Visions of Jazz: The First CenturyOxford University Press, 1998 M10 22 - 704 páginas Poised to become a classic of jazz literature, Visions of Jazz: The First Century offers seventy-nine chapters illuminating the lives of virtually all the major figures in jazz history. From Louis Armstrong's renegade-style trumpet playing to Sarah Vaughan's operatic crooning, and from the swinging elegance of Duke Ellington to the pioneering experiments of Ornette Coleman, jazz critic Gary Giddins continually astonishes the reader with his unparalleled insight. Writing with the grace and wit that have endeared his prose to Village Voice readers for decades, Giddins also widens the scope of jazz to include such crucial American musicians as Irving Berlin, Rosemary Clooney, and Frank Sinatra, all primarily pop performers who are often dismissed by fans and critics as mere derivatives of the true jazz idiom. And he devotes an entire quarter of this landmark volume to young, still-active jazz artists, boldly expanding the horizons of jazz--and charting and exploring the music's influences as no other book has done. |
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Resultados 1-5 de 82
Página 25
... bars , AABA — surprisingly modern . The Mills Brothers sing it exactly as written , including the line " There's where this old darkie's heart does long to go " and the stupe- fying release : There's where I labored so hard for dear ol ...
... bars , AABA — surprisingly modern . The Mills Brothers sing it exactly as written , including the line " There's where this old darkie's heart does long to go " and the stupe- fying release : There's where I labored so hard for dear ol ...
Página 26
... bars of his thirty - two - bar solo , an unmistakable trumpet call - to freedom in life . If the flip side had been a similar piece or an ordinary ballad , the record would - despite Armstrong's saves - have limited meaning . But ...
... bars of his thirty - two - bar solo , an unmistakable trumpet call - to freedom in life . If the flip side had been a similar piece or an ordinary ballad , the record would - despite Armstrong's saves - have limited meaning . But ...
Página 28
... bar blues form , and its national acceptance , if as nothing more than a stylish musical fad . The song originated in 1909 as part of a campaign for Mem- phis Mayor E. H. Crump , a reformist whose cause Handy inexplicably espoused by ...
... bar blues form , and its national acceptance , if as nothing more than a stylish musical fad . The song originated in 1909 as part of a campaign for Mem- phis Mayor E. H. Crump , a reformist whose cause Handy inexplicably espoused by ...
Página 29
... bar blues was the most constant form in jazz , infinitely malleable and invulnerable to all fashion and caprice . It would be sustained anew after the midcentury by the advent of rhythm and blues and rock and roll . Handy , who became a ...
... bar blues was the most constant form in jazz , infinitely malleable and invulnerable to all fashion and caprice . It would be sustained anew after the midcentury by the advent of rhythm and blues and rock and roll . Handy , who became a ...
Página 30
... bars and showing how they had been treated by various artists . When he finished , a distraught academic complained ... bar stanza remained every improvising musician's training ground , and very often the material with which he ...
... bars and showing how they had been treated by various artists . When he finished , a distraught academic complained ... bar stanza remained every improvising musician's training ground , and very often the material with which he ...
Contenido
3 | |
11 | |
67 | |
A POPULAR MUSIC | 151 |
A MODERN MUSIC | 231 |
A MAINSTREAM MUSIC | 337 |
AN ALTERNATIVE MUSIC | 437 |
A STRUGGLING MUSIC | 527 |
A TRADITIONAL MUSIC | 585 |
Acknowledgments | 655 |
Index of Names | 657 |
Index of Songs and Selected Albums | 671 |
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Términos y frases comunes
album alto American arrangements audience ballad bars bass bassist Ben Webster Benny Benny Carter Berlin big band Billy Blue Note brass Carter Cecil Taylor Charlie Parker chords chorus clarinet classic Club Coleman Coleman Hawkins Coltrane Coltrane's composer concert dance debut Dizzy Gillespie drummer drums duet Duke Ellington ensemble Getz Gillespie Goodman harmonic Hawkins Henderson improvisation instrument jazz Jimmy John John Coltrane Johnny Johnny Hodges Jones later Lester Young Lewis listener Louis Armstrong Love Lunceford melody Miles Davis Mingus Monk musicians never Oliver orchestra Orleans performance phrase pianist piano piece played players quartet quintet recorded release repertory rhythm section rhythmic riffs Rollins saxophone saxophonist session Sinatra singer singing solo soloists song Sonny Sonny Rollins sound Strayhorn studio style swing Tatum Taylor tempo tenor Thelonious Monk theme timbre tour trio trombone trumpet tune vamp vocal voice wrote York Young