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 70
... piano in the Library of Congress's Coolidge Auditorium . The punch line is this : like those of Welles , most of Morton's aesthetic the- ories and claims - notwithstanding his birth date and the birth date of jazz - were posthumously ...
... piano in the Library of Congress's Coolidge Auditorium . The punch line is this : like those of Welles , most of Morton's aesthetic the- ories and claims - notwithstanding his birth date and the birth date of jazz - were posthumously ...
Página 71
... piano competition at the St. Louis Exposition ) . By the time he returned to Chicago in 1923 , he was a walk- ing treasury of the nation's musical byways , which he integrated into a music of his own . He was the first of the " workshop ...
... piano competition at the St. Louis Exposition ) . By the time he returned to Chicago in 1923 , he was a walk- ing treasury of the nation's musical byways , which he integrated into a music of his own . He was the first of the " workshop ...
Página 72
... piano solo , initially recorded in 1923. In that performance , the stomp aspect is muted , yet the piece demonstrates a rapprochement with Tin Pan Alley in combining two sixteen - bar strains with a closing thirty- two bar chorus . When ...
... piano solo , initially recorded in 1923. In that performance , the stomp aspect is muted , yet the piece demonstrates a rapprochement with Tin Pan Alley in combining two sixteen - bar strains with a closing thirty- two bar chorus . When ...
Página 73
... piano . Morton brought controlled euphoria to composed jazz , as Oliver and Armstrong had to improvised jazz . In " Smoke House Blues , " he fills what should have been a piano break with the lament , " Oh , Mr. Jelly ! " as though ...
... piano . Morton brought controlled euphoria to composed jazz , as Oliver and Armstrong had to improvised jazz . In " Smoke House Blues , " he fills what should have been a piano break with the lament , " Oh , Mr. Jelly ! " as though ...
Página 76
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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