Luton 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:-

"  Musical Stevedores; Andy Kirk and his Twelve Clouds Of Joy; Teddy Kline Orchester; Carl Kress and Dick Mcdonough; Bennie Krueger's Melody Syncopators; Bennie Krueger and his Orchestra; Lada's Louisiana Orchestra; Anton Lada's Louisiana Ladds; Vic Myers and his Hotel Butler Orchestra; Vic Myers' Music; Vic Myers and his Orchestra; Vick Myers and his Orchestra; Vick Myers' Atlanta Melody Artists; Ladd's Black Aces; Tommy Ladnier and his Orchestra; Lake Arrowhead Orchestra; Slim Lamar and his Southerners; Lampe's Orchestra From The Trianon Ballroom; Lanigiro Synkopating Melody Kings; Art Landry and his Call Of The North Orchestra; Gregoire Nakchounian and his Russian North Star Orchestra; Phil Napoleon and his Orchestra; Napoleon's Emperors; William Nappi and his Orchestra; Hazay Natzy's Hotel Biltmore Orchestra; Art Landry and his Orchestra; Ed Lang and his Orchestra; Lanin's Arcadians; Sam Lanin's Famous Players; Lanin's Jazz Band; Lanin's Roseland Orchestra; Sam Lanin and his Orchestra; Naylor's Seven Aces; Oliver Naylor's Orchestra; Neger Jazz Orchester; Dave Nelson and the King's Men; Nelson's Paramount Serenaders; Lanin's Red Heads; Lanin's Southern Serenaders; Sam Lanin's Troubadours; George E. Lee and his Novelty Singing Orchestra; Julia Lee accompanied by George E. Lee and his Novelty Singing Orchestra; Miss Lee accompanied by her Jazz Boys; Ruth Lee accompanied bySpikes Seven Pods Of Pepper Orchestra; New Orleans Blue Five; New Orleans Bootblacks "

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. :-

Swing is the jazz style that emerged during the early 1930s and emphasized big bands. It spilled into the late 1940s and then remained popular in recordings, film, and television music long after its main proponents had disbanded. Most swing-style groups had at least 10 musicians and featured at least three or four saxophones, two or three trumpets, two or three trombones, piano, guitar, bass violin, and drums. Guitarists, bassists and drummers offered repeating rhythms that were sufficiently simple, buoyant, and lilting to inspire social dancers, the style's largest audience. Musicians strove for large, rich tone qualities on their instruments. Solo improvisers did not seek intricacy in their lines so much as lyricism and a hot, confident feeling that was rhythmically compelling. For these reasons, the musical period of the 1930s and 1940s has been called the swing era and big-band era. Not all dance music played by big bands of the 1930s and 1940s was jazz. A large segment of the public, however considered almost any lively, syncopated popular music to be jazz

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