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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Página ii
... sound of the new will give all but the most blinkered reactionary an appetite for the unknown . But above all , the over- whelming strength of this book is that it also makes you want to listen afresh to music that you thought you knew ...
... sound of the new will give all but the most blinkered reactionary an appetite for the unknown . But above all , the over- whelming strength of this book is that it also makes you want to listen afresh to music that you thought you knew ...
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... sound in 1928 , remained the top grossing film until Gone With the Wind ) , audiences dropped him . Bigger than life on stage , he was strangely stilted , wired , monstrous on screen . It took Larry Parks in The Jolson Story ( 1946 ) to ...
... sound in 1928 , remained the top grossing film until Gone With the Wind ) , audiences dropped him . Bigger than life on stage , he was strangely stilted , wired , monstrous on screen . It took Larry Parks in The Jolson Story ( 1946 ) to ...
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... sound was perfectly captured , in part be- cause he was recorded close - up , with a quartet as well as the larger ensemble . Watkins croons " St. Louis Street Blues , " an adaptation of Lou- is Armstrong's " Melancholy , " and Alton ...
... sound was perfectly captured , in part be- cause he was recorded close - up , with a quartet as well as the larger ensemble . Watkins croons " St. Louis Street Blues , " an adaptation of Lou- is Armstrong's " Melancholy , " and Alton ...
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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