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Miles changed the history of Jazz


One of the highest values \u200b\u200bwas to incorporate new jazz, for example Coltrane Coleman
Miles Davis is the man of jazz that most times has been reinventing itself. For him, when a musical style had its own name, was outdated. Few musicians have been as innovative as this skinny trumpet, which gave an air of haughty, lovers of luxury cars and one of the few musicians blacks from a wealthy family. One of the few also overcame heroin addiction in 1954, and retain their talent to several generations of musicians.
Born in Alton, Illinois, on May 25, 1926, Miles Davis took the musical experience of his life, when he heard the bebop masters Dizzy Gillespie and Charlie Parker together at a concert in San Luis, where he had moved his family. Since then followed, first to California and when he was sent by his father to New York to study at the prestigious Juilliard School, Miles chose to spend the nights in clubs with Parker, taking notes and then test what they learned on his trumpet. Since the first recordings denotes a particular accent, in which every note counts, and the less the better. But all critics agree that, with Duke Ellington and John Coltrain, with whom he recorded albums that have been described as 'music 2000', Miles is one of the few jazz musicians that are not mandated from the beginning to one style.
At the end of the 40 had met the arranger Gil Evans, which would open the way to cool jazz and with whom he recorded Birth of the Cool, Miles Ahead , Porgy and Bess and Sketches of Spain. The first two decades of his career is marked by its proximity to John Coltrain and include today considered classics and improvisations Milestones and Kind of Blue .
changing then persuaded his companions to seize the rock and electronic instruments, challenging listeners to jazz purists.
His third debut, when in 1981 and we all believed missing, including about pop and youth excited fan of the merger. Miles fascinated with the wide range of interpretations on the trumpet to the last of his concerts when no one knows why he, who hated to talk to someone who did not know music and feared nothing more than being referred to the story jazz, promised to soon play a journalist Gil Evans arrangements at the Montreux Jazz Festival.
When he died two months later, on September 28, 1991, killed more than 120 recordings, including several in vivo of the tours made especially in recent years in Europe. His legacy is in the form as perceived and promoted talent, which included in their orchestras, which reached up to 19 members. The list of discoveries is almost like an encyclopedia of jazz and also includes Coltrane to George Coleman, Wayne Shorter, Chick Corea, John McLaughlin, Keith Jarrett, Bill Evans, Kenny Garrett, etc, etc. Davis is said that without jazz history had not been the same.



version of "Round Midnight" recorded in Stockholm in 1967. Miles Davis on trumpet, Wayne Shorter on tenor sax, Herbie Hancock on piano, Ron Carter on bass and Tony Williams on drums.

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Eddie Condon: Pioneer Louis Malle and Legend


guitarist Albert Edwin "Eddie" Condon was born on November 16, 1905 in Goodland, Indiana. Eddie grew up in Chicago Heights, Illinois and learned to play the banjo as a teenager. Working with bands in Chicago in the early 1920's, when he began his long career 50 years with musical legends like the clarinetist and saxophonist Pee Wee Russell, the cornetist Muggsy Spanier, drummer Gene Krupa and trumpeter Jimmy McPartland. Eddie Condon

also became a legend as a pioneer of rhythm guitar and also as a promoter of jazz music. Condon organized combos, small groups and big bands for decades, covering various styles of jazz.

Eddie Condon became a spokesman when his fame as jazz historian became known through his autobiography "We Called It Music" (We call it music) was published in 1947. It is also the author of 4 other books on the history and techniques of jazz.

The most popular was "Treasury of Jazz" (Treasures of jazz), he wrote: "I played all the issues to all jazz musicians you know and also with a hundred more who never heard the name, but you should have heard . There were so many extraordinary musicians that were not named Duke or Louis, but they played fantastically. "

After a recording session with Louis Armstrong, Condon joined the Red McKenzie vocalist to form "The Chicagoans." Later organized a series of bands that defined the Chicago style. Among those notable groups include "The Chicago Rhythm Kings, who recorded a wonderful version of" I've Found a New Baby "(I found a new girl), the" Mound City Blue Blowers "and" The Rhythmakers ", a group that became famous by recording a series of jazz standards like" Yellow Dog Blues "and" Mean Old Bed Bug Blues "in the traditional Chicago style.

The cornetist and guitarist Bobby Hackett Condon contract in 1938. The result was another series of recordings that made history, songs like" At the Jazz Band Ball "and" Doin 'the New Lowdown. " Condon wrote about his work with Hackett, "was the most exciting of my life." The two were such good friends that inspired clarinetist and saxophonist Bud Freeman to write "Better Than Brothers" (More than siblings).
Eddie Condon worked
in "Nick's" in the New York borough Greenwich Village since 1942 while promoting jazz concerts in municipalities throughout the U.S. east coast. The decade of 1940 was the height of his fame, sold-out concert, promotion of high-profile jazz and a series of well-known compositions like "Home Cooking" and "That's a Serious Thing." The height of his success came when he opened his own jazz club in 1945, "Eddie Condon's" in Greenwich Village. The club moved to the East Side in 1958 and closed in 1967. Eddie Condon
performance
various historical roles, including being the first to bring jazz to television, the first to sell a million records in an album LP (long playing).
The New York Times announced his death occurred on August 4, 1973 in New York, saying, "Mr. Condon, considered one of the greatest guitarists in jazz, he made his final public performance at the Newport Jazz Festival made at Carnegie Hall in New York on July 5. At the time the concert was devoted to traditional jazz in the company of nearly a dozen musicians with whom he played during his life. Two days later Eddie Condon was hospitalized. "



A version very "hot" from "Royal Garden Blues" recorded in 1962 with participation by the great Wild Bill Davison on cornet, Cutty Cutshall on trombone, Peanuts Hucko on clarinet, Johnny Varro on piano, Eddie Condon on guitar, Jack on bass and Buzzy Lesberg Drootin on drums.

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popular in Hollywood Before, jazz was better received by the French cinema of the early twentieth century. Despite being one of the greatest contributions to American culture, jazz was not a frequent guest in the early days of talkies, but The Jazz Singer, 1927, was a blockbuster to heal finances Warner Bros. Over time, the music that came out of the brothels of New Orleans won space on screens and, although their presence has not been extensive in the history of cinema, jazz, when he could, took advantage of their opportunities in the teatros.El jazz and Louis Malle's films have never been products mass distribution. They both have that air of being someone he knew, yet marginal, and have in many cases, more atmosphere than content. Malle (1932-1995) was a jazz enthusiast and used to use in his films, not only as a soundtrack, but as part of the story. Le Souffle au Coeur (Murmur of the heart) the main character is a young chorus girl who steals a jazz album, and Pretty Baby, the film showed Brooke Shields en 1978 como una niña que creció en un lupanar de Storyville, Nueva Orleans, en el que descubre su sexualidad en un ambiente cargado de ragtime y jazz. Sin embargo, el punto máximo de acercamiento entre el jazz y la obra del director francés llegó en 1958, cuando apenas dirigía su segunda película, Ascenseur pour l'échafaud (Ascensor al cadalso). Miles Davis se encontraba en París en esa época y Malle le propuso que hiciera la banda sonora. El trompetista vio la película sin música una sola vez. Después, mientras la proyectaban por segunda ocasión, Davis empezó a improvisar sobre lo que veía en la pantalla y el resultado fue la banda sonora que quedó grabada. Aunque el trabajo no is one of the fundamental works of Miles Davis, what he did with the tape Malle gives an account of the speed of his creativity. As Malle, one of the leading figures of the French New Wave, was still ahead of 24 other films to be made.



The promotional film "Elevator to the gallows", where you can see the beauty of Jeanne Moreau, who had a torrid affair with Miles during filming, and climate "noir" of Davis's music.