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 22
... chorus , when he swings into time for improvisations that sustain the initial aura while probing a still deeper level . The material is fearlessly obvious , with only a few less well - known titles among the very famous ones , which ...
... chorus , when he swings into time for improvisations that sustain the initial aura while probing a still deeper level . The material is fearlessly obvious , with only a few less well - known titles among the very famous ones , which ...
Página 26
... chorus about finding freedom in death . ) Perhaps Armstrong's most able signifying comes at the end of the first eight bars of his thirty - two - bar solo , an unmistakable trumpet call - to freedom in life . If the flip side had been a ...
... chorus about finding freedom in death . ) Perhaps Armstrong's most able signifying comes at the end of the first eight bars of his thirty - two - bar solo , an unmistakable trumpet call - to freedom in life . If the flip side had been a ...
Página 31
... chorus . It takes only a matter of minutes to learn . Yet pianists who are great virtuosos in other idioms have spent years shoveling one blues chorus after another without getting close to a genuinely creative or sat- isfying blues ...
... chorus . It takes only a matter of minutes to learn . Yet pianists who are great virtuosos in other idioms have spent years shoveling one blues chorus after another without getting close to a genuinely creative or sat- isfying blues ...
Página 35
... chorus - line themes , " A Pretty Girl Is Like a Melody . " Meantime , he'd also written a two - step without a lyric , which , in Berlin's words , was " a dead failure " that lay unpub- lished for six months . Berlin described what ...
... chorus - line themes , " A Pretty Girl Is Like a Melody . " Meantime , he'd also written a two - step without a lyric , which , in Berlin's words , was " a dead failure " that lay unpub- lished for six months . Berlin described what ...
Página 36
... chorus has nothing to do with ragtime ( unlike the countermelody of " Play a Simple Melody , ” which does cap- ture ragtime's lilt ) , but the interpolated fragments — the bugle call in mea- sures eleven to twelve , " Swanee River " in ...
... chorus has nothing to do with ragtime ( unlike the countermelody of " Play a Simple Melody , ” which does cap- ture ragtime's lilt ) , but the interpolated fragments — the bugle call in mea- sures eleven to twelve , " Swanee River " in ...
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