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By Giovanni Russonello

Jazz has experienced a significant resurgence of popularity for beyond 15 years, especially among the youngest. What motivates that? You can also argue that there is a component hunger, now that there is a giant component of life in the virtual cloud, for messy and wild jazz energy, and because of its way of putting a live process. And if this is the case, then it makes sense that Chicago Jazz was at the forefront of this recent wave. Chicago has represented a root, physical and, yes, a windy ideal in jazz. Possibly it would be an antidote, namely, in this feeling of virtual disappearance.

Chicago’s solid sound is equivalent to a sum of the city’s black stories: sometimes anything from snowy traffic can be heard and claim in the “native son” of Richard Wright, 1940; The Howlin ‘Wolf electric guitar in a Blues bar in the 1950s; The drummers and dancers who beat Kelan Philip Cohran meetings at the 63rd Beach of the Street in the last decade of 1960; Even the protests of Anti -Racista street of the 1990s.

The Windy city was a vital musical position of the initial era of the recorded era, when many blue jazz musicians moved from the south and have become stars. It is also known as a cradle of the avant -garde, thanks to establishments such as Arkestra de Sun Ra, established there in the early 1950s, and the arrangement for the advance of creative musicians, a collective in the head of seeds that celebrates its 60th anniversary this spring. Today, the city remains at the forefront of Fresh Jazz thanks to artists such as Nicole Mitchell, Kahil E’zabar, Makaya McCraven, Tomeka Reid, Jeff Parker and Isaiah Collar, each on the last day A. A. C. M. Affiliate who has participated in a main role in the international jazz circuit. And the International Anthem label, founded 12 years ago in Chicago, has one of the greatest successes in the independent-Jazz industry.

We ask writers, musicians and other pavilions of the Chicago scene to tell us what songs they would play to take a newcomer to the unique but multifaceted sound of Chicago Jazz. Read the rest, pay attention to your possible options in our reading lists, and if you have your own favorites, put them in the comments.

This recording, with some of the pillars of Chicago’s improvised music scene, deserves to end the palace of everything in artistic music. Music is exploratory, while it is funky and accessible. This composition through Ernest Dawkins is a Tryetete for Ameen Muhammad in Chicago, who died in 2003 at age 48. Muhammad, an expensive friend of Dawkins, was not only a trumpeter and composer of the family, but also a highly admired and good reputation educator; “Mean Amen” has acquired foreign notoriety in his brief career. Ernest Khabeer Dawkins is one of the rare people who manage to balance a hobvia for the community, tutoring and art. For me, this piece represents the saxophonist and the driver of his best moment, through a lovely determination for a expensive friend.

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