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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... repertory dominated by the tastes of dilettantes , a morbid obsession with the saintly dead , a horror of inno- vation ? As someone who has long fought for the acceptance of repertory jazz ( the establishment of institutional orchestras ...
... repertory dominated by the tastes of dilettantes , a morbid obsession with the saintly dead , a horror of inno- vation ? As someone who has long fought for the acceptance of repertory jazz ( the establishment of institutional orchestras ...
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... repertory , in part be- cause it so clearly reveals the convert to Christianity keeping faith with Jewish themes . His hymns have it both ways , rendering ambiguous men- tion unto the son but reserving the full measure of praise for the ...
... repertory , in part be- cause it so clearly reveals the convert to Christianity keeping faith with Jewish themes . His hymns have it both ways , rendering ambiguous men- tion unto the son but reserving the full measure of praise for the ...
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... repertory . Few pianists ( Dick Hyman is one ) can do justice to them , which says more about Morton's alleged primitivism than any amount of debate . Morton was a product of ragtime and not of Tin Pan Alley . His compositional ...
... repertory . Few pianists ( Dick Hyman is one ) can do justice to them , which says more about Morton's alleged primitivism than any amount of debate . Morton was a product of ragtime and not of Tin Pan Alley . His compositional ...
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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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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