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Jazz Mavericks of the Lone Star State presents sixteen published and previously unpublished essays on Texans and jazz.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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More significant than any tracing of a musical source is the fact that these two
1937 charts by Texan Eddie Durham , for the Lunceford and Basie bands , were
singled out both by Fox and Schuller as among the finest arrangements for and ...
43 Apparently , these compositions were unavailable to Lomax in 1949 , and at
that point Mingus had not yet developed his experimental work that did in fact
owe something to Morton ' s music , as evinced by the titles of two Mingus pieces
The two men seem to try to match each other ' s sound , and this is fairly easy for
them to do , since in fact both share at times a similar tone production and both
exhibit a “ running ” style and a use of ornamental figures and half - valve effects .
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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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