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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... style . " -Mark Stryker , Detroit Free Press " To say that Gary Giddins is a great jazz critic is no more useful than saying Ruskin wrote well about art or that Johnson was a darned good lexicographer . Giddins is an essayist and ...
... style . " -Mark Stryker , Detroit Free Press " To say that Gary Giddins is a great jazz critic is no more useful than saying Ruskin wrote well about art or that Johnson was a darned good lexicographer . Giddins is an essayist and ...
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... style and sound , he exerted marginal influence ( a poor criterion for measuring achievement ) and recorded a small body of work between 1929 and 1946. Yet anyone who fails to ferret out such perform- ances as " Please Don't Talk About ...
... style and sound , he exerted marginal influence ( a poor criterion for measuring achievement ) and recorded a small body of work between 1929 and 1946. Yet anyone who fails to ferret out such perform- ances as " Please Don't Talk About ...
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... style makes for tough going . But Columbia and Victor ought to clean up and issue its Williams recordings or give the masters to companies will- ing to do so . ( Most are public domain anyway . ) Let's finally hear the original Elder ...
... style makes for tough going . But Columbia and Victor ought to clean up and issue its Williams recordings or give the masters to companies will- ing to do so . ( Most are public domain anyway . ) Let's finally hear the original Elder ...
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... style exclusively to Bessie and Louis Armstrong , but it is Waters we hear on the first Holiday record , " My Mother's Son - in - Law . " And there is an unmistakable harbinger of Billie's mature style in Waters's 1928 “ My Baby Sure ...
... style exclusively to Bessie and Louis Armstrong , but it is Waters we hear on the first Holiday record , " My Mother's Son - in - Law . " And there is an unmistakable harbinger of Billie's mature style in Waters's 1928 “ My Baby Sure ...
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... Style . Russell makes no mention of fellow New Orleans scholar , Donald M. Marquis , who conclusively disproved them in his book , In Search of Buddy Bolden , in 1978 . Bunk said he was born in 1879 , only two years after Bolden , which ...
... Style . Russell makes no mention of fellow New Orleans scholar , Donald M. Marquis , who conclusively disproved them in his book , In Search of Buddy Bolden , in 1978 . Bunk said he was born in 1879 , only two years after Bolden , which ...
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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