|
Showing 1 - 6 of
6 matches in All Departments
Graham Collier's career in jazz lasted over five decades. He was a
bassist, a band-leader, a composer, an educator and an author, who
wrote extensively about the music. His working life was littered
with `firsts'. Amongst his many achievements, he was the first
British jazz musician to study at the Berklee School of music in
Boston and the first to receive an Arts Council grant. In 1985,
Collier began teaching at the Royal Academy of Music, where he
later established the first full-time jazz degree course in the UK
in 1987. Mosaics draws extensively on Collier's personal archive,
as well as on interviews with fellow musicians, ex-students and
colleagues from the Royal Academy of Music. It locates Collier and
his work within the social and cultural changes which occurred
during his life and, particularly, in relation to developments in
British and European jazz of the 1960s and 70s. Collier's work as a
composer-bandleader represented an attempt to resolve the paradoxes
inherent in jazz between composition and improvisation, familiarity
and spontaneity and change and tradition. In this regard, Mosaics
compares Collier's work with other composers such as Duke
Ellington, Charles Mingus, Gil Evans, Mike Westbrook, Stan Tracey,
Barry Guy and Butch Morris. Throughout, Collier emerges as a
contradictory figure falling between several different camps. He
was never an out-and-out musical, cultural or political radical but
rather an individualist continually forced to confront the
contradictions in his own position - a musical outsider working
within a marginalised area of cultural activity; a gay man
operating in a very male area of the music business and within
heterosexist culture in general; a man of working class origins
stepping outside traditionally prescribed class boundaries; and a
musician-composer seeking individual solutions to collective
problems of aesthetic and ethical value.
Graham Collier's career in jazz lasted over five decades. He was a
bassist, a band-leader, a composer, an educator and an author, who
wrote extensively about the music. His working life was littered
with 'firsts'. Amongst his many achievements, he was the first
British jazz musician to study at the Berklee School of music in
Boston and the first to receive an Arts Council grant. In 1985,
Collier began teaching at the Royal Academy of Music, where he
later established the first full-time jazz degree course in the UK
in 1987. Mosaics draws extensively on Collier's personal archive,
as well as on interviews with fellow musicians, ex-students and
colleagues from the Royal Academy of Music. It locates Collier and
his work within the social and cultural changes which occurred
during his life and, particularly, in relation to developments in
British and European jazz of the 1960s and 70s. Collier's work as a
composer-bandleader represented an attempt to resolve the paradoxes
inherent in jazz between composition and improvisation, familiarity
and spontaneity and change and tradition. In this regard, Mosaics
compares Collier's work with other composers such as Duke
Ellington, Charles Mingus, Gil Evans, Mike Westbrook, Stan Tracey,
Barry Guy and Butch Morris. Throughout, Collier emerges as a
contradictory figure falling between several different camps. He
was never an out-and-out musical, cultural or political radical but
rather an individualist continually forced to confront the
contradictions in his own position - a musical outsider working
within a marginalised area of cultural activity; a gay man
operating in a very male area of the music business and within
heterosexist culture in general; a man of working class origins
stepping outside traditionally prescribed class boundaries; and a
musician-composer seeking individual solutions to collective
problems of aesthetic and ethical value.
The 1960's was a decade of major transformation in British Jazz
and, of course, in British popular music in general. The British
Jazz scene had been, arguably, the first outside America to assert
its independence. At first slowly but with gathering speed, it
began to define an identity that drew increasingly on sources from
within its own culture, as well as those from African-American
jazz, and from its shared European cultural heritage. This process
would in itself prove highly influential, as French, Italian,
German and Scandinavian scenes began to follow suit. The nature of
Jazz, its scope and potential were re-examined and reformulated in
this period with important implications for its musicians and its
audience. But the external forces acting upon the UK Jazz scene
were both global and local in origin. On the one hand, Jazz was not
immune from the economic, social and cultural changes that occurred
following the Second World War and which continued apace in the
1960's. Its development was both affected by and reflected those
changes and the new ways of thinking and acting that arose from
them. On the other hand, wider global economic and political
changes, in particular in America, would continue to have a major
impact on British Jazz. For these reasons, any history of British
Jazz in the 1960's must seek to explain these trends and describe
which were global and which were local in origin. It must show how
forces outside the music acted upon it and both created and limited
its potential for development. But it must also define the
personalities, as well as the context in which they functioned.
Jazz is made by its musicians and is ultimately changed by them.
What were the records that they made which defined the era? From
where did their inspiration arise? And how did their audience
respond? Trad Dads, Dirty Boppers and Free Fusioneers follows a
number of themes - class, education, drugs and addictions,
relationships with Rock and Blues, race and immigration, gender
issues, the arts, politics and that sixties buzzword, 'freedom'. In
doing so, the book challenges many conventional understandings of
British Jazz and its scene. This is the definitive history of
British Jazz - and the context in which it was defined - the 1960s.
|
The Dessert Book (Paperback)
Duncan Hines; Edited by Louis Hatchett; Foreword by Michael Stern, Jane Stern
|
R555
Discovery Miles 5 550
|
Ships in 10 - 15 working days
|
Kentucky native and national tastemaker Duncan Hines
(1880--1959) published his first cookbook, Adventures in Good
Cooking, in 1939 at the age of 59. This best-selling collection
featured recipes from select restaurants across the country as well
as crowd-pleasing family favorites, and it helped to raise the
standard for home cooking in America. Following the success of this
debut, Hines penned The Dessert Book in 1955. Filled with decadent
treats, from homemade ice cream royale to fried apple pie to
praline fudge frosting, this book inspired the recipes for the
earliest boxed cake mixes and baked goods that carried the Duncan
Hines name.
Featuring a new introduction by Hines biographer Louis Hatchett,
this classic cookbook serves up a satisfying slice of
twentieth-century Americana, direct from the kitchen of one of the
nation's most trusted names in food. Now a new generation of cooks
can enjoy and share these delectable dishes with family and
friends.
|
You may like...
Come Boldly
C. S. Lewis
Hardcover
R254
R182
Discovery Miles 1 820
Hampstead
Diane Keaton, Brendan Gleeson, …
DVD
R63
Discovery Miles 630
Loot
Nadine Gordimer
Paperback
(2)
R383
R318
Discovery Miles 3 180
Loot
Nadine Gordimer
Paperback
(2)
R383
R318
Discovery Miles 3 180
|