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Books > Arts & Architecture > Music > Contemporary popular music > Jazz
Jazz Journey: A Guide for Listening explores jazz music from its
19th Century forerunners through today. The text takes readers on
an historical audio and video tour of select jazz performances of
the last hundred years. All of the major styles of jazz-including
the predecessors of jazz, Ragtime and Blues-are covered, including
New Orleans style, Chicago style, Stride piano, Swing, Bebop, Cool,
Hard Bop, modal, Free jazz, freer jazz, and Fusion. Major
performers include Louis Armstrong, Bix Beiderbecke, Fats Waller,
Benny Goodman, Count Basie, Duke Ellington, Charlie Parker, Dizzy
Gillespie, Gerry Mulligan Dave Brubeck, Miles Davis, Horace Silver,
John Coltrane, Bill Evans, Ornette Coleman, Herbie Hancock, and
Keith Jarrett, among others. For easy access to the music described
in the text, the revised first edition features an online, active
learning component with links to audio and video recordings, as
well as listening guides. Jazz Journey is an ideal reading and
listening experience for jazz appreciation courses for non-majors.
It can also be used in jazz history classes for music and jazz
studies majors.
From its beginning, jazz has presented a contradictory social
world: jazz musicians have worked diligently to erase old
boundaries, but they have just as resolutely constructed new ones.
David Ake's vibrant and original book considers the diverse musics
and related identities that jazz communities have shaped over the
course of the twentieth century, exploring the many ways in which
jazz musicians and audiences experience and understand themselves,
their music, their communities, and the world at large.
Writing as a professional pianist and composer, the author looks
at evolving meanings, values, and ideals--as well as the
sounds--that musicians, audiences, and critics carry to and from
the various activities they call jazz. Among the compelling topics
he discusses is the "visuality" of music: the relationship between
performance demeanor and musical meaning. Focusing on pianists Bill
Evans and Keith Jarrett, Ake investigates the ways in which
musicians' postures and attitudes influence perceptions of them as
profound and serious artists. In another essay, Ake examines the
musical values and ideals promulgated by college jazz education
programs through a consideration of saxophonist John Coltrane. He
also discusses the concept of the jazz "standard" in the 1990s and
the differing sense of tradition implied in recent recordings by
Wynton Marsalis and Bill Frisell.
"Jazz Cultures" shows how jazz history has not consisted simply of
a smoothly evolving series of musical styles, but rather an array
of individuals and communities engaging with disparate--and
oftentimes conflicting--actions, ideals, and attitudes.
Your guitar becomes the ultimate jazz solo instrument when you
master the techniques and concepts in this book. Picking up where
the harmony lessons in Intermediate Jazz Guitar leave off, topics
include melody and harmony integration, bass line development,
chord enhancement, quartal harmonies, and how to arrange a guitar
solo. Learn to simultaneously play the harmony, melody, rhythm, and
bass parts of any song! Concepts are illustrated with lots of
examples to practice, including arrangements of some traditional
melodies. All music is shown in standard notation and TAB, and the
CD demonstrates the examples in the book. 64 pages.
A CHOICE 2018 Outstanding Academic Title.In Jazz Transatlantic,
Volume II, renowned scholar Gerhard Kubik extends and expands the
epic exploration he began in Jazz Transatlantic, Volume I. This
second volume amplifies how musicians influenced by swing, bebop,
and post-bop in Africa from the end of World War II into the 1970s
were interacting with each other and re-creating jazz. Much like
the first volume, Kubik examines musicians who adopted a wide
variety of jazz genres, from the jive and swing of the 1940s to
modern jazz. Drawing on personal encounters with the artists, as
well as his extensive field diaries and engagement with colleagues,
Kubik looks at the individual histories of musicians and composers
within jazz in Africa. He pays tribute to their lives and work in a
wider social context. The influences of European music are also
included in both volumes as it is the constant mixing of sources
and traditions that Kubik seeks to describe. Each of these
groundbreaking volumes explores the international cultural exchange
that shaped and continues to shape jazz. Together, these volumes
culminate an integral recasting of international jazz history.
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