Blowin' Hot and Cool: Jazz and Its CriticsUniversity of Chicago Press, 2010 M09 15 - 494 páginas In the illustrious and richly documented history of American jazz, no figure has been more controversial than the jazz critic. Jazz critics can be revered or reviled—often both—but they should not be ignored. And while the tradition of jazz has been covered from seemingly every angle, nobody has ever turned the pen back on itself to chronicle the many writers who have helped define how we listen to and how we understand jazz. That is, of course, until now. In Blowin’ Hot and Cool, John Gennari provides a definitive history of jazz criticism from the 1920s to the present. The music itself is prominent in his account, as are the musicians—from Louis Armstrong and Duke Ellington to Charlie Parker, John Coltrane, Roscoe Mitchell, and beyond. But the work takes its shape from fascinating stories of the tradition’s key critics—Leonard Feather, Martin Williams, Whitney Balliett, Dan Morgenstern, Gary Giddins, and Stanley Crouch, among many others. Gennari is the first to show the many ways these critics have mediated the relationship between the musicians and the audience—not merely as writers, but in many cases as producers, broadcasters, concert organizers, and public intellectuals as well. For Gennari, the jazz tradition is not so much a collection of recordings and performances as it is a rancorous debate—the dissonant noise clamoring in response to the sounds of jazz. Against the backdrop of racial strife, class and gender issues, war, and protest that has defined the past seventy-five years in America, Blowin’ Hot and Cool brings to the fore jazz’s most vital critics and the role they have played not only in defining the history of jazz but also in shaping jazz’s significance in American culture and life. |
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Resultados 1-5 de 75
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... jazz in Reconstruction, his much missed journal of African American affairs. It frankly astonished me that two such capable people as Gary and Randy thought I had something interesting to say about jazz ... Festival. And it was where I came ...
... jazz in Reconstruction, his much missed journal of African American affairs. It frankly astonished me that two such capable people as Gary and Randy thought I had something interesting to say about jazz ... Festival. And it was where I came ...
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... Jazz," Langston Hughes Review, Fall 1995/Spring 1996, 15—32', part of chapter 4 as "Miles Davis and the Jazz Critics ... Festival, 1954-1960," in Uptown Conversation: The New jazz Studies, ed. Robert G. O'Meally, Brent Hayes Edwards, and ...
... Jazz," Langston Hughes Review, Fall 1995/Spring 1996, 15—32', part of chapter 4 as "Miles Davis and the Jazz Critics ... Festival, 1954-1960," in Uptown Conversation: The New jazz Studies, ed. Robert G. O'Meally, Brent Hayes Edwards, and ...
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... jazz and the role of jazz criticism in different ways than whites did. Chapter 3 examines the emergence of jazz ... Festival and the Lenox School of Jazz as sites where critics and other gatekeepers evangelized the music as fine art and ...
... jazz and the role of jazz criticism in different ways than whites did. Chapter 3 examines the emergence of jazz ... Festival and the Lenox School of Jazz as sites where critics and other gatekeepers evangelized the music as fine art and ...
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... jazz's major figures. Russell's vexed personal relationship with Parker and ... festival that runs everyJune has featured Bob Blumenthal as its critic-in ... aboutJazz - 13.
... jazz's major figures. Russell's vexed personal relationship with Parker and ... festival that runs everyJune has featured Bob Blumenthal as its critic-in ... aboutJazz - 13.
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... Jazz history teems with these kinds of scenes: Stearns's jazz history ... festival. For that matter, I can't remember ever hearing the term "gospel ... jazz has cultivated intellectual discourse as a core element of its superstructure ...
... Jazz history teems with these kinds of scenes: Stearns's jazz history ... festival. For that matter, I can't remember ever hearing the term "gospel ... jazz has cultivated intellectual discourse as a core element of its superstructure ...
Contenido
19 | |
61 | |
Hearing the Noisy Lostness Telling the Story of Jazz | 117 |
Writers Writers and Sensitive Cats Mapping the New Jazz Criticism | 165 |
Swinging in a HighClass Groove Mainstreaming Jazz in Lenox and Newport | 207 |
The Shock of the New Black Freedom the Counterculture and 1960s Jazz Criticism | 251 |
Raceing the Bird Ross Russells Obsessive Pursuit of Charlie Parker | 299 |
Tangled Up in Blues The New Jazz Renaissance and Its Discontents | 339 |
Change of the Century
| 373 |
Notes
| 387 |
Index
| 445 |
Otras ediciones - Ver todas
Blowin' Hot and Cool: Jazz and Its Critics (Large Print 16pt) John Gennari Sin vista previa disponible - 2013 |
Blowin' Hot and Cool: Jazz and Its Critics (Large Print 16pt) John Gennari Sin vista previa disponible - 2013 |
Términos y frases comunes
aesthetic African American Albert Murray American culture argued artistic audience authentic avant garde band Beat bebop Benny Goodman Billie Bird Lives black culture black jazz black music black musicians Blesh blues canon Charlie Parker Chicago Coltrane concert Dan Morgenstern dance Davis’s defined discourse Dizzy Gillespie Duke Ellington early essay fans figure film find first Gary Giddins George Harlem hipster Ibid intellectual interview jazz criticism Jazz Festival jazz history jazz musicians Jazz Review jazz world jazz writers jazz’s Jazzmen John Hammond Kofsky Lees Lenox Leonard Feather listening Louis Armstrong magazine mainstream Marshall Stearns Martin Williams Metronome Miles Davis Mingus Morgenstern Nat Hentoff Negro ofJazz Orleans Oxford University Press performance players playing political popular profile race racial Ralph Ellison Ralph Gleason record rhythm Ross Russell RRC/HRHRC Russell’s significance social sound Stanley Crouch Stearns’s story swing TheJazz tradition trumpeter Voice Wein white critics white jazz Whitney Balliett writing wrote York
Pasajes populares
Página 162 - The Blues is an impulse to keep the painful details and episodes of a brutal experience alive in one's aching consciousness, to finger its jagged grain, and to transcend it, not by the consolation of philosophy, but by squeezing from it a near-tragic, near-comic lyricism.
Página 30 - Let the blare of Negro jazz bands and the bellowing voice of Bessie Smith singing blues penetrate the closed ears of the colored near-intellectuals until they listen and perhaps understand. Let Paul Robeson singing Water Boy...
Página 272 - Negro music alone, because it drew its strengths and beauties out of the depth of the black man's soul, and because to a large extent its traditions could be carried on by the lowest classes of Negroes, has been able to survive the constant and willful dilutions of the black middle class. Blues and jazz have been the only consistent exhibitors of "Negritude...
Página 202 - I think a movement in jazz is beginning away from the conventional string of chords, and a return to emphasis on melodic rather than harmonic variation. There will be fewer chords but infinite possibilities as to what to do with them.
Página 438 - Americans at the Harry Ransom Humanities Research Center at the University of Texas at Austin.
Página 159 - Here it is more meaningful to speak, not of courses of study, of grades and degrees, but of apprenticeship, ordeals, initiation ceremonies, of rebirth. For after the jazzman has learned the fundamentals of his instrument and the traditional techniques of jazz — the intonations, the mute work, manipulation of timbre, the body of traditional styles — he must then "find himself," must be reborn, must find, as it were, his soul.
Página 284 - The Negro musician is a reflection of the Negro people as a social and cultural phenomenon. His purpose ought to be to liberate America aesthetically and socially from its inhumanity. The inhumanity of the white American to the black American as well as the inhumanity of the white American to the white American is not basic to America and can be exorcised, gotten out. I think the Negro people through the force of their struggles are the only hope of saving America, the political or the cultural America.
Página 161 - And then Ellington and the great orchestra came to town; came with their uniforms, their sophistication, their skills; their golden horns, their flights of controlled and disciplined fantasy; came with their art, their special sound; came with Ivy Anderson and Ethel Waters singing and dazzling the eye with their high-brown beauty and with the richness and bright feminine flair of their costumes, their promising manners. They were news from the great wide world, an example and a goal...
Referencias a este libro
Verscheurd paradijs: wijsgerige en pedagogische verkenningen over een ... Etienne L. G. E. Kuypers Vista previa limitada - 2007 |