Jazz-trek - The Jazz Track

Jazz-trek tashrif buyurish uchun marshrut hisoblanadi jazz- tegishli joylar (xususan katta guruh va an'anaviy jazz) Qo'shma Shtatlar.

Safar bayonoti

Bu jazz yo'nalishi bo'yicha mashinada sayohat qilishni tayyorlash uchun qo'llanma. Sayohat 13 kun davomida Amerika Qo'shma Shtatlari atrofida jazz tarixi bilan bog'liq tarixiy joylar va klublarga tashrif buyurish rejalashtirilgan.

Nyu-York shahri → Chikago → Kanzas-Siti → Memfis → Yangi Orlean

Orqa fon (1895-1935)

Jaz musiqachilari 20-asrning birinchi yarmida kuzatib borgan haqiqiy marshrut haqida ba'zi bir ma'lumotlardan boshlaylik.

Memfis

Moviy ranglar jazning boshlanishidan oldin paydo bo'lgan va uning kelib chiqishi aniq hujjatlarga umid bog'lamagan, garchi u 20-asrning boshlaridan biroz oldin Janubiy chuqur qishloqda paydo bo'lgan bo'lsa. Ko'klarning o'sishida markaziy rol o'ynagan ko'plab tarixiy joylardan Memfisdagi Beal ko'chasi 1977 yilda Kongressning akti bilan rasmiy ravishda "Ko'klar uyi" deb e'lon qilingan. 1900 yillarning boshlarida Beal ko'chasi ularning ko'plari afroamerikaliklarga tegishli bo'lgan klublar, restoranlar va do'konlar bilan to'ldirilgan. WC Handy Memfisda eng qadimgi va eng taniqli blyuzlar - "Memfis Blues" (1909), "Saint Louis Blues" (1914) va "Beale Street Blues" (1916) ni yaratgan. 20-asrning 20-yillaridan 40-yillariga qadar Lui Armstrong, Muddi Uoterlar, Albert King, Memfis Minni, B.B.King, Rufus Tomas, Rosko Gordon va boshqa blyuz va jaz afsonalari Beal Street-da o'ynagan va Memfis Blyuz nomi bilan tanilgan uslubni rivojlantirishga yordam bergan.

Yangi Orlean

Jaz 1890-yillarning oxiri va 1900-yillarning boshlarida Yangi Orleanda tug'ilgan. Bu tez orada shahar bo'ylab, asosan Storyvil tumanida ommabop musiqaga aylandi. Storyville shahrida tarixdagi birinchi jazz guruhi Buddy Bolden Bandni tinglash paytida fohishalikdan qonuniy ravishda bahramand bo'lish mumkin edi. Afsuski, Bolden kamida bitta fonograf tsilindrni yaratgan deb eslangan bo'lsa ham, Bolden haqida hech qanday ma'lum yozuvlar saqlanib qolmagan. O'n yil o'tgach (1917), Storyville federal hukumat tomonidan yopilib, jazz musiqachilarini Shimoliy shaharlarga - asosan Chikago va Nyu-York shahriga va ozroq darajada Kanzas-Siti shahriga ko'chib o'tishga majbur qildi.

Chikago

Chikago tezlik bilan 1917-1928 yillarda jazz poytaxtiga aylandi. Noqulay ob-havo sharoiti tufayli guruhlar ko'chalarda yura olmasa ham, Nyu-Orlean uslubi deyarli saqlanib qoldi. "Janubiy Sayd" tumanida ko'p sonli kabaretkalar paydo bo'ldi. Ular orasida "Qirollik bog'lari" (Lui Armstong kornetda o'ynagan "King Oliver Creole Jazz Band" mehmoni) va "Apex Club" (eng katta klarnet ustasi Jimmi Noon va pianinochi Earl Hines mehmon bo'lgan) eng dolzarb bo'lgan.

Nyu-York shahri

Ayni paytda, Harlem ragtime uslubida taniqli jaz pianinochilarining tug'ilishini ko'rdi, masalan, Villi "Arslon" Smit va Jeyms P. Jonson. Ushbu pianino uslubi qisman uy ijarasi partiyalari (ijarani moliyalashtirish uchun kvartiralarda tasodifiy o'tkaziladigan xususiy partiyalar) tufayli mashhur bo'ldi. Harlemdagi eng katta raqs klubi Savoy edi, bu ikki bosqichli ulkan xona bo'lib, guruhlarga tun bo'yi jang qilish imkonini berdi. Ikki katta guruh eng mashhur bo'lib ketdi, birinchi bo'lib Fletcher Henderson orkestri, keyin Dyuk Ellington orkestri. 1920-yillarda Harlemda ikki ko'zni qamashtiruvchi ayol vokalistlar paydo bo'ldi: blues imperatori Bessi Smit va Etel Uoters.

Kanzas-Siti

Buyuk Depressiya (1929 yilda boshlangan) barcha davrlarning eng buyuk jaz davrlaridan biriga yakun yasadi. Birdan Chikago va Harlemdagi jaz musiqachilari o'zlarini ishsiz deb topdilar. Inqiroz tezda Kanzas-Siti shahridan tashqari butun mamlakatga tarqaldi. 1930-yillarda Kanzas Siti AQShning chorrahasi bo'lgan va transkontinental sayohatlar shaharda to'xtashni talab qilgan. Kanzas Siti alkogol ichimliklar to'g'risidagi qonunlar va ish soatlariga umuman e'tibor bermaydigan keng ochiq shahar edi. Ko'plab jaz musiqachilari bir kecha davomida turli xil o'zgarishlarda bitta qo'shiqni ushlab tura oladigan ijrochilar o'rtasidagi do'stona musiqiy musobaqalarda qatnashdilar. Bunday musiqiy musobaqalar yangi uslubga, ya'ni Kanzas shahrining uslubiga olib keldi. Kanzas-Siti uslubining tashkil etilishi Benni Motenga tegishli, ammo u o'limidan keyin Count Basie o'z guruhini egallab olganida juda mashhur bo'ldi.

Kanzas-Siti uzoq vaqtdan buyon muhim jazz markazi sifatida tan olingan va ahamiyati jihatidan faqat Nyu-Yorkdan orqada, Yangi Orleanva Chikago. 20-asrning 20-yillari o'rtalaridan 30-yillarning oxiriga qadar Amerikaning markaziy shtatlaridan kelgan jaz musiqachilari ish izlash, musiqiy mashg'ulotlar va yaxshi vaqtlar uchun "Kanzas Siti" ga borishadi. Ular etib kelganlarida, ular g'ayrioddiy qo'llab-quvvatlaydigan, talabchan va badiiy jihatdan ko'tarilgan musiqiy jamoaga kirdilar.

Amerikaning aksariyat qismi Buyuk Depressiyadan aziyat chekkan bo'lsa-da, Kanzas Siti jazosi asosan Boss Tom Pendergastning korrupsiyalangan, ammo iqtisodiy jihatdan rag'batlantiruvchi ma'muriyati tufayli gullab-yashnagan. Jazz o'sha davrning mashhur ijtimoiy musiqasi bo'lib, vitse-tungi klublar va qimor zallari markazlari odatda xaridorlarni jalb qilish uchun musiqachilarni yollashadi. O'rta G'arb bo'ylab jazz musiqachilari uchun kam maoshli ish joylari va ajoyib yangi musiqalar paydo bo'lishiga qaramay, ajoyib natijalar juda ko'p edi.

Qarang Qo'shma Shtatlarni sanoatlashtirish ushbu davrni yanada kengroq ko'rish uchun.

Buyuk jaz musiqachilari (1895–1935)

Memfis
  • Frenk Stokes
  • Mo'ynali Lyuis
  • Memfis Minni
  • Uyqusiz Jon Estes
  • Ida Koks
  • WC Handy
  • Sidney Kirk II
  • Sidni "Qoshiq" Kirk III
Yangi Orlean
  • Buddy Bolden
  • Freddi Keppard
  • Bunk Jonson
  • Klarens Uilyams
  • Jou "Qirol" Oliver
  • Kid Ory
  • Jelly Roll Morton
Chikago
  • Jou King Oliver
  • Lui Armstrong
  • Jimmi Noone
  • Johnny Dodds
  • Graf Xayns
  • Jelly Roll Morton
  • Lil Hardin Armstrong
Nyu-York shahri
  • Dyuk Ellington
  • Fletcher Xenderson
  • Villi Smit
  • Jeyms P. Jonson
  • Tomas Fats Uoller
  • Djo Tyorner
  • Coleman Hawkins
  • Yolg'iz rohib
  • Benni Karter
  • Ben Vebster
  • Johnny Hodges
  • Cootie Uilyams
  • Bessi Smit
  • Ethel Waters
Kanzas-Siti
  • Graf Basi
  • Bak Kleyton
  • Herschel Evans
  • Coleman Hawkins
  • Jo Jons
  • Pit Jonson
  • Xarlan Leonard
  • Jey McShann
  • Benni Moten
  • Issiq lablar sahifasi
  • Charli Parker
  • Sammy Narxi
  • Jimmi shoshilib
  • Djo Terner
  • Ben Vebster
  • Klod Uilyams
  • Meri Lou Uilyams
  • "Lester Yang"

Qachon borish kerak

Ideal holda, sayohat tashrif buyurilgan shaharlardan biridagi Mashhur jaz festivallariga borish uchun amalga oshirilishi kerak. Vikipediyani ko'ring Jaz festivallarining ro'yxati ro'yxat uchun.

The Beale Street musiqa festivali May oyida Memfisda bo'lib o'tadi.

The Yangi Orleanning jaz va merosi festivali aprel va may oylarida bo'lib o'tadi.

The Scott Joplin xalqaro Ragtime festivali iyun oyida Missuri shtatining Sedaliya shahrida bo'lib o'tadi.

Siz bilan tasodifan Chikagoga borishingiz mumkin Chikago jaz festivali, odatda avgust oyining oxirida.

Boring

1-kun (juma): Boston ga Nyu-York shahri

2-kun (shanba): tashrif Nyu-York shahri

  • 52-chi ko'cha 5-chi va 7-chi avenyu o'rtasida.
Beshinchi avenyu va ettinchi avenyu orasidagi 52-chi ko'chaning bloklari 20-asrning o'rtalarida jazz klublarining ko'pligi va jonli ko'cha hayoti bilan mashhur bo'lgan. 52-chi ko'cha "belanchak ko'chasi", "jazz ko'chasi", "hech qachon uxlamaydigan ko'cha" va oddiygina "ko'cha" nomi bilan tanilgan. Hozirgi kunda banklar, do'konlar va universal do'konlarga to'lib toshgan va uning jaz tarixidan ozgina iz qoldirgan.
Charlie 'Bird' Parker kariyerasining eng yuqori cho'qqisida birinchi qavatdagi kvartirani egallab oldi va u muvaffaqiyatga erishdi va o'rta asrlarda Nyu-Yorkda karnay-surnaychi Dizzi Gillespi bilan birgalikda yaratgan zamonaviy jazz uslubi - bebop asoschilaridan biri sifatida tanildi. 1940-yillar. Parker bu erda yashab, katta va kichik ansambllar, shuningdek, lotin katta guruhlari va torli bo'limlari bilan chiqish paytida xalqaro shon-sharafga ega edi. Avenue B (7 va 10-ko'chalar oralig'ida - Tompkins maydonidagi bog 'bo'ylab) 1992 yilda Charlie Parker Place deb o'zgartirildi va 1993 yildan beri Charlie Parker Jazz Festivali har yili parkda Qushlarning tug'ilgan kunini nishonlash uchun o'tkaziladi (1920 yil 29 avgust, Kanzas-Siti, Kanzas) va uning 20-asr musiqasiga qo'shgan hissasi.
  • Harlem
    • Kongo Kapitoliy xonasi, G'arbiy 115-chi va Malkom X Bulvari, v. 1940 yil
    • Bamvil klubi, G'arbiy 125-chi ko'chaning 65-uy, v. 1920-1930 yillar - Koulman Xokkins
    • Plantatsiya, G'arbiy 126-chi, Malkolm X qabristoni yaqinida, v. 1930 yil - raqobatlashgan paxta klubi; Clow Calloway
    • Club Kabaret, 416 Malkolm X Bulvari, v. 1923-25
    • Baron klubi, Malkom X bulvari, 437, v. 1940-46
    • Goldgraben's, I.G. Kafe, Malkolm X bulvari, 439, v. 1919-30; 1964 yilda "Baron's Lounge" - boshqa klublarda ishlagandan so'ng musiqachilar uchun sevimli joy deb o'zgartirildi
    • Elkning Rendevvusi, 464 Malkom X bulvari, v. 1930-45 - ijtimoiy klublar raqslari o'tkazildi
    • Harlem klubi, G'arbiy 130-chi va Malkolm X Blvd, v. 1927-29; 1964 yilda Harlem Grill nomi o'zgartirildi
    • Gee-Haw Stables, G'arbiy 132-chi ko'chada 7 va Malkolm X ko'chalari o'rtasida, v. 1940-45; 1964 yilda Fors ko'rfazidagi yoqilg'i quyish shoxobchasi edi - kirish vaqtida otning boshi bor edi, ishdan keyin klub
    • Linkoln teatri, G'arbiy 135-uy, 58-uy, v. 1909-1964 - Fats Waller uchun 10 ming dollarlik Wurlitzer organini o'rnatdi; hozir cherkov (1964 yil ma'lumotlari)
    • Elk's Café, Malkolm X Blvd. G'arbiy 137 va G'arbiy 138-ko'chalar o'rtasida, v. 1917-20
    • Kapitoliy saroyi, 575 Malkolm X bulvari, v. 1922-50 - hozirda bolalar maydonchasi
    • Brittwood Bar & Grill, 594 Malkolm X bulvari, v. 1932-42 - Villi Gantning "Musiqiy manyaklar";
    • Golden Gate Ballroom, Malkolm X Bulvari va G'arbiy 142-chi ko'cha, v. 1939-50 - hashamatli bal zali
    • Rhonening orkestr klubi, 625 Malkolm X bulvari, v. 1920-35 yillarda Lenox Club, "Nonushta klubi", 652 Malkolm X Bulvari, v. 1935-45 - Lui Armstrong, Fletcher Xenderson, Dyuk Ellington, 3 kecha 8 qizlik chiziq bilan namoyish etadi; Bethune Towers / Delano Village uchun 1958 yilda buzilgan.

Nyu-Yorkdagi jazz klublari

  • Mintonning o'yin uyi Harlem shahridagi G'arbiy 118-chi ko'chada joylashgan 210-chi mehmonxonaning birinchi qavati.
Minton-ga tenor saksafonchi Genri Minton 1938 yilda asos solgan. Minton zamonaviy jazning rivojlanishidagi roli bilan mashhur, shuningdek, bebop nomi bilan tanilgan, u erda 1940-yillarning boshlarida o'zining yolg'iz mashg'ulotlarida Thelonious Monk, Kenny Clarke, Charlie Christian, Dizzi Gillespie va Charli Parker, yangi musiqaning kashshofi. Minton 1960-yillarning oxiriga kelib pasayishigacha va oxir-oqibat 1974 yilda yopilishigacha o'ttiz yil davomida rivojlanib bordi. 30 yildan ortiq vaqt davomida yopilganidan so'ng, yangi ta'mirlangan klub 2006 yil 19-may kuni o'z eshiklarini qayta ochdi. Minton's Playhouse-da Uptown Lounge. Bu joy zamonaviy jazzning tug'ilgan joyi deb hisoblanishi mumkin va ba'zi puritanlar uchun bu erni erta jazning vafot etgan joyi deb hisoblash mumkin, shuning uchun bu erdan jazz yo'lidan borish uchun eng yaxshi boshlang'ich nuqtani taqdim etadi.
Savoy dunyodagi eng chiroyli bal zaliga aylandi; u 140 va 141-ko'chalar oralig'idagi butun blok bo'ylab cho'zilgan binoning ikkinchi qavatini egallagan va katta raqs maydonchasi (200 fut 50 fut), ikkita stend va tortib olinadigan sahna bilan jihozlangan. Bu tezlik bilan Harlemdagi eng mashhur raqs maydoniga aylandi va 1920 va 30-yillarning ko'plab jazz raqslari shu erda paydo bo'ldi; uning boyligi pasayishidan oldin, 1950-yillarga qadar davom etgan uzoq va yorqin martaba zavqlandi.
U shahar markazida "Baxtli oyoqlarning uyi", ammo Garlemda "trek" nomi bilan tanilgan. Savoy muntazam ravishda "Bandlar jangi" aktsiyalarini uyushtirib turardi, odatda bu uy va mehmonlar guruhi o'rtasida sodir bo'ladi, ammo bu shart emas. Ba'zan bantlar to'plamlar orasidagi o'zgarish nuqtasida raqamlarni almashtirishadi. Ushbu voqealar sodir bo'lganda, odamlar har doim raqsga tushish uchun joy etishmayotgan edi va olomon ularning eng sevimli guruhi, guruh rahbari, vokalist kim ekanligi to'g'risida ovoz berishardi. Eng mashhur "janglar" ning ikkitasi Benni Gudman orkestri Chikni chaqirganda sodir bo'lgan. 1937 yilda va 1938 yilda Count Basie Band xuddi shunday qilganida Uebb. Umumiy baho shuki, ikkalasi ham Chik Uebbga yutqazishdi.
Ushbu turdagi ishlab chiqilgan tadbirlar ham rahbariyat tomonidan uyushtirildi: 1927 yil 15-mayda Savoy "Jazz jangi" ni namoyish etdi, unda qirol Oliverning Diksi sinxopatorlari, Uilyams boshchiligidagi guruh, Chik Uebbning Harlem Stompers va Xendersonning Rozeland orkestri ishtirok etdi; boshqa janglar Lloyd Skot, Uebb, Aleks Jonson, Charli Jonson, Uilyams va Xenderson boshchiligidagi guruhlar (1928 yil 6-may) va Kabin Kalloveyning Missuriyaliklari va Dyuk Ellington, Xenderson, Sesil Skott, Lokvud Lyuis va guruhlar o'rtasida bo'lib o'tdi. Uebb (1930 yil 14-may).
Hozirgi kunda Savoy joylashgan joyda faqat yodgorlik lavhasini topish mumkin.
  • Paxta klubi, Lenox xiyoboni, G'arbiy 142-chi ko'chada (1923-1936); 200 G'arbiy 48-ko'cha (1936 - 1940). 666 G'arbiy 125-chi ko'chasi (1997 yilgacha) 1 888 640-7980. [3][4]
Ilgari "Klub De Lyuks" deb nomlangan Paxta klubi 1920 va 1930 yillarda shaharning tungi klublarining eng mashhuri bo'lib, ko'pincha Nyu-York jamiyatining qaymoqlaridan iborat bo'lgan auditoriyani jalb qilgan. Uning porloq revulari kunning eng taniqli jaz musiqachilarining chiqishlari uchun vosita yaratdi va klub faoliyati tez-tez eshittirishlar orqali keng auditoriyaga etkazildi. Fletcher Xenderson 1923 yilda u erda o'ynagan birinchi guruhni boshqargan. Maydon birinchi ochilganida uy guruhi Andy Preerning Cotton Club Syncopators edi; 1927 yilda Preer vafotidan so'ng Dyuk Ellingtonning orkestri shug'ullangan va uning istiqomat qilishi 1931 yilgacha davom etgan klub tarixidagi eng mashhur bayramga aylangan. 1931 yilda katta muvaffaqiyat bilan paydo bo'lgan Cab Calloway va uning Missuriyaliklari, keyin o'z zimmalariga olishdi va Kallouining vaqti Paxtakor klubining lideri sifatida (1934 yilga qadar, Jimmi Lunsford uning o'rnini egallagan paytgacha) uning obro'siga erishishi kerak edi. Klub shahar markaziga ko'chib o'tgandan keyin Vellington ham, Kelluey ham qaytib kelishdi.
O'sha davrning asosiy jazz musiqachilari, qo'shiqchilari va raqqosalarining aksariyati ma'lum bir bosqichda Paxta klubida, shu jumladan Lui Armstrong, Etel Uoters, Ayvi Anderson, Bill Robinson va aka-uka Nikolas kabi jamoalarda paydo bo'lishdi. Klub mavjudligining eng gullagan davri Frensis Ford Kopolaning filmida yangitdan yaratildi Paxta klubi (1984).
1935 yilda Harlemdagi irqiy g'alayonlardan so'ng, bu joy oq tanlilar uchun xavfli deb hisoblangan (ular "Paxta klubi" ning mijozlarini tashkil qilgan). va klub yopilishga majbur bo'ldi (16 fevral 1936). 1936 yil sentyabr oyida G'arbiy 48-ko'chada, ilgari Palais Royal va Conni's Inn (1933-6) joylashgan binolarda qayta ochildi; paxta klubi 1940 yil iyungacha ushbu joyda ishlashni davom ettirdi.
Klub o'sha yili Broadway va 48-ko'chada qayta ochilgan, ammo 1940 yilda yuqori ijara, ta'mi o'zgarishi va Manxetten tungi klubi egalarining soliq to'lashdan bo'yin tovlashi bo'yicha federal tergov bosimi ostida butunlay yopildi. Paxta klubi 1978 yilda Harlemda qayta ochilgan. Paxta klubining asl joyi 1958 yilda Savune Balo Zali va Lenox Klubi bilan birga buzilgan (1935-45 Lui Armstrong, Fletcher Xenderson, Dyuk Ellington, kechasi 3 namoyish) Betune Towers / Delano Village qurish uchun; ammo, uning merosi xuddi shu nomdagi G'arbiy 125-ko'chadagi 666-uyda joylashgan yangi saytda yashaydi.
Paxta klubi o'zining gullab-yashnagan davrida, qora ijrochilarga kirishni rad etdi, garchi barcha ijrochilar qora tanli bo'lishgan.
  • Moviy eslatma, 131 W. 3rd St., Nyu-York, NY, [5] Grinvich qishlog'ining markazida.
1981 yilda ochilgan. Nyu-Yorkdagi Blue Note flagman klubi dunyodagi eng yaxshi jazz klubi va restorani sifatida ajralib turdi. Toni Bennett, Jorj Benson, Rey Charlz, Natali Koul, Oskar Peterson, Devid Sanborn, Nensi Uilson, marhum Sara Vaughan va Dizzi Gillespi.
Dunyoga mashhur iste'dodlar olti kunlik sahnada sahnaga chiqishadi, dushanba kunlari odatda mahalliy iste'dod egalari uchun ajratilgan. Ikki set 9:00 va 11:30. Narxlar minimal stolni bron qilish uchun $ 35 yoki barda qoplash uchun $ 25. Juma va shanba kunlari kechqurun yig'ilish sessiyalari uchun 5,00 dollar qoplama olinadi. Yakshanba kuni tushlik soat 18:00 da xizmat qildi. Vaqtlarni soat 13:00 va 15:30 da ko'rsatish.
1935 yilda tashkil etilgan Vanguard - Grinvich qishlog'idagi qorong'i podval. Vanguard - arxetipal Greenwich Village jaz-klubi. 1957 yilda Sonni Rollins nomi ostida (dastlab bitta) albomidan beri yuzdan ortiq jaz albomlari yozilgan. Klub tarixidagi eng taniqli ikkita kelishuv, ehtimol Bill Evans va Jon Koltranning albomlari bo'lib, ikkalasi ham bo'lib o'tgan. 1961. Uynton Marsalis 1990-yillarning boshlarida klubda doimiy ravishda qayd etib borgan.
To'plamlar: yakshanba - payshanba 21:30 va 23:30, juma va shanba 21:30, 23:30 va 13:30. Dushanba kuni kechqurun 33 yil oldin Thad Jons va Mel Lyuis tomonidan tashkil etilgan Vanguard Jazz Orkestri o'zlarining katta guruh an'analarini davom ettiradi. Yakshanba - payshanba: eshik oldida 25 dollar (kirish uchun 15 dollar va eng kamida 10 dollar ichish kiradi). Juma va shanba kunlari: eshik oldida 30 dollar (kirish uchun 20 dollar va eng kamida 10 dollar ichish kiradi). bu to'g'ri tebranishlarga va zo'r bron qilish siyosatiga ega. Jazz kechasini mukammal o'tkazish uchun bu erda pianistchi Tommi Flanaganni tomosha qiling.
  • Birdland, (1949-1965) 52nd St, (1986-1996) 2745 Broadway, (1996 yildan shu kungacha) 315 g'arbiy 44-ko'chasi, 8 va 9-chi prospektlar o'rtasida.
1949 yilda ochilgan. Dastlab klub Broadway-da bo'lgan, ammo u tezda 1930 va 40-yillarda jazz markazi bo'lgan 52-ko'chaga ko'chib o'tdi. Graf Basi va uning chekayotgan katta guruhi Birdlendni Nyu-Yorkdagi bosh qarorgohiga aylantirdi va natijada Jorj Shiringning "Birdlandning Lullaby'si" ni klubda jonli ravishda yozib oldi. Jon Koltranning klassik kvarteti 1960-yillarning boshlarida klubda muntazam ravishda paydo bo'lib, "Live at Birdland" yozuvini yozgan.
Birdlandda chiqish qilgan odamlar: Charli Parker, Dizzi Jillespi, Thelonious Monk, Maylz Devis, Jon Koltreyn, Bud Pauell, Sten Gets, Lester Yang, Errol Garner va boshqalar.
Barcha namoyish vaqtlari: 9 va 23:00 (M, Tu va F jadvallariga soat 17:30 boshlarida o'lpon to'plamlari qo'shilgan). Musiqa narxi har xil, 20-35 dollar. Stollarda bir kishi uchun eng kami 10 dollar ovqat / ichimlik mavjud. Barda musiqa to'lovi bitta ichimlikni o'z ichiga oladi. Yakshanba kunlari Arturo O'Farrillning Afro-Kuba Jazz Big Bandiga tegishli, dushanba kunlari Lev Tabackin ishtirokidagi Toshiko Akiyoshi Jazz Orkestri uchun ajratilgan va endi har dushanba soat 17:30 - 19:30 - Art Blakey Jazz Messenger Qayta tiklash. Seshanba kunlari, odatda, Pol Merser Ellington boshchiligidagi "Mashhur Dyuk Ellington" orkestriga soat 17:30 - 19:30 da Devid Ostvaldning "Louis Armstrong Centennial" guruhi namoyish etiladi. Chorshanba - shanba kunlari mahalliy va xalqaro miqyosdagi gastrol safarlarida eng yaxshi natijalarni kuting. Faqat qo'shilgan: Har juma kuni soat 17:30 dan 19:30 gacha - Lyu Andersonning "All American Big Band" guruhi. Barchasi sahnaga eng zo'r manzaralardan zavqlanishadi.

Jaz bilan bog'liq boshqa joylar

  • Moviy yozuv yozuvlari, Eng qadimgi joylashuv Lexington Ave, 167, Nyu-York, Nyu-York, 10016 edi. Endi u 150 Beshinchi avenyuda joylashgan. 6-uy. Nyu-York, Nyu-York
  • Verve yozuvlari 1755 Broadway Nyu-York, NY
  • Harlemdagi Jazz muzeyi
  • Louis Armstrong uyi 34-56 107th St., Corona, NY 11368, 104 E 126th St.
  • Louis Armstrong arxivi - 1 718 997-3670 raqamiga yozilish orqali oching
  • Yuvilgan qabriston Nyu-York shtatining Kvins okrugi, 162-chi st bilan 46-chi avenyu. Ushbu qabristonda Lui Armstrong, Dizzi Gillespi va Jonni Xodjes kabi ko'plab jaz musiqachilari dafn etilgan.

3-kun (yakshanba) Nyu York ga Boston

4-kun (juma): Boston to Chikago.

Chikagodagi kontsert kechasi.

5-kun (shanba): tashrif Chikago

Chikagodagi jazz tarixiy joylari asosan janubiy tomonda joylashgan, Uptowndagi Yashil tegirmon bundan mustasno. Ga tashrif buyuring Chikagoning janubiy tomonidagi jaz klublari veb-sayt. Binoning joylashuvi va holati to'g'risida maslahatlashish mumkin [6]

  • Gaiti pavilyoni[7] 6401 S. Stony Island Avenue, bugungi kunda Jekson Park deb nomlanmoqda.
Gaiti pavilyoni 1893 yildagi Butunjahon Kolumbiya ko'rgazmasida qora ko'ngilochar markaz bo'lgan. Ekspozitsiya Chikagodagi ko'plab qora sayohat qiluvchi musiqachilarni, masalan, V. Handy (ko'klarning otasi deb hisoblanadi), Skott Joplin (Ragtime ning otasi). Gaiti pavilyoni jazz musiqasi uchun inkubator edi, u erda Skott Joplin va boshqa ko'plab musiqachilar boshqa ko'plab qora tanli do'stlarning musiqachilari o'xshash ko'nikmalarni rivojlantirganliklarini va jaz musiqasini keltirib chiqargan turli xil musiqalarda o'z tajribalari bilan o'rtoqlashdilar. Bugungi kunda Dunyo Kolumbiya ko'rgazmasining ikkita ta'sirchan ramzi qolmoqda. "Oltin xonim" haykali dastlab Faxriy sudning etagida turgan Deniel Chester Frantsiyaning respublika haykalining kichikroq nusxasidir. Asl tasviriy san'at saroyida hozirda Chikagodagi Fan va sanoat muzeyi joylashgan.
Ushbu hudud mamlakatning afro-amerikalik shahar tarixining eng muhim markazlaridan biridir. Buyuk Depressiya oldidan 20-asrda kengaygan davrda klub va kafelarga to'la bo'lgan bu Chikago musiqa sahnasining oltin davri tarixi va rivojlanishida katta rol o'ynadi. Lui Armstrong mahallada yashagan va "Sunset" kafesi, "Vendome" teatri va "Plantatsiya" kafesi kabi ko'plab tungi klublarda ijro etgan. Birinchisining binosi Sunset kafesi hali ham mavjud va u Chikagoning diqqatga sazovor joyi hisoblanadi.

Chikagodagi tarixiy jaz klublari

  • Pekin Inn 2700 S. shtati ko'chasi
1910-20 yillarda ochilgan. u 1910 yilgacha Janubiy tomonning eng muhim klublaridan biri hisoblanadi. Bu birinchi bo'lib ragtime va jazdan oldingi mashhur musiqa bilan chambarchas bog'liq bo'lgan musiqachilarni jalb qilgan, masalan, Jo Jordan, Toni Jekson va Uilbur Svitman. Ba'zi odamlar Pekin Innni Chikago Jazz sahnasining vatani va odamlar ragtime va jazdan oldingi uslublar bilan tajriba o'tkazgan birinchi musiqiy laboratoriyalardan biri deb hisoblashadi.
  • Dreamland Ballroom 3618-20 S. shtati, 35-ko'chada. Chikago
Orzular uyi 1912 yilda ochilgan Chikago tarixidagi birinchi zallardan biri bo'lib, unda King Oliver, Johnny & Warren "Baby" Dodds, Louis Armstrong va Hot Five, Alberta Hunter, Sidney Bechet, Lawrence Dyue, Ethel Waters kabi futbolchilar ishtirok etishgan. .
  • Linkoln bog'lari (Qirollik bog'lari). 459 East 31st Street, South Cottage Grove prospektida.
Linkoln bog'lari (sobiq qirollik bog'lari) 1000 ta raqqosani sig'dira oladigan raqs zali edi. 1924 yil oxirida sodir bo'lgan yong'indan so'ng, zal 1925 yil 28 oktyabrda, yangi Charleston kafesi deb o'zgartirilganda qayta ochilishi uchun ajoyib tarzda ta'mirlandi; keyinchalik u Parij kafesi nomi bilan mashhur bo'ldi. Deyv Peyton 1926 yil noyabr oyining oxiridan u erda guruhni boshqargan, ammo 1927 yil iyun oyida u bombardimon qilingan, ehtimol to'dalar urushida bo'lgan va yopilgan.
1918 yilda Bill Jonson boshchiligidagi "Original Creole Band" ning Royal Gardens-da istiqomat qilishi raqs zalining jazz joyi sifatida obro'sini o'rnatdi va Nyu-Orlean musiqachilarining chiqishlari uchun muhim ahamiyatga ega bo'lgan bir qator chiqishlarni boshladi. Chikagodagi musiqa. Jou King OliverCreole Jazz Band 1922 yil 17 iyundan 1924 yil fevralgacha istiqomat qilgan. Bu davrda u Nyu-Orleandagi kornet shogirdiga Chikagoga kelish va ikkinchi karnaychi sifatida Linkoln bog'larida o'ynash uchun telegramma yuborgan. Karnaychining ismi Lui Armstrong edi. Bu Armstrong uchun amalga oshirilgan orzu edi va uning guruhda ajoyib o'ynashi tez orada uni Chikagodagi boshqa musiqachilar orasida shov-shuvga aylantirdi.
Linkoln bog'larida ikki yillik faoliyati davomida qirol Oliver Lui va Kreol Serenaderlari bilan birga Yangi Orlean uslubidagi jazzni Chikagoga, so'ngra yozuvlar orqali dunyoga olib keldi.
"Qirol Djo Oliver 1922 yilda Nyu-Orleanni tark etib, uning birinchi karnayiga ikkinchi karnayini chalish uchun Linkoln bog'larida unga qo'shilishimni buyurganida, men quvonch bilan osmonga sakradim. Papa Jodan telegramma olgan kun - mana shu narsa Men uni chaqirdim - men Nyu-Orleanda dafn marosimini o'tkazayotgan edim va Smokin guruch guruhining barcha a'zolari menga ketmasligimni aytdilar, chunki Papa Djo va uning guruhi qandaydir kasaba uyushmasida muammolarga duch kelishdi ... Men Chikagoga o'n bir yoshda keldim. 1922 yil 8-iyulga o'tar kechasi Illinoys shtatining o'n ikkinchi va Michigan prospektidagi markaziy stantsiyasida. Men buni hech qachon unutmayman, qirol allaqachon ishda edi. Men bilan uchrashadigan hech kim yo'q edi. Men kabinani oldim va to'g'ridan-to'g'ri Linkoln bog'lari. " (Lui Armstrong)
"Royal Garden Blues" birinchi "riff" qo'shig'i hisoblanadi
1909 yilda 1937 yilda qayta qurilgan. 1921 yilda qayta qurilganidan so'ng, ushbu oddiy avtomobil garaji shaharning eng qadimgi va afsonaviy jazz joylaridan biriga aylantirildi. Uning uy orkestrida Lui Armstrong, Jonni Dodds va Graf "Fatha" Xayns singari taniqli musiqachilar qatnashgan bo'lsa, uning sahna tomoshalari mahalliy tomoshabinlarga so'nggi raqslarni taqdim etdi. Bix Beyderbek, Jimmi Dorsi, Benni Gudman va Gen Krupani o'z ichiga olgan ko'plab istiqbolli yosh rassomlar bu erda kechqurun mashg'ulotlarda boshladilar. 1937 yilda qayta qurilganidan so'ng, u Grand Terrace Ballroom (3955 South Parkway Blvd-da joylashgan joyidan ko'chib o'tdi) deb o'zgartirildi va 1950 yilgacha mashhur tungi klub bo'lib qoldi.
Earl Hines u erda katta muvaffaqiyatlarga erishdi, ammo Ikkinchi Jahon Urushidan oldin boshqa katta guruhlar, jumladan Fletcher Xenderson, Count Basie va Horace Henderson ham Katta Terasda o'ynashgan. Do'konning ofisi, qadimgi vaqtlarda Grand Terrace raqs maydoniga qaragan baland stendning bir qismi bo'lgan. Stendning orqa tomonida jazz ritmlari tasvirlangan katta devor tasviri bo'lgan va uning bir qismi hali ham ko'rinib turibdi.
Grand Terrace Ballroom va boshqa Chikagodagi tungi dam olish joylarida, ma'muriyatning ruxsatisiz klubni tark etish ko'plab chikagolik jaz musiqachilarining salomatligi uchun xavfli edi. Shuning uchun Earl Hines o'n yildan ziyod vaqt davomida Buyuk Terasda qoldi.
1936 yil davomida Fletcher Xenderson o'z guruhi bilan chiqadigan "Grand Terrace Ballroom" zalida Goodman guruh oldida Krupa davulda o'tirgan holda o'ynadi. Bu, ehtimol, qora va oq jazz musiqachilari birinchi marta to'laydigan tomoshabinlar oldida birga o'ynashgan
Tashqi ko'rinishi musiqiy gullab-yashnagan paytdagiga o'xshab ko'rinadigan yangi joydagi bino, endi apparat do'koniga aylandi. Ichki qismdagi ba'zi devorlar hanuzgacha Buyuk teras davrida bo'lgani kabi bo'yalgan. ichkariga tashrif buyurishni egalaridan so'rash mumkin.
Klub Louis Armstrong va Hot Five-ning "Sunset Cafe Stomp" deb nomlangan qo'shig'i uchun Ilhom vazifasini bajargan.
  • Yashil tegirmon, 4802 N. Broadway Ave., Chikago, IL
1907 yilda Pop Morsning yo'l uyi sifatida ochilgan "Tegirmon" aza tutuvchilar uchun avliyo Bonifas qabristoniga borishdan oldin do'stining o'tishini nishonlash uchun to'xtash joyi bo'lgan. 1910 yilga kelib, yangi egalar yo'lni yashil chiroqlar bog'iga aylantirdilar, ular chiroq bilan yoritilgan ochiq havoda raqs va ichimlik maydonlari bilan ta'minlandi va Al Jolson, Eddi Kantor va Sofi Taker kabi sarlavhalar bilan maqtanishdi.
Yigirmanchi yillarning ovozi eshitilib turganda, Al Kaponening yordamchisi "Machinegun" Jek MakGurn klubga 25% egalik huquqini qo'lga kiritganida va Al Kaponening o'zi ham doimiy ravishda klubga tashrif buyurganida, Yashil tegirmon mafiya hududiga aylandi. Menejer Denni Koen Makgurnga 25% ulushni komediya aktyori / qo'shiqchi Jou E. Lyuisni janubiy janubdagi Klark va Diversidagi "Yangi Rendevvous" kafesiga ko'chirishga "ishontirish" uchun bergan edi. Makgurn Lyuisni tomog'ini kesib, tilini kesib, ishontirishga muvaffaq bo'ldi. Mo''jizaviy tarzda Lyuis sog'ayib ketdi, ammo uning qo'shiqlari hech qachon shov-shuvli ovozini tiklamadi. Keyinchalik bu voqea "Joker yovvoyi" filmida abadiylashtirildi, Jou E. Lyuis rolida Frank Sinatra va "Yashil tegirmon" rolida Gollivudning ovozli sahnasi ijro etildi. Albatta, uning qiziqishi kuchaygan, Sinatra klubga tashrif buyurishi kerak edi. 1986 yilda Yashil tegirmon bezaklari uni taqiqlash davrida, spikerlar bilan tiklandi.
  • Vendom teatri 3145 Janubiy Shtat ko'chasi,
1919 yilda qurilgan va 1949 yilda buzib tashlangan. Chikagoning "Qora kamar" deb nomlangan yuragida joylashgan. Vendome orkestrining mashhurligi 1925 yil dekabrda, Dreamland kafesida ishlaganidan so'ng ustoz koronet ustasi Lui Armstrong kemaga tushganidan keyin yanada oshdi. Armstrong yakkaxon ijro etganida, Vendome tomoshabinlari vahshiyona xursand bo'lishdi. 1926 yilda Armstrong shaharning eng taniqli qora tanlilaridan biri bo'lgan Sunset Cafe-ga ishlash uchun ketgan. 1920 yillarda Vendomda ijro etgan boshqa jaz san'atkorlari orasida pianinochi Earl Hines, barabanchi Jimmi Bertran, kornetist Freddi Keppard va pianinochi Lil Hardin-Armstrong bor.
King Oliver guruhi, Creole Jazz Band 1927 yilda olov bilan yo'q qilinmaguncha Plantation Café-da keng ijro etilgan.
  • Apex Club S. Calumet va S. Prairie prospektlari orasidagi 35-chi St. [9]
1920 yilda ochilgan Juni Kobb, Jonni Sent-Sir, Deyv Nelson, Djo Poston, Jonni Uells, Erl Xayns va klarnet ustasi Jimmi Nuni.
  • Ko'ngilochar kafe Michigan shtatidagi 209 E. 35-chi avliyo 1910-20 yillarda
Sammy Styuart va uning Sinxopiya ritsarlari, Freddi Keppard guruhi, Graf Xayns, Natti Dominik, Verni Robinzon, Kerol Dikerson.
  • Monogram teatri 3435-40 S. shtati ko'chasi
1910 yilda ochilgan. Sidney Bechet, Etel Uoters, Erskin Teyt, Ma Reynni kabi ilk jaz musiqachilari.
  • Elita klubi 3030 S. shtati ko'chasi
1910 yilda ochilgan. Jelly Roll Morton, Earl Hines, Alberta Hunter.
  • Ententainer kafesi
  • Friar's Inn Chikagodagi Loopdagi 60 East Van Buren yoki 343 South Wabash dagi podval,
Friar's Inn Chikagodagi Loop hududida, Janubiy Vabash prospektidagi 343-chi Van Van ko'chasida joylashgan podvalda joylashgan tungi klub edi. Moulin Rouge kafesi xuddi shu majmuada edi. Friar's Inn-ni Mayk Fritzel boshqargan va musiqachining xotiralarida gangsterlar uyasi sifatida eslangan. Friar's Inn uchta guruhga ega edi: biri soat 3 dan 18 gacha, bittasi soat 6 dan 22 gacha, odatda kechki ovqat uchun ritm bo'limi va 22:00 dan erta tonggacha asosiy guruh - bu Mares guruhi. Klubda qat'iy "faqat oqlar" siyosati qo'llanilgan. Friar's Inn bilan bog'langan taniqli guruhlar orasida New Orleans Rhythm Kings (dastlab "Friar's Society Orchestra") va Ostin High Gang ("Moviy Friars" nomi bilan ham tanilgan) bor edi.
Friar's Inn-da o'ynagan taniqli musiqachilar orasida Frank Teschemacher, Bud Freeman, Stiv Braun, Jorj Brunies, Merritt Brunies, Emmett Hardy, Pol Mares, Leon Roppolo, Bee Palmer va Mel Stitzel bor edi. Joan Krouford karerasining boshida u erda raqqosa bo'lib ishlagan.

Yana tarixiy jaz klublari ro'yxatiga kiritilgan Bu yerga

Chikagodagi zamonaviy jaz klublari

Yaxshiyamki, Jazz haqidagi voqea BeBop bilan tugamadi. Avangardga kirib boraverdi. Ushbu sarguzasht to'plamning bir qismi Chikagodagi (asosan afro-amerikalik) musiqachilar jamiyati bo'lib, ijodiy musiqachilarni rivojlantirish assotsiatsiyasi (AACM) deb nomlangan.
O'z vazifasini "jiddiy, o'ziga xos musiqani tarbiyalash, ijro etish va yozishni" o'z zimmasiga olgan AACM Jazda ishlaydigan musiqachilar, bastakorlar va o'qituvchilarni qo'llab-quvvatlaydi. 1965 yildan boshlab AACM (birinchi bo'lib Muhal Richard Abrams boshchiligida) Chikagoda yosh musiqachilarni tarbiyalaydi va g'alati, Amsterdam va Parij 1970-yillarning boshlarida ba'zi ta'sischilar o'zboshimchalik bilan surgun qilingan.
Genrix Threadgill, Entoni Braxton, Jek DeJonette va Chikagodagi badiiy ansambl kabi AACM bilan bog'langan musiqachilar: Lester Boui, Rozko Mitchell, Jozef Jarman, Famudu Don Moye va Malachi Favors eng hayajonli va qiyin jazz musiqalarini yaratdilar. 1970-yillardan boshlab, 1990-yillarda faqat asosiy oqim va ilmiy doiralar tomonidan tan olinadigan musiqa.
1980-yillarning oxiri va 1990-yillarning boshlarida musiqachi va Kolumbiya kolleji professori Xel Rassel AACM ta'sir doirasiga yangi musiqachilarning katta oqimini olib bordi va u NRG ansambli bilan ham o'ynadi. Ken Vandermark, Kent Kessler, Mars Uilyams va Vizel Uolter kabi Rassellning talabalari va izdoshlari AACM sahnasini qayta tiklashga yordam berishdi va tanqidiy va ommaviy axborot vositalarining e'tiborini jalb qilishdi.
Yaxshiyamki, sahnada asl AACM o'yinchilarining bir nechtasi, shuningdek, Chikago va Evropadan kelgan ko'plab talabalar, shuningdek Rasseldan tushgan yangi sahnadagi o'yinchilar bor. You can catch shows ranging around town almost every night of the week, but the scene most predictably centers around a handful of clubs with connections to the musicians.
  • The Velvet Lounge, 67 East Cermak Road. Owner Fred Anderson is a long time member of the AACM, and has connections running deeply through both contemporary scenes. In most evenings from Wednesday through Saturday, you'll find him alternately watching the door, and joining the band on stage to play a ripping sax solo.
  • The New Apartment Lounge, 504 East 75th. Von Freeman is your host here at the new apartment, another club frequented by AACM members both onstage and off. The club is a must-see, and the Wednesday night jam sessions are legendary.
  • The Hideout seems to be the successor on Wednesday nights to the long running Tuesday and Wednesday night gigs by Ken Vandermark and friends at The Empty Bottle, where he and music critics John Corbett and Peter Margasak have created a platform for exposing Chicago hipsters to Avant Garde Jazz from the AACM scene, the Russell scene, and from around the world. Wednesday nights are usually reserved for overseas guests, such as Han Bennik or, maybe if you're lucky, Misha Mendelberg.
  • The HotHouse, 31 East Balboa. Having moved to Printers Row after many years in Wicker Park, the HotHouse regularly hosts concerts mostly by younger members of the AACM scene (like Eight Bold Souls) and associated traveling artists, in a somewhat more upscale atmosphere than the other three clubs in this group - the old location was a dive, but they took the move as an opportunity to dress up a bit.
  • Andy's Jazz Club 11 East Hubbard St. Chicago, IL, 1 312-642-6805.
One of Chicago's best-known and most respected Jazz establishments, historic Andy's offers casual dining and live jazz. Local acts focusing on mainstream, traditional, be-bop jazz and blues are featured with sets at lunchtime, late afternoon and evenings. Located just off Michigan Ave in downtown Chicago and just steps away from Chicago's Magnificent Mile, Andy's Jazz Club has been a destination for the work weary and hungry hipsters for over a quarter of a century. Established in 1951, this onetime newspaper pub has evolved from a shot & beer joint into a full service music Mecca.
Taste and variety define the music menu as well, showcasing Jazz and Blues 7 days a week. No other venue can boast of the three shows daily and a weekend rotations of world-class headliners.
Friday's Live Jazz At Noon provides a variety of lunchtime favorites with conversation friendly music, guaranteed to satisfy the cravings of the clock-watchers and leisure lovers alike. Open for lunch Monday-Friday with live music only on Friday. Jazz At Five ups the intensity when locals and visitors mingle beneath the "Wall of Fame" and exchange ideas in the universal language of Jazz. Jazz At Nine expands the experience with a range of world-renowned artists with diverse styles continuing until 1AM. To accommodate a more energetic weekend crowd, hours are extended to 1:30AM and serve from the complete menu until 1AM. On Sunday, entertainment jump starts your morning with a 11AM-2:30PM Brunch and continues on with evening music offered from 5PM-midnight. Located in the heart of the River North Neighborhood of the Chicago Loop, you can find Andy's Jazz Club & Restaurant at the intersection of State Street and Hubbard Street.

More modern Chicago clubs at www.chicagojazz.com

Other jazz-related places in Chicago

  • The Chicago Jazz Archive, part of the Library of the University of Chicago, open Tuesday to Friday by appointment only (call 702-8541); contains pictures, magazines and recordings from the early jazz in the Chicago scene.
  • Chicago Theatre, 175 N. State St.,
Many big bands played at the Chicago in the 1930s and '40s, including, to name a few, Benny Goodman, Dick Jurgens, Harry James, and Orrin Tucker. Having narrowly survived demolition in the mid-1980s, the Chicago Theatre continues to operate, with most of its elegance still evident.

Day 6 (Sunday): Chikago ga Kanzas-Siti

Distance: (532 Miles)

Concert in the Phoenix?

Day 7 (Monday): Visiting Kansas City

Jazz places in Kansas City

  • 18th and Vine District
...we came to the corner of Eighteenth Street and Wham! Everything along that street was all lit up like klieg lights... And everywhere you went, there was at least a piano player and somebody singing, if not a combo or maybe a jam session... we were walking into a scene where the action was greater than anything I've ever heard of." ca 1924-25, William Basie, from Good Morning Blues, the Autobiography of Count Basie.
...The Flavor of 18th street was on the sidewalks, you could find everybody who was anybody on 18th street.But it was grand. 12th street was joints, 18th street was class. It was all we had, and it was the only place we could go." Reuben Benton, long time resident.
18th and Vine in Kansas City is internationally recognized as one of the cradles of jazz. Along with New Orleans's Basin Street, Beale Street in Memphis, 52nd Street in New York and Los Angeles's Central Avenue - the 18th and Vine area was a midwife to the birth of a new style of jazz. Like the spicy barbecue for which Kansas City is so widely noted, the jazz that evolved in the 18th and Vine district was likewise distinctive. Simmered in the blues, Kansas City's jazz was a riff-based sound fueled by jam sessions in the district's crowded clubs.
A list of the musicians who worked and made their home in the historic district reads like a veritable Who's Who of Jazz in the 1930s and 1940s. Charlie Parker is likely the most noted modern jazz musician to come from Kansas City. However, many notables call the city home or got their start in this significant jazz scene.
Located just east of Downtown Kansas City, it is the Kansas City metropolitan area's historic center of African American culture. It has been the focus of more than $30 million of civic investment since the late 1980s, but the district's redevelopment has struggled. In the 1990s, parts of the film Kansas City were filmed there. Façades left from the movie remained on most of the dilapidated buildings until the end of the 1990s. Today, the 18th and Vine district includes the Mutual Musicians Foundation, the Gem Theater, the long-time offices of African-American newspaper The Call, the Blue Room jazz club, the American Jazz Museum, the Negro Leagues Baseball Museum, restaurants and apartments.
The clubs sported colorful names such as the Cherry Blossom, the Chez Paree, Lucille's Paradise, the Subway Club, the Sportsmen Club, the Ol' Kentuck' Bar-B-Q and Fox's. Many of the clubs featured "Blue Monday" sessions. Former bassist for Andy Kirk, Laverne Barker remembered how, "People would go to the area on Sunday Nights and would wait for Blue Monday parties to start in the clubs at midnight. The jam sessions would start and go `til Monday afternoon."
Vine Street also has been celebrated by many songs including "Vine St. Bustle," "Vine St. Boogie," "Vine St. Drag" and "Kansas City."
Located in the Historic 18th and Vine Jazz District in Kansas City, MO., this is the place where jazz masters such as Charlie Parker, Count Basie, Big Joe Turner, and hundreds of others defined the sounds of the 1920s, 30s, and 40s. Contains rare photos, album covers, memorabilia, and personal items telling the stories of jazz legends Louis Armstrong, Duke Ellington, Ella Fitzgerald, and Charlie Parker, More than 100 recordings of the greatest jazz ever played, Studio 18th & Vine, where visitors experiment with harmony, melody, and rhythm, Films and special collections honoring the impact of jazz on the American experience, Special exhibits highlighting Kansas City’s unique contributions to jazz.
'Closed on Mondays'
  • The Mutual Musicians Foundation 1823 Highland Avenue, 18th & Vine district, 1 816 471-5212
Otherwise known and the Musicians local No. 627, This modest musicians union house is nearly 100 years old and represents KC jazz/blues/ragtime history far better than the museum down the street. Open jazz jams and cutting sessions Saturdays starting at around midnight lasting til sometimes past dawn - if the crowd and musicians can keep each other interested. (Blues jams on Fri night.) Charlie Parker grew up in the area and there are stories of him peeking through the window of this place to see perhaps Basie, Lester Young, etc. Upstairs there is a piano that locals say Scott Joplin, Mary Lou Williams and Count Basie played on. Downstairs reside the Saturday jams in a room that has a grandma's formica kitchen feel. Lester Young (hear 1958 audio discussion with Chris Albertson), Bennie Moten, Walter Page, Charlie Parker, Coleman Hawkins, Ben Webster, Buster Smith, Mary Lou Williams, Pat Metheny, Count Basie, Jimmy Rushing, Big Joe Turner, Kevin Mahogany, Ahmad Alaadeen, Bob Brookmeyer, Claude Fiddler Williams, George E Lee, Bobby Watson, Jay McShann, Andy Kirk, The Blue Devils, Karrin Allyson and many others had/has strong ties to this district (or the 12th Street scene which is completely destroyed).
  • Fox's Tavern, Corner of 18th St and Vine.
Very popular with loudspeakers on the street broadcasting music and shows, contributing enormously to the atmosphere of the district.
  • Piccolo's club, Corner of 18th and vine (west of Fox's Tavern).
  • Street hotel, featured the early location of the Blue Room, an exclusive jazz club.
  • Shannon building featured on the basement, one of the most famous jazz clubs, the Subway. The most recognized jazz musicians jammed at the Subway: Benny Goodman, Coleman Hawkins, Gene Krupa, Harry James, Chu Berrym, Jimmy and Tommy Dorsey, Ben Webster and countless other held cutting contest with local musicians.
  • The El Capitan Club, 1608-10 E 18th St.
  • Elk's Lodge, 1606-E 18th, (open in 1906).
  • Moten and Hayes records owned by two men that would become famous bandleaders, Benny Moten and Thamon Hayes. Bennie Moten's Kansas City Orchestra was the most successful Jazz band of the Midwest. The band toured all over the country and had a top selling recording in 1927 for Victor named "South". In 1929 Count Basie of The Blue Devils joined the band, and several other members of that band soon joined Moten's Orchestra. Count Basie took over the band after Moten's death in 1935.
  • Lucille's Paradise Club, 1709-11E 18st st, featured radio broadcast in the lates '30s.
  • Scott's Show Bar Corner of 18th st and Highland Avenue, an elite supper club in the '40s opening as the 'Highland Gardens' in 1922. Also called the Airdome and the Quaterne, and later the Rialto and the Boone.
  • Centennian Church, Count Basie played the Organ at this congregational church.
  • Gem Theatre operated from 1912 as a segregated movie theatre.
  • The Parrot Inn, 1813 Vine St.
  • The Mardi Grass Club opened in the 1950s. Had many names, turnovers through the years. Much the same since the 1930s, raw urban club. "Bird, Basie, Miles, Monk played it". It closed due to lease dispute according to Ignatius' secret sources and apparently will reopen down the street. Rumor is another club will go in this spot.
  • The OI Kentucy Barbecue. Musicians jammed here and ate barbecue soup for 10 cents.
  • Eblon Theater is the site of the Count Basie first job in Kansas city. His band came to play to the city and left him here. He played as an organist in silent films, as the Cherry Blossom in 1934, it featured Japanese decor and some of the hottest jam sessions in town. Later was called the 'Chez Paree'.

Jazz clubs in Kansas City

  • Reno Club. 12th Street, between Cherry Street and Locust Street, Kansas City, MO.
Known as the "Queen" of Kaycee clubs, the Reno Club flourished during the 1930s, but was closed for tax evasion in 1938. The club's activities, directed by Papa Sol Epstein, were segregated, and separate dance floors, bars, and dining areas were reserved for black and white patrons. Bennie Moten played there in the early 1930s, and in 1935 Count Basie formed a nine-piece group, the Barons of Rhythm, for a residency; it was in this venue that Basie was discovered by John Hammond in 1936.
The balcony above the bandstand here was Charlie Parker's favorite roost. He'd sit there, the air thick with marijuana smoke rising from the band downstairs, and listen to his idol, Lester Young, blowing with the "Count" Basie band.
Nightly broadcasts from the club were relayed on radio station W9XBY. In 1938 Jesse Price's big band played there, and the following year George E. Lee, whose career passed through a decline in the mid-1930s, brought his new band (formed the preceding year for a residency at the Brookside Club) to play an engagement at the Reno. The club was as important for after-hours jam sessions by the many jazz musicians playing in the city at that time as it was for the music that was played to entertain the clientele.
A police parking lot now occupies the sacred ground where Club Reno once stood.

Modern jazz clubs in Kansas City

  • The Phoenix 8th & Central, 1 816 472-0001
  • Jardines Restaurant & Jazz Club 4536 Main Street 1 816 561-6480
The American Jazz Museum's Blue Room is a museum by day and at night comes to life as a working jazz club. Four nights a week, the Blue Room resonates with the sweet sounds of Kansas City jazz. As the only Kansas City club included in DownBeat magazine's 2004 list of Top 100 Jazz Clubs in the world, the Blue Room consistently books top name national and international entertainers while it continues to showcase the best of jazz in Kansas City.
The Blue Room was recognized again in DownBeat magazine's February 2007 issue as the only Kansas City club to make the list of Top 100 Jazz Clubs in the world:
As part of the American Jazz Museum, the Blue Room is designed to resemble a nightclub from the 1930s. Shows in the room hit on Monday (a regular jam session), Thursday, Friday and Saturday, featuring top regional straightahead talent.
  • Majestic Steakhouse 931 Broadway (walking distance from Phoenix) 1 816 471-8484
Jazz and jam 6 days, but Monday. Art deco/Victorian classic club feel with typically 50 crowd. Cigar club upstairs with walkin humidor (said to once be Tom Pendergast's hangout). Bram Wijnands' regular gig spot (weekends).
  • Grand Emporium 3832 Main Street 1 816 531-7557, 1 816 531-1504
Mostly touring blues and bluesrock acts on weekends but also jazz/punk/zydeco/reggae weekdays. Many blues mags consider it one of best urban blues clubs in US and it is a multi WC Handy award winner. This place usually has a soul you can breathe in but lately they seem to book a bit more blue collar and suburban twangy blues over the urban blues they've been known for. Gotta do Amazing Grace's soul food (and/or bring in pizza from next door). Open blues jams, second Thu of each month, no cover (for this event).
  • Harling's Upstairs 3941-A Main Street 1 816 531-0303
Urban blues/jazz/irish/celtic/swing/rock. Tuesdays (?) - 18 piece swing orchestra. Saturday 2PM (open) jams too - Mama Ray (no cover). Usually weekend cover charge. Jean Harlow and Joan Crawford were once showgirl dancers at this club. A Midtowner's favourite, where local filmmakers hang.

(More jazz clubes at Foursquare)

Other jazz-related places in Kansas City

  • Charlie Parker birthplace 852 Freeman Avenue, Wyandotte County, Kansas City, Kansas [10]
At year 1999, the location is a vacant lot.
  • Charlie Parker Home 1516 (1535) Olive St Kansas City, MO
Parker was living here during the period he was going as a kid to jam sessions in 18th St (close to his school) and 12th (the Reno Club). He spent the chilhood and adolescence here until he moved to New York, already as a formed musician.
  • Charlie Parker Grave site Lincoln cemetery, 8604 E Truman Rd, Kansas City, MO
Charlie Parker asked explicitly not to be buried in Kansas City, but the family decided to do it so.
  • Other Charlie Parker Houses 109 W34th St. Kansas City, MO, and 114 W 36th St. Kansas City, MO
Charlie Parker moved here in 1927, and lived here for about four years, after moving from his birthplace at the other side of the river, in Kansas City, Kansas. At least seven homes have been identified in Kansas and Missouri at which the Parkers lived at one time or other. Both buildings are still there at year 1999.

Day 8 (Tuesday): Kansas City to Memfis

  • American Jazz Museum Visit in the morning. Tu–Sa 9AM to 6PM, Su noon to 6PM, M closed

Driving distance: 538 miles.

Sedalia, MO

  • Sedaliya, Missouri. (25 km off road, in the way of Kansas City to Memphis is consider the Birth Place of the Ragtime). Sedalia was once the residence of the famous ragtime composer Scott Joplin. Joplin and ragtime music are honored in a yearly Ragtime Festival, usually held in June.
Once there, the Scott Joplin House tashrif buyurish mumkin.

Once in Memphis, try to catch a Blues concert.

Day 9 (Wednesday): Visiting Memfis

  • Ko'cha[o'lik havola], Memphis, TN
When the self-proclaimed "Father of the Blues" W.C. Handy, an accomplished bandleader and songwriter, arrived on Beale Street from the Delta in 1908, he brought with him the blues, a new style of music he "discovered" down south. With his publication of "Memphis Blues" in 1912, Handy became one of the first people to publish a song featuring characteristic "blue notes" and containing the word "blues" in its title. By the 1920s, Beale Street was a showcase for jug bands, where he played a mixture of blues, ragtime, and humorous tunes.
In the 1920s, the area took on a carnival atmosphere and gambling, drinking, prostitution, murder and voodoo thrived alongside the booming nightclubs, theaters, restaurants, stores, pawnshops and hot music. By mid-evening, the street would be packed and a one-block walk could take forever, especially if he had to detour around the medicine show set up in the little hole in the wall, or if he stopped and listened to the wandering bluesman playing for pennies and nickels. There were big vaudeville shows at the Palace and the Daisy, hot snoot sandwiches at the corner café jug bands playing down at the park and one block over on Gayoso there was a red-light district to rival New Orleans’ Storyville.
Beale Street was completely shut down and the buildings demolished. Nowadays, it is just a street for tourism and shopping wiith some reopened blues clubs, but missing the spirit of the early 20s.
A. Schwab Dry Goods, in the family since 1876, is the only remaining original business on Beale St. Open M-Sa 9AM-5PM. The Orpheum Theatre also remains, opened on October 15, 1928 on the corner of Main and Beale.
Clubs on Beale street: Alfred's On Beale, Mr. Handy’s Blues Hall, Alley Cats, New Daisy Theater, A. Schwab, New York Pizza, B. B. Kings Blues Club, Pat O'Briens, Beale St. Tap Room, People’s Billiard Club, The Black Diamond, The Pig on Beale, Blues City Cafe & Band Box, Psychics of Beale Street, Club 152, Rum Boogie Cafe, Dyer’s Famous Hamburgers, Shake Shack, Eel Etc. Fashions. Silky O Sullivan’s, Hard Rock Cafe, Strange Cargo, King’s Palace Cafe, Tater Red’s, Memphis Music, Wet Willies.
  • Sun Studio 706 Union Ave, Memphis, TN, 1 901 521-0664
'Where rock'n roll was born'. The studio where Elvis Presley recorded his first four albums, and changed the music industry. Johnny Cash, the inimitable Jerry Lee Lewis, and the "Rockin' Guitar Man", Carl Perkins were first recording here. Nowadays, is a sort of museum, so you can enter and visit the studio.
  • W C Handy Blues Museum & Performing Arts Center 1275 Royal Oaks Cv, Memphis, TN, 1 901 396-3914
WC Handy is considered the father of the blues. He is the one that bought the blues from the Mississippi Delta up to New Orleans through the Highway 61.
The Memphis Rock ‘n’ Soul Museum’s exhibition about the birth of rock and soul music tells the story of musical pioneers who, for the love of music, overcame racial and socio-economic barriers to create the music that shook the entire world.
Located at 191 Beale, on the corner of legendary Highway 61 at the FedExForum sports and entertainment complex, the museum offers a comprehensive Memphis music experience from the rural field hollers and sharecroppers of the 1930s, through the explosion of Sun, Stax and Hi Records and Memphis’ musical heyday in the 1970s, to its global musical influence. The museum’s digital audio tour guide is packed with over 300 minutes of information, including over 100 songs, and takes visitors at their own pace through seven galleries featuring 3 audio visual programs, more than 30 instruments, 40 costumes and other musical treasures.
Stax was a major player in the creation of the Southern soul and Memphis soul music styles, and frequently released early funk and 1960s Chicago blues recordings. While Stax was involved almost exclusively in the production of African-American music, the label is noted for having some of the first popular ethnically-integrated bands. Featuring recordings of Otis Redding, Wilson Pickett and Albert King.
Today, the Stax Museum of American Soul Music, located at the original site of Stax Records, pays tribute to all of the artists who recorded there with a rare and amazing collection of more than 2,000 interactive exhibits, films, artifacts, items of memorabilia, and galleries designed to keep Stax alive forever. Because it is the only soul music museum in the world, it also spotlights America's other major soul music pioneers, including the sounds of Muscle Shoals, Motown, Hi, and Atlantic Records, spotlighting the contributions of such soul pioneers as Ike & Tina Turner, Aretha Franklin, The Jackson Five, Ann Peebles, Al Green, Sam Cooke, James Brown, Ray Charles, and many others.
Hours: March-October: M-Sa 9AM-4PM, Su 1-4PM; November-February: M-Sa 10AM-4PM
  • WDIA 706 Union Avenue, Memphis, TN
The radio station where Beale Street went on the air (1948). It became the first all-black radio station in the country, with African-American deejays and programming that specifically targeted a black audience. WDIA’s torrent of gospel, blues, and the sounds of rhythm and blues (R&B) put it on its way to becoming the most powerful station in Memphis.
In 1948, Blues Boy King was hired by Memphis blues station WDIA for a 15-minute live radio spot where he performed and hawked a health tonic called Pep-Ti-Kon. A year after, B.B. King records for the first time, cutting four songs (including his debut single, “Miss Martha King”) at Memphis radio station WDIA.
The WDIA studio on Union Avenue, just up the street from the Peabody Hotel, is also still in operation, broadcasting a steady stream of talk and music, and you can stop in for a quick tour. On Saturday mornings, Rufus Thomas, the senior statesman of the local music scene, still broadcasts a weekly show, and the station’s all-blues programming on Saturdays remains an unpretentious tribute to the city’s blues tradition. Listen to the radio as you drive around the city or take a day trip down to the Delta.
  • W.C. Handy House & Museum 352 Beale Street, Memphis, TN, 901-527-3427
  • Aretha Franklin's birth home 406 Lucy St., Memphis, TN
Just a few blocks from Stax stands the house where Aretha Franklin was born and raised until she moved north at the age of eight.
The most significant landmark of Tupelo's modern history is a modest, two-room house where the King of Rock & Roll was born on Jan 8, 1935. From this humble beginning, Elvis Presley began his meteoric rise to become the world's most popular entertainer.
The Elvis Presley Birthplace is part of the Elvis Presley Park and has been restored to the period before the singer's family moved to Memphis. The birthplace has been designated a Mississippi landmark. The Elvis Presley Park includes the Elvis Presley Museum, Memorial Chapel, Gift Shop and a lifesize statue of "Elvis at 13". The Park offers complete recreation facilities for picnics and community events.
Hours: May-Sep: M-Sa 9AM-5PM; Oct-Apr M-Sa 9AM-5PM; Su year-rpund 1-5PM
This huge mansion was once the home of Elvis, the most famous entertainer in the US. Now it is a pilgrimage place for many fans and one of the landmarks of Memphis.
This memorable tour of Gibson’s Memphis guitar factory consists of an intimate viewing of the facility as Gibson’s skilled luthiers craft some of the finest guitars in the world. An opportunity to witness the intricate process of binding, neck-fitting, painting, buffing, and tuning that creates these incredible musical instruments. See and hear how Gibson has helped shape the world of music for over 100 years and continues to set the pace for the musical innovations of tomorrow. Tour lasts approximately 45 minutes.
Tours are given: Monday- Saturday 11AM, noon, 1PM, 2PM, 3PM, and 4PM; Sunday noon, 1PM, 2PM, 3PM, and 4PM
  • Heartbreak Hotel,
Elvis Hotel. Across the street from Graceland. It features unique decor. You can try to see the lobby.

Day 10 (Thursday): Memfis ga Yangi Orlean

Driving distance: 396 miles. Take route 61, the Blues Highway, and follow it as weaves into Mississippi, all the way to New Orleans.

Clarksdale

Once one of the Delta’s main trading towns, Clarksdale is possibly the most important blues-town in Mississippi. John Lee Hooker, Sam Cooke, Jackie Brenston and Ike Turner were born and raised here. Other influential bluesmen who made their names in Clarksdale include Muddy Waters, Bukka White, Son House, and Robert Nighthawk. On September 26th, 1937, Bessie Smith died in Clarksdale after a car accident on Highway 61 near Coahoma.

  • Riverside Hotel. 615 Sunflower Avenue. Here stood the GT Thomas Hospital for blacks, where Bessie Smith died. The owner of the Hotel, Frank Ratliff claims his mother, who turned the hospital into a hotel in 1944, knew what really happened, but Frank’s is not willing to tell anyone. Bessie´s Room (room #2) can be visited. John Fitzgerald Kennedy chose to stay at the Riverside when he visited Clarksdale. He stayed opposite Bessie’s in room 2a.
  • WC Handy's marker. WC Handy heard the blues for the first time in 1903 when he was living in Clarksdale.
  • Delta Blues Museum. #1 Blues Alley, Clarksdale, MS. Mar-Oct: M-Sa 9AM-5PM; Nov-Feb: M-Sa 10AM-5PM. Go south on 61 Highway to Clarksdale. 61 Turns into N. State Street. Turn right on DeSoto, go under the railroad tracks and turn left on 3rd Street.

Dockery Plantation

Take Highway 8 east from Cleveland (Here, WC Handy pronounced his famous words "An American composer is Born") for about 5 miles to reach the Dockery Plantation founded around 1895. According to many, the blues was born right here. Charley Patton, pioneer of the Delta blues was a worker here.

Where the “Southern meet the Dog”

These were the lyrics of the first Blues WC heard in Tutwiler. He asked the singer what they meant. They actually mean a point where the Yazoo and the Mississippi railroads meet. This point is in Moorhead and the railroads still exist

Natchez

When Natchez was the old capital of cotton industry, more millionaires lived here than anywhere else in America. This is today a city of contrasts full of Southern Charm and elegance.

Day 11 (Friday): Visiting Yangi Orlean

  • The French Quarter. The city's historic center is its main tourist draw.
  • Faubourg Treme. Founded by free people of color the Treme is home to New Orleans' African American Museum, historic St. Augustine Church, Louis Armstrong Park and Congo Square (and the National Jazz Museum) as well as a vibrant Secondline tradition.
  • Faubourg Marigny. New Orleans' "bohemian" neighborhood is also home of the Frenchmen Street Entertainment District.
  • Storyville. The now defunct district where prostitution and gambling was legal in New Orleans. Storyville was a key in the development of jazz and that its closing was responsible for New Orleans musicians leaving for Chicago. Almost all the buildings in the former District were demolished in the 1930s to clear the land for the building of the Iberville Projects. While much of the area contained old and decayed buildings, the old mansions along Basin Street, some of the finest structures in the city, were leveled, too.
  • Basin Street. The back side of Basin Street was the front of the Storyville red light district, with a line of high end saloons and mansions devoted to prostitution. Basin Street was commemorated in the Basin Street Blues composed by Spencer Williams in 1926 and recorded by Louis Armstrong in 1929 and Miles Davis in 1963.

There are a series of monuments on the neutral ground of Basin Street, including statues of Simón Bolívar, Benito Juárez, and Francisco Morazán, and a metal sign commemorating Storyville.

Jazz clubs in New Orleans

  • Anderson's Annex. 201 North Basin Street, at Iberville Street.
  • Irvin Mayfield's Jazz Playhouse. 300 Bourbon Street.
  • Preservation Hall. 726 St. Peter Street.
  • Candlelight Lounge. 925 N. Robertson Street.
  • d.b.a.. 618 Frenchmen Street.
  • Snug Makoni. 626 Frenchmen Street.
  • The Spotted Cat. 623 Frenchmen Street.
  • Sweet Lorraine's. 1931 St. Claude Avenue.
  • Maple Leaf Bar. 8316 Oak Street.

New Orleans has a vibrant live music scene throughout the city. Although Bourbon Street has lost its luster as an exclusively musical destination (with a few exceptions) have no fear, this is New Orleans. The Frenchman Street entertainment district in the Faubourg Marigny (the neighborhood next to the French Quarter) is one of the best places to catch a live Jazz Performance in New Orleans. Arrive any day of the week, later in the evening. Quality street musicians abound in New Orleans.

Saloon. [11]From 1901 to around 1925, Anderson's Annex was the headquarters of Tom Anderson, from where he controlled the brothel district of New Orleans. The venue was managed by Bille Struve, who also produced the famous Blue Book (a guidebook to the district), which advertised it somewhat misleadingly as a "café and restaurant."

From about 1905, it was sometimes known as the Arlington Annex, after Josie Arlington's whorehouse, one of the three largest and most popular on Basin Street. The saloon offered music on a modest scale, presenting small bands, such as string trios (mandolin or violin, guitar and double bass); among the musicians who played there were Bill Johnson, the black guitarist Tom Brown, and Wellman Braud, playing violin. In published accounts, such famous musicians as Louis Armstrong and Albert Nicholas are said to have played at Anderson's Annex, but they actually worked at Tom Anderson's New Cabaret and Restaurant.

Day 12 (Saturday): Visiting Yangi Orlean

Day 13 (Sunday): Yangi Orlean ga Boston

Samolyotda.

Xavfsiz bo'ling

Shuningdek qarang

Ushbu yo'nalish The Jazz Track a foydalanish mumkin maqola. U erga qanday etib borishni tushuntiradi va yo'ldagi barcha muhim fikrlarga to'xtaladi. Sarguzasht odam ushbu maqoladan foydalanishi mumkin, ammo iltimos, sahifani tahrirlash orqali uni yaxshilang.