Jazz Matters, Reflections on Music and Some of Its Makers (p)University of Arkansas Press, 1989 - 314 páginas |
Contenido
Love for Sale | 201 |
Listeners Journal | 209 |
Zoot Sims | 215 |
Dukes of Dixieland | 225 |
Gerry Mulligan | 228 |
Chet Baker | 232 |
Art Pepper | 238 |
Modern Jazz Quartet | 244 |
| 34 | |
| 43 | |
Miles Davis | 47 |
John Coltrane | 56 |
Cannonball Adderley | 63 |
Bebop | 72 |
Bud Powell | 81 |
Wardell Gray | 84 |
Seeing RedRed Garland | 90 |
Woody Herman | 98 |
Bass Hit Gene Ramey | 112 |
Freddie Hubbard | 123 |
George Benson and Jack McDuff | 127 |
The Dave Brubeck Quartet | 133 |
Thelonious Monk | 153 |
Charles Mingus | 162 |
John Handy | 170 |
Four Tenor Saxophonists | 177 |
Ben Webster | 186 |
Phil Woods | 191 |
Duke Ellington | 250 |
Reviews from Jazz Review | 258 |
1967 | 260 |
1967 | 262 |
1968 | 263 |
1966 | 264 |
1966 | 266 |
1966 | 270 |
1967 | 271 |
New Orleans Jazz A Family Album | 273 |
Ray Charless Own Story | 276 |
Artistry in Rhythm | 278 |
To Be or Not to Bop | 281 |
The Bass Saxophone | 285 |
An American Genius | 289 |
Riding on a Blue Note | 293 |
The Music | 296 |
A Few of My Favorite Things | 300 |
INDEX | 305 |
Otras ediciones - Ver todas
Jazz Matters: Reflections on the Music & Some of Its Makers Doug Ramsey,Douglas K. Ramsey Vista previa limitada - 1989 |
Jazz Matters: Reflections on the Music & Some of Its Makers Douglas K. Ramsey Vista de fragmentos - 1989 |
Términos y frases comunes
Adderley album alto saxophonist artists audience bass bassist bebop became Ben Webster Benson big band Bill Evans Billy Blue Note Brubeck Bud Powell Byard Cannonball career Charlie Parker chords chorus clarinet club Coleman Hawkins Coltrane's concert Count Basie creative dance Dave developed Dizzy Gillespie drummer drums Duke Ellington early Free Jazz Garland Gene Gerry Mulligan guitarist guys Handy harmonic hear heard Hines horn improvisation inspired jam session Jazz Festival jazz musicians Jimmy John Coltrane Johnson Jones Kansas City Lester Young listening Louis Armstrong lyrical Marsalis Miles Davis Mingus Modern Jazz Monk's never night Orleans Ornette Coleman Pepper performance phrases pianist piano piece playing quartet quintet Ramey recorded reissued rhythm section rhythmic says Schlitten solo soloist song Sonny sound style swing Tatum tenor saxophonist Terry Texas things tion tour trombone trumpet player tune Webster Woods Woody Herman York Zoot Sims
Pasajes populares
Página 64 - Piping down the valleys wild, Piping songs of pleasant glee, On a cloud I saw a child, And he laughing said to me: "Pipe a song about a Lamb!' So I piped with merry cheer. 'Piper, pipe that song again;
Página 58 - Working with Monk brought me close to a musical architect of the highest order. I felt I learned from him in every way - through the senses, theoretically, technically. I would talk to Monk about musical problems, and he would sit at the piano and show me the answers just by playing them. I could watch him play and find out the things I wanted to know. Also, I could see a lot of things that I didn't know about at all.
Página 234 - ... of exile, of having pulled up my roots completely as far as the old life was concerned, I had a feeling now of new beginning, too — of being launched at last, of having before me the happy prospect of an established and productive career. At that time, among the many other things I did not know, I did not know that for a man who wants to continue with the creative life, to keep on growing and developing, this cheerful idea of happy establishment, of continuing now as one has started, is nothing...
Página 236 - But the conclusion is not sad: this is a hopeful book— the conclusion is that although you can't go home again, the home of every one of us is in the future: there is no other way.
Página 286 - ... way of making music," is not simply protest. Its essence is something far more elemental: an elan vital, a forceful vitality, an explosive creative energy as breathtaking as that of any true art, that may be felt even in the saddest of blues. Its effect is cathartic. But of course, when the lives of individuals and communities are controlled by powers that themselves remain uncontrolled — slavers, czars...
Página 52 - I pay no attention to what the critics say about me, the good or the bad. The toughest critic I got, and the only one I worry about, is myself. My music has to get past me and I'm too vain to play anything I think is bad.
Página 286 - ... political connotations: there was a band in Prague that called itself Blue Music and we, living in the Nazi Protectorate of Bohemia and Moravia, had no idea that in jazz blue is not a color, so we called ours Red. But if the name itself had no political connotations, our sweet, wild music did; for jazz was a sharp thorn in the sides of the power-hungry men, from Hitler to Brezhnev, who successively ruled in my native land.
Página 55 - Quintet, with John Coltrane, Red Garland, Paul Chambers, and Philly Joe Jones, had something special for them to hear long before all but a handful of them actually heard it.
Página 245 - This group produced an integration of ensemble playing which projected — and sounded like — the spontaneous playing of ideas which were the personal expression of each member of the band rather than the arrangers or composers. This band had some of the greatest jazz soloists exchanging and improvising ideas with and counter to the ensemble and the rhythm section, the whole permeated with the folk-blues element developed to a most exciting degree. I don't think it is possible to plan or make that...