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. |
Dentro del libro
Resultados 6-10 de 89
Página 64
... never jells with that of the band ; the jazzmen leave him alone for most of his three se- lections . But Bunk had lost his limited powers that night , and his notes are muffled and pained . The producers did him no favor by replacing ...
... never jells with that of the band ; the jazzmen leave him alone for most of his three se- lections . But Bunk had lost his limited powers that night , and his notes are muffled and pained . The producers did him no favor by replacing ...
Página 70
... never be able to get the right seasoning , I call it , for jazz " ) and his ple- nary borrowings from pop , folk , and the academy - not that Morton would have considered opera , a musical form to which , as a New Or- leans Creole of ...
... never be able to get the right seasoning , I call it , for jazz " ) and his ple- nary borrowings from pop , folk , and the academy - not that Morton would have considered opera , a musical form to which , as a New Or- leans Creole of ...
Página 72
... never performed outside a studio , the Red Hot Peppers were billed as " The Number One Hot Band . " In those insuperable sessions , Morton consolidated his in- stincts for formalism and spontaneity , and fused the racial divisions that ...
... never performed outside a studio , the Red Hot Peppers were billed as " The Number One Hot Band . " In those insuperable sessions , Morton consolidated his in- stincts for formalism and spontaneity , and fused the racial divisions that ...
Página 73
... never fully express his feelings . Yet for all its bite and pleasure , Morton's music was out of sync with ' 20s New York . He was not averse to infecting records with hokum and sentimentality , but he wasn't much good at condescension ...
... never fully express his feelings . Yet for all its bite and pleasure , Morton's music was out of sync with ' 20s New York . He was not averse to infecting records with hokum and sentimentality , but he wasn't much good at condescension ...
Página 74
Alcanzaste el límite de visualización de este libro.
Alcanzaste el límite de visualización de este libro.
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 |
Otras ediciones - Ver todas
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