Nel 1986 ha suonato all'album Effetti Personali di Sergio Caputo. Sembra che Chet Baker, indagando sul suo segreto benefattore, saputo alfine che rispondeva al nome di Dizzy Gillespie, sostò nel suo pianerottolo dormendo tre notti all'addiaccio, senza profferire parola, rendendo grazie in questo modo a colui che gli aveva ridonato la vita musicale. Gillespie fu uno dei più noti aderenti alla fede Bahá'í. Second Street). Il padre, che picchiava regolarmente i suoi bambini, morì quando Gillespie aveva dieci anni. Columbia G 30779. For this reason Christian was inducted in 1990 into the Rock and Roll Hall of Fame. [11], Christian's solos are frequently described as "horn-like", and in that sense he was more influenced by horn players such as Lester Young and Herschel Evans[12] than by early acoustic guitarists like Eddie Lang and the jazz- and bluesman Lonnie Johnson, although they both had contributed to the expansion of the guitar's role from the rhythm section to a solo instrument. Nei primi anni quaranta Gillespie iniziò a frequentare il Minton's Playhouse, un locale notturno di New York dove insieme iniziava a muovere i primi passi il nuovo jazz. Gillespie morì di cancro al pancreas nel 1993 a 75 anni; è sepolto nel Flushing Cemetery, nel Queens, a New York. [3], Christian was placed in Goodman's new sextet, which included Lionel Hampton, Fletcher Henderson, Artie Bernstein and Nick Fatool. «Bird è stato lo spirito del movimento bebop, ma Dizzy ne era la testa e le mani, era lui che teneva insieme tutto». He was buried in an unmarked grave in Bonham, Texas. By February 1940 Christian dominated the jazz and swing guitar polls and was elected to the Metronome All Stars. In early 1941, Christian resumed his hectic lifestyle, heading to Harlem for late-night jam sessions after finishing gigs with the Goodman Sextet and Orchestra in New York City. Other recordings include the tenor sax player Don Byas. Il suo atteggiamento comico e allegro divenne una caratteristica distintiva delle sue esibizioni durante le quali comunque non si risparmiava suonando la tromba con il suo dispendiosissimo stile. [citation needed], Christian paved the way for the modern electric guitar sound that was followed by other pioneers, including T-Bone Walker, Eddie Cochran, Cliff Gallup, Scotty Moore, Franny Beecher, B.B. The "Rhythm-a-Ning" line is heard on "Down on Teddy's Hill" and behind the introduction on "Guy's Got to Go" from the Newman recordings. Along with Minton's Playhouse, it was one of the two principal clubs in the early history of bebop jazz. The collection also includes recordings made in 1941 at Clark Monroe's Uptown House, another late-night jazz haunt in Harlem, with Oran "Hot Lips" Page. John Birks "Dizzy" Gillespie (Cheraw, 21 ottobre 1917 – Englewood, 6 gennaio 1993) è stato un trombettista, pianista e compositore statunitense. Il bebop durò poco: nel 1949 quasi tutti i protagonisti della rivoluzione musicale iniziata da Gillespie e soci si stavano dedicando a cose diverse. That version of "Rose Room" lasted forty minutes. Jazzista, fu anche cantante, percussionista e bandleader. Alla sua memoria è stata dedicata una stella nella Hollywood Walk of Fame di Los Angeles, al 7057 di Hollywood Boulevard. Mary Lou Williams, the pianist for Andy Kirk and His Clouds of Joy, told the record producer John Hammond. Alla fine degli anni trenta si mise in luce nelle orchestre di Teddy Hill, Lucky Millinder, Cab Calloway, Jimmy Dorsey e Lionel Hampton come uno dei migliori epigoni di Roy Eldridge. His work on the Sextet's recordings of the ballads "Stardust", "Memories of You", "Poor Butterfly", "I Surrender Dear" and "On the Alamo" and his work on "Profoundly Blue" with the Edmond Hall Celeste Quartet (1941) show hints of what was later called cool jazz. [7], Charles soon was performing locally and on the road throughout the Midwest, as far away as North Dakota and Minnesota. Gillespie pubblicò la sua autobiografia, To Be or Not To Bop nel 1979, che fu tradotta in italiano da Lilian Terry. Negli anni cinquanta iniziò ad adoperare la sua caratteristica tromba con la campana piegata verso l'alto e divenne riconoscibilissimo per l'estensione del rigonfiamento delle sue guance mentre soffiava potenti riff nel bocchino. In 2006 Oklahoma City renamed a street in its Bricktown entertainment district "Charlie Christian Avenue" (Christian was raised in Oklahoma City and was one of many musicians who jammed along the city's "Deep Deuce" section on N.E. A Texas State Historical Commission Marker and headstone were placed in Gates Hill Cemetery in 1994. Importante per la carriera di Gillespie fu l'ingresso, nel 1943, nell'orchestra di Earl Hines dove, insieme a Charlie Parker e ad altri giovani neoboppers, venne indirizzato da Billy Eckstine, cantante e grande star della band, cui si deve pure l'arrivo di Sarah Vaughan, che Mr. B. scopre a una rassegna di dilettanti all'Apollo di New York. Goodman had been exposed to the instrument with Floyd Smith and Leonard Ware, among others, none of whom had the ability of Christian. [19], Kenny Clarke claimed that "Epistrophy" and "Rhythm-a-Ning" were compositions by Christian, which Christian played with Clarke and Thelonious Monk at Minton's jam sessions. Nel 1944, tutti costoro e Gillespie furono ingaggiati nella nuovissima orchestra di Eckstine: Dizzy avrebbe ricoperto pure il ruolo di direttore musicale. He died March 2, 1942, at the age of 25. In the liner notes to the album Solo Flight: The Genius of Charlie Christian (Columbia, 1972), Gene Lees wrote that "Many critics and musicians consider that Christian was one of the founding fathers of bebop, or if not that, at least a precursor to it."[3]. In the course of a few days, Christian went from making $2.50 a night to $150 a week. La stesura dell'autobiografia fu l'occasione per chiarire molti aspetti controversi della sua lunga carriera – non ultimi la spiegazione dell'origine di due degli aspetti più caratteristici della sua presenza scenica. Unknown to Goodman, Christian had been reared on the tune, and he came in with his first chorus of about twenty, all of them different, all unlike anything Goodman had heard before. [7], Charles fathered a daughter, Billie Jean Christian (December 23, 1932 – July 19, 2004) by Margretta Lorraine Downey of Oklahoma City. By its end, Christian was in the band. [citation needed], "Let Charles play one," they told Edward. His family moved to Oklahoma City, Oklahoma, when he was a small child. [1] [7], There are several versions of the first meeting of Christian and Goodman on August 16, 1939. I musicisti neri si stavano riappropriando della "loro" musica, il jazz, un tempo vituperato e poi addolcito dallo swing delle orchestre ballabili bianche. There is a report that Goodman unsuccessfully tried to buy out Floyd Smith's contract from Andy Kirk. [8], In 1939, Christian auditioned for John Hammond, who recommended him to the bandleader Benny Goodman. È grazie a questa band ed ai tre anni di tour per l'America che il bebop si fece conoscere e smise di essere l'urlo claustrofobico dei locali newyorkesi. Broadbent, Inizialmente si unì a Frankie Fairfax ed effettuò la sua prima registrazione nella band di Teddy Hill nella quale sostituì Roy Eldridge. In the spring of 1940 Goodman let most of his entourage go in a reorganization. [9], It has been claimed that Goodman was initially uninterested in hiring Christian because the electric guitar was a relatively new instrument. Christian never recorded as a leader. Bebop and Minton's Playhouse. [5], He attended Douglass School in Oklahoma City, where he was further encouraged in music by an instructor, Zelia N. Breaux. [5] As he believed playing the trumpet would disfigure his lip, he quit to pursue his interest in baseball, at which he excelled. Christian's influence reached beyond jazz and swing. [6], In a 1978 interview with Charlie Christian biographer Craig McKinney, Clarence Christian said that in the 1920s and '30s Edward Christian led a band in Oklahoma City as a pianist and had a shaky relationship with the trumpeter James Simpson. Christian recalled in a 1940 article in Metronome magazine, "I guess neither one of us liked what I played," but Hammond decided to try again—without consulting Goodman. Taking multiple solos, Christian shows much the same improvisational skills later captured on the Minton's and Monroe's recordings in 1941, suggesting that he had already matured as a musician. [26], After a visit to the hospital that same month by the tap dancer and drummer Marion Joseph "Taps" Miller, Christian declined in health. Goodman hired Christian to play with the newly formed Goodman Sextet in September 1939. For this, he is often credited with leading to the development of the lead guitar role in musical ensembles and bands. King, Chuck Berry, Carlos Santana and Jimi Hendrix. Il canto del cigno del vero bebop è testimoniato dalla registrazione del concerto tenuto il 15 maggio del 1953 alla Massey Hall di Toronto, con Charlie Mingus, Charlie Parker, Max Roach e Bud Powell, in uno dei più famosi dischi della storia del jazz. [citation needed], In 1966, 24 years after his death, Christian was inducted into the Down Beat Jazz Hall of Fame. [22], Christian was just as adept with understatement as well. Negli ultimi anni Gillespie rallentò molto la sua attività. John Hammond[1] and George T. Simon[2] called Christian the best improvisational talent of the swing era. The encounter that afternoon at the recording studio had not gone well. They taught him to solo on three songs, "Rose Room", "Tea for Two", and "Sweet Georgia Brown". "Charlie Christian Tried to Play Hot Tenor! A 32-bar Latin-tune in AABA-form that was originally titled "Playhouse" (as a dedication to Minton's, where Monk was the house pianist in the early 1940s with Kenny Clarke). While the recording quality of many of these sessions is poor, they show Christian stretching out much longer than he could on the Benny Goodman sides. (Christian says Goodman invited him to the show that evening. [3], Lee, Amy (1940). Charles Henry Christian (July 29, 1916 – March 2, 1942) was an American swing and jazz guitarist. Upon later returning to New York, Monk's most important gig would be established, hired as the house pianist at the legendary jazz club of the 1940s called Minton's Playhouse. Clarence Henry was struck blind by fever, and in order to support the family he and the boys worked as buskers, on what the Christians called "busts." "What do you want to play?" Christian was an important early performer on the electric guitar and a key figure in the development of bebop and cool jazz. All three sons were taught music by their father, Clarence Henry Christian. [24], In the late 1930s Christian contracted tuberculosis,[25] and in early 1940 he was hospitalized for a short period in which the Goodman group was on hiatus because of Goodman's back trouble. He would have them lead him into the better neighborhoods, where they would perform for cash or goods. Quest'ultimo, a seguito della sua vita parecchio tempestosa, a causa dell'ennesimo mancato pagamento nei confronti di alcuni suoi creditori, fu pestato a sangue da quest'ultimi che infierirono sul volto di Chet fino a compromettergli la possibilità di continuare ad esercitare il suo mestiere di trombettista tant'è che per diverso tempo fu costretto all'inattività. Lasciato Charlie Parker (che chiamò a suonare Miles Davis al suo posto) nel 1947 Gillespie formò un quintetto con il pianista John Lewis e con Milt Jackson, Kenny Clarke e Ray Brown, in pratica la futura formazione del Modern Jazz Quartet. Si dedicò prevalentemente all'insegnamento e fu spesso ospite in Italia a Bassano del Grappa, dove gli venne conferita la cittadinanza onoraria e dove fondò la locale Scuola popolare di musica, in seguito intitolata a lui. A differenza di Miles Davis, Dizzy Gillespie rimase comunque sempre fedele al bebop nonostante la sua preferenza per le big band e l'amore per la salsa e per i ritmi caraibici. In quegli anni incontrò tra gli altri Coleman Hawkins, Mario Bauza, Milt Hinton, che lo indirizzarono verso uno stile più moderno. Continuò comunque a esibirsi con i suoi protetti come Arturo Sandoval e Jon Faddis. Negli anni ottanta guidò la United Nations Orchestra e apparve come ospite in alcune sit-com televisive. [14] The guitarist Mary Osborne recalled hearing him play Django's solo on "St. Louis Blues" note for note, but then following it with his own ideas. He had two brothers, Edward, born in 1906, and Clarence, born in 1911. Some of the participants in those early after-hours affairs at Minton's Playhouse, where bebop was born, credit Christian with the name bebop, citing his humming of phrases as the onomatopoetic origin of the term. All three songs were big in the early 1930s, and Edward was surprised that Charles knew them. Other musicians, such as the trumpeter Miles Davis, cited Christian as an early influence. [14], By 1939 there had already been electric guitar soloists—Leonard Ware; George Barnes; Eddie Durham, who had recorded with Count Basie; Floyd Smith, who recorded "Floyd's Guitar Blues" with Andy Kirk in March 1939, using an amplified lap steel guitar; and the Texas Swing pioneer Eldon Shamblin, who was playing with Bob Wills. Tuttavia, lasciò la scuola nel 1935 e si trasferì a Filadelfia alla ricerca di lavoro come musicista a tempo pieno. After two encores, Charles had played all three, and Deep Deuce was in an uproar. Nei primi anni quaranta Gillespie iniziò a frequentare il Minton's Playhouse, un locale notturno di New York dove insieme iniziava a muovere i primi passi il nuovo jazz.Con il bassista Oscar Pettiford e il batterista Kenny Clarke fondò un gruppo divenuto poi leggendario e che fu considerato la prima formazione bop della storia. In suo onore ogni settimana si svolge una esibizione di jazz presso il Bahá'í Center di New York. Around 1931, he took the guitarist "Bigfoot" Ralph Hamilton and began secretly schooling the younger Charles in jazz. His single-string technique, combined with amplification, helped bring the guitar out of the rhythm section and into the forefront as a solo instrument. The influence he had on "Dizzy" Gillespie, Charlie Parker, Thelonious Monk and Don Byas can be heard on their early bop recordings "Blue 'n' Boogie" and "Salt Peanuts". By 1936 he was playing electric guitar and had become a regional attraction. Displeased at the surprise, Goodman called “Rose Room”, a tune he assumed Christian would be unfamiliar with. [21], Christian returned home to Oklahoma City in late July 1940 and returned to New York City in September 1940. Gillespie attribuiva questo fatto, che si manifestò solo in età matura, a fattori fisiologici al di fuori del suo controllo, e diceva che un medico ipotizzò che si trattasse di una sindrome sconosciuta. [citation needed], Further examples of Christian's bebop playing can be heard in a series of recordings made at Minton's Playhouse, an after-hours club located in the Hotel Cecil, at 210 West 118th Street in Harlem, by Jerry Newman, a student at Columbia University, on a portable disk recorder in 1941, in which Christian was accompanied by Joe Guy on trumpet, Kenny Kersey on piano and Kenny Clarke on drums. Spesso il nuovo linguaggio non era capito o addirittura apertamente osteggiato e non sempre fu facile per i musicisti che si erano fatti le ossa al Minton's trovare ingaggi. It is also a line from Mary Lou Williams's "Walkin' and Swingin'". La passione di Gillespie per i ritmi latini continuò per anni. The bar-style pickup used on the ES-150 and ES-250 became known as the “Charlie Christian pickup”. Goodman was hospitalized in the summer of 1940 after a brief stay at Santa Catalina Island, California, where the band stayed when they were on the West Coast. Compilations have been released of his sessions as a sideman in which he is a featured soloist, of practice and warm-up recordings for these sessions, and some lower-quality recordings of Christian's own groups performing in nightclubs, by amateur technicians. Christian was an important contributor to the music that became known as bop, or bebop. Dizzy, nell'assoluto anonimato, pagò di sua tasca l'intervento chirurgico che ricompose la dentatura di Chet consentendogli di tornare a suonare. He was reported to be making progress, and Down Beat magazine reported in February 1942 that he and Cootie Williams were starting a band. Peter, Charlie Christian: Solo Flight, Solo Flight: The Genius of Charlie Christian, Learn how and when to remove this template message, "Rare Charlie Christian guitar to be exhibited during Charlie Christian International Music Festival", "Finding Charlie Christian's Guitar: Lynn Wheelwright Interview - Jas Obrecht Music Archive", "Charlie Christian Tried to Play Hot Tenor! Non durò molto il rapporto con Fatha Hines: andatosene Eckstine, dopo poco lasciarono pure Dizzy, Parker e gli altri, compresa la Vaughan. This all-star band dominated the jazz polls in 1941, including another election to the Metronome All Stars for Christian. Una sera, durante uno spettacolo, lo strumento fu fatto cadere dal duo comico Stump and Stumpy che si esibiva prima di Dizzy. [3] The Minneapolis recordings include "Stardust", "Tea for Two", and "I've Got Rhythm", the latter a favorite of bop composers and jammers. John Birks Gillespie era il più giovane di nove figli e cominciò a suonare la tromba all'età di 12 anni, per gioco e da autodidatta. Gli subentrò l'hard bop della stella nascente – ma che sarebbe presto tragicamente tramontata – Clifford Brown. However, Goodman was so impressed by Christian's playing that he hired him instead. Goodman became the fourth by bringing in Teddy Wilson on piano in 1935 and Lionel Hampton on vibraphone in 1936. "Charlie Christian Tried to Play Hot Tenor! )[10], He installed Christian on the bandstand for that night's set at the Victor Hugo restaurant in Los Angeles. he asked. Johnny Guarnieri, who replaced Henderson in the first sextet, filled the piano chair in Basie's absence. ", Amy Lee, Amy (1940). When Charles was old enough to go along, he first entertained by dancing. Nel 1977 scoprì a Cuba il trombettista Arturo Sandoval, durante un giro alla ricerca della buona musica. Thelonious Monk, Bud Powell, Max Roach, ma anche Charlie Christian, iniziarono suonando al Minton's e lì inventarono quello che poi sarebbe stato chiamato bebop. Il suono risultante e la forma non gli dispiacquero: la campana rivolta in alto gli permetteva di leggere gli spartiti senza dover abbassare la testa, e inoltre riusciva a sentirsi meglio perché il suono veniva riflesso dal basso soffitto dei locali dove si esibiva. He gained national exposure as a member of the Benny Goodman Sextet and Orchestra from August 1939 to June 1941. His parents were musicians. Christian was born in Bonham, Texas. Negli anni molte furono le "Dizzy Gillespie Big Bands", che si esibirono spesso anche in Europa, ma che finirono sempre per sciogliersi perché troppo onerose. Christian stated he wanted his guitar to sound like a tenor saxophone. Clark Monroe opened the Uptown House in the 1930s at 198 West 134th St in Harlem, in a building which formerly held Barron's Club (where Duke Ellington worked early in the 1920s) and the Theatrical Grill. Il primo, la sua famosa tromba con la campana rivolta in alto, deve la sua origine a un incidente di scena. Composizioni importanti dell'epoca furono Manteca e Tin Tin Deo. On the Minton's and Monroe's recordings, Christian can be heard taking multiple choruses on a single tune, playing long stretches of melodic ideas with ease. Indeed, Christian's "new" sound influenced jazz as a whole. He retained Christian, and in the fall of that year Goodman led a sextet with Christian, Count Basie, longtime Duke Ellington trumpeter Cootie Williams, former Artie Shaw tenor saxophonist Georgie Auld and later drummer Dave Tough. He coolly dismissed himself from the jam session, and his mother had heard about it before he got home. Con Charlie Parker fu, negli anni quaranta, uno degli inventori e delle figure chiave del bebop e del jazz moderno. ", Charlie Christian, Style Analysis and Solo Examples, Charlie Christian, a biography by C.J Shearn, https://en.wikipedia.org/w/index.php?title=Charlie_Christian&oldid=1023498207, Infobox musical artist with missing or invalid Background field, Articles with unsourced statements from March 2016, Articles needing additional references from September 2016, All articles needing additional references, Articles with unsourced statements from June 2016, Articles with unsourced statements from September 2016, Wikipedia articles with BIBSYS identifiers, Wikipedia articles with MusicBrainz identifiers, Wikipedia articles with SUDOC identifiers, Wikipedia articles with Trove identifiers, Wikipedia articles with WORLDCATID identifiers, Creative Commons Attribution-ShareAlike License, Gibson ES-250 guitar (custom built by Gibson with a natural finish, an, This page was last edited on 16 May 2021, at 18:29. Fu nelle piccole formazioni di Gillespie con Charlie Parker, Max Roach, Bud Powell e Oscar Pettiford che al Minton's il bebop trovò la sua conformazione definitiva e più tipica. [13] The French gypsy jazz guitarist Django Reinhardt had little influence on him, but Christian was obviously familiar with some of his recordings. The location of the historical marker and headstone was disputed, and in March 2013, Fannin County, Texas, recognized that the marker was in the wrong spot and that Christian is buried under the concrete slab.[27]. Verso la fine degli anni quaranta Dizzy Gillespie cominciò a interessarsi alla musica caraibica e sudamericana. Il bebop era anche uno stile di vita rivoluzionario e un nuovo modo di porsi per gli afro-americani. In June 1941 he was admitted to Seaview, a sanitarium on Staten Island in New York City. Durante gli anni settanta Dizzy Gillespie si rese protagonista di un'azione altamente benefica nei confronti di un suo collega, il trombettista Chet Baker. His work on the Goodman sextet sides "Soft Winds", "Till Tom Special", and "A Smo-o-o-oth One" show his use of few well-placed melodic notes. Già dal 1945 Gillespie, iniziatore del minimalista bebop, per suonare il quale era preferibile organizzarsi in piccoli gruppi, dimostrò la sua preferenza per le grandi formazioni, nelle quali poteva esprimersi come leader, come solista e nello stesso tempo come istrionico intrattenitore. It was originally supposed to be arranged by Gil Fuller , when Monk was the pianist in Dizzy Gillespie 's big band, [28] but wasn't recorded until October 15, 1952, for the album Thelonious Monk Trio under the name "Bye-Ya". Ha lavorato anche con Ray Charles, Aretha Franklin e Chaka Khan. [1], Nel 1963, il 21 settembre 1963, Dizzy Gillespie sul palco del Monterey Jazz Festival comunicò al mondo la sua intenzione di candidarsi alle elezioni presidenziali statunitensi.[2]. The Minton's recordings were long rumored to feature "Dizzy" Gillespie and Thelonious Monk, but that has since been proved untrue, although both were regulars at the jam sessions, with Monk a regular in the Minton's house band. [20][23] Although credited for very few, Christian composed many of the original tunes recorded by the Benny Goodman Sextet. ", Lee, Amy (1940), "Charlie Christian Wanted to Play Hot Tenor!". Questa pagina è stata modificata per l'ultima volta il 21 feb 2020 alle 16:32. [15], Christian's exposure was so great in the brief period he played with Goodman that he influenced not only guitarists but other musicians as well. In 1990, he was inducted into the Rock and Roll Hall of Fame in the category Early Influence. Decise quindi di farsi fare una tromba di quella forma, con la campana piegata a quarantacinque gradi verso l'alto (quella originale si era danneggiata nell'incidente). [citation needed], Clarke said Christian first showed him the chords to "Epistrophy" on a ukulele. Nonostante fosse molto povero, riuscì ad ottenere una borsa di studio all'istituto di Laurinburg, nella Carolina del Nord. He reigned supreme in the jazz guitar polls up to two years after his death. After some encouragement, he allowed Charles to play. Some of the participants in those early after-hours affairs at Minton's Playhouse, where bebop was born, credit Christian with the name bebop, citing his humming of phrases as the onomatopoetic origin of the term. [19], Christian's use of tension and release, a technique employed by Lester Young, Count Basie[20] and later bop musicians, is also present on "Stompin' at the Savoy", included among the Newman recordings. Anche il suono tendeva a differenziarsi, soprattutto per l'assenza di vibrato e per gli arrangiamenti, più semplici e lineari. It was here that Monk would create a style of jazz that moved away from the big band swing era of Benny Goodman , Glenn Miller , Artie Shaw , and Duke Ellington (a significant influence on Monk). Liner notes. [16] Black Sabbath's first manager Jim Simpson describes the band's first song, "A Song for Jim" as an “absolute Charlie Christian takeoff.”[17], Christian was an important contributor to the music that became known as bop, or bebop. [4] Later he learned to play the guitar, inheriting his father's instruments upon his death when Charles was 12. [21] These recordings have been packaged under a number of different titles, including After Hours and The Immortal Charlie Christian. "Ah, nobody wants to hear them old blues," Edward replied. Albertson, Chris. Goodman was the fourth white bandleader to feature black musicians in his live band: the first was Jimmy Durante, for whom the clarinetist Achille Baquet played and recorded in Durante's Original New Orleans Jazz Band (1918–1920); the second was the violinist Arthur Hand, who led The California Ramblers, which, from 1922 to 1925, included the trumpeter Bill Moore, who was billed as the Hot Hawaiian; the third was Ben Bernie, whose band from 1925 to 1928 also featured Moore. Composizioni di Gillespie come Groovin' High, Woody n' You, Anthropology, Salt Peanuts e la celeberrima A Night in Tunisia erano per l'epoca rivoluzionarie rispetto all'imperante swing, da cui differivano soprattutto per l'armonia, la melodia, e il trattamento ritmico.
Prénom Juliette 2020, Kenza Signification Caractère, Grenouille Venimeuse France, Effectif Golden State Warriors, Champions League New York Times, Photographe Mariage Bruxelles, Pourquoi Nabilla Et Jazz Sont En Froid, Amish Country Events 2021, Oui Classe Grammaticale,