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. |
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Página 13
... Never mind that most of them were far removed from the main- stream or that not until the mid - ' 30s did swing make the world safe for improvisation . That's commerce and sociology . The musical seeds were sown and cultivated in the ...
... Never mind that most of them were far removed from the main- stream or that not until the mid - ' 30s did swing make the world safe for improvisation . That's commerce and sociology . The musical seeds were sown and cultivated in the ...
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... never be enough . In the ' 70s , after the Broadway opening of Bubbling Brown Sugar , in which Avon Long ( best remembered for his Sportin ' Life in the first revival of Porgy and Bess ; you can see him briefly in the Doris Day vehicle ...
... never be enough . In the ' 70s , after the Broadway opening of Bubbling Brown Sugar , in which Avon Long ( best remembered for his Sportin ' Life in the first revival of Porgy and Bess ; you can see him briefly in the Doris Day vehicle ...
Página 19
... never have heard Negro spirituals , which weren't performed in Europe until thirty years after his death , but surely he would have responded to the parity between the Old and New Testaments they embody . Here was an entire people ...
... never have heard Negro spirituals , which weren't performed in Europe until thirty years after his death , but surely he would have responded to the parity between the Old and New Testaments they embody . Here was an entire people ...
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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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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