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. |
Dentro del libro
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Página 4
... studio hacks ) , the concert series sub- scriber may be identified by a lobotomized grin . Is this the future of jazz ? —a repertory dominated by the tastes of dilettantes , a morbid obsession with the saintly dead , a horror of inno ...
... studio hacks ) , the concert series sub- scriber may be identified by a lobotomized grin . Is this the future of jazz ? —a repertory dominated by the tastes of dilettantes , a morbid obsession with the saintly dead , a horror of inno ...
Página 13
... studios between 1923 and 1927. In that intense period of in- novation and realignment , musicians of color assumed nearly absolute aesthetic dominance over all the musics yet to be embraced by the acad- emy . Most of our assumptions ...
... studios between 1923 and 1927. In that intense period of in- novation and realignment , musicians of color assumed nearly absolute aesthetic dominance over all the musics yet to be embraced by the acad- emy . Most of our assumptions ...
Página 16
... studio in 1960 ; he then found the concert lacquers from the actual concert in his aunt's closet . Perhaps the live performance was shelved because Cantor occasionally leaps off - mike when singing . But the music is less evocative than ...
... studio in 1960 ; he then found the concert lacquers from the actual concert in his aunt's closet . Perhaps the live performance was shelved because Cantor occasionally leaps off - mike when singing . But the music is less evocative than ...
Página 44
... studio , apathetic , dispirited , unhap- py with my work , and after five minutes listening to you demon- strate a song in your something less than adequate demifalsetto , your arms waving and your eyes sparkling , I am back in action ...
... studio , apathetic , dispirited , unhap- py with my work , and after five minutes listening to you demon- strate a song in your something less than adequate demifalsetto , your arms waving and your eyes sparkling , I am back in action ...
Página 48
... studios , and he regularly accompanied Bessie Smith , who recorded at least eighteen of Spencer's songs , among them " Nobody Can Bake a Sweet Jelly Roll Like Mine , " " Cemetery Blues , " " Ticket Agent , Ease Your Window Down ...
... studios , and he regularly accompanied Bessie Smith , who recorded at least eighteen of Spencer's songs , among them " Nobody Can Bake a Sweet Jelly Roll Like Mine , " " Cemetery Blues , " " Ticket Agent , Ease Your Window Down ...
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