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A collection of writings by and about Duke Ellington and his place in jazz history.
The fifties, though a quiescent period in many ways, was one of the most fervent decades in jazz history. The landmarks of modern jazz were firmly planted and, it could be argued, nearly all directions the music has taken since then can be charted back to recordings, groups, or individuals from this era. In this series of profiles, Joe Goldberg examines the lives and the music, the crucial events and dominant forces of a decade of great music and conflicting esthetics: Miles Davis's recording of Kind of Blue; Gerry Mulligan's pianoless quartet; Cecil Taylor's percussive keyboard experiments; John Coltrane's and Sonny Rollins's marathon saxophone solos; MJQ's blending of classical structure and jazz improvisation; Ornette Coleman's Free Jazz. From Mingus to Monk to Blakey, it was an age of giants. Perhaps never before or since in jazz history have so many wildly idiosyncratic jazz innovators been contemporaries. Joe Goldberg was there and what his ears heard has become here a lasting music document.
The jazz decade saw the emergence of many of the great figures who defined the music for the world: Louis Armstrong, Bessie Smith, Earl Hines, Bix Beiderbecke, Fats Waller, Jack Teagarden, Fletcher Henderson—these giants set the standards for blues singing, big band arrangements, and solo improvisation that are the foundations for jazz. Richard Hadlock has chapters on each, with a discography and descriptions of all the players who made the '20s swing.
As jazz enters its second century it is reasserting itself as dynamic and relevant. Boston Globe jazz writer and Emerson College professor Bill Beuttler reveals new ways in which jazz is engaging with society through the vivid biographies and music of Jason Moran, Vijay Iyer, Rudresh Mahanthappa, The Bad Plus, Miguel Zenón, Anat Cohen, Robert Glasper, and Esperanza Spalding. These musicians are freely incorporating other genres of music into jazz—from classical (both western and Indian) to popular (hip-hop, R&B, rock, bluegrass, klezmer, Brazilian choro)—and other art forms as well (literature, film, photography, and other visual arts). This new generation of jazz is increasingly more international and is becoming more open to women as instrumentalists and bandleaders. Contemporary jazz is reasserting itself as a force for social change, prompted by developments such as the Black Lives Matter, #MeToo movements, and the election of Donald Trump.
One of the most innovative and inventive soloists in jazz, cornetist Rex Stewart (1907-67) became known as a writer on jazz subjects. This work, his autobiography drafted at the time of his death, has been edited from its manuscript sources by Stewart's amanuensis, who edited his earlier posthumous collection Jazz Masters of the Thirties. With a selection of rare photographs from Stewart's own archive, and mss. facsimiles.
This volume was the first published jazz teaching method. One of America's greatest musician-teachers, David Baker, shows how to develop jazz courses and jazz ensembles, with lesson plans, rehearsal techniques, practice suggestions, improvisational ideas, and ideas for school and private teachers and students.
Art Tatum defined the limits of the possible in jazz piano. Gunther Schuller called Tatum's playing "a marvel of perfection.... His deep-in-the-keys full piano sonority, the tone and touch control in pyrotechnical passages...are miracles of performance." Whitney Balliett wrote "no pianist has ever hit notes more beautifully. Each one--no matter how fast the tempo--was light and complete and resonant, like the letters on a finely printed page." His famous runs have been compared to the arc left against the night sky by a Fourth-of-July sparkler. And to have heard him play, one musician said, "was as awe-inspiring as to have seen the Grand Canyon or Halley's Comet." Now, in Too Marvelous For Words, James Lester provides the first full-length biography of the greatest virtuoso performer in the history of jazz. Before this volume, little was known about Tatum, even among jazz afficionados. What were his origins, who taught him and who provided early pianistic influences, how did he break into the jazz field, what role did he play in the development of other jazz players, and what was he like when he wasn't playing? To answer these questions, Lester has conducted almost a hundred interviews for this book, with surviving family, childhood friends, schoolteachers, and the famous jazz musicians who played with him or knew him. Lester creates a memorable portrait of this unique musician and of the vibrant jazz world of the 1930s and 1940s, capturing the complexity and vitality of this remarkable performer. Tatum, who was virtually blind, suffering between 70% and 90% visual impairment, emerges as cheerful, fun-loving, energetic and out-going, with none of the demonic self-destructiveness that seemed to haunt such jazz greats as Charlie Parker or Billie Holiday. He often joked about his blindness, but did not like it mentioned as a handicap and preferred to pre-plan his entrance to the piano in a club, rather than have someone lead him there. He was simply inexhaustible and had a life-long habit of staying up all night after a gig, usually seeking an after-hours club in which to listen and play until daybreak. Lester also reveals that Tatum was generous with younger players, but his extraordinary technical brilliance often devastated them. No less a talent than Oscar Peterson remembers that after first hearing Tatum, "I gave up the piano for two solid months, and I had crying fits at night." And Les Paul remarked that after hearing Tatum for the first time, he quit piano completely and began playing guitar. Perhaps most important, Lester provides a thorough, knowledgeable discussion of Tatum's music, from his early influences, such as stride pianist Fats Waller, to his mature style in which Liszt, Rachmaninoff, Debussy, Waller, and Earl Hines all became grist for his harmonic mill. From unexceptional origins in Toledo, Ohio, Art Tatum evolved into a world-class musician whose importance in jazz is comparable to Louis Armstrong and Charlie Parker and whose command of the piano captured the admiration of Horowitz and Paderewski. Too Marvelous For Words is the first full portrait of this extraordinary musical genius.
A major three-volume bibliography, including an additional supplement, of an annotated listing of American Studies monographs published between 1900 and 1988.