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 48
... Henderson orchestra , two of the three tunes were Spencer's , " Poor House Blues " and " Thunderstorm Blues " ( Waller and Razaf wrote the third ) . Armstrong , who made a point of recording songs by African - American writers , would ...
... Henderson orchestra , two of the three tunes were Spencer's , " Poor House Blues " and " Thunderstorm Blues " ( Waller and Razaf wrote the third ) . Armstrong , who made a point of recording songs by African - American writers , would ...
Página 55
... Henderson , then a chemistry student with classical leanings . Waters made him study the piano rolls of James P. Johnson , and his accompaniments improved markedly ( hear him on Bes- sie Smith's " Any Woman's Blues " ) . Henderson ...
... Henderson , then a chemistry student with classical leanings . Waters made him study the piano rolls of James P. Johnson , and his accompaniments improved markedly ( hear him on Bes- sie Smith's " Any Woman's Blues " ) . Henderson ...
Página 71
... - ture with a stomp episode that became anthemic in the swing era when Fletcher Henderson turned it into a big band riff chorus . Morton himself did not adapt it for his recording ensembles , but Jelly Roll Morton 71.
... - ture with a stomp episode that became anthemic in the swing era when Fletcher Henderson turned it into a big band riff chorus . Morton himself did not adapt it for his recording ensembles , but Jelly Roll Morton 71.
Página 73
... Henderson and Ellington and Webb and enlarged his unit , succeeding where Oliver had failed in adapting the New Orleans style to a big band . The results are uneven , yet fascinating . " Sweet Anita Mine " is a soufflé for twelve ...
... Henderson and Ellington and Webb and enlarged his unit , succeeding where Oliver had failed in adapting the New Orleans style to a big band . The results are uneven , yet fascinating . " Sweet Anita Mine " is a soufflé for twelve ...
Página 81
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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