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The first full-length study of the theatrical jazz aesthetic, that draws on the jazz principles of ensemble--the break, the bridge, and the blue note.
Produced by the Smithsonian, this spectacular compilation is the first to look at both art and literature inspired by jazz. SEEING JAZZ showcases the music's riotous liberating influence with over 100 beautiful images--paintings, photographs, sculpture, multimedia works, and textile art--inspired by the riffs and refrains of jazz. Over 100 color and b&w illustrations.
This work puts together in one volume all the book and scholarly materials related to jazz lives and organizes them in such a way that the reader, at a glance, can see the entire sweep of writings on a given artist and grasp the nature of their contents. The bibliography includes many different kinds of biographical source material published in all languages from 1921 to the present, such as biographies, autobiographies, interview collections, musical treatises, bio-discographies, anthologies of newspaper articles, Master theses, and Ph.D. dissertations. With few exceptions, a work of at least 50 pages in length merits inclusion, providing it has a substantive biographical component or aids jazz research. The main section of the work is an alphabetical listing of sources on individual jazz artists and ensembles. Jazz artists, as defined by Carner, are those who have made their mark as jazz performers and who have led the jazz life, playing the clubs and joints, not the legitimate concert stage, Broadway, Las Vegas, or the like. Thus, musicians such as Ray Charles or Frank Sinatra, who have recorded and performed with jazz ensembles, do not qualify for inclusion. Each bonafide jazz musician is given a separate section with birth, death, and primary instrumentation provided. Biographical sources about the artist or ensemble follow. Each entry is annotated to differentiate it from another and to present basic data on the source's content, such as the inclusion of a discography, bibliography, music examples and transcriptions, footnotes, indexes, illustrations, filmographies, and glossaries. An invaluable tool for jazz researchers and historians, Jazz Performers will also appeal to jazz enthusiasts in general.
A dictionary arrangement of over 1,600 entries on terms and performers.
The setting is the Royal Gardens Cafe. It's dark, smoky. The smell of gin permeates the room. People are leaning over the balcony, their drinks spilling on the customers below. On stage, King Oliver and Louis Armstrong roll on and on, piling up choruses, the rhythm section building the beat until tables, chairs, walls, people, move with the rhythm. The time is the 1920s. The place is South Side Chicago, a town of dance halls and cabarets, Prohibition and segregation, a town where jazz would flourish into the musical statement of an era. In Chicago Jazz, William Howland Kenney offers a wide-ranging look at jazz in the Windy City, revealing how Chicago became the major center of jazz in the 1920s, one of the most vital periods in the history of the music. He describes how the migration of blacks from the South to Chicago during and after World War I set the stage for the development of jazz in Chicago; and how the nightclubs and cabarets catering to both black and white customers provided the social setting for jazz performances. Kenney discusses the arrival of King Oliver and other greats in Chicago in the late teens and the early 1920s, especially Louis Armstrong, who would become the most influential jazz player of the period. And he travels beyond South Side Chicago to look at the evolution of white jazz, focusing on the influence of the South Side school on such young white players as Mezz Mezzrow (who adopted the mannerisms of black show business performers, an urbanized southern black accent, and black slang); and Max Kaminsky, deeply influenced by Armstrong's "electrifying tone, his superb technique, his power and ease, his hotness and intensity, his complete mastery of the horn." The personal recollections of many others--including Milt Hinton, Wild Bill Davison, Bud Freeman, and Jimmy McPartland--bring alive this exciting period in jazz history. Here is a new interpretation of Chicago jazz that reveals the role of race, culture, and politics in the development of this daring musical style. From black-and-tan cabarets and the Savoy Ballroom, to the Friars Inn and Austin High, Chicago Jazz brings to life the hustle and bustle of the sounds and styles of musical entertainment in the famous toddlin' town.
Despite the plethora of writing about jazz, little attention has been paid to what musicians themselves wrote and said about their practice. An implicit division of labor has emerged where, for the most part, black artists invent and play music while white writers provide the commentary. Eric Porter overturns this tendency in his creative intellectual history of African American musicians. He foregrounds the often-ignored ideas of these artists, analyzing them in the context of meanings circulating around jazz, as well as in relationship to broader currents in African American thought. Porter examines several crucial moments in the history of jazz: the formative years of the 1920s and 1930s; the emergence of bebop; the political and experimental projects of the 1950s, 1960s and 1970s; and the debates surrounding Jazz at Lincoln Center under the direction of Wynton Marsalis. Louis Armstrong, Anthony Braxton, Marion Brown, Duke Ellington, W.C. Handy, Yusef Lateef, Abbey Lincoln, Charles Mingus, Archie Shepp, Wadada Leo Smith, Mary Lou Williams, and Reggie Workman also feature prominently in this book. The wealth of information Porter uncovers shows how these musicians have expressed themselves in print; actively shaped the institutional structures through which the music is created, distributed, and consumed, and how they aligned themselves with other artists and activists, and how they were influenced by forces of class and gender. What Is This Thing Called Jazz? challenges interpretive orthodoxies by showing how much black jazz musicians have struggled against both the racism of the dominant culture and the prescriptive definitions of racial authenticity propagated by the music's supporters, both white and black.
First Published in 1996. Routledge is an imprint of Taylor & Francis, an informa company.
Teaching Music through Performance in Jazz continues in the best tradition of the Teaching Music series, bringing together insights from top jazz educators and invaluable analysis of the best repertoire published for jazz ensembles of all skill levels. This book is the ideal tool for anyone seeking a deeper understanding of the preeminent music for jazz ensembles by seminal jazz composers. In addition, leading jazz educators and musicians contribute chapters on topics such as: "Why Teach Jazz?" by Wynton Marsalis; "A Multi-Cultural approach to Jazz Education" by Ronald Carter; "Rehearsal Techniques: A holistic approach integrating composition, imporovisation, theory, and cultural considerations in the rehearsal" by Ron McCurdy; "The rhythm section: The band within the band" by Reginald Thomas; and "Promoting a high school jazz band" by Ron Modell. In addition, this book includes Teacher Resource Guides to more than 65 of the top jazz charts, broken down into developing, intermediate, and advanced categories. Each Teacher Resource Guide includes vital information on the composer, the composition, historical background, technical requirements, stylistic considerations, musical elements, form and structure, listening suggestions, and additional references. Teaching Music through Performance in Jazz is an essential resource for jazz leaders at all levels and a major contribution to the jazz field. -- from dust jacket.
The edited, annotated New York Times bestselling diary of President Jimmy Carter--filled with insights into his presidency, his relationships with friends and foes, and his lasting impact on issues that still preoccupy America and the world. Each day during his presidency, Jimmy Carter made several entries in a private diary, recording his thoughts, impressions, delights, and frustrations. He offered unvarnished assessments of cabinet members, congressmen, and foreign leaders; he narrated the progress of secret negotiations such as those that led to the Camp David Accords. When his four-year term came to an end in early 1981, the diary amounted to more than five thousand pages. But this extraordinary document has never been made public--until now. By carefully selecting the most illuminating and relevant entries, Carter has provided us with an astonishingly intimate view of his presidency. Day by day, we see his forceful advocacy for nuclear containment, sustainable energy, human rights, and peace in the Middle East. We witness his interactions with such complex personalities as Ted Kennedy, Henry Kissinger, Joe Biden, Anwar Sadat, and Menachem Begin. We get the inside story of his so-called "malaise speech," his bruising battle for the 1980 Democratic nomination, and the Iranian hostage crisis. Remarkably, we also get Carter's retrospective comments on these topics and more: thirty years after the fact, he has annotated the diary with his candid reflections on the people and events that shaped his presidency, and on the many lessons learned. Carter is now widely seen as one of the truly wise men of our time. Offering an unprecedented look at both the man and his tenure, White House Diary is a fascinating book that stands as a unique contribution to the history of the American presidency.