Description
Jazz by Gary Giddins, ISBN-13: 978-0393068610
[PDF eBook eTextbook]
720 pages
Publisher: W. W. Norton & Company; First Edition edition (October 26, 2009)
Language: English
ISBN-10: 0393068617
ISBN-13: 978-0393068610
The story of jazz for the general reader as it has never been told before, from the inside out: a comprehensive, eloquent, scrupulously researched page-turner.
In this vivid history of jazz, a respected critic and a leading scholar capture the excitement of America’s unique music with intellectual bite, unprecedented insight, and the passion of unabashed fans. They explain what jazz is, where it came from, and who created it and why, all within the broader context of American life and culture. Emphasizing its African American roots, Jazz traces the history of the music over the last hundred years. From ragtime and blues to the international craze for swing, from the heated protests of the avant-garde to the radical diversity of today’s artists, Jazz describes the travails and triumphs of musical innovators struggling for work, respect, and cultural acceptance set against the backdrop of American history, commerce, and politics. With vibrant photographs by legendary jazz chronicler Herman Leonard, Jazz is also an arresting visual history of a century of music. 38 photos.
The difficulties of writing cogently about jazz—of discerning musical regularities in a genre built around improvisatory jams, and a narrative thread that transcends haphazard biography—are admirably addressed in this history. Critic Giddins (Bing Crosby) and historian DeVeaux (The Birth of Bebop) have an easier task in the book’s first half, which traces jazz’s coalescence in New Orleans out of varied strands of black music, its shaping by Armstrong, Ellington and other giants and its efflorescence in the big band era as the soundtrack of the American century. The tune grows unavoidably less catchy as postwar bebop and successor avant-garde tendencies transform jazz into a self-conscious art music epitomized by John Coltrane’s existential squawk. (The authors maintain a cordial respect for every strain of modern jazz except Kenny G: There are many things to dislike about smooth jazz—for example, everything, they sputter.) The multimedia work contains moment-by-moment exegeses of classic recordings (2:13: [Artie] Shaw’s line climaxes on a dramatic high note) that readers can find on the publisher’s Web site, along with study aids. The authors’ fluent, engaging treatment mixes scholarly lore and sociocultural analysis with piquant character studies and rapt evocations of musical artistry; the result is a treasure-trove for fans and students alike.
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