Cambridgeshire Trios

Jazz trios in Cambridgeshire 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:-

"  Rhythmakers; Walter Barnes and his Royal Creolians; Barrel House Five Orchestra; Phil Baxter and his Orchestra; Johnny Bayersdorffer and his Jazzola Novelty Orchestra; Beale Street Washboard Band; King Bechet Trio; Sidney Bechet and his Creole Orchestra; Rhythmic Eight; Richmond Starlight Jazz Quartette; Red Roberts mit seiem Ultraphon Jazz Orchester; Robinson's Knights Of Rest; Ikey Robinson and his Band ; Sidney Bechet and his Orchestra; Bix Beiderbecke and his Gang; Bix Beiderbecke and his Rhythm Jugglers; Bix Beiderbecke and his Orchestra; Ben's Bad Boys; Bennett's Swamplanders; Benson Orchestra of Chicago; Ikey Robinson and his Windy City Five; Ike Rogers and his Biddle Street Boys; Adrian Rollini and his Orchestra; Adrian Rollini Quintette; Adrian Rollini Trio; Flo Bert with Orchestra; Vic Berton and his Orchestra; Jimmy Bertrand's Washboard Wizards; Don Bestor and his Orchestra; Beverly Syncopators; Paul Biese and his Edgewater Beach Orchestra; Paul Biese and his Novelty Orchestra; Luigi Romanelli and his King Edward Hotel Orchestra; Ross Deluxe Syncopaters; Luis Russell and his Burning Eight; Luis Russell and his Heebie Jeebie Stompers; Luis Russell and his Orchestra; Paul Biese Orchestra; Paul Biese Trio; Paul Biese's College Inn Orchestra; The Big Aces; Barney Bigard and his Jazzopators; Barney Bigard and his Orchestra; Barney Bigard Sextet; Russell's Hot Six; Russo and Fiorito's Oriole Orchestra; Salon Symphonie Jazzband; Salty Dog Four "

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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