Dixieland jazz
The term encompasses earlier brass band marches, French Quadrilles, beguine, ragtime, and blues with collective, polyphonic improvisation.
Though younger musicians developed new forms, many beboppers revered Armstrong and quoted fragments of his recorded music in their own improvisations.
[3] Led by the Assunto brothers' original Dukes of Dixieland, a band known for its virtuoso improvisation and recording history's first stereo record, the movement brought many semi-retired musicians a measure of fame late in their lives, as well as bringing retired musicians back onto the jazz circuit after years of not playing (such as Kid Ory and Red Nichols).
Lacy went on to apply that approach to the music of Thelonious Monk, Charles Mingus, Duke Ellington, and Herbie Nichols.
The word "Dixie" is the nickname of the Southern United States, wherein New Orleans – the birthplace of Dixieland Jazz – is located.
The community had several gatherings in churches, clubs, or at home that helped foster an informal setting in which musicians could express themselves through creativity.
[7] "Chicago style" is often applied to the sound of Chicagoans such as Jimmy McPartland, Eddie Condon, Muggsy Spanier, and Bud Freeman.
[8] Chicago-style Dixieland also differs from its southern origin by being faster paced, resembling the hustle-bustle of city life.
The "West Coast revival" is a movement that was begun in the late 1930s by Lu Watters and his Yerba Buena Jazz Band in San Francisco and extended by trombonist Turk Murphy.
The repertoire of these bands is based on the music of Joe "King" Oliver, Jelly Roll Morton, Louis Armstrong, and W.C.
The music played by Dutch jazz bands includes both the original New Orleans tunes and the songs of the revival era.
Bassist Charles Mingus paid homage to traditional jazz styles with compositions such as "Eat That Chicken" and "My Jellyroll Soul".
Country Joe McDonald's Vietnam-era protest song "Feel Like I'm Fixin' to Die Rag" is based on tonal centers and incorporates the "B" refrain from the New Orleans standard "Muskrat Ramble".
New Orleans music combined earlier brass band marches, French quadrilles, biguine, ragtime, and blues with collective, polyphonic improvisation.
The "standard" band consists of a "front line" of trumpet (or cornet), trombone, and clarinet, with a "rhythm section" of at least two of the following instruments: guitar or banjo, string bass or tuba, piano, and drums.
The Dutch "old-style jazz" was played with trumpets, trombones and saxophones accompanied by a single clarinet, sousaphone and a section of Marching percussion usually including a washboard.
