Billy Joel New York State Of Mind

Acid Jazz Nu Jazz And Jazz Rap

developed in the UK in the 1980s and 1990s, influenced by and . Acid jazz often contains various types of electronic composition ” rel=”nofollow”> sampling or live DJ cutting and ), but it is just as likely to be played live by musicians, who often showcase jazz interpretation as part of their performance. Richard S. Ginell of AllMusic considers “one of the prophets of acid jazz”.

is influenced by jazz harmony and melodies, and there are usually no improvisational aspects. It can be very experimental in nature and can vary widely in sound and concept. It ranges from the combination of live instrumentation with the beats of jazz ” rel=”nofollow”> St Germain, , and ) to more band-based improvised jazz with electronic elements ” rel=”nofollow”> Kobol and the Norwegian “future jazz” style pioneered by , , and ).

developed in the late 1980s and early 1990s and incorporates jazz influences into . In 1988, released the debut single “Words I Manifest”, which sampled Dizzy Gillespie’s 1962 “Night in Tunisia”, and released “Talkin’ All That Jazz”, which sampled . Gang Starr’s debut LP and their 1990 track “Jazz Thing” sampled Charlie Parker and . The groups which made up the tended toward jazzy releases: these include the ‘ debut , and ‘s and . Rap duo incorporated jazz influences on their 1992 debut . Rapper ‘s series began in 1993 using jazz musicians during the studio recordings.

Blended African And European Music Sensibilities

By the 18th century, slaves in the New Orleans area gathered socially at a special market, in an area which later became known as Congo Square, famous for its African dances.

By 1866, the had brought nearly 400,000 Africans to North America. The slaves came largely from and the greater basin and brought strong musical traditions with them. The African traditions primarily use a single-line melody and pattern, and the rhythms have a structure and reflect African speech patterns.

An 1885 account says that they were making strange music on an equally strange variety of ‘instruments’âwashboards, washtubs, jugs, boxes beaten with sticks or bones and a drum made by stretching skin over a flour-barrel.

Lavish festivals with African-based dances to drums were organized on Sundays at Place Congo, or , in New Orleans until 1843. There are historical accounts of other music and dance gatherings elsewhere in the southern United States. said of percussive slave music:

Another influence came from the harmonic style of of the church, which black slaves had learned and incorporated into their own music as . The are undocumented, though they can be seen as the secular counterpart of the spirituals. However, as points out, whereas the spirituals are , rural blues and early jazz “was largely based on concepts of “.

Beginnings Of European Jazz

As only a limited number of American jazz records were released in Europe, European jazz traces many of its roots to American artists such as James Reese Europe, Paul Whiteman, and , who visited Europe during and after World War I. It was their live performances which inspired European audiences’ interest in jazz, as well as the interest in all things American which accompanied the economic and political woes of Europe during this time. The beginnings of a distinct European style of jazz began to emerge in this interwar period.

British jazz began with a . In 1926, and His Cambridge Undergraduates began broadcasting on the BBC. Thereafter jazz became an important element in many leading dance orchestras, and jazz instrumentalists became numerous.

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Sacred And Liturgical Jazz

As noted above, jazz has incorporated from its inception aspects of African-American sacred music including spirituals and hymns. Secular jazz musicians often performed renditions of spirituals and hymns as part of their repertoire or isolated compositions such as “Come Sunday”, part of “Black and Beige Suite” by . Later many other jazz artists borrowed from black . However, it was only after World War II that a few jazz musicians began to compose and perform extended works intended for religious settings and/or as religious expression. Since the 1950s, sacred and liturgical music has been performed and recorded by many prominent jazz composers and musicians. The “Abyssinian Mass” by is a recent example.

Relatively little has been written about sacred and liturgical jazz. In a 2013 doctoral dissertation, Angelo Versace examined the development of sacred jazz in the 1950s using disciplines of musicology and history. He noted that the traditions of black gospel music and jazz were combined in the 1950s to produce a new genre, “sacred jazz”. Versace maintained that the religious intent separates sacred from secular jazz. Most prominent in initiating the sacred jazz movement were pianist and composer , known for her jazz masses in the 1950s and . Prior to his death in 1974 in response to contacts from Grace Cathedral in San Francisco, wrote three Sacred Concerts: 1965 â A Concert of Sacred Music 1968 â Second Sacred Concert 1973 â Third Sacred Concert.

Punk Jazz And Jazzcore

The relaxation of orthodoxy which was concurrent with in London and New York City led to a new appreciation of jazz. In London, began to mix free jazz and dub reggae into their brand of punk rock. In New York, took direct inspiration from both free jazz and punk. Examples of this style include ‘s Queen of Siam, Gray, the work of and the .

took note of the emphasis on speed and dissonance that was becoming prevalent in punk rock, and incorporated this into free jazz with the release of the album in 1986, a collection of tunes done in the contemporary style. In the same year, , , , and recorded the first album under the name , a similarly aggressive blend of thrash and free jazz. These developments are the origins of jazzcore, the fusion of free jazz with .

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From The Album: Live At Yankee Stadium

Some folks like to get awayTake a holiday from the neighborhoodHop a flight to Miami BeachOr to HollywoodBut Im talking a GreyhoundOn the Hudson River LineIm in a New York state of mind

Ive seen all the movie starsIn their fancy cars and their limousinesBeen high in the Rockies under the evergreensBut I know what Im needingAnd I dont want to waste more timeIm in a New York state of mind

It was so easy living day by dayOut of touch with the rhythm and bluesBut now I need a little give and takeThe New York Times, The Daily News

It comes down to realityAnd its fine with me cause Ive let it slideDont care if its Chinatown or on RiversideI dont have any reasonsIve left them all behindIm in a New York state of mind

It was so easy living day by dayOut of touch with the rhythm and bluesBut now I need a little give and takeThe New York Times, The Daily News

It comes down to realityAnd its fine with me cause Ive let it slideDont care if its Chinatown or on RiversideI dont have any reasonsIve left them all behindIm in a New York state of mind

Im just taking a Greyhound on the Hudson River LineCause Im in a New York state of mind

National Parks Monuments And Historic Landmarks

The State of New York is well represented in the with 22 , which received 16,349,381 visitors in 2011. In addition, there are four , 27 , 262 , and 5,379 listings on the . Some major areas, landmarks, and monuments are listed below.

• The includes and the . The statue, designed by and formally named Liberty Enlightening the World, was a gift from to the United States to mark the Centennial of the it was dedicated in New York Harbor on October 28, 1886. It has since become an icon of the United States and the concepts of democracy and freedom.
• The in is the only national monument dedicated to Americans of African ancestry. It preserves a site containing the remains of more than 400 buried during the late 17th and 18th centuries in a portion of what was the largest colonial-era cemetery for people of African descent, both free and enslaved, with an estimated tens of thousands of remains interred. The site’s excavation and study were called “the most important historic urban archeological project in the United States”.

Cities and towns

According to statistics, the state is a leading recipient of migrants from around the globe. In 2008 New York had the second-largest international immigrant population in the country among U.S. states, at 4.2 million most reside in and around New York City, due to its size, high profile, vibrant economy, and culture. New York has a pro- law.

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Since The 20th Century

On September 11, 2001, two of four hijacked planes were flown into the Twin Towers of the original in , and the towers collapsed. also collapsed due to damage from fires. The other buildings of the World Trade Center complex were damaged beyond repair and demolished soon thereafter. The collapse of the Twin Towers caused extensive damage and resulted in the deaths of 2,753 victims, including 147 aboard the two planes. Since September 11, most of Lower Manhattan has been restored. In the years since, over 7,000 rescue workers and residents of the area have developed several life-threatening illnesses, and some have died.

A memorial at the site, the , was opened to the public on September 11, 2011. A permanent museum later opened at the site on March 21, 2014. Upon its completion in 2014, the new became the in the Western Hemisphere, at 1,776 feet , meant to symbolize the year , 1776. From 2006 to 2018, , , 7 World Trade Center, the , , and were completed. and are under construction at the .

Hurricane Sandy

COVID-19 pandemic and flag change

On March 1, 2020, New York had its first confirmed case of after , a previous two months ago. Since March 28, New York had the highest number of confirmed cases of any state in the , which is outpaced the state as of February 1, 2021. Nearly 50 percent of known national cases were in the state as of March 2020, with one-third of total known U.S. cases being in New York City.

Drainage

Sexual Orientation And Gender Identity

Roughly 3.8 percent of the state’s adult population self-identifies as , , , or . This constitutes a total LGBT adult population of 570,388 individuals. In 2010, the number of same-sex couple households stood at roughly 48,932. New York was the fifth state to license , after New Hampshire. , the , said “same-sex marriages in New York City have generated an estimated $259 million in economic impact and $16 million in City revenues” in the first year after enactment of the Marriage Equality Act. were legalized on June 24, 2011, and were authorized to take place beginning thirty days thereafter. New York City is also home to the largest population in the United States, estimated at 25,000 in 2016. The annual traverses southward down in Manhattan, ending at , and is the largest pride parade in the world, attracting tens of thousands of participants and millions of sidewalk spectators each June.Queer in the World states, “The fabulosity of Gay New York is unrivaled on Earth, and seeps into every corner of its five boroughs” and entertainer stated , Anyways, not only is New York City the best place in the world because of the queer people here. Let me tell you something, if you can make it here, then you must be queer.

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New York State Of Mind

“New York State of Mind” is a song written by Billy Joel that initially appeared on the album Turnstiles in 1976. Although it was never released as a single, it has become a fan favorite and a song that Joel plays regularly in concert. Joel famously played the song at The Concert for New York City, the October 2001 benefit concert for the New York City Fire and Police Departments and the loved ones of families of first responders lost during the terrorist attack on New York City on 9/11. He reprised that theme, playing it during his set at 12-12-12: The Concert for Sandy Relief at Madison Square Garden in New York City on December 12, 2012, where he changed lyrics to include the likes of “Breezy Point”.

From The Album: Turnstiles

Some folks like to get awayTake a holiday from the neighborhoodHop a flight to Miami BeachOr to HollywoodBut Im talking a GreyhoundOn the Hudson River LineIm in a New York state of mind

Ive seen all the movie starsIn their fancy cars and their limousinesBeen high in the Rockies under the evergreensBut I know what Im needingAnd I dont want to waste more timeIm in a New York state of mind

It was so easy living day by dayOut of touch with the rhythm and bluesBut now I need a little give and takeThe New York Times, The Daily News

It comes down to realityAnd its fine with me cause Ive let it slideDont care if its Chinatown or on RiversideI dont have any reasonsIve left them all behindIm in a New York state of mind

It was so easy living day by dayOut of touch with the rhythm and bluesBut now I need a little give and takeThe New York Times, The Daily News

It comes down to realityAnd its fine with me cause Ive let it slideDont care if its Chinatown or on RiversideI dont have any reasonsIve left them all behindIm in a New York state of mind

Im just taking a Greyhound on the Hudson River LineCause Im in a New York state of mind

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Traditionalism In The 1980s

The 1980s saw something of a reaction against the fusion and free jazz that had dominated the 1970s. Trumpeter emerged early in the decade, and strove to create music within what he believed was the tradition, rejecting both fusion and free jazz and creating extensions of the small and large forms initially pioneered by artists such as and , as well as the hard bop of the 1950s. It is debatable whether Marsalis’ critical and commercial success was a cause or a symptom of the reaction against Fusion and Free Jazz and the resurgence of interest in the kind of jazz pioneered in the 1960s nonetheless there were many other manifestations of a resurgence of traditionalism, even if fusion and free jazz were by no means abandoned and continued to develop and evolve.

For example, several musicians who had been prominent in the genre during the 1970s began to record acoustic jazz once more, including and . Other musicians who had experimented with electronic instruments in the previous decade had abandoned them by the 1980s for example, , , and . Even the 1980s music of , although certainly still fusion, adopted a far more accessible and recognizably jazz-oriented approach than his abstract work of the mid-1970s, such as a return to a theme-and-solos approach.

ensemble included a rotation of young jazz musicians such as , , , , , , and .

A similar reaction took place against free jazz. According to :

Swing In The 1920s And 1930s

The 1930s belonged to popular big bands, in which some virtuoso soloists became as famous as the band leaders. Key figures in developing the “big” jazz band included bandleaders and arrangers , , and , , , , , , , and . Although it was a collective sound, swing also offered individual musicians a chance to “solo” and improvise melodic, thematic solos which could at times be complex “important” music.

Over time, social strictures regarding racial segregation began to relax in America: white bandleaders began to recruit black musicians and black bandleaders white ones. In the mid-1930s, Benny Goodman hired pianist , vibraphonist and guitarist to join small groups. In the 1930s, Kansas City Jazz as exemplified by tenor saxophonist marked the transition from big bands to the bebop influence of the 1940s. An early 1940s style known as “jumping the blues” or used small combos, uptempo music and blues chord progressions, drawing on from the 1930s.

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The Influence Of Duke Ellington

While swing was reaching the height of its popularity, spent the late 1920s and 1930s developing an innovative musical idiom for his orchestra. Abandoning the conventions of swing, he experimented with orchestral sounds, harmony, and with complex compositions that still translated well for popular audiences some of his tunes became , and his own popularity spanned from the United States to Europe.

Ellington called his music American Music, rather than jazz, and liked to describe those who impressed him as “beyond category”. These included many musicians from his orchestra, some of whom are considered among the best in jazz in their own right, but it was Ellington who melded them into one of the most popular jazz orchestras in the history of jazz. He often composed for the style and skills of these individuals, such as “Jeep’s Blues” for , “Concerto for Cootie” for ” rel=”nofollow”> Bob Russell’s lyrics), and “The Mooche” for and . He also recorded compositions written by his bandsmen, such as ‘s “” and “”, which brought the “Spanish Tinge” to big-band jazz. Several members of the orchestra remained with him for several decades. The band reached a creative peak in the early 1940s, when Ellington and a small hand-picked group of his composers and arrangers wrote for an orchestra of distinctive voices who displayed tremendous creativity.