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Jazz: essential listening

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Bibliographic Details
Main Authors:	DeVeaux, Scott Knowles 1954- (Author), Giddins, Gary 1948- (Author)
Format:	Book
Language:	English
Published:	New York [u.a.] Norton 2011
Edition:	1. ed.
Subjects:	Geschichte Jazz > History and criticism Jazz > Analysis, appreciation Music appreciation Jazz
Online Access:	Inhaltsverzeichnis
Item Description:	Includes bibliographical references and index
Physical Description:	XX, 404, 69 S. zahlr. Ill.
ISBN:	9780393935639

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MARC


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Record in the Search Index

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adam_text	Introduction xiii Musical Orientation 2 CHAPTER 1 Musical Elements and Instruments ..............7 Empathy 7 ■ Timbre 8 ■ The Ensemble 8 ■ From Polyrhythm to Swing 12 ■ Melody and Harmony 14 ■ Texture 16 CHAPTER 2 Jazz Form and Improvisation 21 Blues Form 22 ■ Tnirty-Two-Bar Pop Song Form: A AB A 26 ■ Improvisation 31 ■ In Performance 33 ■ Bessie Smith, Reckless Blues 22 ■ Louis Armstrong, West End Blues 22 ■ Charlie Parker, Now s the Time 23 ■ Billie Holiday, A Sailboat in the Moonlight 27 ■ Miles Davis, So What 28 ■ Free Bridge Quintet, Midriff 24 ■ Tne Pot Boiler 29 EARLY JAZZ (1900-1930) 36 CHAPTER 3 The Roots of Jazz ....................................41 Jazz and Ethnicity 41 ■ Folk Traditions 42 ■ Voices (W.C.Handy) 47 ■ Bessie Smith 47 ■ Popular Music 49 ■ Art Music 52 ■ Ragtime 53 ■ ScottJoplin 53 ■ Additional Listening 55 ■ Multimedia Resources 55 ■ Georgia Sea Island Singers, The Buzzard Lope 43 ■ Bessie Smith, Reckless Blues 48 CHAPTER 4 New Orleans 57 The City on the Gulf 57 ■ Creoles of Color and Uptown Negroes 58 ■ Buddy Bolden and the Birth of Jazz 59 ■ Storyville 61 ■ New Orleans Style 61 ■ The Great Migration 62 ■ Jazz Moves On: First Recordings 63 ■ Original Dixieland Jazz Band 63 ■ Jelly Roll Morton 64 ■ King Oliver 67 ■ Gennett Records 69 ■ Sidney Bechet 72 ■ Additional Listening 74 ■ Multimedia Resources 75 ■ Jelly Roll Morton, Dead Man Blues 65 ■ King Oliver, Snake Rag 70 CHAPTER 5 New York in the 1920s 77 Arabian Nights 77 ■ Transformations 78 ■ Dance Bands and Symphonic Jazz 79 ■ Paul Whiteman 79 ■ Fletcher Henderson 82 ■ The Alley and the Stage 83 ■ The Harlem Renaissance 84 ■ Stride 85 ■ The Player Piano 85 ■ James P.Johnson 86 ■ Duke Ellington Begins 89 ■ Additional Listening 94 ■ Multimedia Resources 94 ■ James R Johnson, You ve Got to Be Modernistic 87 ■ Duke Ellington, Black and Tan Fantasy 91 CHAPTER 6 Louis Armstrong and the First Great Soloists 97 Louis Armstrong 97 ■ Enter Earl Hines 104 ■ Віх Beiderbecke 107 ■ Coleman Hawkins 110 ■ Satchmo s World 110 ■ Armstrong Chronology 113 ■ Additional Listening 114 * Multimedia Resources 114 ■ Louis Armstrong, West End Blues 102 ■ Louis Armstrong / Earl Hines, Weather Bird 104 ■ Віх Beiderbecke / Frank Trumbauer, Singin the Blues 108 Part II Summary: Precursors to Jazz; New Orleans Style; Big Bands Before 1930; Louis Armstrong 115 THE SWING ERA 118 CHAPTER 7 Swing Bands ........................................123 From Jazz to Swing 123 ■ Benny Goodman 127 ■ John Hammond and Other Fans 131 ■ A Few Major Swing Bands (Among Many) 132 ■ Artie Shaw 132 ■ Voices (Roy Eldridge) 134 ■ Jimmie Lunceford 136 ■ Voices (Eddie Durham) 137 ■ Glenn Miller 137 ■ Cab Calloway 138 ■ Additional Listening 139 ■ Multimedia Resources -139 ■ Benny Goodman, Dinah 129 ■ Artie Shaw, Star Dust 134 CHAPTER 8 Count Basie and Duke Ellington ..............141 The Southwest and Boogie-Woogie 141 ■ Territory Bands: Andy Kirk and Mary Lou Williams 143 ■ Women in Jazz 144 ■ Count Basle 147 ■ The Incomparable Ellington 153 ■ Billy Strayhorn 159 ■ Ellington Chronology 161 ■ Additional Listening 162 ■ Multimedia Resources 163 ■ Andy Kirk / Mary Lou Williams, Walkin and Swingin 145 ■ Count Basie, One O Clock Jump 148 ■ Duke Ellington, Conga Brava 157 CHAPTER 9 A World of Soloists 165 Jammin the Blues 165 ■ Coleman Hawkins 166 ■ Lester Young and the Lestorian Mode 171 ■ Over There 174 ■ Django Reinhardt 174 ■ Benny Carter 176 ■ Singers: Lady Day and the First Lady of Song 177 ■ Billie Holiday 177 ■ Ella Fitzgerald 181 ■ Additional Listening 184 ■ Multimedia Resources 185 ■ Coleman Hawkins, Body and Soul 168 ■ Count Basie / Lester Young, Oh! Lady Be Good 172 ■ Billie Holiday, A Sailboat in the Moonlight 179 ■ Ella Fitzgerald, Blue Skies 181 CHAPTER 10 Rhythm in Transition 187 Rhythm Is Our Business 187 ■ Piano 188 ■ Art Tatum 189 ■ Plugging In 191 ■ Charlie Christian 192 ■ Bass 194 ■ Jimmy Blanton 196 ■ Drummers Step Out 196 ■ Additional Listening 198 ■ Multimedia Resources 198 ■ Art Tatum, Over the Rainbow 190 ■ Charlie Christian, Swing to Bop ( Topsy ) 192 Part III Summary: Swing Bands After 1930; Count Basie and Duke Ellington; Swing-Era Soloists 199 MODERN JAZZ 202 CHAPTER 11 Bebop 207 Bebop and Jam Sessions 207 ■ Charlie Parker 211 ■ Dizzy Gillespie 212 ■ Bird on Record 214 ■ The Bebop Generation 222 ■ Voices (Amiri Baraka) 222 ■ Bud Powell 222 ■ Jazz in Los Angeles: Central Avenue 226 ■ Dexter Gordon 226 ■ Aftermath: Bebop and Pop 230 ■ Jazz at the Philharmonic 230 ■ Additional Listening 231 ■ Multimedia Resources 232 ■ Charlie Parker, Ko Ko 215 ■ Charlie Parker, Now s the Time 218 ■ Bud Powell, Tempus Fugue-It 223 ■ Dexter Gordon, Long Tall Dexter 227 CHAPTER 12 The 1950s: Cool Jazz and Hard Bop 235 New Schools 235 ■ Cool Jazz 236 ■ Lennie Tristano 236 ■ Tadd Dameron 237 ■ The Birth of the Cool 238 ■ Gerry Mulligan and West Coast Jazz 241 ■ John Lewis and the Modern Jazz Quartet 242 ■ Voices (Percy Heath) 243 ■ Heating the Cool and Changing the Time 244 ■ Dave Brubeck 244 ■ Hard Bop 245 ■ Art Blakey 246 ■ Horace Silver 247 ■ Three Soloists 247 ■ Clifford Brown 248 ■ Sonny Rollins 251 · Wes Montgomery 254 ■ Additional Listening 255 ■ Multimedia Resources 257 ■ Miles Davis, Moon Dreams 239 ■ Clifford Brown, A Night in Tunisia 249 ■ Sonny Rollins, Autumn Nocturne 252 CHAPTER 13 Jazz Composition in the 1950s 259 ЋеШош Monk 260 ■ Monk s 71 261 ■ Charles Mingus 265 ■ Voices (Charles Mingus) 266 ■ Gil Evans 269 ■ George Russell 270 ■ Additional Listening 274 ■ Multimedia Resources 275 ■ Thelonious Monk, Rhythm-a-ning 263 ■ Charles Mingus, Boogie Stop Shuffle 267 ■ George Russell, Concerto for Billy the Kid 271 CHAPTER 14 Modality: Miles Davis and John Coltrane .................................................277 The Sorcerer: Miles Davis 277 ■ Bill Evans 282 ■ Voicing Chords 283 ■ John Coltrane 286 ■ Miles Davis s Second Quintet 292 ■ Davis Chronology 296 ■ Additional Listening 297 ■ Multimedia Resources 297 ■ Miles Davis, So What 283 ■ John Coltrane, Acknowledgement 289 ■ Miles Davis, E.S.P. 293 Part IV Summary: Bebop; Cool Jazz; Hard Bop; Jazz Composers; Miles Davis and John Coltrane 298 THE AVANT-GARDE, FUSION, HISTORICISM, AND NOW 302 CHAPTER 15 The Avant-Garde 307 Forward March 307 ■ What s in a Name? 308 ■ Omette Coleman 309 ■ Cecil Taylor 313 ■ The Five Spot 314 ■ The New Thing 317 ■ EricDolphy 317 ■ Albert Ayler 318 ■ Three Paradoxes 319 ■ David Murray 322 ■ Additional Listening 324 ■ Multimedia Resources 325 ■ Omette Coleman, Lonely Woman 311 ■ Cecil Taylor, Willisau Concert, PartS 316 CHAPTER 16 Fusion I: R&B, Singers, and Latin Jazz ......................................................327 New Idioms 327 ■ The R&B Connection 328 ■ Louis Jordan 328 ■ Ray Charles 329 ■ Jimmy Smith 330 ■ Singers in the Mainstream 333 ■ Frank Sinatra 334 ■ Sarah Vaughan 335 ■ Latin Jazz: Cuba 337 ■ Mario Bauza, Machito, and the Dizzy Factor 338 ■ Bossa Nova: Jobim, Gilberto, and Getz 342 ■ Mass Media Jazz 343 ■ Additional Listening 344 ■ Multimedia Resources 345 ■ Jimmy Smith, The Organ Grinder s Swing 331 ■ Dizzy Gillespie, Manteca 340 CHAPTER 17 Fusion II: Jazz, Rock, and Beyond 347 Barbarians at the Gate 347 ■ The Challenge to Jazz 349 ■ Miles Ahead: The Breakthrough 352 ■ Mahavishnu, Return to Forever, and Weather Report 354 ■ Chameleons: Herbie Hancock 359 ■ Keith Jarrett 361 ■ From Hard Fusion to Smooth Jazz 362 ■ Jam Bands, Acid Jazz, and Hip-Hop 364 ■ Miles to Go 366 ■ Additional Listening 370 ■ Multimedia Resources 371 ■ Weather Report, Teen Town 357 ■ Miles Davis, Tutu 367 CHAPTER 18 Historicism: Jazz on Jazz 373 The Weight of History 373 ■ Reclaiming and Defining the Past: From Bunk to the Academy (1940s and 50s) 375 ■ Avant-Garde Historicism and Neoclassicism (1970s and 80s) 378 ■ Wynton Marsalis 381 ■ Ronald Shannon Jackson and James Carter 386 ■ Additional Listening 388 ■ Multimedia Resources 389 ■ Wynton Marsalis, Processional 382 CHAPTER 19 Jazz Today 391 Paradigms Lost and Found 391 ■ Lingua Franca 393 ■ Fifty Twenty- First-Century Jazz Pianists 394 ■ Jason Moran 395 ■ Additional Listening 400 ■ Multimedia Resources 401 ■ Jason Moran, You ve Got to Be Modernistic 397 Part V Summary: Avant-Garde Jazz; Fusion; Historicist Jazz 401 Selected Musicians on Primary Jazz Instruments Al Primer on Music Notation A9 Glossary A19 Collecting Jazz Recordings A27 Jazz on Film A35 Selected Readings A43 End Notes A49 Credits A53 Index A55
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author	DeVeaux, Scott Knowles 1954- Giddins, Gary 1948-
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subject_GND	(DE-588)4028532-7
title	Jazz essential listening
title_auth	Jazz essential listening
title_exact_search	Jazz essential listening
title_full	Jazz essential listening Scott DeVeaux ; Gary Giddins
title_fullStr	Jazz essential listening Scott DeVeaux ; Gary Giddins
title_full_unstemmed	Jazz essential listening Scott DeVeaux ; Gary Giddins
title_short	Jazz
title_sort	jazz essential listening
title_sub	essential listening
topic	Jazz History and criticism Jazz Analysis, appreciation Music appreciation Jazz (DE-588)4028532-7 gnd
topic_facet	Jazz History and criticism Jazz Analysis, appreciation Music appreciation Jazz
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