Why Jazz?: A Concise Guide
What used to be the 1st jazz checklist? Are jazz solos rather improvised? How did jazz lay the foundation for rock and nation track? In Why Jazz?, writer and NPR jazz critic Kevin Whitehead offers energetic, insightful solutions to those and lots of different attention-grabbing questions, supplying an wonderful consultant for either amateur listeners and long-time lovers.
geared up chronologically in a handy query and solution structure, this great source makes jazz obtainable to a vast viewers, and particularly to readers who have came upon the song bewildering or most sensible left to the specialists. but Why Jazz? is even more than an informative Q&A; it concisely lines the century-old heritage of this American and international paintings shape, from its beginnings in New Orleans up during the present postmodern interval. Whitehead offers short profiles of the archetypal figures of jazz--from Louis Armstrong and Duke Ellington to Wynton Marsalis and John Zorn--and illuminates their contributions as musicians, performers, and composers. additionally highlighted are the construction blocks of the jazz sound--call and reaction, rhythmic contrasts, custom-made functionality concepts and improvisation--and dialogue of the way visionary musicians have reinterpreted those parts to continually redefine jazz, ushering within the swing period, bebop, cool jazz, demanding bop, and the avant-garde. alongside the best way, Why Jazz? offers useful plain-English descriptions of musical terminology and strategies, from "blue notes" to "conducted improvising." and in contrast to different histories which haphazardly hide the stylistic branches of jazz that emerged after the Sixties, Why Jazz? teams latter-day musical developments by means of decade, the higher to put them in old context.
no matter if learn in self-contained sections or as a continual narrative, this compact reference offers a trove of crucial details that belongs at the shelf of somebody who is ever been attracted to jazz.
Ballads may set a benchmark for subtlety in jazz. a number of months prior to type of Blue, Evans had all started a solo recording of Leonard Bernstein’s ballad “Some different Time” and have become so transﬁxed through his two-chord introductory vamp that he caught with it, spinning gossamer-wing improvised traces over it; ﬁve mins in, he’s doing high-note birdcalls. That standalone functionality was once dubbed “Peace Piece,” and that very same two-chord vamp may introduce “Flamenco Sketches.” Improvisers are nice recyclers of.
“Prayer for Passive Resistance,” “Meditation on Integration,” “Meditation (for a couple of cord Cutters),” “They Trespass the Land of the Sacred Sioux,” and, later, “Remember Rockefeller at Attica.” John Coltrane patterned the cadences of 1963’s prayerlike “Alabama” after Martin Luther King’s memorial sermon for 4 women killed in a Birmingham church bombing. He additionally performed fundraisers for King. not anyone fused the musical and political like drummer Max Roach, and nowhere greater than on 1960’s We.
The comedic Rutles rearranging pilfered bits of Beatles songs. Marsalis’s subject to the 1990 movie jazz after 1980 • 111 music in day after today, “Big hassle within the Easy,” mixed the swaggering gait of Duke’s Anatomy of a homicide subject matter with birdlike clarinet à los angeles Strayhorn’s “Bluebird of Delhi.” Albert Murray’s perspectives on teach songs apart, Marsalis’s 1998 “The cabin car” for large band is memorable no longer for evoking locomotive Ellingtonia yet catching the sound of a teach itself; a really particular.
enjoying piano almost like Monk. different debtors greater built-in various lines. Tenor saxophonist David Murray, like Albert Ayler, had performed in church as a boy. On Murray’s ﬁrst mid-’70s recordings Ayler’s inﬂuence used to be simple on his large vibrato and straightforward, catchy melodies resembling “Flowers for Albert.” yet quickly different inﬂuences submerged that one: swing tenor Ben internet- jazz after 1980 • one hundred fifteen ster’s substantial bearish tone, rhythmic swagger, and stage-whispering on ballads; Eric Dolphy’s approach of.
Of the Recording undefined, 1890–1919. Urbana and Chicago: collage of Illinois Press, 2004. Chilton, John. The track of the Hawk: The existence and Recordings of Coleman Hawkins. Ann Arbor: collage of Michigan Press, 1990. Dahl, Linda. Morning Glory: A Biography of Mary Lou Williams. manhattan: Pantheon, 1999. ———. Stormy climate: The song and Lives of a Century of Jazzwomen. big apple: Pantheon, 1984. Daniels, Douglas Henry. Lester Leaps In: The lifestyles and instances of Lester “Pres” younger. Boston:.