Jazz Mavericks of the Lone Star StateUniversity of Texas Press, 2009 M12 3 - 256 páginas Jazz is one of America's greatest gifts to the arts, and native Texas musicians have played a major role in the development of jazz from its birth in ragtime, blues, and boogie-woogie to its most contemporary manifestation in free jazz. Dave Oliphant began the fascinating story of Texans and jazz in his acclaimed book Texan Jazz, published in 1996. Continuing his riff on this intriguing musical theme, Oliphant uncovers in this new volume more of the prolific connections between Texas musicians and jazz. Jazz Mavericks of the Lone Star State presents sixteen published and previously unpublished essays on Texans and jazz. Oliphant celebrates the contributions of such vital figures as Eddie Durham, Kenny Dorham, Leo Wright, and Ornette Coleman. He also takes a fuller look at Western Swing through Milton Brown and his Musical Brownies and a review of Duncan McLean's Lone Star Swing. In addition, he traces the relationship between British jazz criticism and Texas jazz and defends the reputation of Texas folklorist Alan Lomax as the first biographer of legendary jazz pianist-composer Jelly Roll Morton. In other essays, Oliphant examines the links between jazz and literature, including fiction and poetry by Texas writers, and reveals the seemingly unlikely connection between Texas and Wisconsin in jazz annals. All the essays in this book underscore the important parts played by Texas musicians in jazz history and the significance of Texas to jazz, as also demonstrated by Oliphant's reviews of the Ken Burns PBS series on jazz and Alfred Appel Jr.'s Jazz Modernism. |
Dentro del libro
Resultados 1-5 de 39
... improvisation. Almost from the beginning of my jazz education, I was aware that Texans had been active at high levels in the music's history, including Beaumont's own Harry James, a star trumpeter of the Benny Goodman Orchestra. In fact ...
... improvisation as an essential feature of the form (although both blues and boogie-woogie did involve improvisation to a limited degree), did not normally include a rhythm section devoted to supporting and stimulating a band's sections ...
... improvisation begins with a held and then repeated note that swings with the greatest intensity, and his virtuosity is exhibited through phrases that shift direction abruptly, even as he maintains a tremendous drive and phenomenal ...
... improvised solo. On June 28, 1928, Armstrong and pianist Earl “Fatha” Hines recorded King Oliver's “West End Blues,” and Armstrong's cadenza on this occasion demonstrated his up to that moment unmatched virtuosity. On December 5, 1928 ...
... improvisations, would also be captured on wax when the Blue Devils made their only recordings, of two tunes entitled “Squabblin'” and “Blue Devil Blues.” Hot Lips Page's opening solo on “Blue Devil Blues” has. 16. JazzMavericks. of. the.
Contenido
1 | |
9 | |
The Texas Jazz Connections | 33 |
Kenny Dorham and Leo Wright | 45 |
5 BRITISH ACOLYTES OF JAZZ AND ITS TEXAS CONTINGENT | 61 |
6 THE WISCONSINTEXAS JAZZ NEXUS | 81 |
7 JAZZ IN LITERATURE | 99 |
8 THE ALCHEMY OF JAZZ | 113 |
11 A TEXAS TAKE ON KEN BURNSS JAZZ | 135 |
12 SWINGING THROUGH TEXAS ON A SCOTTISH AIR | 143 |
13 THE BIRTH OF WESTERN SWING | 149 |
Untangling the Legacy of Jelly Roll Morton and Alan Lomax | 159 |
15 DISCOGRAPHIES AND TEXAN JAZZ | 171 |
16 SAN MARCOS IN JAZZ HISTORY | 181 |
NOTES | 187 |
BIBLIOGRAPHY | 223 |
9 ORNETTE COLEMANS HARMOLODIC LIFE | 121 |
10 A JAZZ MASTERS DIAMOND JUBILEE | 129 |
INDEX | 231 |