Visions of Jazz: The First CenturyOxford University Press, 2000 M05 18 - 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
Resultados 1-5 de 85
Página 16
... later , Can- tor's grandson , Brian Gari , learned that the album was really recorded in a studio in 1960 ; he then found the concert lacquers from the actual concert in his aunt's closet . Perhaps the live performance was shelved ...
... later , Can- tor's grandson , Brian Gari , learned that the album was really recorded in a studio in 1960 ; he then found the concert lacquers from the actual concert in his aunt's closet . Perhaps the live performance was shelved ...
Página 19
... later in Sally , is often praised for its hymnlike melody ; according to his biographer , Gerald Bordman , the comparison pleased Kern , who " loved to play hymns and hoped his music reflected his pleasure . " That he had a particular ...
... later in Sally , is often praised for its hymnlike melody ; according to his biographer , Gerald Bordman , the comparison pleased Kern , who " loved to play hymns and hoped his music reflected his pleasure . " That he had a particular ...
Página 24
... later mugged in a noted essay by the semanticist turned right - wing bureaucrat , S. I. Hayakawa ) . They had velvety voices , impec- cable diction , dreamy harmonies , supple time , and — especially in their early , more jazz ...
... later mugged in a noted essay by the semanticist turned right - wing bureaucrat , S. I. Hayakawa ) . They had velvety voices , impec- cable diction , dreamy harmonies , supple time , and — especially in their early , more jazz ...
Página 34
... later chided a lyricist for rhyming " apples " and " Minneapolis " was in youth satisfied with " queen " / " mandolin " and " beauty " / " suit me . " Still , within two years Berlin was scoring minor hits , writing lyrics to Ted ...
... later chided a lyricist for rhyming " apples " and " Minneapolis " was in youth satisfied with " queen " / " mandolin " and " beauty " / " suit me . " Still , within two years Berlin was scoring minor hits , writing lyrics to Ted ...
Página 36
... later adapted by Gershwin for his ballad " The Man I Love . " The ABAC 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 ...
... later adapted by Gershwin for his ballad " The Man I Love . " The ABAC 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 ...
Contenido
3 | |
11 | |
A NEW MUSIC | 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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Términos y frases comunes
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 Holiday 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 vocal voice wrote York Young