DOCSLIB.ORG

The Norton Jazz Recordings 2 Compact Discs for Use with Jazz: Essential Listening 1St Edition Pdf, Epub, Ebook

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Norton Jazz Recordings 2 Compact Discs for Use with Jazz: Essential Listening 1St Edition Pdf, Epub, Ebook THE NORTON JAZZ RECORDINGS 2 COMPACT DISCS FOR USE WITH JAZZ: ESSENTIAL LISTENING 1ST EDITION PDF, EPUB, EBOOK Scott DeVeaux | 9780393118438 | | | | | The Norton Jazz Recordings 2 Compact Discs for Use with Jazz: Essential Listening 1st edition PDF Book A Short History of Jazz. Ships fast. Claude Debussy did have some influence on jazz, for example, on Bix Beiderbecke's piano playing. Miles Davis: E. Retrieved 14 January No recordings by him exist. Subgenres Avant-garde jazz bebop big band chamber jazz cool jazz free jazz gypsy jazz hard bop Latin jazz mainstream jazz modal jazz M-Base neo-bop post-bop progressive jazz soul jazz swing third stream traditional jazz. Special Attributes see all. Like New. Archived from the original on In the mids the white New Orleans composer Louis Moreau Gottschalk adapted slave rhythms and melodies from Cuba and other Caribbean islands into piano salon music. Traditional and Modern Jazz in the s". See also: s in jazz , s in jazz , s in jazz , and s in jazz. Charlie Parker's Re-Boppers. Hoagy Carmichael. Speedy service!. Visions of Jazz: The First Century. Although most often performed in a concert setting rather than church worship setting, this form has many examples. Drumming shifted to a more elusive and explosive style, in which the ride cymbal was used to keep time while the snare and bass drum were used for accents. Season 1. Seller Inventory While for an outside observer, the harmonic innovations in bebop would appear to be inspired by experiences in Western "serious" music, from Claude Debussy to Arnold Schoenberg , such a scheme cannot be sustained by the evidence from a cognitive approach. The primitive southern Negro, as he sang, was sure to bear down on the third and seventh tone of the scale, slurring between major and minor. Jones, A. Two years later, Vess Ossman recorded a medley of these songs as a banjo solo known as "Rag Time Medley". Lady Be Good George Gershwin. Music Outside: Contemporary Jazz in Britain. The Red Hot Archive. Columbia CL Miles Davis. According to jazz writer Stuart Nicholson, "just as free jazz appeared on the verge of creating a whole new musical language in the s The Egg - Travelator CD 5 out of 5 stars. The difference was in how you got from here to here to here The Norton Jazz Recordings 2 Compact Discs for Use with Jazz: Essential Listening 1st edition Writer Wall Street Journal. Much of this French jazz was a combination of African-American jazz and the symphonic styles in which French musicians were well-trained; in this, it is easy to see the inspiration taken from Paul Whiteman since his style was also a fusion of the two. In a doctoral dissertation, Angelo Versace examined the development of sacred jazz in the s using disciplines of musicology and history. In the bebop era of the s, big bands gave way to small groups and minimal arrangements in which the melody was stated briefly at the beginning and most of the piece was improvised. The paperback book ASIN is sold separately. Please provide a valid price range. The rhythm section plays chords and rhythms that outline the composition structure and complement the soloist. Following the work of drummer Han Bennink and pianist Misha Mengelberg , musicians started to explore by improvising collectively until a form melody, rhythm, a famous song is found Jazz critic Kevin Whitehead documented the free jazz scene in Amsterdam and some of its main exponents such as the ICP Instant Composers Pool orchestra in his book New Dutch Swing. The quintet existed on and off for little more than two years and was widely regarded as the finest small jazz ensemble of its day—one critic thought it the most accomplished since the Hot Five. Used items may not include supplementary materials such as CDs or access codes. Schuller, Gunther. Blues By Five. His recombinant ideas about rhythm and form and his eagerness to mentor musicians and build a new vernacular have had a profound effect on American jazz. Another internet-aided trend of 's jazz was that of extreme reharmonization , inspired by both virtuosic players known for their speed and rhythm such as Art Tatum , as well as players known for their ambitious voicings and chords such as Bill Evans. In turn, European-American minstrel show performers in blackface popularized the music internationally, combining syncopation with European harmonic accompaniment. In the swing era of the s—'40s, big bands relied more on arrangements which were written or learned by ear and memorized. Critic Aaron J. And the next generation of progressive players would be even more accommodating, moving inside and outside the changes without thinking twice. Beginning in , he toured with vaudeville shows to southern cities, Chicago, and New York City. New Orleans jazz, performers took turns playing melodies and improvising countermelodies. Ships fast!!! Miles Davis: So What 8. The Norton Jazz Recordings 2 Compact Discs for Use with Jazz: Essential Listening 1st edition Reviews Continue shopping. Processional Wynton Marsalis. Sher Music. Tresillo is heard prominently in New Orleans second line music and in other forms of popular music from that city from the turn of the 20th century to present. Back in March, touring musicians rapidly saw their entire year of income just wiped out. This era of creativity and vitality is best represented by the Gonzalez brothers Jerry congas and trumpet and Andy bass. Retrieved March 28, New York: Routledge. Jason Moran: Planet Rock. Dexter Gordon: Long Tall Dexter The music of New Orleans had a profound effect on the creation of early jazz. That was dirty, and if you knew what it was, you wouldn't say it in front of ladies. Main article: Women in jazz. The Jazz Book. Results pagination - page 1 1 2 3 4 5 6 7 8 9 Composed of two side-long suites edited heavily by producer Teo Macero , this quiet, static album would be equally influential to the development of ambient music. In contrast, jazz is often characterized by the product of interaction and collaboration, placing less value on the contribution of the composer, if there is one, and more on the performer. Miles Davis: Tutu Despite its Southern black origins, there was a larger market for jazzy dance music played by white orchestras. Ella Fitzgerald. Coltrane studied Nicolas Slonimsky 's Thesaurus of Scales and Melodic Patterns , which contains material that is virtually identical to portions of "Giant Steps". Style see all. Retrieved December 24, Limited Edition. M-Base changed from a movement of a loose collective of young musicians to a kind of informal Coleman "school", [] with a much advanced but already originally implied concept. Retrieved June 5, Album Filter Applied. Snake Rag King Oliver. Although jazz-rock fusion reached the height of its popularity in the s, the use of electronic instruments and rock-derived musical elements in jazz continued in the s and s. The cross noteheads indicate the main beats not bass notes. More information about this seller Contact this seller 3. Oxford University Press. Dave Liebman later called it "the torch that lit the free jazz thing. Archived from the original on May 17, Retrieved November 4, — via Paris-Sorbonne University. According to Schuller, by comparison, the solos by Armstrong's bandmates including a young Coleman Hawkins , sounded "stiff, stodgy," with "jerky rhythms and a grey undistinguished tone quality. Bessie Smith. Results 1 - 29 of Retrieved 25 July Litweiler, John West Coast. Bix Beiderbecke formed The Wolverines in Jazz: A History of America's Music 1st ed. According to jazz writer Stuart Nicholson, "just as free jazz appeared on the verge of creating a whole new musical language in the s Retrieved 28 March African-American music began incorporating Afro-Cuban rhythmic motifs in the 19th century when the habanera Cuban contradanza gained international popularity. Used Quantity Available: 1. As jazz spread around the world, it drew on national, regional, and local musical cultures, which gave rise to different styles. More information about this seller Contact this seller. The Norton Jazz Recordings 2 Compact Discs for Use with Jazz: Essential Listening 1st edition Read Online Delphi Classics. If the progression begins on the "two-side", it is in 2—3 clave. I thought I was writing an eight-bar bridge, but Sort: Best Match. Its structure was the basis for many other rags, and the syncopations in the right hand, especially in the transition between the first and second strain, were novel at the time. This led to a highly syncopated music with a linear rhythmic complexity. Redway, CA: Bembe Inc. Continue shopping. According to Schuller, by comparison, the solos by Armstrong's bandmates including a young Coleman Hawkins , sounded "stiff, stodgy," with "jerky rhythms and a grey undistinguished tone quality. So What Miles Davis. The following pentatonic lick was played over blues changes by Joe Henderson on Horace Silver 's "African Queen" Special Attributes see all. For other uses, see Jazz disambiguation. Jimmy Smith. Unused access code included. The harmonic development in bebop is often traced back to a moment experienced by Charlie Parker while performing "Cherokee" at Clark Monroe's Uptown House , New York, in early Speedy service!. According to Gillespie, Pozo composed the layered, contrapuntal guajeos Afro-Cuban ostinatos of the A section and the introduction, while Gillespie wrote the bridge. Seller Inventory U. An excerpt of "New Orleans Blues" is shown below. With this broadcast, Jazz at has featured all of these masterworks. Style see all. Now's the Time Charlie Parker. The Original Dixieland Jass Band made the music's first recordings early in , and their " Livery Stable Blues " became the earliest released jazz record.
Load more

Recommended publications
  • The Historic Recordings of the Song Desafinado: Bossa Nova Development and Change in the International Scene1
    The historic recordings of the song Desafinado: Bossa Nova development and change in the international scene1 Liliana Harb Bollos Universidade Federal de Goiás, Brasil [email protected] Fernando A. de A. Corrêa Faculdade Santa Marcelina, Brasil [email protected] Carlos Henrique Costa Universidade Federal de Goiás, Brasil [email protected] 1. Introduction Considered the “turning point” (Medaglia, 1960, p. 79) in modern popular Brazi- lian music due to the representativeness and importance it reached in the Brazi- lian music scene in the subsequent years, João Gilberto’s LP, Chega de saudade (1959, Odeon, 3073), was released in 1959 and after only a short time received critical and public acclaim. The musicologist Brasil Rocha Brito published an im- portant study on Bossa Nova in 1960 affirming that “never before had a happe- ning in the scope of our popular music scene brought about such an incitement of controversy and polemic” (Brito, 1993, p. 17). Before the Chega de Saudade recording, however, in February of 1958, João Gilberto participated on the LP Can- ção do Amor Demais (Festa, FT 1801), featuring the singer Elizete Cardoso. The recording was considered a sort of presentation recording for Bossa Nova (Bollos, 2010), featuring pieces by Vinicius de Moraes and Antônio Carlos Jobim, including arrangements by Jobim. On the recording, João Gilberto interpreted two tracks on guitar: “Chega de Saudade” (Jobim/Moraes) and “Outra vez” (Jobim). The groove that would symbolize Bossa Nova was recorded for the first time on this LP with ¹ The first version of this article was published in the Anais do V Simpósio Internacional de Musicologia (Bollos, 2015), in which two versions of “Desafinado” were discussed.
    [Show full text]
  • Navigating Jazz: Music, Place, and New Orleans by Sarah Ezekiel
    Navigating Jazz: Music, Place, and New Orleans by Sarah Ezekiel Suhadolnik A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (Musicology) in the University of Michigan 2016 Doctoral Committee: Associate Professor Charles Hiroshi Garrett, Chair Professor David Ake, University of Miami Associate Professor Stephen Berrey Associate Professor Christi-Anne Castro Associate Professor Mark Clague © Sarah Ezekiel Suhadolnik 2016 DEDICATION To Jarvis P. Chuckles, an amalgamation of all those who made this project possible. ii ACKNOWLEDGEMENTS My dissertation was made possible by fellowship support conferred by the University of Michigan Rackham Graduate School and the University of Michigan Institute for the Humanities, as well as ample teaching opportunities provided by the Musicology Department and the Residential College. I am also grateful to my department, Rackham, the Institute, and the UM Sweetland Writing Center for supporting my work through various travel, research, and writing grants. This additional support financed much of the archival research for this project, provided for several national and international conference presentations, and allowed me to participate in the 2015 Rackham/Sweetland Writing Center Summer Dissertation Writing Institute. I also remain indebted to all those who helped me reach this point, including my supervisors at the Hatcher Graduate Library, the Music Library, the Children’s Center, and the Music of the United States of America Critical Edition Series. I thank them for their patience, assistance, and support at a critical moment in my graduate career. This project could not have been completed without the assistance of Bruce Boyd Raeburn and his staff at Tulane University’s William Ransom Hogan Jazz Archive of New Orleans Jazz, and the staff of the Historic New Orleans Collection.
    [Show full text]
  • Religious Expressions Among Jazz Musicians
    religions Article Performing, Representing, and Archiving Belief: Religious Expressions among Jazz Musicians Vaughn A. Booker Department of Religion, Princeton University, 1879 Hall, Princeton, NJ 08544, USA; [email protected] Academic Editors: Douglas James Davies and Michael J. Thate Received: 30 March 2016; Accepted: 12 August 2016; Published: 19 August 2016 Abstract: The archives of African American jazz musicians demonstrate rich sites for studying expressions of religious belief and daily religious practice in public and private arenas, in professional and personal capacities. Highlighting print material from the archives of Edward Kennedy “Duke” Ellington (1899–1974) and Mary Lou Williams (1910–1981), this article examines the ways that these musicians worked to articulate their beliefs in print and to make meaning of their routine practices. Ellington and Williams produced written records of their aspirations for non-clerical religious authority and leadership, novel notions of religious community, and conceptions of quotidian writing tasks as practices with devotional value in the middle decades of the twentieth century. In preparation for his Sacred Concert tours of American and Western European religious congregations, Ellington theologized about the nature of God and the proper language to address God through private hotel stationery. Following her conversion to Roman Catholicism, Williams managed a Harlem thrift shop and worked to create the Bel Canto Foundation for musicians struggling with substance abuse and unemployment. This study of the religious subjectivity of African Americans with status as race representatives employs archival historical methods in the effort to vividly approximate complex religious interiority. Keywords: African American religious history; Religion in America; jazz; Duke Ellington; Mary Lou Williams 1.
    [Show full text]
  • Where to Study Jazz 2019
    STUDENT MUSIC GUIDE Where To Study Jazz 2019 JAZZ MEETS CUTTING- EDGE TECHNOLOGY 5 SUPERB SCHOOLS IN SMALLER CITIES NEW ERA AT THE NEW SCHOOL IN NYC NYO JAZZ SPOTLIGHTS YOUNG TALENT Plus: Detailed Listings for 250 Schools! OCTOBER 2018 DOWNBEAT 71 There are numerous jazz ensembles, including a big band, at the University of Central Florida in Orlando. (Photo: Tony Firriolo) Cool perspective: The musicians in NYO Jazz enjoyed the view from onstage at Carnegie Hall. TODD ROSENBERG FIND YOUR FIT FEATURES f you want to pursue a career in jazz, this about programs you might want to check out. 74 THE NEW SCHOOL Iguide is the next step in your journey. Our As you begin researching jazz studies pro- The NYC institution continues to evolve annual Student Music Guide provides essen- grams, keep in mind that the goal is to find one 102 NYO JAZZ tial information on the world of jazz education. that fits your individual needs. Be sure to visit the Youthful ambassadors for jazz At the heart of the guide are detailed listings websites of schools that interest you. We’ve com- of jazz programs at 250 schools. Our listings are piled the most recent information we could gath- 120 FIVE GEMS organized by region, including an International er at press time, but some information might have Excellent jazz programs located in small or medium-size towns section. Throughout the listings, you’ll notice changed, so contact a school representative to get that some schools’ names have a colored banner. detailed, up-to-date information on admissions, 148 HIGH-TECH ED Those schools have placed advertisements in this enrollment, scholarships and campus life.
    [Show full text]
  • Prohibido Full Score
    Jazz Lines Publications Presents the jeffrey sultanof master edition prohibido As recorded by benny carter Arranged by benny carter edited by jeffrey sultanof full score from the original manuscript jlp-8230 Music by Benny Carter © 1967 (Renewed 1995) BEE CEE MUSIC CO. All Rights Reserved Including Public Performance for Profit Used by Permission Layout, Design, and Logos © 2010 HERO ENTERPRISES INC. DBA JAZZ LINES PUBLICATIONS AND EJAZZLINES.COM This Arrangement has been Published with the Authorization of the Estate of Benny Carter. Jazz Lines Publications PO Box 1236 Saratoga Springs NY 12866 USA benny carter series prohibido At long last, Benny Carter’s arrangements for saxophone ensembles are now available, authorized by Hilma Carter and the Benny Carter Estate. Carter himself is one of the legendary soloists and composer/arrangers in the history of American music. Born in 1905, he studied piano with his mother, but wanted to play the trumpet. Saving up to buy one, he realized it was a harder instrument that he’d imagined, so he exchanged it for a C-melody saxophone. By the age of fifteen, he was already playing professionally. Carter was already a veteran of such bands as Earl Hines and Charlie Johnson by his twenties. He became chief arranger of the Fletcher Henderson Orchestra when Don Redman left, and brought an entirely new style to the orchestra which was widely imitated by other arrangers and bands. In 1931, he became the musical director of McKinney’s Cotton Pickers, one of the top bands of the era, and once again picked up the trumpet.
    [Show full text]
  • |||GET||| Creative Jazz Improvisation 4Th Edition
    CREATIVE JAZZ IMPROVISATION 4TH EDITION DOWNLOAD FREE Scott D Reeves | 9780131776395 | | | | | Creative Jazz Improvisation by Scott Reeves Jazz-rock fusion appeared in the late s and early s, combining jazz improvisation with rock music 's rhythms, electric instruments, and highly amplified stage sound. It was Creative Jazz Improvisation 4th edition 'J-A-S-S'. Bunch II [l0v. Main article: Jazz fusion. Unfortunately, relatively little has been written about sacred and liturgical jazz. For most of its history, Afro-Cuban jazz had been a matter of superimposing jazz phrasing over Cuban rhythms. Since the beginning of the 90s, electronic music had significant technical improvements that popularized and created new possibilities for the genre. Bythe Atlantic slave trade had brought nearlyAfricans to North America. I gratefully acknowledge these people, as well as the staff at Prentice Hall, particularly my acquisitions editor, Christopher Johnson and my production and copy editor, Laura Lawrie. Murray, Richard Ambrose, Megan N. Enlarge cover. A series of recordings with the Classic Quartet in the first half of show Coltrane's playing becoming increasingly abstract, with greater incorporation of devices like multiphonicsutilization of overtones, and playing in the altissimo register, as well as a mutated return to Coltrane's sheets of sound. Tatiana Abramova added it May 31, Greer [xds. However the Catholic church has not embraced jazz as appropriate for Creative Jazz Improvisation 4th edition. Joyce, Marsha Weil, Emily Calhoun. Seller Inventory Julnd The relaxation of orthodoxy which was concurrent with post-punk in London and New York City led to a new appreciation of Creative Jazz Improvisation 4th edition.
    [Show full text]
  • University of Southampton Research Repository Eprints Soton
    University of Southampton Research Repository ePrints Soton Copyright © and Moral Rights for this thesis are retained by the author and/or other copyright owners. A copy can be downloaded for personal non-commercial research or study, without prior permission or charge. This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the copyright holder/s. The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the copyright holders. When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given e.g. AUTHOR (year of submission) "Full thesis title", University of Southampton, name of the University School or Department, PhD Thesis, pagination http://eprints.soton.ac.uk UNIVERSITY OF SOUTHAMPTON School of Humanities: Music Making the weather in contemporary jazz: an appreciation of the musical art of Josef Zawinul by Alan Cooper Thesis for the degree of Doctor of Philosophy October 2012 i UNIVERSITY OF SOUTHAMPTON ABSTRACT Making the weather in contemporary jazz: an appreciation of the musical art of Josef Zawinul by Alan Cooper Josef Zawinul (1932-2007) holds a rare place in the world of jazz in view of the fact that as a European he forged a long and distinguished musical career in America. Indeed, from a position of relative obscurity when he arrived in New York in 1959, he went on to become one of contemporary jazz’s most prolific and commercially successful composers. The main focus of this dissertation will be Zawinul’s rise to prominence in American jazz during the 1960s and 1970s.
    [Show full text]
  • Jazz and the Cultural Transformation of America in the 1920S
    Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2003 Jazz and the cultural transformation of America in the 1920s Courtney Patterson Carney Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the History Commons Recommended Citation Carney, Courtney Patterson, "Jazz and the cultural transformation of America in the 1920s" (2003). LSU Doctoral Dissertations. 176. https://digitalcommons.lsu.edu/gradschool_dissertations/176 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. JAZZ AND THE CULTURAL TRANSFORMATION OF AMERICA IN THE 1920S A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Philosophy in The Department of History by Courtney Patterson Carney B.A., Baylor University, 1996 M.A., Louisiana State University, 1998 December 2003 For Big ii ACKNOWLEDGEMENTS The real truth about it is no one gets it right The real truth about it is we’re all supposed to try1 Over the course of the last few years I have been in contact with a long list of people, many of whom have had some impact on this dissertation. At the University of Chicago, Deborah Gillaspie and Ray Gadke helped immensely by guiding me through the Chicago Jazz Archive.
    [Show full text]
  • INTRODUCTION: BLUE NOTES TOWARD a NEW JAZZ DISCOURSE I. Authority and Authenticity in Jazz Historiography Most Books and Article
    INTRODUCTION: BLUE NOTES TOWARD A NEW JAZZ DISCOURSE MARK OSTEEN, LOYOLA COLLEGE I. Authority and Authenticity in Jazz Historiography Most books and articles with "jazz" in the title are not simply about music. Instead, their authors generally use jazz music to investigate or promulgate ideas about politics or race (e.g., that jazz exemplifies democratic or American values,* or that jazz epitomizes the history of twentieth-century African Americans); to illustrate a philosophy of art (either a Modernist one or a Romantic one); or to celebrate the music as an expression of broader human traits such as conversa- tion, flexibility, and hybridity (here "improvisation" is generally the touchstone). These explorations of the broader cultural meanings of jazz constitute what is being touted as the New Jazz Studies. This proliferation of the meanings of "jazz" is not a bad thing, and in any case it is probably inevitable, for jazz has been employed as an emblem of every- thing but mere music almost since its inception. As Lawrence Levine demon- strates, in its formative years jazz—with its vitality, its sexual charge, its use of new technologies of reproduction, its sheer noisiness—was for many Americans a symbol of modernity itself (433). It was scandalous, lowdown, classless, obscene, but it was also joyous, irrepressible, and unpretentious. The music was a battlefield on which the forces seeking to preserve European high culture met the upstarts of popular culture who celebrated innovation, speed, and novelty. It 'Crouch writes: "the demands on and respect for the individual in the jazz band put democracy into aesthetic action" (161).
    [Show full text]
  • Saxophone Colossus”—Sonny Rollins (1956) Added to the National Registry: 2016 Essay by Hugh Wyatt (Guest Essay)*
    “Saxophone Colossus”—Sonny Rollins (1956) Added to the National Registry: 2016 Essay by Hugh Wyatt (guest essay)* Album cover Original album Rollins, c. 1956 The moniker “Saxophone Colossus” aptly describes the magnitude of the man and his music. Walter Theodore Rollins is better known worldwide as the jazz giant Sonny Rollins, but in addition to Saxophone Colossus, he has also been given other nicknames, most notably “Newk” because of his resemblance to baseball legend Don Newcombe. To use a cliché, Saxophone Colossus best describes Sonny because he is bigger than life. He is an African American of mammoth importance not only because he is the last major remaining jazz trailblazer, but also because he helped to inspire millions of fans and others to explore the religions and cultures of the East. A former heroin addict, the tenor saxophone icon proved that it was possible to kick the drug habit at a time in the 1950s when thousands of fellow musicians abused heroin and other narcotics. His success is testimony to his strength of character and powerful spirituality, the latter of which helped him overcome what musicians called “the stick” (heroin). Sonny may be the most popular jazz pioneer who is still alive after nearly seven decades of playing bebop, hard bop, and other styles of jazz with the likes of other stalwart trailblazers such as Thelonious Monk, Dizzy Gillespie, Bud Powell, Clifford Brown, Max Roach, and Miles Davis. He follows a tradition begun by Louis Armstrong, Duke Ellington, and Charlie Parker. Eight months after overcoming his habit at a drug rehabilitation facility called “the farm” in Lexington, Kentucky, Sonny made what the jazz cognoscenti rightly contend is his greatest recording ever—ironically entitled “Saxophone Colossus”—which was recorded on June 22, 1956.
    [Show full text]
  • Jazz and Radio in the United States: Mediation, Genre, and Patronage
    Jazz and Radio in the United States: Mediation, Genre, and Patronage Aaron Joseph Johnson Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2014 © 2014 Aaron Joseph Johnson All rights reserved ABSTRACT Jazz and Radio in the United States: Mediation, Genre, and Patronage Aaron Joseph Johnson This dissertation is a study of jazz on American radio. The dissertation's meta-subjects are mediation, classification, and patronage in the presentation of music via distribution channels capable of reaching widespread audiences. The dissertation also addresses questions of race in the representation of jazz on radio. A central claim of the dissertation is that a given direction in jazz radio programming reflects the ideological, aesthetic, and political imperatives of a given broadcasting entity. I further argue that this ideological deployment of jazz can appear as conservative or progressive programming philosophies, and that these tendencies reflect discursive struggles over the identity of jazz. The first chapter, "Jazz on Noncommercial Radio," describes in some detail the current (circa 2013) taxonomy of American jazz radio. The remaining chapters are case studies of different aspects of jazz radio in the United States. Chapter 2, "Jazz is on the Left End of the Dial," presents considerable detail to the way the music is positioned on specific noncommercial stations. Chapter 3, "Duke Ellington and Radio," uses Ellington's multifaceted radio career (1925-1953) as radio bandleader, radio celebrity, and celebrity DJ to examine the medium's shifting relationship with jazz and black American creative ambition.
    [Show full text]
  • Jazz in America • the National Jazz Curriculum Test Bank 7 - Avant Garde/Free Jazz and Fusion Select the BEST Answer
    Jazz in America • The National Jazz Curriculum Test Bank 7 - Avant Garde/Free Jazz and Fusion Select the BEST answer 1. Free Jazz was a reaction to A. Dixieland B. the yuppies of the 1980s C. the women’s movement D. Rock 'n Roll E. Swing, Cool Jazz, and Hard Bop 2. Free Jazz improvisation was generally A. not predetermined B. easy to listen to C. based on predetermined chord progressions D. based on the Blues E. simple 3. Free Jazz musicians freed themselves by improvising A. for at least three standard choruses B. solely on the emotions of the moment C. ala Kenny G D. infrequently E. according to the composer’s intentions 4. In Free Jazz, traditional values of melody, harmony, and rhythm were A. referred to continually B. used to build the form of a tune C. discarded D. important E. always in the soloist's mind 5. Free Jazz is most closely related to A. the homeless B. improvised 20th century classical and world music C. Rock ‘n Roll D. Funk E. inexpensive jazz 6. Free Jazz allowed for the exploration of A. tonal colors and harmonies B. traditional ways to play Swing C. ideas on how to make jazz more traditional D. ideas on how to make jazz more audience accessible E. expensive jazz 7. Free Jazz A. was highly regarded by all B. pushed the limits of what musicians could play and what audiences could accept C. was popular among musicians D. became the most popular jazz style in the late 1950’s and ‘60s E.
    [Show full text]