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
Página 4
... classic scores ) , I do not think so . But I worry about the mar- ginalization of creative musicians who don't abide by institutional con- cerns and have been ostracized as “ nonjazz ” to keep them at the gates . A jazz classicism that ...
... classic scores ) , I do not think so . But I worry about the mar- ginalization of creative musicians who don't abide by institutional con- cerns and have been ostracized as “ nonjazz ” to keep them at the gates . A jazz classicism that ...
Página 8
... classics , American pop , new music , and other mongrel breeds . But this is merely what Walter Benjamin called " processing of data in the Fascist sense . " If jazz ceases to interact with the musical world around it , will inbreeding ...
... classics , American pop , new music , and other mongrel breeds . But this is merely what Walter Benjamin called " processing of data in the Fascist sense . " If jazz ceases to interact with the musical world around it , will inbreeding ...
Página 41
... classics : " Isn't This a Lovely Day ? ” “ No Strings , " " Top Hat , White Tie , and Tails , " " The Piccolino , " and , best of all , " Cheek to Cheek , " which was equally daring in melody and words . The music begins with the ...
... classics : " Isn't This a Lovely Day ? ” “ No Strings , " " Top Hat , White Tie , and Tails , " " The Piccolino , " and , best of all , " Cheek to Cheek , " which was equally daring in melody and words . The music begins with the ...
Página 47
... classic , in 1918. Later that year , they set up shop in New York . Willie " The Lion " Smith once called Clarence the first big New Or- leans influence to hit New York and credited him with giving a start to James P. Johnson , Fats ...
... classic , in 1918. Later that year , they set up shop in New York . Willie " The Lion " Smith once called Clarence the first big New Or- leans influence to hit New York and credited him with giving a start to James P. Johnson , Fats ...
Página 48
... classic stature of " Basin Street Blues , " " Mahogany Hall Stomp , " and " I Ain't Got Nobody . " Henderson , too , became a major associate . He had the keys to the studios , and he regularly accompanied Bessie Smith , who recorded at ...
... classic stature of " Basin Street Blues , " " Mahogany Hall Stomp , " and " I Ain't Got Nobody . " Henderson , too , became a major associate . He had the keys to the studios , and he regularly accompanied Bessie Smith , who recorded at ...
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