Bøger om Jazz

How jazz spurred a generational debate that reshaped American culture.

Despite the catastrophe caused by the 2005 failure of the New Orleans levee system, the biggest engineering failure in U.S. history, New Orleans was re-inhabited, rebuilt, and re-ignited with the spirit that makes it one of the world's greatest cultural gems.This book tells the story of how it happened with a special focus on the city's musicians. They were among the first to return to the devastated city. The spirit they brought with them was the key to putting New Orleans back on its feet, and even dancing again - against all odds.Included in the book are links to videos of important historical events that took place after the 2005 flood that you won't find anywhere else.Interviews featuring: John Swenson, Ronald Lewis, Roger Lewis, Chuck Perkins, and Ornette Coleman. With excerpts from Glen David Andrews' speech at the "Silence Is Violence" rally of 2007.

Jazz pianist Lou Hooper (1894-1977), Paul Robeson's first accompanist and teacher to Oscar Peterson, came to prominence near the end of his life for his exceptional career. Statesman of the Piano makes his unpublished autobiography widely available for the first time, with commentary from historians, archivists, musicians, and cultural critics.

Embodied Nostalgia is a collection of interlocking case studies that focus on how social dance in musical theatre brings forth the dancer on stage as a site of embodied history, cultural memory, and nostalgia, and asks what social dance is doing performatively, dramaturgically, and critically in musical theatre.

A culmination of nearly six decades of writing from the mind of iconoclastic film, literary, and music critic Jonathan Rosenbaum.Looking back at his more than 50 years of writing, where many flights of fancy and fantasy prove to suggest certain duties as well as privileges, Jonathan Rosenbaum has teased out three threads in particular: the film criticism he is mainly known for (especially during his 20-year stint at the Chicago Reader), the literary criticism he has also been publishing over the past half-century, and the jazz criticism he has been writing during the same period.Believing that these three art forms are interrelated and have often been intertwined in his perceptions of them, he builds a manifesto out of a hundred of his best pieces, arranged chronologically, taking on such disparate figures as Stanley Kubrick, Thomas Pynchon, Sonny Rollins, Michael Snow, Philip Roth, Duke Ellington, Spike Lee, Roland Barthes, Keith Jarrett, Jean-Luc Godard, Vladimir Nabokov, and Ahmad Jamal, and such diverse subjects as Adam Curtis documentaries, Mad, Peanuts, Louis Armstrong, Italo Calvino, A.I. Artificial Intelligence, Shoah, Johnny Guitar, PlayTime, Chantal Akerman, Kelly Reichardt, Kira Muratova, William Faulkner’s Light in August, Bad Luck Banging or Loony Porn, and, in a final essay dealing with all three art forms, a film of a jazz cantata by André Hodeir derived from a passage in James Joyce’s Finnegans Wake.

Learn Jazz Guitar Bebop Scales - Musically!Struggling to play convincing jazz guitar solos?Bebop scales are at the heart of jazz guitar soloing and essential for developing your chops. However, they are greatly misunderstood and often poorly taught, making your jazz solos boring and uninspired. Enter Bebop Scales for Jazz Guitar! It's a complete jazz guitar method packed with essential bebop guitar vocabulary - and it's taught by Eleonora Strino, who has taken the jazz guitar world by storm with her jaw-dropping solos. You'll learn these bebop guitar skills:How to form bebop scales to suit every chord in the songMajor, Minor and Dominant Bebop ScalesHow to solo with bebop scales over a Charlie Parker bluesHow to solo with bebop scales over other well-known jazz standardsYou'll be learning bebop guitar scales musically and discovering patterns that are beautiful phrases in their own right. The essential theory is taught with simple language and is followed by immediate musical application so can add these ideas to your playing instantly.

CHARLESTONERCISEThe Home Exercise Dance WorkoutBooklet(12 great, fun 1920's style Charleston Dance routines)by Anthony Padgett MA PGCE (as seen on Downton Abbey the movie, BBC1 and Sky TV)Anthony has taught dance for 15 years and has danced Charleston for Downton Abbey the movie, adverts, BBC1 and Sky TV."Home Exercise in Style"

A compelling biography of virtuoso, baritone saxophonist Pepper Adams and how his life intersected with some of the greatest poets, writers, painters, and musicians of his time.

From music to art to poetry, the creativity that filled the air in the Fillmore District brought communities together and everyone was welcome and accepted.

The book Jazzmen (1939) claimed New Orleans as the birthplace of jazz and introduced the legend of Buddy Bolden as the "e;First Man of Jazz."e; Much of the information that the book relied on came from a highly controversial source: Bunk Johnson. He claimed to have played with Bolden and that together they had pioneered jazz. Johnson made many recordings talking about and playing the music of the Bolden era. These recordings have been treated with skepticism because of doubts about Johnson's credibility. Using oral histories, the Jazzmen interview notes, and unpublished archive material, this book confirms that Bunk Johnson did play with Bolden. This confirmation, in turn, has profound implications for Johnson's recorded legacy in describing the music of the early years of New Orleans jazz. New Orleans jazz was different from ragtime in a number of ways. It was a music that was collectively improvised, and it carried a new tonality--the tonality of the blues. How early jazz musicians improvised together and how the blues became a part of jazz has until now been a mystery. Part of the reason New Orleans jazz developed as it did is that all the prominent jazz pioneers, including Buddy Bolden, Bunk Johnson, Louis Armstrong, Sidney Bechet, Johnny Dodds, and Kid Ory, sang in barbershop (or barroom) quartets. This book describes in both historical and musical terms how the practices of quartet singing were converted to the instruments of a jazz band, and how this, in turn, produced collectively improvised, blues-inflected jazz, that unique sound of New Orleans.

Following Charlie Christian and Django Reinhardt, Wes Montgomery was the third major innovator in jazz guitar. 55 years after his death, we are celebrating his 100th birthday. His outstanding musicality, his virtuosity and his style of playing have been influential to major players like Pat Metheny and George Benson, and to most younger players. Wes Montgomery broadened the vocabulary of jazz guitar like no other player, and it seems that even decades after his passing, his importance is increasing to a level that many players agree he was the most important guitarist in jazz. This is the first biography on Wes Montgomery in over 40 years. It covers details of his family background, his early days as an amateur musician in Indianapolis, reviews of over 50 albums and it includes a full chronological discography.

"Chronicles the first stirrings of synth pop writ large (the Human League, Soft Cell), the gated reverb drum sound that became ubiquitous (Phil Collins), superstars from Stevie Nicks to Billy Joel to the Police, and a full complement of one-hit wonders and R&B, country and jazz sensations.. The On Record series is an year-by-year, comprehensive look at the evolution of popular music from 1978 to 1998. Colorado Music Experience founding director and author G. Brown covered popular music at The Denver Post for 26 years, interviewing well over 3,200 musicians, including Paul McCartney, Bruce Springsteen, Mick Jagger, and Kurt Cobain, all of whom recounted their escapades and reminisced about what their time on the charts meant to them personally and musically. Over the decades, G. also amassed an archive of close to 15,000 rare promotional photos. Each volume of the On Record series presents nearly 200 rare archival images and 100 interviews with an array of performers, from the late Jerry Garcia and Dave Matthews to Bono and Santana. Beautifully crafted, these books belong in the library of every music fan and music institute. Proceeds from book sales benefit Colorado Music Experience."--Provided by publisher.

Una volta Ornette Coleman disse: La mia musica inizia dove quella di Charlie Parker finisce. Dichiarazione che potrebbe apparire alquanto pretestuosa, ma che nasconde una verità apodittica. Il bop free-form e le avanguardie a volo libero consentirono al jazz una maggiore espressione ed una visione allargata dell'universo musicale di riferimento che, in quello scorcio di anni Sessanta, iniziava a legarsi con sonorità etniche, problematiche razziali, terzomondiste, africanismo multi-ritmico, spiritualismo, elementi delle culture altre, impegno civile e politico, strumenti antichi ed insoliti creando una sorta di melting-pot sonoro non sempre di facile comprensione. Soprattutto la geniale lezione parkeriana venne in qualche modo interrotta dall'arrivo sulla scena di una generazione di musicisti attratti da un linguaggio sonoro ricco di connotazioni extra-musicali, che si riallacciavano ad una spiritualità imbevuta nell'intera esperienza dei discendenti degli schiavi africani nelle Americhe.. Steve Lacy in un'intervista radiofonica disse: Da una parte c'erano tutti i musicisti accademici, gli hard boppers, quelli della Prestige e della Blue Note che facevano cose con una leggera tendenza progressista. Ma quando entrò in scena Ornette Coleman, allora fu la fine delle teorie (...) Ricordo che in quei giorni disse, cercando con cura le parole: ciò che abbiamo è una certa quantità di spazio e ci si può mettere dentro tutto quel che si vuole. Questa fu la grande rivelazione.Il free jazz offrì un altro mezzo di auto-espressione ai jazzisti che cercavano qualcosa che andasse oltre il bebop. Di conseguenza, le loro esplorazioni rivelarono un universo alternativo fino ad allora impensato, i cui suoni inizialmente sembravano astratti, alieni ed ultraterreni ma, che in realtà, erano una sincera espressione della condizione umana, a cui si aggiunse il chiaro riferimento al contesto politico e sociale dell'epoca. Al netto di qualsiasi congettura, la musica jazz non fu più la stessa.Free Jazz o Avanguardia? Qualunque sia la terminologia utilizzata o la definizione semantico-linguistica di riferimento, questo saggio tenta di far luce sui musicisti e i dischi che sono stati parte integrante, determinante o accessoria dello sviluppo di quel movimento che, nell'accezione più larga del termine, viene chiamato free jazz, comprensivo anche di quegli innovatori che, attraverso la loro ricerca o un'idea di cambiamento, sia pure in nuce, ne abbiano favorito la nascita

In a rapidly gentrifying Queens NYC, Maliki -- a young Jazz musician -- sets out on a journey to continue his father's legacy and reopen his famous Jazz club.Along the way he meets Afeni, a passionate, yet homesick actress from Jamaica. When Maliki secretly accepts an ill-advised donation from a local philanthropist, he finds himself in a web of corruption and deceit. As he attempts to navigate his way out, Afeni toils with a secret of her own.The Sound of Southside is the debut novel from the award winning filmmaker Tyrel Hunt.

In the early 1960s, pianist Horace Tapscott gave up a successful career in Lionel Hampton's band and returned to his home in Los Angeles to found the Pan Afrikan Peoples Arkestra, a community arts group that focused on providing community-oriented jazz and jazz training. Over the course of almost forty years, the Arkestra, together with the related Union of God's Musicians and Artists Ascension collective, was at the forefront of the vital community-based arts movement in Black Los Angeles. Some three hundred artists-musicians, vocalists, poets, playwrights, painters, sculptors, and graphic artists-passed through these organizations, many ultimately remaining within the community and others moving on to achieve international fame. In The Dark Tree, Steven L. Isoardi draws on one hundred in-depth interviews with the Arkestra's participants to tell the history of the important and largely overlooked community arts movement of Black Los Angeles. This revised and updated edition brings the story of the Arkestra up to date, as its ethos and aesthetic remain vital forces in jazz and popular music to this day.

A bass player navigates his way through the muddy waters of Chicago's music scene Bill Harrison chronicles his journey from bumbling music student to successful professional bass player in late twentieth-century Chicago. Told with a mixture of wry humor and hard-won insight, Making the Low Notes gives readers an insider's peek into the prosaic life of a working musician. Harrison describes periods of camaraderie, disappointment, pain, and joy as he toils in venues as divergent as bowling alleys, jazz clubs, recording studios, hotels, orchestra pits, and concert halls. He shares the stage with jazz greats, including Dizzy Gillespie, James Moody, Clark Terry, Bunky Green, and Max Roach. Along the way, the bassist struggles to reconcile the dissonance between his desire to be heard and his impulse to hide silently in the shadows.