Visions of Jazz: The First CenturyOxford University Press, 1998 M10 22 - 704 páginas Poised to become a classic of jazz literature, Visions of Jazz: The First Century offers seventy-nine chapters illuminating the lives of virtually all the major figures in jazz history. From Louis Armstrong's renegade-style trumpet playing to Sarah Vaughan's operatic crooning, and from the swinging elegance of Duke Ellington to the pioneering experiments of Ornette Coleman, jazz critic Gary Giddins continually astonishes the reader with his unparalleled insight. Writing with the grace and wit that have endeared his prose to Village Voice readers for decades, Giddins also widens the scope of jazz to include such crucial American musicians as Irving Berlin, Rosemary Clooney, and Frank Sinatra, all primarily pop performers who are often dismissed by fans and critics as mere derivatives of the true jazz idiom. And he devotes an entire quarter of this landmark volume to young, still-active jazz artists, boldly expanding the horizons of jazz--and charting and exploring the music's influences as no other book has done. |
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Página 16
... American manners before and after the First World War . A lively , personal echo of Williams is offered in the extraordinary concert tape of Eddie Cantor's Carnegie Hall Concert , and there hangs a tale . In 1962 , Audiofidelity issued ...
... American manners before and after the First World War . A lively , personal echo of Williams is offered in the extraordinary concert tape of Eddie Cantor's Carnegie Hall Concert , and there hangs a tale . In 1962 , Audiofidelity issued ...
Página 18
... America's racialist past and present ? In the most demotic of the popular arts , a theatrical tradition was born in ... American . Many celebrated minstrels thought they were playing Negro roles : Mr. Bones and Jim Crow as alternatives ...
... America's racialist past and present ? In the most demotic of the popular arts , a theatrical tradition was born in ... American . Many celebrated minstrels thought they were playing Negro roles : Mr. Bones and Jim Crow as alternatives ...
Página 21
... American dilemma was nothing more than some Swedish egghead's paranoia . Until Louis Armstrong got an- gry and told Eisenhower to take a flyer into the fiery pit , he and Mahalia Jackson made middlebrows feel comfortable about their ...
... American dilemma was nothing more than some Swedish egghead's paranoia . Until Louis Armstrong got an- gry and told Eisenhower to take a flyer into the fiery pit , he and Mahalia Jackson made middlebrows feel comfortable about their ...
Página 22
... American hymnal , " Come Sunday . " Short of outright parody - for example , Dizzy Gillespie's " Swing Low , Sweet ... American and African American music in the nineteenth century , and " Wade in the Water , " a certifiable hard bop ...
... American hymnal , " Come Sunday . " Short of outright parody - for example , Dizzy Gillespie's " Swing Low , Sweet ... American and African American music in the nineteenth century , and " Wade in the Water , " a certifiable hard bop ...
Página 24
... American pop music and one of the first black groups to win international acceptance , made the leap from tent shows to New York via a triumphant radio stint in Cincinnati in 1929. Soon they were touring the country , recording ...
... American pop music and one of the first black groups to win international acceptance , made the leap from tent shows to New York via a triumphant radio stint in Cincinnati in 1929. Soon they were touring the country , recording ...
Contenido
3 | |
11 | |
67 | |
A POPULAR MUSIC | 151 |
A MODERN MUSIC | 231 |
A MAINSTREAM MUSIC | 337 |
AN ALTERNATIVE MUSIC | 437 |
A STRUGGLING MUSIC | 527 |
A TRADITIONAL MUSIC | 585 |
Acknowledgments | 655 |
Index of Names | 657 |
Index of Songs and Selected Albums | 671 |
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album alto American arrangements audience ballad bars bass bassist Ben Webster Benny Benny Carter Berlin big band Billy Blue Note brass Carter Cecil Taylor Charlie Parker chords chorus clarinet classic Club Coleman Coleman Hawkins Coltrane Coltrane's composer concert dance debut Dizzy Gillespie drummer drums duet Duke Ellington ensemble Getz Gillespie Goodman harmonic Hawkins Henderson improvisation instrument jazz Jimmy John John Coltrane Johnny Johnny Hodges Jones later Lester Young Lewis listener Louis Armstrong Love Lunceford melody Miles Davis Mingus Monk musicians never Oliver orchestra Orleans performance phrase pianist piano piece played players quartet quintet recorded release repertory rhythm section rhythmic riffs Rollins saxophone saxophonist session Sinatra singer singing solo soloists song Sonny Sonny Rollins sound Strayhorn studio style swing Tatum Taylor tempo tenor Thelonious Monk theme timbre tour trio trombone trumpet tune vamp vocal voice wrote York Young