Southern England Trios

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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:-

"  Joe Manone's Harmony Kings; Fate Marable's Society Syncopators; Marcel's Jazz Band des Folies Bergère; Marigold Entertainers; Sara Martin accompanied by W.C. Handy's Orchestra; The Harlem Footwarmers; Harlem Hot Chocolates; Harlem House Rent Stompers; Harlem Trio; Dave Harman and his Orchestra; Monk Hazel and his Bienville Roof Orchestra; Lucille Hegamin and her Blue Flame Syncopaters; Sara Martin accompanied by Clarence Williams' Harmonizers; Sara Martin and Clarence Williams' Harmonizing Four; Sara Martin and Clarence Williams Blue Five; Sara Martin accompanied by Clarence Williams' Orchestra; Sara Martin accompanied by her Jug Band; Lucille Hegamin and her Bang-Up Six; Lucille Hegamin and her Dixie Daisies; Lucille Hegamin accompanied by Clarence Williams and Band; Lucille Hegamin accompanied by Wooding's Society Entertainers; Edmonia Henderson accompanied by Lovie Austin and her Blues Serenaders; Edmonia Henderson accompanied by Tommy Ladnier and his Orchestra; Fletcher Henderson and his Sawin' Six; Sara Martin accompanied by Harry's Happy Four; Sara Martin accompanied by Richard M. Jones' Jazz Wizards; Mason Dixon Orchestra; Frankie Master's Orchestra; Charles A. Matson's Creole Serenaders; Fletcher Henderson Orchestra; Henderson's Club Alabam Orchestra; Henderson's Dance Orchestra; Rosa Henderson accompanied by the Virginians; Rosa Henderson accompanied by Fletcher Henderson's Jazz Five; Rosa Henderson accompanied by Fletcher Henderson's Orchestra; Rosa Henderson accompanied by Fletcher Henderson's Club Alabam Orchestra; Matson's Lucky Seven; George McClennon's Jazz Devils; Viola McCoy accompanied "

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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