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Book
1 online resource.
  • Introduction 1. Kenny Werner 2. Don Friedman 3. Wayne Krantz 4. Steve Kuhn 5. Gil Goldstein 6. Chico Hamilton 7. Lenny Pickett 8. Benny Golson 9. John Abercrombie 10. Jack DeJohnette 11. Christian McBride 12. Ralph Towner and Paul McCandless 13. Chris Potter 14. Jimmy Heath 15. Pat Martino 16. Roy Haynes 17. Helen Merrill 18. Lee Konitz 19. Joe Lovano 20. Dave Liebman 21. Phil Woods 22. Jim Hall 23. Paul Winter 24. George Wein 25. Janis Siegel and Cheryl Bentyne 26. Jon Hendricks and Annie Ross 27. Randy Brecker 28. Michel Camilo 29. Gerald Wilson 30. Gary Bartz 31. Bill Frisell 32. Lou Marini 33. Kenny Barron 34. Sheila Jordan 35. Cedar Walton Index.
  • (source: Nielsen Book Data)9781138240797 20180129
From the Minds of Jazz Musicians: Conversations with the Creative and Inspired celebrates contemporary jazz artists who have toiled, struggled and succeeded in finding their creative space. The volume was developed through transcribing and editing selected interviews with 35 jazz artists, conducted by the author between 2009 and 2012 in New York City, with a historical essay on each artist to provide context. The interviews feature musicians from a broad range of musical styles and experiences, ranging from Gerald Wilson, born in 1918, to Chris Potter, born in 1971. Topics range from biographical life histories to artists' descriptions of mentor relationships, revealing the important life lessons they learned along the way. With the goal to discover the person behind the persona, the author elicits conversations that speak volumes on the creative process, mining the individualistic perspectives of seminal artists who witnessed history in the making. The interviews present the artists' candid and direct opinions on music and how they have succeeded in pursuing their unique and creative lives.
(source: Nielsen Book Data)9781138240797 20180129
Book
1 online resource.
  • Foreword by Emily Foster: Lee Brown: A Recollection Acknowledgements Introduction PART I How is Jazz Distinctive? Essence and Definition 1 Dancing, Dwelling, and Rhythmic Swing 2 A Theory of Jazz Music: "It Don't Mean a Thing ..." 3 Defining Jazz Historically PART II Jazz and American Culture 4 Jazz Singing and Taking Wing 5 Race, Jazz, and Popular Music: The Legacy of Blackface Minstrelsy 6 Jazz and the Culture Industry PART III Music Ontology 7 Improvisations and Spontaneity 8 Musical Forgeries, Improvisation, and the Principle of Continuity 9 Phonography, Repetition, and Spontaneity 10 Jazz Improvisation and its Vicissitudes: A Plea for Imperfection Index.
  • (source: Nielsen Book Data)9781315280592 20180226
Co-authored by three prominent philosophers of art, Jazz and the Philosophy of Art is the first book in English to be exclusively devoted to philosophical issues in jazz. It covers such diverse topics as minstrelsy, bebop, Voodoo, social and tap dancing, parades, phonography, musical forgeries, and jazz singing, as well as Goodman's allographic/autographic distinction, Adorno's critique of popular music, and what improvisation is and is not. The book is organized into three parts. Drawing on innovative strategies adopted to address challenges that arise for the project of defining art, Part I shows how historical definitions of art provide a blueprint for a historical definition of jazz. Part II extends the book's commitment to social-historical contextualism by exploring distinctive ways that jazz has shaped, and been shaped by, American culture. It uses the lens of jazz vocals to provide perspective on racial issues previously unaddressed in the work. It then examines the broader premise that jazz was a socially progressive force in American popular culture. Part III concentrates on a topic that has entered into the arguments of each of the previous chapters: what is jazz improvisation? It outlines a pluralistic framework in which distinctive performance intentions distinguish distinctive kinds of jazz improvisation. This book is a comprehensive and valuable resource for any reader interested in the intersections between jazz and philosophy.
(source: Nielsen Book Data)9781315280592 20180226
Book
x, 253 pages ; 24 cm
  • Author's Note Introduction: The 1960s: Point of Departure Chapter 1: 1970: Travelling Somewhere Chapter 2: 1971: The Prince and the Pariah Chapter 3: 1972: Adaptive Dance Chapter 4: 1973: The Canon Chapter 5: 1974: "A new name half the world already knows" Chapter 6: 1975: Montreux Chapter 7: 1976: Wildflowers Chapter 8: 1977: Company Week Chapter 9: 1978: Salt Peanuts Chapter 10: 1979: Nice Guys Coda: The Early 1980s: Let's Call This.
  • (source: Nielsen Book Data)9781442242098 20180129
Breaking through pervasive misconceptions, Jazz in the 1970s explores a pivotal decade in jazz history. Many consider the 1970s to be the fusion decade, but Bill Shoemaker pushes back against this stereotype with a bold perspective that examines both the diverse musical innovations and cultural developments that elevated jazz internationally. He traces events that redefined jazz's role in the broadband arts movement as well as the changing social and political landscape. Shoemaker immerses readers in the cultural transformation of jazz through: -official recognition with events like Jimmy Carter's White House Jazz Picnic and the release of The Smithsonian Collection of Classic Jazz; -the market validation of avant-garde musicians by major record labels and the concurrent spike in artist-operated record labels and performance spaces; -the artistic influence and economic impact of jazz festivals internationally; -the emergence of government and foundation grant support for jazz in the United States and Europe; -and the role of media in articulating a fast-changing scene. Shoemaker details the lives and work of well-known innovators (such as Art Ensemble of Chicago, Anthony Braxton and Sam Rivers) as well as barrier-breaking artists based in Europe (such as Derek Bailey, Peter Brotzmann and Chris McGregor) giving both longtime fans and newcomers insights into the moments and personae that shaped a vibrant decade in jazz.
(source: Nielsen Book Data)9781442242098 20180129
Music Library
Book
1 online resource (xxxii, 397 pages)
  • Part 1: Basics 1. Music Fundamentals 2. Jazz Rhythms 3. Harmonic Function 4. Four-Part Chords 5. Five-Part Chords 6. The II-V-I Progression 7. Modes 8. Chord-Scale Theory 9. The Blues 10. Improvisation Part 2: Intermediate 11. Voicing Formations 12. Keyboard and Jazz Chorale Textures 13. Idiomatic Jazz Progressions 14. Bebop 15. Bebop Blues 16. The Confirmation Changes 17. The Rhythm Changes 18. Pentatonics, Hexatonics, Octatonics 19. The Tristano Style of Improvisation Part 3: Advanced 20. Analyzing Jazz Lead Sheets 21. Phrase Models 22. Song Forms 23. Reharmonization Techniques 24. Post-Tonal Jazz: Atonality 25. Set Classes in Jazz 26. Twelve-Tone Techniques 27. Stylistic Crossovers: Developing a New Jazz Repertory.
  • (source: Nielsen Book Data)9781138235106 20171218
Jazz Theory: From Basic to Advanced Study, Second Edition, is a comprehensive textbook for those with no previous study in jazz, as well as those in advanced theory courses. Written with the goal to bridge theory and practice, it provides a strong theoretical foundation from music fundamentals to post-tonal theory, while integrating ear training, keyboard skills, and improvisation. It hosts "play-along" audio tracks on a Companion Website, including a workbook, ear-training exercises, and an audio compilation of the musical examples featured in the book. Jazz Theory is organized into three parts: Basics, Intermediate, and Advanced. This approach allows for success in a one-semester curriculum or with subsequent terms. If students sense that theory can facilitate their improvisational skills or can help them develop their ears, they become more engaged in the learning process. The overall pedagogical structure accomplishes precisely that in an original, creative-and above all, musical-manner. KEY FEATURES include 390 musical examples, ranging from original lead sheets of standard tunes, jazz instrumentals, transcriptions, and original compositions, to fully realized harmonic progressions, sample solos, and re-harmonized tunes. The completely revamped Companion Website hosts: 46 "Play Along Sessions" audio tracks, offering experiences close to real-time performance scenarios. Over 1,000 (audio and written) exercises covering ear training, rhythm, notation, analysis, improvisation, composition, functional keyboard, and others.ã Recordings of all 390 musical examples from the textbook. Links: Guide to Making Transcriptions, List of Solos to Transcribe, Selected Discography, Classification of Standard Tunes, and more. Lists of well-known standard tunes, including a comprehensive list of 999 Standard Tunes - Composers and Lyricists. NEW TO THE SECOND EDITION are instructors' tools with answer keys to written and ear-training exercises, 380 rhythmic calisthenics featuring exercises from the swing, bebop, and Latin rhythmic traditions, a new improvisation section, a set of 140 Comprehensive Keyboard exercises, plus an expanded ear-training section with 125 melodic, 50 rhythmic dictations, and 170 harmonic dictations, plus 240 written exercises, 25 composition assignments, and 110 singing exercises. Companion website coming soon! Until then, please visit the website for the first edition: http://www.routledgetextbooks.com/textbooks/9780415537612/.
(source: Nielsen Book Data)9781138235106 20171218
EBSCOhost Access limited to 1 user
Book
xvi, 240 pages : illustrations ; 23 cm.
During World War II, jazz embodied everything that was appealing about a democratic society as envisioned by the Western Allied powers. Labelled `degenerate' by Hitler's cultural apparatus, jazz was adopted by the Allies to win the hearts and minds of the German public. It was also used by the Nazi Minister for Propaganda, Joseph Goebbels, to deliver a message of Nazi cultural and military superiority. When Goebbels co-opted young German and foreign musicians into `Charlie and his Orchestra' and broadcast their anti-Allied lyrics across the English Channel, jazz took centre stage in the propaganda war that accompanied World War II on the ground. The Jazz War is based on the largely unheard oral testimony of the personalities behind the German and British wartime radio broadcasts, and chronicles the evolving relationship between jazz music and the Axis and Allied war e orts. Studdert shows how jazz both helped and hindered the Allied cause as Nazi soldiers secretly tuned in to British radio shows while London party-goers danced the night away in demimonde `bottle parties', leading them to be branded a `menace' in Parliament. This book will appeal to students of the history of jazz, broadcasting, cultural studies, and the history of World War II.
(source: Nielsen Book Data)9781784538583 20180213
Green Library
Book
xxi, 404 pages, 16 unnumbered pages of plates : illustrations, map ; 24 cm
  • Cast of characters
  • The neighborhoods of Pittsburgh
  • The Brown Bomber's cornermen
  • The Negro Carnegies
  • The calculating crusader
  • The rise and fall of "Big Red"
  • Billy and Lena
  • The Double V warriors
  • The complex Mr. B
  • "Jackie's Boswell"
  • The women of "up south"
  • The bard of a broken world.
"The other great Renaissance of black culture, influence, and glamour burst forth joyfully in what may seem an unlikely place--Pittsburgh, PA--from the 1920s through the 1950s. Today black Pittsburgh is known as the setting for August Wilson's famed plays about noble but doomed working-class strivers. But this community once had an impact on American history that rivaled the far larger black worlds of Harlem and Chicago. It published the most widely read black newspaper in the country, urging black voters to switch from the Republican to the Democratic Party and then rallying black support for World War II. It fielded two of the greatest baseball teams of the Negro Leagues and introduced Jackie Robinson to the Brooklyn Dodgers. Pittsburgh was the childhood home of jazz pioneers Billy Strayhorn, Billy Eckstine, Earl Hines, Mary Lou Williams, and Erroll Garner; Hall of Fame slugger Josh Gibson--and August Wilson himself. Some of the most glittering figures of the era were changed forever by the time they spent in the city, from Joe Louis and Satchel Paige to Duke Ellington and Lena Horne. Mark Whitaker's Smoketown is a captivating portrait of this unsung community and a vital addition to the story of black America."-- From the publisher.
Law Library (Crown)
Book
xxi, 404 pages, 16 unnumbered pages of plates : illustrations, map ; 24 cm
  • The Brown Bomber's cornermen
  • The Negro Carnegies
  • The calculating crusader
  • The rise and fall of "Big Red"
  • Billy and Lena
  • The Double V warriors
  • The complex Mr. B
  • "Jackie's Boswell"
  • The women of "up south"
  • The bard of a broken world.
"The other great Renaissance of black culture, influence, and glamour burst forth joyfully in what may seem an unlikely place--Pittsburgh, PA--from the 1920s through the 1950s. Today black Pittsburgh is known as the setting for August Wilson's famed plays about noble but doomed working-class strivers. But this community once had an impact on American history that rivaled the far larger black worlds of Harlem and Chicago. It published the most widely read black newspaper in the country, urging black voters to switch from the Republican to the Democratic Party and then rallying black support for World War II. It fielded two of the greatest baseball teams of the Negro Leagues and introduced Jackie Robinson to the Brooklyn Dodgers. Pittsburgh was the childhood home of jazz pioneers Billy Strayhorn, Billy Eckstine, Earl Hines, Mary Lou Williams, and Erroll Garner; Hall of Fame slugger Josh Gibson--and August Wilson himself. Some of the most glittering figures of the era were changed forever by the time they spent in the city, from Joe Louis and Satchel Paige to Duke Ellington and Lena Horne. Mark Whitaker's Smoketown is a captivating portrait of this unsung community and a vital addition to the story of black America. It depicts how ambitious Southern migrants were drawn to a steel-making city on a strategic river junction; how they were shaped by its schools and a spirit of commerce with roots in the Gilded Age; and how their world was eventually destroyed by industrial decline and urban renewal. Whitaker takes readers on a rousing, revelatory journey--and offers a timely reminder that Black History is not all bleak." -- Amazon.com.
Green Library
Book
222 pages : illustrations ; 24 cm.
  • Introduction. 1. The Bass and the Early Mechanical Roots of Jazz (1915-1930) 2. The Bass, Technology and the Development of the Rhythm Section (1930-1945) 3. The Spoils of War and the Jazz Bass: Tape Recorders and Editing (1945-1960) 4. The Electrification of the Bass: Behold the Illegitimate Cousin (1954-1970) 5. The Jazz Bass, Multi-Track Recording Technology and Fusion (1970s) 6. Jaco Pastorius: The Electric Jazz Bass Attains Respectability (1976-1985) 7. The Young Lions and the Technological Backlash (1980-1990) 8. Pro Tools, Computers and the Bass (1990-2005) 9. The Future of the Jazz Bassist (2005-2012) Conclusion.
  • (source: Nielsen Book Data)9781138236561 20171009
Technology and the Stylistic Evolution of the Jazz Bass traces the stylistic evolution of jazz from the bass player's perspective. Historical works to date have tended to pursue a `top down' reading, one that emphasizes the influence of the treble instruments on the melodic and harmonic trajectory of jazz. This book augments that reading by examining the music's development from the bottom up. It re-contextualizes the bass and its role in the evolution of jazz (and by extension popular music in general) by situating it alongside emerging music technologies. The bass and its technological mediation are shown to have driven changes in jazz language, musical style, and even transformed creative hierarchies in ways that have been largely overlooked. The book's narrative is also informed by investigations into more commercial musical styles such as blues and rock, in order to assess how, and the degree to which, technological advances first deployed in these areas gradually became to be incorporated into general jazz praxis. Technology and the Jazz Bass reconciles technology more thoroughly into jazz historiography by detailing and evaluating those that are intrinsic to the instrument (including its eventual electrification) and those extrinsic to it (most notably evolving recording and digital technologies). The author illustrates how the implementation of these technologies has transformed the role of the bass in jazz, and with that, jazz music as an art form.
(source: Nielsen Book Data)9781138236561 20171009
Music Library
Book
ix, 266 pages : illustrations ; 23 cm
  • Acknowledgments vii Introduction. Kindred Sounds and Latin Cats 1 1. La Civilizada Selva: Latin America and the Jazz Age 13 2. Dark Pursuits: Argentina, Race, and Jazz 51 3. The Anxiety of Americanization: Jazz, Samba, and Bossa Nova 89 4. The Hazards of Hybridity: Afro-Cuban Jazz, Mambo, and Revolution 131 5. Liberation, Disenchantment, and the Afterlives of Jazz 163 Conclusion. The Cruelty of Jazz 195 Notes 201 Bibliography 237 Index 261.
  • (source: Nielsen Book Data)9780822369905 20180326
In Tropical Riffs Jason Borge traces how jazz helped forge modern identities and national imaginaries in Latin America during the mid-twentieth century. Across Latin America jazz functioned as a conduit through which debates about race, sexuality, nation, technology, and modernity raged in newspapers, magazines, literature, and film. For Latin American audiences, critics, and intellectuals-who often understood jazz to stem from social conditions similar to their own-the profound penetration into the fabric of everyday life of musicians like Duke Ellington, Dizzy Gillespie, and Charlie Parker represented the promises of modernity while simultaneously posing a threat to local and national identities. Brazilian antijazz rhetoric branded jazz as a problematic challenge to samba and emblematic of Americanization. In Argentina jazz catalyzed discussions about musical authenticity, race, and national culture, especially in relation to tango. And in Cuba, the widespread popularity of Chano Pozo and Damaso Perez Prado popularity challenged the United States' monopoly on jazz. Outlining these hemispheric flows of ideas, bodies, and music, Borge elucidates how "America's art form" was, and remains, a transnational project and a collective idea.
(source: Nielsen Book Data)9780822369905 20180326
Green Library
Book
91 pages ; 22 cm
Green Library
Book
viii, 316 pages : illustrations (some color) ; 24 x 28 cm
  • Introduction
  • Presenting the Thad Jones/Mel Lewis Orchestra
  • Mel Lewis and the Jazz Orchestra
  • The Vanguard Jazz Orchestra: sixteen as one
  • Thad
  • Mel
  • The music of Bob Brookmeyer
  • The music of Jim McNeely
  • Riding the bus: life on the road
  • Solo space: the small group within a big band
  • A legacy of composition
  • The 50th anniversary collection
  • The Village Vanguard
  • Just like on the records: the official discography
  • And the band
  • By the numbers.
Music Library

12. Blue giant supreme [2017 - ]

Book
volumes : illustrations (some color) ; 18 cm.
East Asia Library
Book
1 online resource.
EBSCOhost Access limited to 1 user
Book
ix, 308 pages, 34 unnumbered pages of plates : illustrations ; 24 cm
  • Crazy little women
  • Everything's up to date in Kansas City
  • Now's the time
  • A beautiful friendship
  • The first year, March 17-19, 1978
  • Summertime
  • There's no business like show business
  • Sweet Georgia Brown
  • This could be the start of something big
  • Spring can really hang you up the most
  • Spring is here
  • The second year, March 23-25, 1979
  • All of me
  • Work song
  • Blues Melba
  • The more I see you
  • You and the night and the music
  • The third year, March 20-23, 1980
  • All the things you are
  • Swing is the thing
  • Confirmation
  • Come fly with me
  • Come Sunday
  • The fourth year, March 25-29, 1981
  • Stories to tell
  • The best is yet to come
  • Time after time
  • Dr. Jive
  • The fifth year, March 24-28, 1982
  • But not for me
  • At last
  • Close enough for love
  • I'm hip
  • I get a kick out of you
  • Guess who I saw today
  • All alone
  • The sixth year, March 23-27, 1983
  • Time and time again
  • The beat goes on
  • Teach me tonight
  • Tea for two
  • Straight no chaser
  • More than you know
  • Thanks for the boogie ride
  • Every time we say goodbye
  • I've got you under my skin
  • Let's call the whole thing off.
Even though the potential passage of the Equal Rights Amendment had cracked glass ceilings across the country, in 1978 jazz remained a boys' club. Two Kansas City women, Carol Comer and Dianne Gregg, challenged that inequitable standard. With the support of jazz luminaries Marian McPartland and Leonard Feather, inaugural performances by Betty Carter, Mary Lou Williams, an unprecedented All-Star band of women, Toshiko Akiyoshi's band, plus dozens of Kansas City musicians and volunteers, a casual conversation between two friends evolved into the annual Kansas City Women's Jazz Festival (WJF). But with success came controversy. Anxious to satisfy fans of all jazz styles, WJF alienated some purists. The inclusion of male sidemen brought on protests. The egos of established, seasoned players unexpectedly clashed with those of newcomers. Undaunted, Comer, Gregg, and WJF's ensemble of supporters continued the cause for eight years. They fought for equality not with speeches but with swing, without protest signs but with bebop. For the first book about this groundbreaking festival, Carolyn Glenn Brewer interviewed dozens of people and dove deeply into the archives. This book is an important testament to the ability of two friends to emphatically prove jazz genderless, thereby changing the course of jazz history.
(source: Nielsen Book Data)9781574416664 20170502
Music Library
Book
206 pages : illustrations, music ; 24 cm
Music Library
Book
52 pages : illustrations, portraits ; 21 cm.
  • Buffha Scheidegger discography / contributor Erwin Elvers
  • Jacky Milliet discography / contributor Erwin Elvers
  • The Dixie Kids discography / contributor Fidi Weber.
Archive of Recorded Sound
Book
188 pages : illustrations ; 23 cm
Lilian Terry has lived music. As a performer, she has shared the stage with Ella Fitzgerald and Nina Simone. She cofounded the European Jazz Federation and pioneered jazz education in Italy. Her work as a director-producer of radio and television programs have spread the music by introducing countless people to its legendary performers. Drawing on Terry's long friendships and professional associations, Dizzy, Duke, Brother Ray, and Friends offers readers a rare opportunity to hear intimate conversations with some of the world's greatest musical figures. Dizzy Gillespie offers his thoughts on playing with ÷sanctified  rhythm and the all-important personal touch in performance. Duke Ellington discourses on jazz history and concludes an interview to sing a self-written ditty in Italian. Ray Charles gives candid thoughts on race and politics while taking charge of Terry's tape recorder. Abbey Lincoln, Max Roach, Horace Silver, Bill Evans "all provide Terry and her readers with unforgettable encounters. The result is a collection of profiles, some stretching over a decade or more, that reveal these performers in ways that illuminates their humanity and expands our appreciation of their art.
(source: Nielsen Book Data)9780252083167 20180115
Music Library
Book
320 pages : illustrations ; 25 cm
  • Introduction: "I thought I heard" : the origins of jazz and the ends of jazz writing
  • Louis Armstrong and the syntax of scat
  • Towards a poetics of transcription: James Weldon Johnson's prefaces
  • The literary Ellington
  • The race for space: Sun Ra's poetry
  • Zoning Mary Lou Williams zoning
  • Let's call this: Henry Threadgill and the micropoetics of the song title
  • Notes on poetics regarding Mackey's song
  • Come out
  • Afterword: Hearing across media.
Hearing across media is the source of innovation in a uniquely African American sphere of art-making and performance, Brent Hayes Edwards writes. He explores this fertile interface through case studies in jazz literature both writings informed by music and the surprisingly large body of writing by jazz musicians themselves.
(source: Nielsen Book Data)9780674055438 20170807
Green Library
Book
xxvii, 139 pages ; 24 cm.
  • Chapter 1 - Now He Sings, Now He Sobs - What Was? Chapter 2 - Bitches Brew and In A Silent Way Chapter 3 - Circle - An Avant-Garde Excursion Chapter 4 - Return to Forever - the Acoustic Period Chapter 5 - Return to Forever - Electric Chapter 6 - Playing With Friends Chapter 7 - Acoustic Variations Chapter 8 - Back to Electric Chapter 9 - So Many Things To Do Coda - The Corea Legacy.
  • (source: Nielsen Book Data)9781442244689 20171121
Chick Corea is a legendary jazz figure. He is one of the most prolific and influential contemporary pianists. He has received 61 Grammy nominations and won 23 of them, including 3 Latin Grammys. He has produced hundreds of releases in multiple genres over five decades, and he is one of the hardest-working musicians in the industry, with a yearly tour schedule of over 250 international concerts. He has authored multiple books and instructional works, and many regard him today as easily one of the most influential musicians of his generation. Experiencing Chick Corea looks at the full span of Corea's career, decade by decade, touching on the vast array of musical styles he engaged, from his initial work with Herbie Mann to his free explorations with Circle. It touches on his arguably most influential album Now He Sings, Now He Sobs, his involvement with Miles Davis' Bitches Brew and subsequent efforts as pioneer in the fusion scene with Return to Forever, his duo collaborations, classical outings, and his acoustic and trio work in the 1990s and beyond. Learning how to listen to Corea is itself a bit of a magic carpet ride, given the range of material he has created and the breadth and depth of that work. Experiencing Chick Corea introduces this American Icon to audiences beyond the domain of jazz fans already familiar with this work. Monika Herzig places Corea's creations in their historical and social contexts so any music lover can gain a fuller understanding of the incredible range of his work.
(source: Nielsen Book Data)9781442244689 20171121
Music Library
Book
xxii, 189 pages ; 24 cm.
  • Timeline Introduction: Opening the Door... 1.Dancing in Your Head 2.Ramblin': The First Quartets 3.Sound Gravitations: The Trios 4.Sounds and Forms: The Path to Skies of America 5.Feet Music: From Joujouka to Prime Time 6.Round Trip: Late Quartets and Other Ensembles Intermezzo: Cherry and Charlie 7.Don Cherry: A Path to the Global Village 8.Charlie Haden: Ramblin' Boy Finale: Voices 9.In All Languages: Kudos, Ornette-isms, and Meditations Afterword: Ears ... Mind ... Heart Selected Reading Selected Listening Appendix A: Speaking with Sonny Rollins about Ornette Coleman Appendix B: Surfing the Jazz Net: Selected Web Resources.
  • (source: Nielsen Book Data)9781442249622 20171121
Saxophonist, violinist, trumpeter, composer, and bandleader Ornette Coleman, along with pianist Cecil Taylor, was one of the founding forces of the Free Jazz movement which took the music world by storm in the 1950s and 60s. His brilliance as an instrumentalist at first positioned him as a polarizing figure, but eventually brought him recognition as an American original and international jazz treasure. Jazz drummer Michael Stephans explores the personal challenges Coleman faced, the music he created from one decade to the next, and the incredibly positive attitude he maintained in the face of so much negativity throughout his life. Revealing how Coleman became an iconic, enigmatic figure not only in jazz, but in much of contemporary improvisational music, Stephans weaves together analysis of Coleman's recordings with interviews of those who knew Coleman best. Experiencing Ornette Coleman: A Listener's Companion encourages both jazz devotees and readers with little knowledge of the music to trace the inspirational journey of this now-seminal figure from his early years through the beginnings of the new millennium. Along the way, readers will learn about the music and motivations of the free jazz movement while experiencing an utterly human story of artistic genius and expression.
(source: Nielsen Book Data)9781442249622 20171121
Music Library

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