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 Jazz Mavericks of the Lone Star State presents sixteen published and previously unpublished essays on Texans and jazz.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 51
... solo on the 1937 Goodman radio broadcast of " Jam Session . " Also in high school I discovered that multi - reedman Jimmy Giuffre was a native of Dallas , this after having heard him on a number of albums participating as a key member ...
... solo on “Your Mother's Son-in-Law” has all the earmarks of his Texas open-range upbringing. From 1936, I would single out his rendition of Johnny Mercer's “I'm an Old Cowhand” as an example of his trombone virtuosity and his delightful ...
... solo- ing on driving pieces like the 1956 “I Could Write a Book” and “Bye Bye Blackbird.” After leaving Davis in 1958, Garland recorded extensively on his own, forming groups that on several occasions included fellow Texans, among them ...
... solo , and in the 1950s he was playing as well if not better than he had in the 1930s when even then he could at times upstage his more famous sibling . This is true , for example , of Charlie's playing on Jack Teagarden and His Band ...
... 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 virtuos- ity . On December 5 , 1928 ...
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 |