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Jazz Mavericks of the Lone Star State presents sixteen published and previously unpublished essays on Texans and jazz.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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On the classic dixieland number “ That's a Plenty , ” both Jack and his trumpet - playing brother Charlie contribute the finest solos on this 1930 side . Jack's extended ride is filled with his trademark turns that no other trombonist ...
Such was the case of Texan Jack Teagarden , who arrived from the Southwest to unseat or upstage Miff Mole , the leading white trombonist of the mid- to late 1920s , and even to best , some claim , black trombonist Jimmy Harrison .
Jack and his men played the unadulterated , primitive jazz . ” Haisley then reports that “ About 1920 , Pharr's Fire Hall Five , directed by Blondy Pharr , was quite well - known for its particular kind of ' jazzmania .
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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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