; Seven Black Dots; Seven Blue Babies; James Boucher et son Jazz; Perry Bradford and his Gang; Perry Bradford's Jazz Phools; Brady's Clarinet Band; Arthur Briggs' Savoy Syncopators Orchestra; Mart Britt and his Orchestra; The Broadway Bellhops; Bessie Smith accompanied by "

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. :-

In this era, which began in 1947, many instruments were used in jazz for the first time. Softer-sounding instruments, unamplified, created a different mood from that expressed earlier. The G.I. Bill made schooling possible for many jazz players, which encouraged experimentation in jazz that had been previously ignored: new meters, longer forms, and explorations in orchestration. Longer forms were also made possibly by the introduction of long-playing records.

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