In 1953 he moved to New York where he began recording with prominent musicians of the same style. Achieved a remarkable success with an album in the company of trombonist Vic Dickenson, but it was very difficult to find work in town and at one time given to emerging new sound in jazz: bebop. In the early sixties and during the next decade, first recorded steadily with guitarist George Barnes, then with the rise of the new label “Concord Jazz Records” out of ostracism with other musicians represent his style.

He contacted Muhal Richard Abrams, Roscoe Mitchell and Joseph Jarman, musicians, all representatives of the avant-garde jazz of the time. That touchdown was born the famous musical institution: Association for the advancement of creative musicians (Association for the Advancement of Creative Musicians) in its acronym: AACM

In 1976, Bowie joined Roscoe Mitchell and the bassist, Malachi Favors, to create a group in the history of modern jazz: The Art Ensemble “later renamed” Art Ensemble of Chicago. ” Lengthy and complex improvisations, a derisive and brash phrasing, noises and sounds you never used before in jazz and blues-based, resulted in a creative music which consolidated the group as one of the undisputed modern jazz references. In 1969, New York fell for her, went to Paris where he developed the stereotype scenically forever identified him: his physician’s white coat and his temper on stage, sarcastic and sour.

Although never a musician noted for his technique nor by the beauty of his music, Lester Bowie was until his death in 1999, one of the most original trumpet players in contemporary jazz.

In 1931 appeared to perform at the Paramount Theater and New York d and the Brunswick label l is offered his first contract and with it the international launch of the group. Connee Boswell was the lead arranger of the group and this gave him the courage to be a of the first women in jazz history – along with Mary Lou Williams, Lil Hardin in that role. 

All subsequent jazz vocal groups like the Andrews Sisters or the very Mills Brothers, Boswell Sisters have with a debt incurred in terms of technique and style they used, but no one surpassed them. Enslave a wheelchair since birth due to polio, Connee Boswell’s voice was soon to assume roles of soloist on the recordings of the trio and their main power to the song is due to the accuracy, quality and speed of the rhythmic aspects, very advanced for its time .

Her discography most important occurs in the early thirties when she sang with her sisters in the company of Benny Goodman, Bunny Berigan and the Dorsey brothers. In later years, Connee Boswell, recording a masterpiece in one of their length albums entitled “Connee Boswell and the Original Memphis Five in Hi-Fi”. Connee Boswell was joined by sisters, one indisputable reference in jazz vocal of the early swing.

In 1959, he joined the group of pianist Mal Waldron and the next year group worked with John Coltrane, with whom he had the opportunity to record the album “Africa / Brass.” During his brief life, lived only twenty-three, Booker Little had the opportunity to demonstrate a musical style complex and alien to an academic. Spectacular sound improviser and rough, recorded an album to his name happened to jazz history as one of the greatest albums of all time trumpet for this music: “Out Front” (Candid, 1961). It was only seven months before his death.

Also, Booker Little, was able to make its mark in collaborations with other instrumentalists. Next to Max Roach, participated in the recording of several albums of worship: “Percussion Bitter Sweet “or the legendary” We Insist! Freedom Now Suite. “A few months before his death, had a brilliant performance at the Five Spot Café in New York, next to Eric Dolphy, Mal Waldron, Richard Davis and Eddie Blackwell. Booker Little, was the precursor-probably unwittingly-improvisational achievements made in African American music of the late sixties.

In the music of Booker Little, is the desire to free themselves from traditional ties of implementation and interpretation especially his work on the aforementioned “Five Sports” page key to the development of contemporary improvisation. Booker, died of a renal insufficiency at 23 years of age, and in that short time was able to leave in the improvised music of modern jazz, a lasting impression.

In 1945 he formed a group with Claude Luter Claude Abadie and would be one of the first serious attempts to traditional jazz in France after World War II. During the Great Jazz Week 1948 in Paris, accompanied the great blues singer, Bertha Hill, and later played alongside major American musicians of the time. In 1955 he formed his first orchestra, although after the postwar economic difficulties made it impossible to keep it active. After military service he worked in all the trendiest clubs and recording sessions and concerts, becoming one of the most prominent and respected musicians of the moment.

He worked with Duke Ellington and others, (his decisive influence jazz), Count Basie, Jimmy Lunceford and Glenn Miller. He is the author of a unique style that fuses classical music and jazz (his Suite for flute and jazz piano was 530 weeks in the charts in the U.S.). In the seventies organized a major Big Band, (which still remains active) and besides being the leading arranger of French singers, has composed music for more than a hundred films, including “Borsalino”, “Louisiane”, ” Flic Story “or” The Awakening “.

In November 2001, he toured Spain and performed among other places, at the Teatro de la Maestranza in Seville, giving a spectacular concert on film music and jazz, which Apoloybaco, was lucky to hear live.

Buddy Bolden, coming from the black district of New Orleans and as a teenager, he participated in various bands between 1890 and 1895. That year and formed his own band, with guitarist Charlie Galloway where he acted in banquets, ceremonies and parties. With the new century, the sound of the trumpet was already famous and stressed by the rhythm of it, wide sound and seasoned entertainer with superb skills, which gave him great popularity among his contemporaries. His style, refined and matured, it allowed in the first decade of the twentieth century, drawing attention for its inclusion of rags, and though not proven that their repertoire would improvisation, took pains to play the blues with great variety in tone and with an exaggerated sense of rhythm slow, which was the delight of the audience.

Bolden’s erratic behavior, his problems with the law – was arrested and imprisoned on Labor Day 1906 – and his addiction to alcohol, it caused a serious mental disorder that led him to be joined by his family in a mental hospital Jackson (Louisiana) where he remained until his death in 1931. He died without knowing the height and brightness of the era of swing, which was the first precursor.

Between 1967 to 1973 involved in the “Black Music Infinity,” the drummer, Stanley Crouch. His encounter there with another saxophonist, Azar Lawrence, will be decisive. With the engraving “Bridge Into The New Age”. In 1974 played in New York, with singer Leon Thomas on “Energy Band with trumpeter Ted Daniel, along with Julius Hemphill and drummer Chico Hamilton, who took him for a very short period to an area near the jazz – rock.

In 1979, he founded his own group which he calls: “In The Tradition”. With his background, he worked well with most of the leading exponents of New York. Since then, whose aesthetic concerns that have earned it the nickname “Black Arthur” is crossed with some of the most exalted names of contemporary jazz (Lester Bowie, Evans, Jack DeJohnette, Sunny Murray, etc.)..

Technically gifted instrumentalist, Blythe is a special case and deeply interesting in the contemporary landscape of improvised music. While his phrasing is essentially modern and derives from John Coltrane and Eric Dolphy, in reality its sound as well as certain peculiarities of style, appear headed toward a careful recovery of the tradition of African American artists: Johnny Hodges, Benny Carter, etc..
Arthur Blythe, not only claims the legacy of the many streams of black music but seems to want to reunify through his instrument.

Encouraged by this, Carla began to compose at the piano of Paul provide an excellent material that changed the concept and the ability to interpret the pianist. Some of his early compositions were used by multi-instrumentalist Jimmy Giuffre Paul was part of the late sixties. Carla Bley, was a member of the late group “Jazz Composers’ Guild formed in 1964 with barely a year old . The group is led Carla, with trumpeter / composer Michael Mantler.

By 1967, disenchanted with the path taken by most musicians freejazz representative, he directed his creative energies to music free inspiration: the result was the acclaimed “A Genuine Tong Funeral” commissioned and recorded by Gary Burton, who won a huge success with it in 1967. A stop-off on his work, is the “Escalator Over The Hill”, an amalgam musical with lyrics by Paul Hines. It was published in 1973 and won several major prizes. Currently, Carla Bley, remains one of the most important composers and arrangers in modern jazz.

Born into a family music enthusiast, studied violin in his early school years, but quickly switched to bass. During a vacation in St. Louis, had the pleasant experience of playing in Fate Marable’s orchestra. His first professional job was with the orchestra of Jeter-Peters, but was in 1939 when his life and his career provides a dramatic turn. During a tour of St. Louis, Duke Ellington playing bass listening to Blanton and quickly joined his band. At Ellington, a musical genius, he attracted wide attention, impeccable sense of tempo and rhythm of the exciting Blanton. The way you used the right hand was unprecedented in jazz of Ellington and the orchestra went through a golden age with the bass player in their ranks. 

Jimmy Blanton was the first double bass soloist in jazz, and his arrangements were surprisingly modern for its time. Blanton also used in jazz for the first time, the arc in the bass and his fame lasts until today. In 1941, sick with tuberculosis, Jimmy Blanton, left, forcing the formation of Ellington and admission to a nursing home. He died the following year, on 30 July 1942. Before leaving recorded with Ellington’s orchestra, over a wide range of masterpieces timeless jazz.