For Louis Armstrong, a creative genius, tradition is undoubtedly like a shackle. In late 1924, he accepted the invitation of Fletcher Henderson (1897-1952), the most famous black band leader in New York, to bid farewell to Joseph Oliver. Fletcher Henderson's orchestra performed at the Roseland ballroom in New York, which is the first major Orchestra of great significance in the history of jazz. The first large orchestra developed from the standard dance orchestra at that time. It was composed of three trumpets, one trombone, three saxophones, and two other reed instruments, including piano, banjo, bass instruments (bass or bass brass), and drums. These orchestras all perform according to the music score (music score or "music table"), but they also give the soloists who are important figures the freedom to create and play, and they can perform without the music score. Although Fletcher Henderson's orchestra was outstanding at that time, when Louis Armstrong joined the orchestra, the rhythm was not smooth and the flexibility was not enough. In the recording, his smooth and elegant solo sounds like a diamond on a tin seat. Louis Armstrong's style and characteristics had been mature at that time. He was the first to play very beautiful and attractive music on the trumpet. His creative play in tune is refreshing but logical. The balance in rhythm (jazz musicians call it "point" - time) makes the performance of other musicians appear stiff and clumsy compared with him. His influence on other musicians was enormous, but Fletcher Henderson did not give him many solo performance opportunities, which may be because he thought that the white dancers he played for were not ready to accept Louis Armstrong's innovative style. During his year in the band, Louis Armstrong transformed the style of the band. Later, the style of all the major orchestras in the United States was transformed. Don Redman (1900-1964), the main composer of Fletcher Henderson, heard Louis Armstrong's blowing and wrote down the score. Coleman Hawkins, another saxophone player, has developed his own saxophone playing style after cooperating with Louis Armstrong, thus becoming the guide of saxophone performance in the next decade. When he was in New York, Louis Armstrong also cooperated with Sidney Bechet and Bessie Smith (1894-1937), who were the greatest blues singers. In 1925, Louis Armstrong returned to Chicago and began recording records with a small band "hot five" in his own name. The band members included his wife, lil Hardin Armstrong (1899-1971), trombonist kid ory1, clarinet player Johnny Dodds, and guitarist Johnny St. Cyr. Their first album focused on Louis Armstrong, first in the United States and then around the world, becoming a sensational album among musicians. It can be said that if there were no record player, the spread of jazz and its comprehensive development would be impossible. As the leader of the band, Paul Whiteman (1890-1967) was the most famous. He was called the king of jazz. Ironically, his first successful band did not play at all, and the band he led later played very little jazz. However, the dance music played by these bands is extremely wonderful. Paul Whiteman's extravagance attracted some of the best white musicians to compose and play for his band. From 1926, Paul Whiteman sometimes gave some solo opportunities to some jazz influenced musicians, such as cornet player red Nichols, violinist Joe Venuti, guitarist Eddie Lang (1904-1933), trombone and trumpet player Tommy (1905-1956) of the Dorsey brothers, Clarinet and saxophone player Jimmy (1904-1957). These people later formed their own bands. In 1927, Whiteman accepted the main musicians of Jean go1dtte's jazz band, including a young cornet player (sometimes playing the piano). He was a rare talented composer, Bix (1903-1931). Bix's lyrical and personal music and his early death made him the first (and most enduring) jazz legend. His romantic life has become the source of inspiration for a book and a film, but both are far from the real situation. During the period when Bix was most creative, his best personal friend and his best friend in music were saxophone player Frank Trumbauer (1901-1956). People affectionately called them "Bix and tram". If there is no wonderful echo and solo performance of the two, the record recorded by the Whiteman band may be a cup of boiled water, which is very boring legacy Bix's bittersweet lyric style has influenced many aspiring jazz bands, including the so-called "Austin high school Gang", a group of talented Chicago young people, of whom only a few have actually attended Austin high school. After some of these people came to the era of swing dance, several enthusiastic advocates appeared, including drummer gene Krupa (1909-1973), Dave tough (1908-1948), clarinet Frank (1905-1932), saxophone bud Freeman (1906-1991), pianist Joe Sullivan (1906-1971), and Jess Stacy (1904 -); Eddie Condon, guitarist and entrepreneur (1905-1973). Their contemporaries, and sometimes their comrades in arms, were the clarinet genius Benny Goodman (1905-1986) and the slightly older Mezz mezzrow (1899-1972). The latter published his autobiography "really the blues" in 1946. Although there are some uncertain places in it, it is still one of the best jazz monographs. Although trumpauer is not as famous as Bix, the number of music families affected by him is not small compared with the number affected by Bix, including Benny Carter (1907 -) and Lester (Prez) young (1909-1959), the greatest saxophone players in jazz history. The history of jazz in China can be traced back to more than half a century ago. 3、 In the 1940s, Shanghai was the habitat of jazz music in China. There were quite large-scale Jazz performances and some high-level jazz musicians. At that time, however, jazz was mainly for ballroom dancing. After decades of vicissitudes, jazz has almost disappeared in China, and there has been a fault of nearly 40 years. This period was an important development stage of jazz. Jazz has long been rid of the stable music form of dance accompaniment. It integrates rich music style, cultural characteristics and performance skills. It has the charm, expressiveness and appeal of music itself, and has long been placed in the ranks of elegant art in the 1950s and 1960s, due to the influence of the US Garrison and American overseas Chinese, some small jazz bands and the first group of Chinese Jazz fans appeared in Taiwan. In Taiwan in the 1970s and the mainland in the 1980s, jazz began to be involved by some avant-garde musicians, and gradually became known to the public. In Taiwan, large-scale jazz bands with more than 18 people appeared, and some creators and musicians also began to dabble in jazz, such as Liu sola, Liu Yuan and Cui Jian in the mainland, Zhai Heishan, Zhong Sanjiu and Luo Dayou in Taiwan. In the 1990s, local musicians have specialized in jazz, and jazz is the main direction of creation since the 21st century, jazz has become a compulsory course for local modern musicians, and has gradually penetrated into all fields of Chinese music. Professional jazz musicians have also begun to form a certain scale. Even some popular musicians have become famous for their jazz style works, such as Tao Zhe, Wang Leehom and Mo Wenwei. When it comes to the history of Chinese jazz, we can not help mentioning Professor Zhai Heishan, who has been studying jazz for 50 years. As the first Chinese to go to Berklee College in the United States to specialize in jazz, Professor Zhai specialized in jazz and modern music education in Taiwan after returning home, trained a large number of modern music talents in Taiwan in the 1970s, 1980s and 1990s, and established Taiwan's first professional jazz band. Professor Zhai Heishan, who is 80 years old, has settled in Beijing and still works day and night for the dissemination of modern music. As Professor Zhai often said, "although I am weak, I will still try my best", and while strictly training students, I will persist in encouraging students' dreams and pursuits
For Louis Armstrong, a creative genius, tradition is undoubtedly like a shackle. In late 1924, he accepted the invitation of Fletcher Henderson (1897-1952), the most famous black band leader in New York, to bid farewell to Joseph Oliver. Fletcher Henderson's orchestra performed at the Roseland ballroom in New York, which is the first major Orchestra of great significance in the history of jazz. The first large orchestra developed from the standard dance orchestra at that time. It was composed of three trumpets, one trombone, three saxophones, and two other reed instruments, including piano, banjo, bass instruments (bass or bass brass), and drums. These orchestras all perform according to the music score (music score or "music table"), but they also give the soloists who are important figures the freedom to create and play, and they can perform without the music score. Although Fletcher Henderson's orchestra was outstanding at that time, when Louis Armstrong joined the orchestra, the rhythm was not smooth and the flexibility was not enough. In the recording, his smooth and elegant solo sounds like a diamond on a tin seat. Louis Armstrong's style and characteristics had been mature at that time. He was the first to play very beautiful and attractive music on the trumpet. His creative play in tune is refreshing but logical. The balance in rhythm (jazz musicians call it "point" - time) makes the performance of other musicians appear stiff and clumsy compared with him. His influence on other musicians was enormous, but Fletcher Henderson did not give him many solo performance opportunities, which may be because he thought that the white dancers he played for were not ready to accept Louis Armstrong's innovative style. During his year in the band, Louis Armstrong transformed the style of the band. Later, the style of all the major orchestras in the United States was transformed. Don Redman (1900-1964), the main composer of Fletcher Henderson, heard Louis Armstrong's blowing and wrote down the score. Coleman Hawkins, another saxophone player, has developed his own saxophone playing style after cooperating with Louis Armstrong, thus becoming the guide of saxophone performance in the next decade. When he was in New York, Louis Armstrong also cooperated with Sidney Bechet and Bessie Smith (1894-1937), who were the greatest blues singers. In 1925, Louis Armstrong returned to Chicago and began recording records with a small band "hot five" in his own name. The band members included his wife, lil Hardin Armstrong (1899-1971), trombonist kid ory1, clarinet player Johnny Dodds, and guitarist Johnny St. Cyr. Their first album focused on Louis Armstrong, first in the United States and then around the world, becoming a sensational album among musicians. It can be said that if there were no record player, the spread of jazz and its comprehensive development would be impossible. As the leader of the band, Paul Whiteman (1890-1967) was the most famous. He was called the king of jazz. Ironically, his first successful band did not play at all, and the band he led later played very little jazz. However, the dance music played by these bands is extremely wonderful. Paul Whiteman's extravagance attracted some of the best white musicians to compose and play for his band. From 1926, Paul Whiteman sometimes gave some solo opportunities to some jazz influenced musicians, such as cornet player red Nichols, violinist Joe Venuti, guitarist Eddie Lang (1904-1933), trombone and trumpet player Tommy (1905-1956) of the Dorsey brothers, Clarinet and saxophone player Jimmy (1904-1957). These people later formed their own bands. In 1927, Whiteman accepted the main musicians of Jean go1dtte's jazz band, including a young cornet player (sometimes playing the piano). He was a rare talented composer, Bix (1903-1931). Bix's lyrical and personal music and his early death made him the first (and most enduring) jazz legend. His romantic life has become the source of inspiration for a book and a film, but both are far from the real situation. During the period when Bix was most creative, his best personal friend and his best friend in music were saxophone player Frank Trumbauer (1901-1956). People affectionately called them "Bix and tram". If there is no wonderful echo and solo performance of the two, the record recorded by the Whiteman band may be a cup of boiled water, which is very boring
legacy
Bix's bittersweet lyric style has influenced many aspiring jazz bands, including the so-called "Austin high school Gang", a group of talented Chicago young people, of whom only a few have actually attended Austin high school. After some of these people came to the era of swing dance, several enthusiastic advocates appeared, including drummer gene Krupa (1909-1973), Dave tough (1908-1948), clarinet Frank (1905-1932), saxophone bud Freeman (1906-1991), pianist Joe Sullivan (1906-1971), and Jess Stacy (1904 -); Eddie Condon, guitarist and entrepreneur (1905-1973). Their contemporaries, and sometimes their comrades in arms, were the clarinet genius Benny Goodman (1905-1986) and the slightly older Mezz mezzrow (1899-1972). The latter published his autobiography "really the blues" in 1946. Although there are some uncertain places in it, it is still one of the best jazz monographs. Although trumpauer is not as famous as Bix, the number of music families affected by him is not small compared with the number affected by Bix, including Benny Carter (1907 -) and Lester (Prez) young (1909-1959), the greatest saxophone players in jazz history. The history of jazz in China can be traced back to more than half a century ago. 3、 In the 1940s, Shanghai was the habitat of jazz music in China. There were quite large-scale Jazz performances and some high-level jazz musicians. At that time, however, jazz was mainly for ballroom dancing. After decades of vicissitudes, jazz has almost disappeared in China, and there has been a fault of nearly 40 years. This period was an important development stage of jazz. Jazz has long been rid of the stable music form of dance accompaniment. It integrates rich music style, cultural characteristics and performance skills. It has the charm, expressiveness and appeal of music itself, and has long been placed in the ranks of elegant art
in the 1950s and 1960s, due to the influence of the US Garrison and American overseas Chinese, some small jazz bands and the first group of Chinese Jazz fans appeared in Taiwan. In Taiwan in the 1970s and the mainland in the 1980s, jazz began to be involved by some avant-garde musicians, and gradually became known to the public. In Taiwan, large-scale jazz bands with more than 18 people appeared, and some creators and musicians also began to dabble in jazz, such as Liu sola, Liu Yuan and Cui Jian in the mainland, Zhai Heishan, Zhong Sanjiu and Luo Dayou in Taiwan. In the 1990s, local musicians have specialized in jazz, and jazz is the main direction of creation
since the 21st century, jazz has become a compulsory course for local modern musicians, and has gradually penetrated into all fields of Chinese music. Professional jazz musicians have also begun to form a certain scale. Even some popular musicians have become famous for their jazz style works, such as Tao Zhe, Wang Leehom and Mo Wenwei. When it comes to the history of Chinese jazz, we can not help mentioning Professor Zhai Heishan, who has been studying jazz for 50 years. As the first Chinese to go to Berklee College in the United States to specialize in jazz, Professor Zhai specialized in jazz and modern music education in Taiwan after returning home, trained a large number of modern music talents in Taiwan in the 1970s, 1980s and 1990s, and established Taiwan's first professional jazz band. Professor Zhai Heishan, who is 80 years old, has settled in Beijing and still works day and night for the dissemination of modern music. As Professor Zhai often said, "although I am weak, I will still try my best", and while strictly training students, I will persist in encouraging students' dreams and pursuits