By Nat Hentoff
ISBN-10: 0520261135
ISBN-13: 9780520261136
Nat Hentoff, well known jazz critic, civil liberties activist, and fearless contrarian--"I'm a Jewish atheist civil-libertarian pro-lifer"--has lived via a lot of jazz's heritage and has recognized lots of jazz's most vital figures, usually as good friend and confidant. Hentoff has been a tireless recommend for the ignored components of jazz heritage, together with forgotten sidemen and -women. This quantity contains his most sensible contemporary work--short essays, lengthy interviews, and private memories. From Duke Ellington and Louis Armstrong to Ornette Coleman and Quincy Jones, Hentoff brings the jazz greats to existence and lines their paintings to gospel, blues, and plenty of other kinds of yank song. on the Jazz Band Ball additionally comprises Hentoff's willing, cosmopolitan observations on quite a lot of concerns. The publication exhibits how jazz and schooling are an essential partnership, how unfastened expression is the essence of liberty, and the way social justice matters like wellbeing and fitness care and powerful civil rights and liberties continue all of the arts--and all contributors of society--strong.
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Extra resources for At the Jazz Band Ball: Sixty Years on the Jazz Scene
Example text
And the next unexpected originator, like Ornette Coleman, swooping into New York, could come from any place in the world. Between sets one night, John Lewis and I were talking about who might become the new compelling shepherd—the individual others would follow, in Duke Ellington’s phrase. ” He or she hasn’t broken through the jazz firmament yet. And it certainly could be a she. As of now, that female person isn’t in the Jazz at Lincoln Center Orchestra because Wynton Marsalis hasn’t yet found a woman musician, of whatever nationality, color or age, who meets his standards for being a regular member.
11 No One Else Sounded Like “Pee Wee” Russell When I was a teenage fledgling clarinetist studying with an alumnus of the Boston Symphony Orchestra, I was startled to hear on a 1929 jazz recording by the Mound City Blue Blowers sounds I had never imagined coming from a clarinet: vocal-like cries and intimate whispers, breaking into triumphant, glowing lyricism in solos building to the edge of a cliff. It was Charles Ellsworth “Pee Wee” Russell. Also on that 1929 session was Coleman Hawkins, who invented the jazz tenor saxophone.
He was sixty-six years old. I spoke with Duke the next night, and he was furious. “I’m hardly surprised,” he said, “that my music is still without official honor at home. Most Americans still take it for granted that European-based—classical music, if you will—is the only really respectable kind. ” It wasn’t until 1997 that a jazz composition achieved “respectability” and the Pulitzer board anointed Wynton Marsalis’s “Blood on the Fields,” a three-hour oratorio with a cast of fourteen musicians and three singers.
At the Jazz Band Ball: Sixty Years on the Jazz Scene by Nat Hentoff
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