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Joe Loss & His Orchestra - Steptoe And Son - His Master's Voice - Jazz

Joe Loss & His Orchestra - Steptoe And Son - His Master's Voice - Jazz
Price £4.50

Track Listing

A Steptoe And Son
B Phase Four


Media Condition » Very Good Plus (VG+)
Sleeve Condition » Generic
Artist Joe Loss & His Orchestra
Title Steptoe And Son
Label His Master's Voice
Catalogue POP 1192
Format Vinyl 7 Inch
Released 1963
Genre Jazz

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Other Titles by Joe Loss & His Orchestra

March Of The Mods / Tango '65


Some Other Artists in the Jazz Genre

Stan KentonStan Kenton And His OrchestraWoody HermanThe Dave Brubeck QuartetMiles DavisThe Modern Jazz QuartetFrank SinatraDave BrubeckCharlie ParkerWoody Herman And His OrchestraDuke Ellington And His OrchestraDavid SanbornArt Blakey & The Jazz MessengersShorty RogersNational Youth Jazz OrchestraStan GetzHerbie HancockThe Bob Florence Limited EditionShorty Rogers And His GiantsThe George Shearing QuintetDave Brubeck & Paul DesmondArt PepperJohn ColtraneRonnie LawsErroll GarnerThe Blue Wisp Big BandBuddy RichRoland KirkCrusaders, TheFats WallerFlora PurimHarry James And His OrchestraDiana Brown & Barrie K SharpeDon EllisHerb AlpertThe Manhattan TransferQuincy JonesDon SebeskyDizzy GillespieHarry James

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Some Other Artists on the His Master's Voice Label

George Mitchell Minstrels, TheRay CharlesYehudi Menuhin & Felix Mendelssohn-Bartholdy & Max Bruch & Philharmonia Orchestra & Walter Susskind & Efrem KurtzJohn Ogdon & Philharmonia OrchestraCandidoOrchestra Of The Royal Opera House & John LanchberyMorrisseyGeorges Bizet & Risë Stevens & Jan Peerce & Licia Albanese & Robert Merrill & Fritz ReinerRay Charles And His OrchestraLloyd PriceGlenn Miller And His OrchestraManfred MannBill HolmanOscar Peterson Trio, TheSwinging Blue Jeans, TheRavindra JainLondon Symphony OrchestraFats Waller & His RhythmPoni-tailsElla Fitzgerald Beethoven & New Philharmonia OrchestraStan GetzCamille Saint-Saëns & Gabriel Fauré & Henry Litolff Uncle Mac

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Information on the Jazz Genre

Jazz is a music genre that originated at the beginning of the 20th century in African American communities in the Southern United States from a confluence of African and European music traditions. From its early development until the present, jazz has incorporated music from 19th and 20th century American popular music. Its West African pedigree is evident in its use of blue notes, improvisation, polyrhythms, syncopation, and the swung note. However, Art Blakey has been quoted as saying, "No America, no jazz. I’ve seen people try to connect it to other countries, for instance to Africa, but it doesn’t have a thing to do with Africa".

The word "jazz" began as a West Coast slang term of uncertain derivation and was first used to refer to music in Chicago in about 1915. From its beginnings in the early 20th century, Jazz has spawned a variety of subgenres, from New Orleans Dixieland dating from the early 1910s, big band-style swing from the 1930s and 1940s, bebop from the mid-1940s, a variety of Latin jazz fusions such as Afro-Cuban and Brazilian jazz, and free jazz from the 1950s and 1960s, jazz fusion from the 1970s and late 1980s developments such as acid jazz, which blended funk and hip-hop influences into jazz. As the music has spread around the world it has drawn on local national and regional musical cultures, its aesthetics being adapted to its varied environments and giving rise to many distinctive styles.


In the late 1960s and early 1970s the hybrid form of jazz-rock fusion was developed by combining jazz improvisation with rock rhythms, electric instruments, and the highly amplified stage sound of rock musicians such as Jimi Hendrix. All Music Guide states that "..until around 1967, the worlds of jazz and rock were nearly completely separate." However, "...as rock became more creative and its musicianship improved, and as some in the jazz world became bored with hard bop and did not want to play strictly avant-garde music, the two different idioms began to trade ideas and occasionally combine forces." Miles Davis made the breakthrough into fusion in 1970s with his album Bitches Brew. Musicians who worked with Davis formed the four most influential fusion groups: Weather Report and Mahavishnu Orchestra emerged in 1971 and were soon followed by Return to Forever and The Headhunters. Although jazz purists protested the blend of jazz and rock, some of jazz's significant innovators crossed over from the contemporary hard bop scene into fusion. Jazz fusion music often uses mixed meters, odd time signatures, syncopation, and complex chords and harmonies. In addition to using the electric instruments of rock, such as the electric guitar, electric bass, electric piano, and synthesizer keyboards, fusion also used the powerful amplification, "fuzz" pedals, wah-wah pedals, and other effects used by 1970s-era rock bands. Notable performers of jazz fusion included Miles Davis, keyboardists Joe Zawinul, Chick Corea, Herbie Hancock, vibraphonist Gary Burton, drummer Tony Williams, violinist Jean-Luc Ponty, guitarists Larry Coryell, Al Di Meola, John McLaughlin and Frank Zappa, saxophonist Wayne Shorter, and bassists Jaco Pastorius and Stanley Clarke. Jazz fusion was also popular in Japan where the band Casiopea released over thirty albums praising Jazz Fusion.

Developed by the mid-1970s, jazz-funk is characterized by a strong back beat (groove), electrified sounds, and often, the presence of the first electronic analog synthesizers. The integration of Funk, Soul, and R&B music and styles into jazz resulted in the creation of a genre whose spectrum is indeed quite wide and ranges from strong jazz improvisation to soul, funk or disco with jazz arrangements, jazz riffs, and jazz solos, and sometimes soul vocals.

At the jazz end of the spectrum, jazz-funk characteristics include a departure from ternary rhythm (near-triplet), i.e. the "swing", to the more danceable and unfamiliar binary rhythm, known as the "groove". Jazz-funk also draws influences from traditional African music, Latin American rhythms, and Jamaican reggae. A second characteristic of Jazz-funk music is the use of electric instruments, and the first use of analogue electronic instruments notably by Herbie Hancock, whose jazz-funk period saw him surrounded on stage or in the studio by several Moog synthesizers. The ARP Odyssey, ARP String Ensemble, and Hohner D6 Clavinet also became popular at the time. A third feature is the shift of proportions between composition and improvisation. Arrangements, melody, and overall writing were heavily emphasized.

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