Jazz bass artists of the 1950s:
Gespeichert in:
| Hauptverfasser: | , |
|---|---|
| Format: | Buch |
| Sprache: | English |
| Veröffentlicht: |
Dearborn Heights, MI
Cranston Publications
2010
|
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis |
| Beschreibung: | 280 S. Ill. |
| ISBN: | 9780982312360 |
Internformat
MARC
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Datensatz im Suchindex
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|---|---|
| adam_text | Table
of
Contents
Acknowledgments
...........................................................ix
Preface
.....................................................................xi
About the Performance Profiles
...............................................xiv
J
Introduction: Evolution of the Horn-Style Jazz Bass Solo
....................17
The
1920s:
Primitive jazz accompaniment on the double bass; The
1930s:
Monumental
developments by Page and Blanton; Jimmy Blanton: Bridging the 30s and 40s; The
1940s:
The birth of bebop; The
1950s:
Diverse stylistic directions; The studio scene; Ramping up
to the
1
960s exploratory jazz; Style issues for the
1
950s jazz bass artists; Revisiting the
artistry of the
1950s
jazz bass artists; TABLE: Featured Jazz Bass Artists of the
1950s
by
Stylistic Category
2
Arvell Shaw: Bass Performance as Entertainment
___.......................26
Performance profile; Recommended Listening
3
Oscar Pettiford: Creativity With Clarity and Strength
.......................34
Big dreams by a highly talented bassist; Elements of Pettiford s artistry in performance;
Emerging bassist; The Pettiford-Clarke rhythm machine; Cello as a second instrument;
Big band leader; The Pettiford musical sense of humor; A multi-talented but unrecognized
musician; Expatriate to the end; RECOMMENDED LISTENING
¿ţ
Eddie Safranski:
Technique Far Ahead of Its Time
.........................50
Early innovator; Admirable jazz track record
5
Milt Hinton: A Fingerboard Full of Jazz History
...........................58
The
1920s;
The
1930s;
The
1940s;
The
1950s;
The
1960s
and
70s;
The
1980s:
Jazz
historian; Performance profile; A final tribute; RECOMMENDED LISTENING
Q
Ray Brown: Setting the Standard for Jazz Bass
............................78
The lasting legacy; New York years: musical and professional development; Enter
Oscar Peterson; The Charlie Parker Quartet recording; The first real Brown sound on
record; Original member of the Modern Jazz Quartet; A one-of-a-kind Clef recording;
The Hampton recordings; The Oscar Peterson trios; Best of Brown from the New York
years; West Coast years: Diversity of association; Diversity of recordings and associations with
key creative artists,
1966-90;
Playing it safe; Years of giving back; The essence of Ray
Brown: It never ends
7
George Duvivier: Best-Kept Secret in the Jazz Bass World
..............___104
Beginning of a successful career as an unknown bass artist; Holding to the highest of
standards
-
musically and personally; Income opportunities with non-jazz musical
personalities; Lack of name group affiliation; Not part of the evolving jazz scene; Was a
more exploratory approach possible?; Choices made, opportunities lost; Performance
profile; The legacy; Recommended Listening
g
Those Swinging Ellington Bassists:
Wendell Marshall, Jimmy Woode and Joe Benjamin
........ ................124
Performance profiles; Recommended Listening lists
C) Red Mitchell: Mastery of the Horn-Style Solo
............................150
Red Norvo,
1952-54;
Gerry Mulligan,
1954;
Hampton Hawes,
1955-56, 1966;
André
Previn,
1957-60;
Jim
Hall,
1957-60, 1978;
Clark
Terry,
late
1970s, 1986;
Tommy Flanagan,
1980;
în
summary
Л
Q
Leroy Vinnegar:
Walking Grooves
Supreme
..............................174
Walking lines on which a reputation was built; The true jazz bass identity; An ideal but
short-lived blues relationship
Charles Mingus: A Vision Beyond Bass, Jazz
...
and Music
..............,. .184
Early years of development; Jazz bass overview:
1945-65;
Mingus as bassist; Music with a
mission; In summary; The jazz legacy; RATING MlNGUS Best RECORDINGS: Top pick CDs,
superior CDs, excellent CDs
2
Paul Chambers: Natural Bass Artistry
...................................202
Career-defining association with Miles Davis; With Red Garland and Philly Joe Jones; With
Bill Evans and Jimmy Cobb; With Wynton Kelly and Jimmy Cobb; With Wynton Kelly and
Philly Joe Jones; Years of development with Miles; Performance profile; The legacy;
Recommended Listening
3
Sam Jones: Model for Bebop, Hard Bop and Blues
....................... .232
With Cannonball Adderley; With Oscar Peterson; With Cedar Walton; With Clifford
Jordan; Performance profile; RECOMMENDED LISTENING
¿J. Doug Watkins: A Most Underrated Blues Talent
..........................246
Rhythmically dominant: Vinnegar and Watkins; The 2-bar repeated vamp; Gaining
recognition with the Jazz Messengers; Maintaining conceptual development with pickup
groups; Recommended Listening
Appendix A
-
Jazz Bassists by Stylistic Category
................................260
Appendix
В
-
Jazz Bassists and the Bassists They Influenced: Historical List
........262
Appendix
С
-
Jazz Bassists and the Players Who Influenced Them
,...............266
Appendix
D
-
Alternate Versions of the Same Tune Featuring
1950s
Bassists
........270
Appendix
E
-
Four Bassists Alternative Paths to Career Success
(Milt Hinton, Eddie
Safranski,
George Duvivier, Ray Brown)
.........274
Appendix
F
-
Recording Facts of Life: Reissues on CD
..............,,..........275
Appendix
G
-
Jazz Web Resources
...........................................276
Appendix
H
-
Solo Development for Young Bassists
.........................., .278
About Dave Hunt
..........................................................279
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| title | Jazz bass artists of the 1950s |
| title_auth | Jazz bass artists of the 1950s |
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