Jazz Mavericks of the Lone Star State
University of Texas Press, 2007 - 242 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Jazz Mavericks of the Lone Star State presents sixteen published and previously unpublished essays on Texans and jazz.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.
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In 1937 Herman ' s band included Houston - born alto saxophonist and arranger
Dean Kincaide , but this Texan did not solo in any of the performances of that
year and contributed more as an arranger than a soloist to the Wisconsin leader '
contributed seven of the twelve arrangements recorded by the Herman band for
its album entitled Woody Herman ' 58 . In speaking of his arrangement of “ Blue
Satin , ” Roland remarked that it was a “ slow blues typically in the Woody
Yet another blues on which Nelson solos is the classic “ Farewell Blues , ” and on
“ Bessie ' s Blues ” he vocalizes with Herman . Nelson also is heard singing the
phrase “ Beat me , papa ” to end the popular tune “ Beat Me Daddy , Eight to the ...
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THE ROOTS OF TEXAN JAZZ
BRITISH ACOLYTES OF JAZZ AND ITS TEXAS CONTINGENT
THE WISCONSINTEXAS JAZZ NEXUS
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