Cannock Trios

Jazz trios in Cannock 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:-

"  Quintette of the Hot Club of France; Harry Raderman's Jazz Orchestra; Raderman's Radio Orchestra; Ma Rainey and her Georgia Jazz Band; Ma Rainey accompanied by Lovie Austin and her Blues Serenaders; Arcadia Peacock Orchestra of St. Louis; Arcadian Serenaders; Arkansas Travelers; Eduardo Armani y su Orquesta; Armani-Cóspito Jazz Band; Louis Armstrong and his Hot Five; Louis Armstrong and his Hot Seven; Ma Rainey and Papa Charlie Jackson; Ma Rainey accompanied by The Pruitt Twins; Slatz Randall and his Orchestra; Ernö Rapee's Jazz Symphoniker; Reb's Legion Club Forty Fives; Louis Armstrong and his Orchestra; Louis Armstrong and his Savoy Ballroom Five; Louis Armstrong and his Sebastian New Cotton Club Orchestra; Louis Armstrong and his Stompers; Billy Arnold's Novelty Jazz Band; Billy Arnold et son Orchestre; Paul Ash and his Granada Orchestra; Red And Miff's Stompers; The Red Devils; The Red Heads; The Red Hotters; Red Onion Jazz Babies; Paul Ash and his Orchestra; Paul Ash and his Pabst Blue Ribbon Casino Orchestra; Lovie Austin and her Blues Serenaders; Lovie Austin and her Serenaders; Austin and his Musical Ambassadors; Adolfo R. Avilés Jazz Band; Bailey's Dixie Dudes; Don Redman and his Orchestra; Leo Reisman and his Orchestra; Ruben "River" Reeves and his River Boys; Ruben "River" Reeves and his Tributaries; Charles Remue and his New Stompers Orchestra "

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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