Jazz: From New Orleans to the new generation (Guardian Shorts Book 7)
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The Guardian and Observer newspapers have covered jazz in all its shapes and forms for almost a century. Jazz: From New Orleans to the new generation is a collection of reviews and profiles that charts the development of the music from its first appearance in London in 1917 right through to latter day arguments over fusion. Contributors including Kingsley Amis, Benny Green, Michael Frayn and John Fordham provide a uniquely British perspective on the history of jazz that features all the top names, from Louis Armstrong and Miles Davis to Robert Glasper.
irresistible spell. His music is a mixture of thunderous, percussive hammering of the bass chords which makes the piano resemble a vast string section all pursuing a crescendo, and piquant, understated melodies, most of which resemble hymns. The chord voicings are everything to him, glowing with vibrant, chant-like quality. The Mainstream: 1981–present • 1980s onwards • A return to mainstream jazz while others explore more experimental sounds, fusing traditional jazz idioms with
poured sweet oil on the turbulent flood of sound. They sang a sentimental song that has aged pretty well and also Offenbach’s “Barcarole.” The tempo of the programme had now definitely moderated. Homage to Jazz The Manchester Guardian, 26 June 1933 There seemed to be a full turn-out of our more serious minded young composers and musicians as well as dance-band performers to hear a two-hour recital of “hot rhythm” music by Duke Ellington, the American “jazz king,” and his for the most part
all about jazz and role models. “If my father hadn’t been a jazz musician I’d never have known what jazz was. People of my age thought it was funk or fusion because that’s what they were told, and they could see funk bands on television, so that was their role model. And it’s a whole lot easier to play than real jazz. The distance between liking the way it sounds and getting able to play it is much smaller.” Born and raised in New Orleans, the son of a jazz pianist, Ellis Marsalis, who named him
years; for many it will be the first such opportunity. The reason for this surprising situation was a ban imposed by the Musicians’ Union on American bands playing in this country. Satchmo on a hot tin roof – Splendour and Sensualism of Original New Orleans Jazz The Manchester Guardian, By our own Reporter, 15 May 1956 When the first majestic notes from Louis Armstrong’s trumpet pierced like javelins of sound through the blue haze of King’s Hall, Belle Vue, Manchester, last night, one could
does mean, though, that earlier pieces reflect the language and attitudes of the day. Origins: 1919 –1947 • 1900s • Jazz develops in New Orleans – possibly invented by cornetist Buddy Bolden. Musicians like Jelly Roll Morton spread the sound to Chicago and New York. • 1917 • The Original Dixieland Jass band, a white ensemble, makes the first jazz recording, Livery Stable Blues. • 1920s • The decade known as the jazz age. Artists like Louis Armstrong and Bix Beiderbecke popularise the