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 45
... listeners will likely recognize the names of the white composers now embedded in a Golden Age pantheon that generally admits of only three African Americans ( W. C. Handy , Duke Ellington , and Fats Wal- ler ) . Yet other songs of ...
... listeners will likely recognize the names of the white composers now embedded in a Golden Age pantheon that generally admits of only three African Americans ( W. C. Handy , Duke Ellington , and Fats Wal- ler ) . Yet other songs of ...
Página 63
... listeners they were about to hear something truly unblem- ished by the miscreants of modern music , as though Lewis - who was born in 1900 , one year after Ellington , one year before Armstrong - had not only remained in his hometown of ...
... listeners they were about to hear something truly unblem- ished by the miscreants of modern music , as though Lewis - who was born in 1900 , one year after Ellington , one year before Armstrong - had not only remained in his hometown of ...
Página 73
... listener fails to appreciate his intentions , which in 1926 would have been more than likely in most parts of the country , he opens the performance with vaudeville dialogue to set the scene . A somber march , condensed from the hymn ...
... listener fails to appreciate his intentions , which in 1926 would have been more than likely in most parts of the country , he opens the performance with vaudeville dialogue to set the scene . A somber march , condensed from the hymn ...
Página 75
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Página 88
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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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Términos y frases comunes
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