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Jazz Mavericks of the Lone Star State presents sixteen published and previously unpublished essays on Texans and jazz.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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Fortunately , the Niehaus Sextet session allows a listener to hear these
musicians from Wisconsin and Texas working as part of a superb ensemble , with
the music on Niehaus ' s album marked by the clean lines and crisp execution of
... and contains the line “ oh teacher of splendor , " which neatly sums up the
effect on the poet of Coleman ' s “ free jazz . ... have focused their lines on such
individual figures as Charlie Parker , Dizzy Gillespie , Billie Holiday , or Bill Evans
Jean Boyd writes that “ Brower ' s solo chorus . . . is the product of a jazz musician
” and his “ solo line , though idiomatic for the violin , is phrased like a horn solo . "
13 This is not , however , one of Brower ' s better efforts , and in fact it is Dunn ...
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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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