Bedford Quartets

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The names of Jazz Quartet

Much inventiveness and history has gone into the naming of bands. Here are some band names:-

"  Seven Brown Babies; Seven Gallon Jug Band; Albert E. Short's Tivoli Syncopators; Arthur Schutt and his Orchestra; Al Siegel's Orchestra; Harvey Brooks Quality Four; Bessie Brown and her Jazz Band; Bill Brown and his Brownies; Lillyn Brown and her Jazzbo Syncopators; Brown and Terry's Jazzola Boys; Tom Brown's Band From Dixieland; Brownlee's Orchestra of New Orleans; Sigler’s Birmingham Merrymakers; Frank Signorelli and his Orchestra; Arthur Sims Creole Roof Orchestra; Omer Simeon Trio; Zutty Singleton and his Creole Band; Merritt Brunies and his Friars Inn Orchestra; Frank Brunch and his Fuzzy Wuzzies; Tim Brymn and his Black Devil Orchestra; Bucktown Five; Busse's Buzzards; California Poppies; California Ramblers; Zutty Singleton Trio; Sioux City Six; Sissle and Blake; Noble Sissle and his Sizzling Syncopators; Noble Sissle and his Orchestra; Canaro Jazz Band; Cannon's Jug Stompers; Dave Caplan's Toronto Band; The Captivators; George Carhart's New Yorkers; Adolfo Carabelli Jazz Band; Eddie Carlew's Baby Aristocrats; Noble Sissle and his International Orchestra; Noble Sissle's Swingsters; The Six Black Diamonds; Six Brown Brothers; The Six Hottentots; Hoagy Carmichael and his Orchestra; Hoagy Carmichael and his Pals; Carmichael's Collegians; Carolina Club Orchestra; Carolina Cotton Pickers; Cassidy's New Rhythmists; The Cellar Boys; The Six Jolly Jesters; Abe Small and His Melody Boys; Bessie Smith accompanied by her Down Home Trio; "

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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