Jazz staza - The Jazz Track

Jazz staza je plan posjeta jazz- povezana mjesta (posebno big band i tradicionalni jazz) u Ujedinjene države.

Izjava o putovanju

Ovo je vodič za pripremu putovanja automobilom koji će slijediti rutu jazza. Putovanje je planirano za 13 dana po Sjedinjenim Državama, posjećujući povijesna mjesta i klubove povezane s poviješću jazza.

New York City → Chicago → Kansas City → Memphis → New Orleans

Pozadina (1895–1935)

Počnimo s nekim pozadinama stvarnog puta koji su jazz glazbenici slijedili tijekom prve polovice 20. stoljeća.

Memphis

Blues datira prije početaka jazza, a njegovo je porijeklo nejasno, mimo nade u precizne dokumentarne dokumente, iako je morao nastati negdje na dubokom ruralnom Jugu, nešto prije prijelaza u 20. stoljeće. Od velikog broja povijesnih lokacija koje su igrale središnju ulogu u rastu bluesa, Beale Street u Memphisu je aktom Kongresa 1977. službeno proglašen "Domom bluesa". Početkom 1900-ih Beale Street je ispunjeni klubovima, restoranima i trgovinama, od kojih su mnogi u vlasništvu Afroamerikanaca. WC Handy komponirao je u Memphisu neke od najranijih i najpoznatijih bluesa, "Memphis Blues" (1909), "Saint Louis Blues" (1914) i "Beale Street Blues" (1916). Od 1920-ih do 1940-ih, Louis Armstrong, Muddy Waters, Albert King, Memphis Minnie, B.B. King, Rufus Thomas, Rosco Gordon i druge legende bluesa i jazza svirali su u ulici Beale i pomogli razvoju stila poznatog kao Memphis Blues.

New Orleans

Jazz je rođen u New Orleansu krajem 1890-ih i početkom 1900-ih. Brzo je postala popularna glazba u cijelom gradu, uglavnom u okrugu Storyville. U Storyvilleu se moglo legalno uživati ​​u prostituciji dok se slušao prvi jazz sastav u povijesti, Buddy Bolden Band. Nažalost, iako je podsjećeno da je Bolden izradio barem jedan cilindar s fonografom, nisu sačuvane nikakve poznate snimke Boldena. Deset godina kasnije (1917.), saveznu je vladu ugasila Storyville, prisilivši jazz glazbenike da se presele u sjeverne gradove - uglavnom u Chicago i New York, te u manjoj mjeri u Kansas City.

Chicago

Chicago je brzo postao prijestolnica jazza između 1917. i 1928. Čak i ako bendovi nisu mogli marširati ulicama zbog nepovoljnih vremenskih uvjeta, stil New Orleansa ostao je gotovo netaknut. Veliki broj kabarea pojavio se u okrugu "South Side". Među njima, najrelevantniji su bili "Royal Gardens" (domaćin "Kreolskog jazz banda King Oliver" s Louisom Armstongom koji je svirao kornet) i "Apex Club" (domaćin najvećem klarinetistu Jimmyju Nooneu i pijanistu Earlu Hinesu).

New York City

U međuvremenu je Harlem rodio izvanredne jazz pijaniste u stilu ragtimea, poput Willieja "Lava" Smitha i Jamesa P. Johnsona. Ovaj je stil klavira postao popularan dijelom zahvaljujući zabavama za iznajmljivanje kuća (privatne zabave koje su se nasumično održavale u stanovima radi financiranja najma). Najveći plesni klub u Harlemu bio je Savoy, gigantska soba s dvije pozornice koja je bendovima omogućavala borbu tijekom cijele noći. Dva su velika benda postala najpopularnija, prvo orkestar Fletcher Henderson, a zatim orkestar Duke Ellington. Dvije blistave ženske vokalistice pojavile su se u Harlemu tijekom 1920-ih: Bessie Smith, carica bluesa i Ethel Waters.

Kansas City

Velika depresija (koja je započela 1929. godine) označila je kraj jedne od najvećih jazz era svih vremena. Odjednom su se jazz glazbenici u Chicagu i Harlemu našli nezaposleni. Kriza se brzo proširila po cijeloj zemlji, osim u Kansas Cityju. Tridesetih godina prošlog stoljeća Kansas City bio je sjecište Sjedinjenih Država i transkontinentalna putovanja zahtijevala su zaustavljanje u gradu. Kansas City bio je širom otvoren grad sa zakonima o alkoholnim pićima i satima koji su bili potpuno zanemareni. Mnogi su se jazz glazbenici uhvatili u prijateljskim glazbenim natjecanjima među izvođačima koji su mogli čitavu noć izvoditi jednu pjesmu u raznim varijacijama. Takva su glazbena natjecanja dovela do novog stila, Kansas city Style. Uspostava stila u Kansas Cityju pripisuje se Bennieju Motenu, ali postao je vrlo popularan kad je grof Basie preuzeo njegov bend nakon njegove smrti.

Kansas City odavno je prepoznat kao veliko jazz središte, a važnost zauzima tek iza New Yorka, New Orleansi Chicago. Od sredine 1920-ih do kasnih 1930-ih, jazz glazbenici iz središnjih američkih država "odlazili su u Kansas City" u potrazi za poslom, glazbenim izazovom i dobrim vremenima. Kad su stigli, ušli su u glazbenu zajednicu koja je bila izvanredno podržavajuća, zahtjevna i umjetnički podignuta.

Iako je većina Amerike patila od Velike depresije, jazz u Kansas Cityju je napredovao, ponajviše zbog korumpirane, ali ekonomski poticajne administracije šefa Toma Pendergasta. Jazz je bio popularna društvena glazba u to vrijeme, a centri vice - noćnih klubova i kockarnica - obično su angažirali glazbenike kako bi privukli kupce. Izuzetni rezultati bili su obilni, iako slabo plaćeni poslovi za jazz glazbenike s cijelog Srednjeg zapada, i izljevi sjajne nove glazbe.

Vidjeti Industrijalizacija Sjedinjenih Država za širi pogled na ovo razdoblje.

Veliki jazz glazbenici (1895. - 1935.)

Memphis
  • Frank Stokes
  • Krzneni Lewis
  • Memphis Minnie
  • Pospani John Estes
  • Ida Cox
  • WC Praktično
  • Sidney Kirk II
  • Sidney "Žlica" Kirk III
New Orleans
  • Buddy Bolden
  • Freddie Keppard
  • Bunk Johnson
  • Clarence Williams
  • Joe "King" Oliver
  • Kid Ory
  • Jelly Roll Morton
Chicago
  • Joe King Oliver
  • Louis Armstrong
  • Jimmie Noone
  • Johnny Dodds
  • Earl Hines
  • Jelly Roll Morton
  • Lil Hardin Armstrong
New York City
  • Vojvoda Ellington
  • Fletcher Henderson
  • Willie Smith
  • James P. Johnson
  • Thomas Fats Waller
  • Joe Turner
  • Coleman Hawkins
  • Telonijalni redovnik
  • Bennie Carter
  • Ben Webster
  • Johnny Hodges
  • Cootie Williams
  • Bessie Smith
  • Ethel Waters
Kansas City
  • Grof Basie
  • Buck Clayton
  • Herschel Evans
  • Coleman Hawkins
  • Jo Jones
  • Pete Johnson
  • Harlan Leonard
  • Jay McShann
  • Bennie Moten
  • Stranica vrućih usana
  • Charlie Parker
  • Sammy Price
  • Jimmy Rushing
  • Joe Turner
  • Ben Webster
  • Claude Williams
  • Mary Lou Williams
  • Lester Young

Kada krenuti

Idealno bi bilo putovati kako biste stigli na bilo koji od poznatih jazz festivala u jednom od posjećenih gradova. Pogledajte Wikipediju Popis jazz festivala za popis.

The Glazbeni festival ulice Beale održava se u svibnju u Memphisu.

The Festival jazza i baštine u New Orleansu održava se u travnju i svibnju.

The Scott Joplin International Ragtime Festival održava se u lipnju u Sedaliji, Missouri.

Put do Chicaga možete proći slučajno s Chicago Jazz Festival, obično krajem kolovoza.

Ići

1. dan (petak): Boston do New York City

2. dan (subota): Posjet New York City

  • 52. ulica Između 5. i 7. avenije
Blokovi 52. ulice između Pete avenije i Sedme avenije bili su poznati sredinom 20. stoljeća po obilju jazz klubova i živahnom uličnom životu. 52. ulica poznata je kao "Swing Street", "ulica jazza", "ulica koja nikad ne spava" i jednostavno, "ulica". Danas je puno banaka, trgovina i robnih kuća i pokazuje malo traga o svojoj povijesti jazza.
Charlie 'Bird' Parker zauzeo je stan u prizemlju na vrhuncu svoje karijere, postigavši ​​znatan uspjeh i poznat kao suosnivač bebopa, modernog jazz stila koji su on i trubač Dizzy Gillespie stvorili u New Yorku sredinom godine. 1940-te. Parker je uživao međunarodnu slavu dok je živio ovdje, nastupajući s velikim i malim ansamblima, kao i s latino big bendovima i gudačkim dionicama. Avenija B (između 7. i 10. ulice - uz park Tompkins Square) preimenovana je u Charlie Parker Place 1992. godine, a od 1993. u parku se svake godine održava Charlie Parker Jazz Festival u čast proslave Ptičjeg rođendana (29. kolovoza 1920. u Kansas Cityju, Kansas) i njegov doprinos glazbi 20. stoljeća.
  • Harlem
    • Soba Konga Kapitola, zapadni 115. i bulevar Malcolma X, c. 1940
    • Klub Bamville, 65. zapadna 125. ulica, c. 1920. - 1930. - Coleman Hawkins
    • Plantaža, zapad 126. u blizini Malcolm X Blvd., c. 1930. - pamučni klub s konkurencijom; Kabina Calloway
    • Club Cabaret, 416 Malcolm X Boulevard, c. 1923-25
    • Club Baron, 437 Malcolm X Boulevard, c. 1940-46
    • Goldgraben's, I.G. Kafić, 439 Malcolm X Boulevard, c. 1919-30; 1964. godine preimenovan je u Baron's Lounge - omiljeno okupljalište glazbenika nakon posla u drugim klubovima
    • Elk's Rendezvous, 464 Malcolm X Boulevard, c. 1930-45 - održava društvene plesove u klubu
    • Club Harlem, zapadni 130. i Malcolm X Blvd., c. 1927-29; Godine 1964. preimenovan je u Harlem Grill
    • Staje Gee-Haw, zapadna 132. ulica između 7. i Malcolm X Blvd., c. 1940-45; 1964. godine bila je zaljevska benzinska crpka - imala je konjsku glavu nad ulazom, klub nakon radnog vremena
    • Kazalište Lincoln, 58. zapadna 135. ulica, c. 1909-1964 - instalirao orgulje Wurlitzer vrijedne 10.000 dolara za Fats Waller; sada crkva (podaci iz 1964.)
    • Elk's Café, Malcolm X Blvd. između zapadne 137. i zapadne 138. ulice, c. 1917-20
    • Kapitolska palača, Bulevar Malcolma X 575, c. 1922-50. - sada igralište
    • Brittwood Bar & Grill, 594 Malcolm X Boulevard, c. 1932-42 - Glazbeni manijaci Willieja Ganta;
    • Plesna dvorana Golden Gate, bulevar Malcolma X i zapadna 142. ulica, c. 1939-50 - luksuzna plesna dvorana
    • Klub Rhone's Orchestra, Bulevar Malcolma X 625, c. 1920-35. Kasnije klub Lenox, poznat i kao "Klub za doručak", 652 Bulevar Malcolma X, c. 1935-45 - Louis Armstrong, Fletcher Henderson, Duke Ellington, 3 emisije svake večeri s linijom od 8 djevojaka; srušena 1958. za kule Bethune / selo Delano.

Jazz klubovi u New Yorku

Minton's je osnovao tenorski saksofonist Henry Minton 1938. Minton's je poznat po svojoj ulozi u razvoju modernog jazza, poznatog i kao bebop, gdje su u svojim jam sesijama početkom 1940-ih Thelonious Monk, Kenny Clarke, Charlie Christian, Dizzy Gillespie i Charlie Parker, pioniri nove glazbe. Minton je uspijevao tri desetljeća, sve do pada nakon kraja 1960-ih i njegovog konačnog zatvaranja 1974. Nakon zatvaranja više od 30 godina, novo preuređeni klub otvorio je svoja vrata 19. svibnja 2006. pod imenom Uptown Lounge u Mintonovoj Playhouseu. Ovo se mjesto može smatrati rodnim mjestom modernog jazza, a kao dodatak, za neke puritance to se može smatrati mrtvim mjestom ranog jazza, pa predstavlja najbolje polazište odakle se slijedi trag jazza.
Savoy je naplaćen kao najljepša plesna dvorana na svijetu; zauzimao je drugi kat zgrade koja se protezala duž cijelog bloka između 140. i 141. ulice, a sadržavao je veliki plesni podij (200 stopa sa 50 stopa), dvije trake i uvlačivu pozornicu. Brzo je postao najpopularnije plesno mjesto u Harlemu i u njemu su potekle mnoge jazz plesne ludosti 1920-ih i 1930-ih; uživao je u dugoj i blistavoj karijeri koja je trajala sve do 1950-ih, prije nego što je nastupio pad njegove sreće.
U centru grada bio je poznat kao "Dom sretnih nogu", ali u centru grada, u Harlemu, kao "Track". Savoy je redovito održavao promocije "Bitke bendova" koje su se obično događale između kuće i gostujućeg benda, iako ne nužno. Ponekad bi opsezi mijenjali brojeve na točki prijelaza između skupova. Nepromjenjivo krcat kad su se održavali ti događaji, bilo je malo prostora za ples, a mnoštvo bi glasovalo o tome tko im je najdraži bend, vođa benda, vokal itd. Dvije najpoznatije "bitke" dogodile su se kad je Benny Goodman Orchestra izazvao Chicka Webb 1937. i 1938. kada je Count Basie Band učinio isto. Općenita je procjena bila da su obojica izgubila od Chicka Webba.
Razrađene događaje ove vrste organizirala je i uprava: 15. svibnja 1927. Savoy je predstavio "Bitku za jazz", u kojoj su nastupili Dixie Syncopators kralja Olivera, bend koji su predvodili Williams, Harlem Stompers Chicka Weba i Hendersonov orkestar Roseland; druge su se bitke vodile između grupa koje su vodili Lloyd Scott, Webb, Alex Johnson, Charlie Johnson, Williams i Henderson (6. svibnja 1928.) i između Missouriana Caba Callowaya i skupina koje su vodili Duke Ellington, Henderson, Cecil Scott, Lockwood Lewis i Web (14. svibnja 1930.).
Danas se na mjestu Savoje može naći samo spomen ploča.
  • Klub pamuka, Lenox Avenue, u zapadnoj 142. ulici (1923.-1936.); 200 West 48. ulica (1936. - 1940.). 666 West 125th Street (1997. do danas) 1 888 640-7980. [3][4]
Prije toga nazvan "Club De Lux", The Cotton Club bio je najpoznatiji od gradskih noćnih klubova 1920-ih i 1930-ih, privlačeći publiku koja je često uključivala vrhnje njujorškog društva. Njegove blistave revije pružale su medij za nastupe najistaknutijih jazz glazbenika toga doba, a aktivnosti kluba širokom su publikom donošene čestim emisijama. Fletcher Henderson vodio je prvi bend koji je tamo svirao 1923. Domaći bend kada je mjesto otvoreno prvi je put bio Andy Preer's Cotton Club Syncopators; nakon Preerove smrti 1927. angažiran je orkestar Dukea Ellingtona i njegovo je prebivalište postalo najslavnije u povijesti kluba, trajalo je do 1931. Cab Calloway i njegovi Missourians, koji su se prvi put s velikim uspjehom pojavili 1931., zatim su preuzeli i Callowayevo vrijeme kao vođa Cotton Cluba (koji se proširio na 1934. kad ga je naslijedio Jimmie Lunceford) trebao je stvoriti svoju reputaciju. I Wellington i Calloway vratili su se nakon preseljenja kluba u centar grada.
Većina glavnih jazz glazbenika, pjevača i plesača tog doba pojavili su se u Cotton Clubu u nekoj fazi, uključujući Louisa Armstronga, Ethel Waters, Ivie Anderson, Billa Robinsona i Nicholasovu braću. Cvijet postojanja kluba ponovno je stvoren u filmu Francisa Forda Coppole Klub pamuka (1984).
Nakon rasnih nereda u Harlemu 1935. godine, područje se smatralo nesigurnim za bijelce (koji su činili klijentelu Cotton Cluba). i klub je bio prisiljen zatvoriti (16. veljače 1936.). Ponovno je otvoren u rujnu 1936. u centru grada u zapadnoj 48. ulici, u prostorijama u kojima su se prije nalazili Palais Royal i Connie's Inn (1933.-6.); pamučni klub nastavio je s radom na ovom mjestu do lipnja 1940.
Klub je ponovno otvoren kasnije te godine na Broadwayu i 48. ulici, ali je zauvijek zatvoren 1940. godine, pod pritiskom viših stanarina, promjena ukusa i savezne istrage o utaji poreza od strane vlasnika noćnih klubova na Manhattanu. Pamučni klub ponovno je otvoren 1978. u Harlemu. Izvorno mjesto Cotton Cluba srušeno je 1958. godine zajedno sa Savoy Ballroom i Lenox Clubom (1935-45. Louis Armstrong, Fletcher Henderson, Duke Ellington, 3 emisije svake noći) za izgradnju Bethune Towers / Delano Village; međutim, njegovo nasljeđe živi na novom mjestu pod istim imenom u 666 West 125th Street.
U svom je procvatu Cotton Club odbio pristup crnim pokroviteljima, iako su svi izvođači bili crnci.
  • Plava nota, 131 W. 3rd St., New York, NY, [5] U srcu Greenwich Villagea.
Otvoren 1981. Glavni vodeći klub New York Blue Note zaslužio je prepoznatljivost kao vodeći svjetski jazz klub i restoran. Tony Bennett, George Benson, Ray Charles, Natalie Cole, Oscar Peterson, David Sanborn, Nancy Wilson, pokojna Sarah Vaughan i Dizzy Gillespie.
Svjetski poznati talenti izlaze na pozornicu šest dana vožnje, a ponedjeljci su obično rezervirani za izvrsne lokalne talente. Dva seta su 9:00 i 11:30. Cijene iznose 35 USD za minimalno rezervirane stolove ili 25 USD za pokrivanje šanka. Naplaćuje se 5,00 USD za pokriće za pekmezove kasno navečer u petak i subotu. Nedjeljni doručak služio je u podne - 18:00. Prikaz vremena u 13:00 i 15:30.
Osnovan 1935. godine, Vanguard je mračni podrum u Greenwich Villageu. Vanguard je arhetipski jazz klub Greenwich Village. Preko stotinu jazz albuma snimljeno je na tom mjestu od (izvorno singl) albuma pod imenom Sonny Rollins 1957. Dva najpoznatija angažmana u povijesti kluba vjerojatno su angažman Billa Evansa i Johna Coltranea, a oba su se održala u 1961. Wynton Marsalis redovito je snimao u klubu početkom 1990-ih.
Kompleti: nedjelja - četvrtak 21:30 i 23:30, petak i subota 21:30, 23:30 i 01:30. Ponedjeljkom navečer, Vanguardov jazz orkestar, koji su prije više od 33 godine osnovali Thad Jones i Mel Lewis, nastavlja svoju tradiciju big bendova. Nedjelja - četvrtak: 25 USD na vratima (uključuje ulaznicu od 15 USD plus minimalno 10 pića za piće). U petak i subotu: 30 USD na vratima (uključuje ulaznicu od 20 USD plus minimalno 10 pića za piće). koja ima prave vibracije i izvrsnu politiku rezerviranja. Ulovite pijanista Tommyja Flanagana ovdje za savršen jazz večer.
  • Ptica, (1949-1965) 52. ulica, (1986-1996) 2745 Broadway, (od 1996. do danas) 315 zapad 44. ulica, između 8. i 9. avenije.
Otvoren 1949. godine. U početku je klub bio na Broadwayu, ali se brzo preselio u 52. ulicu, koja je bila leglo jazza 1930-ih i 40-ih. Grof Basie i njegov smokin 'big bend stvorili su od Birdlanda svoje sjedište u New Yorku, na kraju u klubu uživo snimajući "Lullaby of Birdland" Georgea Shearinga. Klasični kvartet Johna Coltranea redovito se pojavljivao u klubu početkom 1960-ih snimajući "Live at Birdland".
Ljudi koji su nastupali u Birdlandu: Charlie Parker, Dizzy Gillespie, Thelonious Monk, Miles Davis, John Coltrane, Bud Powell, Stan Getz, Lester Young, Erroll Garner i mnogi, mnogi drugi.
Sva vremena prikazivanja: 21 i 23:00 (s ranim 17:30 popodnevnim setovima dodanim rasporedima M, Tu i F). Glazbena naknada varira, 20-35 USD. Za stolovima postoji minimalno 10 USD za hranu / piće po osobi. U baru glazbena naknada uključuje jedno piće. Nedjelje pripadaju Afro-kubanskom jazz velikom bendu Artura O'Farrilla, ponedjeljci su rezervirani za Jazz orkestar Toshiko Akiyoshi s Lewom Tabackinom za kasnije setove, a sada svakog ponedjeljka od 17:30 - 19:30 - Art Blakey Jazz Messenger Revija nastupa. Utorkom obično ide Orkestar čuvenog vojvode Ellingtona u režiji Paula Mercera Ellingtona s ranim setovima u 17:30 - 19:30, koji prikazuje Louis Armstrong Centennial Band Davida Ostwalda. Od srijede do subote očekujte najbolje od domaćih i međunarodnih turneja. Samo dodano: Svakog petka od 17:30 - 19:30 - All American Big Band Lewa Andersona. Svi će uživati ​​u izvrsnim prizorima pozornice.

Ostala mjesta vezana uz jazz

  • Snimke Plave note, Najranije mjesto bilo je 167 Lexington Ave, New York, NY 10016. Sada se nalazi u 150 Fifth Ave., 6. Fl. New York NY
  • Snimke Vervea 1755 Broadway, New York, NY
  • Muzej jazza u Harlemu
  • Kuća Louisa Armstronga 34-56 107th St., Corona, NY 11368, 104 E 126. St.
  • Arhiva Louisa Armstronga - Otvoreno po dogovoru 1 718 997-3670
  • Ispiranje groblja 46th Ave s 162. St, Queens County, New York, SAD. Brojni jazz glazbenici pokopani su na ovom groblju, poput Louisa Armstronga, Dizzyja Gillespiea i Johnnyja Hodgesa.

3. dan (nedjelja) New York do Boston

4. dan (petak): Boston do Chicago.

Koncertna noć u Chicagu.

5. dan (subota): Posjet Chicago

Povijesna jazz mjesta u Chicagu uglavnom su smještena na južnoj strani, osim Green Milla koji se nalazi u Uptownu. Posjetiti Jazz klubovi South Sidea u Chicagu web stranica. Mjesto i stanje zgrade možete potražiti na [6]

Haićanski paviljon bio je središte crne zabave tijekom Svjetske kolumbijske izložbe 1893. Izložba je u Chicago dovela mnoge crne putujuće glazbenike, poput W.C. Handy (smatra se ocem bluesa), Scott Joplin (otac Ragtimea). Haićanski paviljon bio je inkubator jazz glazbe, tamo su Scott Joplin i mnogi drugi glazbenici otkrili da su mnogi drugi crnački glazbenici razvili slične vještine i podijelili svoja iskustva u različitoj glazbi koja je stvorila jazz glazbu. Danas su ostala dva impresivna simbola svjetske kolumbijske izložbe. Skulptura "Zlatna dama" manja je verzija statue Republike Daniela Chestera Frencha koja je prvotno stajala u podnožju Suda časti. U izvornoj palači likovnih umjetnosti danas se nalazi čikaški Muzej znanosti i industrije.
Područje je jedno od najznačajnijih središta afroameričke urbane povijesti. Pun klubova i kafića tijekom svog širenja 20. stoljeća prije Velike depresije, odigrao je veliku ulogu u povijesti i razvoju zlatnog doba čikaške glazbene scene. Louis Armstrong živio je u susjedstvu i nastupao u mnogim noćnim klubovima na tom području, poput kavane Sunset, kazališta The Vendome Theatre i kafića Plantation. Zgrada nekadašnje Kavana Sunset je još uvijek tamo i smatra se znamenitošću Chicaga.

Povijesni jazz klubovi u Chicagu

  • Gostionica Pekin 2700 S. Državna sv.
Otvoreno 1910-ih-20-ih. smatra se jednim od najvažnijih klubova s ​​južne strane prije 1910. godine. Prvi je zaposlio glazbenike koji su bili usko povezani s ragtimeom i predjazzovskom popularnom glazbom, poput Joea Jordana, Tonyja Jacksona i Wilbura Sweatmana. Neki smatraju da je Pekin Inn rodno mjesto čikaške jazz scene i jedan od prvih glazbenih laboratorija u kojem su ljudi eksperimentirali s ragtimeom i pre jazz stilovima.
  • Plesna dvorana Dreamlanda 3618-20 S. State, u 35. ulici. Chicago
Zemlja snova bila je jedna od prvih plesnih dvorana u povijesti Chicaga, otvorena 1912. godine, u kojoj su sudjelovali igrači kao što su King Oliver, Johnny & Warren "Baby" Dodds, Louis Armstrong i Hot Five, Alberta Hunter, Sidney Bechet, Lawrence Duhé, Ethel Waters .
  • Vrtovi Lincoln (Kraljevski vrtovi). 459 East 31st Street, u ulici South Cottage Grove.
Lincoln Gardens (nekada Royal Gardens) bila je plesna dvorana koja je mogla primiti do 1000 plesača. Nakon požara kasno 1924. dvorana je veličanstveno obnovljena kako bi se ponovno otvorila 28. listopada 1925., kada je ime promijenjeno u New Charleston Café; kasnije je postala poznata kao Café de Paris. Dave Peyton vodio je tamo bend od kraja studenoga 1926., ali u lipnju 1927. bombardiran je - možda u gang ratu - i zatvoren.
Rezidencija Originalnog kreolskog benda u Kraljevskom vrtu, koju je vodio Bill Johnson, uspostavila je reputaciju plesne dvorane kao mjesta za jazz i pokrenula niz nastupa glazbenika iz New Orleansa koji su bili od velikog značaja za razvoj glazba u Chicagu. Joe King OliverCreole Jazz Band svirao je u rezidenciji od 17. lipnja 1922. do veljače 1924. Tijekom tog razdoblja poslao je brzojav svom studentu korneta u New Orleansu da dođe u Chicago i pridruži se svom bendu kao druga truba koja svira u Lincoln Gardens. Ime trubača bilo je Louis Armstrong. Ovo je Armstrongu ostvario san i njegovo nevjerojatno sviranje u bendu ubrzo je od njega stvorilo senzaciju među ostalim glazbenicima u Chicagu.
Tijekom svog dvogodišnjeg boravka u Lincoln Gardens, kralj Oliver s Louisom i kreolskim Serenadersima donio je vrući jazz u stilu New Orleansa u Chicago, a kasnije, putem snimaka, i u svijet.
"Kad me kralj Joe Oliver 1922. poslao da napustim New Orleans i pridružim mu se u Lincoln Gardensu da odsviram drugu trubu do njegove prve trube, skočio sam u nebo od radosti. Dan kad sam primio brzojav od Pape Joea - to je Nazvao sam ga - svirao sam na sprovodu u New Orleansu i svi članovi Limene glazbe Tuxedo rekli su mi da ne idem jer su Papa Joe i njegov bend imali nekakve sindikalne probleme ... U Chicago sam stigao oko jedanaest sati ' sat u noći 8. srpnja 1922. na glavnom kolodvoru Illinoisa na Dvanaestoj i aveniji Michigan. Nikad to neću zaboraviti. Kralj je već bio na poslu. Nisam imao nikoga da me sretne. Uzeo sam taksi i otišao izravno u vrtovi Lincoln ". (Louis Armstrong)
'Royal Garden Blues' smatra se prvom 'riff' pjesmom
Izgrađena 1909. preuređena 1937. Nakon preuređenja 1921., ova jednostavna automobilska garaža pretvorena je u jedno od najranijih i najlegendarnijih jazz mjesta u gradu. U njegovom su kućnom orkestru nastupali poznati glazbenici poput Louisa Armstronga, Johnnyja Doddsa i Earla "Fatha" Hinesa, dok su njegove podne predstave domaćoj publici predstavljale najnovije plesove. Mnogi perspektivni mladi umjetnici, uključujući Bix Beiderbecke, Jimmyja Dorseyja, Bennyja Goodmana i Genea Krupu, započeli su ovdje na kasnim noćnim seansama. Nakon preuređenja 1937. godine preimenovana je u Plesnu dvoranu Grand Terrace (premještena s ranijeg mjesta u 3955 South Parkway Blvd) i ostala je popularan noćni klub do 1950.
Earl Hines tamo je uživao velik uspjeh, iako su i drugi veliki bendovi, uključujući Fletchera Hendersona, Count Basiea i Horacea Hendersona, također svirali na Velikoj terasi prije Drugog svjetskog rata. Ured prodavaonice, koji je davno bio dio podignute tribine s pogledom na plesni podij Grand Terrace. Stražnja strana štanda bila je velika freska koja prikazuje jazz ritmove, a dio je i dalje vidljiv.
U plesnoj dvorani Grand Terrace i ostalim noćnim ugostiteljskim objektima u Chicagu napuštanje kluba bez dopuštenja uprave bilo je opasno za zdravlje mnogih čikaških jazz glazbenika. Zbog toga je Earl Hines ostao na Velikoj terasi više od deset godina.
Tijekom 1936. godine u plesnoj dvorani Grand Terrace, gdje se Fletcher Henderson pojavio sa svojim vlastitim bendom, Goodman je svirao ispred benda s Krupom koji je sjedio na bubnjevima. Ovo je možda prvi put da su crno-bijeli jazz glazbenici svirali zajedno prije publike koja plaća
Zgrada na novom mjestu, čiji vanjski izgled izgleda jednako kao i tijekom glazbenog procvata, sada je trgovina hardvera. Neki su zidovi u unutrašnjosti i dalje oslikani kao u doba Velike terase. moguće je zamoliti vlastite da posjete unutrašnjost.
Klub je poslužio kao inspiracija za pjesmu Louisa Armstronga i Hot Five-a nazvanu "Sunset Cafe Stomp".
  • Zeleni mlin, 4802 N. Broadway Ave. Chicago, IL
Otvoren 1907. godine kao Pop Morse's Roadhouse, "Mlin" je bio mjesto zaustavljanja ožalošćenih kako bi proslavili prolazak prijatelja prije nego što su krenuli na groblje sv. Bonifacija. Do 1910. novi su vlasnici kuću pretvorili u Green Mill Gardens, zajedno s otvorenim prostorima za ples i piće osvijetljenim lampionima, i hvaleći se glavnim naslovima kao što su Al Jolson, Eddie Cantor i Sophie Tucker.
Kako su dvadesetih godina urlale, Green Mill je postao teritorij mafijaša kada je poslušnik Al Caponea, "Machinegun" Jack McGurn, stekao 25% vlasništva nad klubom, a sam Al Capone redovito bi posjećivao klub. Menadžer Danny Cohen dao je McGurnu udio od 25% kako bi "nagovorio" komičara / pjevača Joea E. Lewisa da svoj čin preseli na jug u New Rendezvous Café u Clarku i Diverseyju. McGurn je uspio uvjeriti Lewisa prerezavši mu grlo i odsjekavši mu jezik. Lewis se čudom oporavio, ali njegovim pjesmama nikad nije povratio bujni zvuk. Incident je kasnije ovjekovječen u filmu The Joker is Wild, s Frank Sinatrom kao Joeom E. Lewisom i holivudskom kulisom kao Green Mill. Naravno, interes ga je pobudio, Sinatra je morao posjetiti klub. 1986. godine ukras Zelenog mlina vraćen mu je u zabranjeno doba, urezan u ureze.
  • Kazalište Vendome 3145 South State Street,
Izgrađena 1919. i srušena 1949. Smještena u srcu takozvanog "Crnog pojasa" u Chicagu. Popularnost orkestra Vendome porasla je u prosincu 1925. kada se glavni koronetist Louis Armstrong ukrcao nakon boravka u kafiću Dreamland. Kad je Armstrong odsvirao solo, publika Vendome je divlje navijala. 1926. godine Armstrong je otišao raditi u kafić Sunset, jedan od najpoznatijih gradskih crnaca. Među ostalim jazz umjetnicima koji su nastupali u Vendomeu tijekom 1920-ih bili su pijanist Earl Hines, bubnjar Jimmy Bertrand, kornetist Freddie Keppard i pijanist Lil Hardin-Armstrong.
Bend King Oliver, Creole Jazz Band intenzivno se svirao u kavani Plantation, sve dok ga 1927. nije uništio požar.
  • Apex klub 35. St. između avenija S. Calumet i S. Prairie [9]
Otvoren 1920. godine, u kojem su sudjelovali Junie Cobb, Johnny St. Cyr, Dave Nelson, Joe Poston, Johnny Wells, Earl Hines i klarinetist Jimmy Noone.
  • Zabavljački kafić 209 E. 35. St. u Michiganu 1910-ih-20-ih
Nastupaju Sammy Stewart i njegovi vitezovi udruživanja, bend Freddyja Kepparda, Earl Hines, Natty Dominique, Vernie Robinson, Carroll Dickerson.
  • Kazalište monograma 3435-40 S. Državna sv.
Otvoreno 1910. U njemu su nastupali rani jazz glazbenici poput Sidneyja Becheta, Ethel Waters, Erskine Tate, Ma Rainey.
  • Elite klub 3030 S. Državna St.
Otvoreno 1910. U njemu su Jelly Roll Morton, Earl Hines, Alberta Hunter.
  • Kafić Ententainer
  • Friar's Inn podrum na 60 East Van Buren ili 343 South Wabash u Chicago Loop,
Friar's Inn bio je noćni klub smješten u podrumu u čikaškom području Loop, u ulici 60 Van Van Buren u ulici South Wabash, 343. Kafić Moulin Rouge bio je u istom kompleksu. Friar's Inn vodio je Mike Fritzel i u glazbenim se sjećanjima pamtio kao gangstersko druženje. Friar's Inn imao je tri benda: jedan od 15 do 18 sati, jedan od 18 do 22 sata, uglavnom ritam sekciju za večeru, i glavni bend od 22 sata do ranog jutra - što je bila grupa Mares. Klub je primjenjivao strogu politiku "samo za bijele". Među značajnim bendovima povezanim s Friar's Innom bili su New Orleans Rhythm Kings (izvorno "Orkestar Friar's Society") i Austin High Gang (također poznati kao "Blue Friars").
Poznati glazbenici koji su svirali u Friar's Innu bili su Frank Teschemacher, Bud Freeman, Steve Brown, George Brunies, Merritt Brunies, Emmett Hardy, Paul Mares, Leon Roppolo, Bee Palmer i Mel Stitzel. Joan Crawford tamo je rano radila kao plesačica.

Više povijesnih jazz klubova navedenih u ovdje

Moderni jazz klubovi u Chicagu

Srećom, priča o jazzu nije završila s BeBopom. Držao se točno na putu do avangarde. Dio tog avanturističkog seta bilo je društvo (uglavnom afroameričkih) glazbenika u Chicagu nazvano Udruženje za unapređenje kreativnih glazbenika (AACM).
Uzimajući za svoju misiju "njegovanje, izvođenje i snimanje ozbiljne, izvorne glazbe", AACM podržava glazbenike, skladatelje i edukatore koji rade u jazzu. Počevši od 1965., AACM (koji je prvi vodio Muhal Richard Abrams) školovao je mlade glazbenike u Chicagu i, što je neobično, Amsterdam i Pariz gdje su neki od utemeljitelja živjeli u samonametnutom progonstvu tijekom ranih 1970-ih.
Glazbenici povezani s AACM-om, kao što su Henry Threadgill, Anthony Braxton, Jack DeJohnette i Art Ensemble iz Chicaga: Lester Bowie, Roscoe Mitchell, Joseph Jarman, Famoudou Don Moye i Malachi Favors proizveli su neke od najuzbudljivijih i najizazovnijih jazz glazbe. 1970-ih, glazbu koju su mainstream i akademska zajednica počeli prepoznavati tek 1990-ih.
Krajem 1980-ih i početkom 1990-ih, glazbenik i profesor na Columbia Collegeu Hal Russell donio je velik priljev novih glazbenika u sferu utjecaja AACM-a kako svojim poučavanjem tako i sviranjem s ansamblom NRG. Studenti i sljedbenici Russella, poput Kena Vandermarka, Kenta Kesslera, Marsa Williamsa i Weasela Waltera, pomogli su ponovnom aktiviranju AACM scene i privukli joj zasluženu kritičku i medijsku pažnju.
Srećom, dosta originalnih AACM igrača još uvijek je na sceni, kao i mnogi njihovi studenti iz Chicaga i Europe, kao i igrači s novije scene koji potječu iz Russella. Možete uhvatiti emisije koje se kreću po gradu gotovo svake večeri u tjednu, ali scena se najpredvidljivije usredotočuje na nekolicinu klubova povezanih s glazbenicima.
  • Baršunasti salon, 67 Istočna cesta Čermak. Vlasnik Fred Anderson dugogodišnji je član AACM-a i ima duboke veze kroz obje suvremene scene. 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.
  • Čikaško kazalište, 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): Chicago do Kansas City

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

  • Feniks 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 Memphis

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

Driving distance: 538 miles.

Sedalia, MO

  • Sedalia, 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.
Jednom tamo, Scott Joplin House može se posjetiti.

Once in Memphis, try to catch a Blues concert.

Day 9 (Wednesday): Visiting Memphis

  • Ulica[mrtva veza], 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.
  • ZAHOD. 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): Memphis do New Orleans

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 New Orleans

  • 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.
  • Udobna luka. 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 New Orleans

Day 13 (Sunday): New Orleans do Boston

Avionom.

Ostati siguran

Vidi također

Ovaj plan puta do The Jazz Track je iskoristiv članak. Objašnjava kako doći tamo i dotiče sve glavne točke na putu. Avanturistična osoba mogla bi koristiti ovaj članak, ali slobodno ga poboljšajte uređivanjem stranice.