Texan JazzUniversity of Texas Press, 1996 - 493 páginas Texas musicians and jazz share a history that goes all the way back to the origins of jazz in ragtime, blues, and boogie-woogie. Texans have left their mark on all of jazz's major movements, including hot jazz, swing, bebop, the birth of the cool, hard bop, and free jazz. Yet these musicians are seldom identified as Texans because their careers often took them to the leading jazz centers in New Orleans, Chicago, New York, Kansas City, and Los Angeles. In Texan Jazz, Dave Oliphant reclaims these musicians for Texas and explores the vibrant musical culture that brought them forth. Working through the major movements of jazz, he describes the lives, careers, and recordings of such musicians as Scott Joplin, Hersal Thomas, Blind Lemon Jefferson, Sippie Wallace, Jack Teagarden, Buster Smith, Hot Lips Page, Eddie Durham, Herschel Evans, Charlie Christian, Red Garland, Kenny Dorham, Jimmy Giuffre, Ornette Coleman, John Carter, and many others. The great strength of Texan Jazz is its record of the contributions to jazz made by African-American Texans. The first major book on this topic ever published, it will be fascinating reading for everyone who loves jazz. |
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Página 80
... earlier . On the other hand , the conclusion suggests the slowing of the train that must have originally inspired so much early boogie . In any event , it is easy to see from this recording why Hersal has been pronounced " king of ...
... earlier . On the other hand , the conclusion suggests the slowing of the train that must have originally inspired so much early boogie . In any event , it is easy to see from this recording why Hersal has been pronounced " king of ...
Página 96
... earlier analysis of this same recording had anticipated Russell's conclusions by finding Buster Smith's solos " advanced for their time " and " espe- cially fascinating because the tone , with its sinewy fullness and slight edginess ...
... earlier analysis of this same recording had anticipated Russell's conclusions by finding Buster Smith's solos " advanced for their time " and " espe- cially fascinating because the tone , with its sinewy fullness and slight edginess ...
Página 210
... earlier on this tune , as Harry blends some Armstrong acrobatics with a back - to - the - blues ending that is the high point of the entire performance.35 For James Lincoln Collier , the finest of James's solos with Goodman and " one of ...
... earlier on this tune , as Harry blends some Armstrong acrobatics with a back - to - the - blues ending that is the high point of the entire performance.35 For James Lincoln Collier , the finest of James's solos with Goodman and " one of ...
Contenido
Introduction | 1 |
Ragtime | 9 |
Country Blues | 36 |
Derechos de autor | |
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Términos y frases comunes
album alto arrangement Babasin bass bebop Benny Goodman big band Blind Lemon Jefferson boogie-woogie Budd Johnson Buster Smith Carter Charlie Christian Charlie Parker chords chorus clarinet classic Coltrane Columbia Records composition Count Basie Dallas Dance drummer drums Early Jazz Eddie Durham Ellington ensemble entitled Ervin Evans featured Garland Gillespie Giuffre's Glenn guitar Gunther Schuller hard bop heard Hentoff Hersal Hines Hot Lips Hot Lips Page Ibid improvisation included instrument Jack Teagarden Jacquet Jazz Style Jelly Roll Jimmy Giuffre Joplin's Kansas City later Lester Young liner notes Litweiler Louis Armstrong Lunceford Martin Williams melodic Miles Davis Mingus Morgenstern Morton Moten orchestra Orleans Ornette Coleman Ornette's performance phrases pianist piano piece player playing quartet Quintet Quoted ragtime Ramey rhythm section rhythmic riff saxophone saxophonist Sippie solo soloist song sound Style in Kansas Swing tenor Texas theme tradition trio trombone trombonist trumpet tune vocal York