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Jazz Mavericks of the Lone Star State presents sixteen published and previously unpublished essays on Texans and jazz.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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Gunther Schuller has judged Smith's alto solos from this date to be “ advanced for their After a brief period with the Bennie Moten band in 1933 and with the Count Basie band of 1935 , Smith formed his own group , which in 1938 included ...
In 1932 Parker first met Buster Smith , who would become Bird's mentor on alto saxophone . Born in Alsdorf , south of Dallas , in 1904 , Smith was self - taught on clarinet and alto and also as a composer - arranger .
On alto Wright at times sounds more like a tenor , his tone gruffer than Parker's and his ideas fiercer , more ferocious . While Wright does not offer Parker's complex bebop locutions , he does at times rip off strings of precipitant ...
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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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