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The History of Jazz [Format Kindle]

Ted Gioia

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Descriptions du produit

From Library Journal

Beginning with details provided from firsthand accounts of slave dances in the early 19th-century New Orleans, Gioia relates the story of African American music from its roots in Africa to the international respect it enjoys today. Styles that developed in such hotbeds as New Orleans, Chicago, Kansas City, and New York are considered along with the artists that personify these styles. With the arrival of more white musicians, such as Benny Goodman in the Swing Era, jazz achieved the height of mass popularity. This was quickly followed by the more experimental modern jazz movement, with artists like Charlie Parker and Dizzy Gillespie redefining the music and moving beyond entertainment into the realm of "serious" music. This well-researched, extensively annotated volume covers the major trends and personalities that have shaped jazz. The excellent bibliography and list of recommended listening make this a valuable purchase for libraries building a jazz collection.?Dan Bogey, Clearfield Cty. P.L. Federation, Curwensville, Pa.
Copyright 1997 Reed Business Information, Inc.

The Wall Street Journal, Terry Teachout

...anyone looking for a balanced, well-written popular history of jazz will certainly find it both readable and reliable, a few minor slips notwithstanding. Nor should more experienced readers expect to come away empty-handed: Mr. Gioia, for instance, has some highly intelligent things to say about the extent to which contemporary jazz now reflects the fragmentation of the postmodern movement in art.

Détails sur le produit

  • Format : Format Kindle
  • Taille du fichier : 1643 KB
  • Nombre de pages de l'édition imprimée : 484 pages
  • Pagination - ISBN de l'édition imprimée de référence : 019512653X
  • Editeur : Oxford University Press, USA (20 novembre 1997)
  • Vendu par : Amazon Media EU S.à r.l.
  • Langue : Anglais
  • ASIN: B004WN4VXI
  • Synthèse vocale : Activée
  • X-Ray :
  • Word Wise: Non activé
  • Composition améliorée: Non activé

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Amazon.com: 4.5 étoiles sur 5  31 commentaires
98 internautes sur 99 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 Burns Delivers the Pictures, but Giola Gives You the Text 25 janvier 2001
Par M. Allen Greenbaum - Publié sur Amazon.com
Anyone purportedly writing a "History of Jazz" faces a daunting task: A complex history of interwoven musical strands, the linkages and evolutions (sometimes skipping a generation), the geographic spread to Europe and elsewhere, the eventual fragmentation of jazz into diverse sounds and approaches, and the opinions of knowledgeable, rabid fans.
Ted Giola succeeds magnificently: This is the best single-volume history of jazz I've seen. While not without some minor flaws (see below), this is a comprehensive, generally very well written, and intriguing story of the genesis and development of jazz. It is a compelling story, and Giola writes without mythologizing jazz, or constantly needing to remind us that this is, indeed, art. The giants of jazz-- Armstrong, Ellington, Parker, Holiday, etc. are critiqued rather than lionized.
Giola proceeds through the now familiar African, American, African-American, and European roots of jazz that emanated first from New Orleans. He traces its developmental routes through Chicago and New York, the Armstrong solo evolution, and the diverse "territory bands" such as those of Bennie Moten and Count Basie.
Fortunately, Giola does not limit himself to a strictly chronological narrative. He interrupts the timeline with revealing excursions into topics such as the development of instrumental styles (e.g., piano, trumpet), and jumps ahead to show the impact of early influences on later styles (e.g., Lester Young and bebop). He also pays attention to cultural, technological, and economic context, without letting these subtexts blare over the music. Giola knows music from the "inside" as well as the outside, and his discussions of jazz technique and harmonic and rhythmic innovations are detailed and precise. His deconstruction of various solos and styles is illuminating: Charlie Parker's "Indiana" is a version "where almost every bar features one or more altered tones-an augmented fifth, a major seventh played against a minor chord, a flatted ninth leading to a sharpened ninth...a textbook example of how bop harmonic thinking revolutionized the flow of the melodic line in jazz." Yet Giola is also astute in directing our attention to the "core of simplicity" ...the "monophonic melody statements" in bop.
Giola's critiques of various musicians are generally fair and accurate, and he discusses the famous as well as the overlooked. Every jazz fan, however, will probably find some favorite musician given insufficient coverage, or will disagree with a Giola critique. There's no mention of Carmen McCrae, about half a page on Sarah Vaughan, very little mention of European jazz, not much discussion of Miles Davis' or Basie's later work ("The Atomic Mr. Basie," for example). For my tastes, there is not enough on Mingus' sidemen (other than Eric Dolphy and Rahsaan Roland Kirk) and he describes the Mingus Town Hall Concert as a fiasco. (Organizationally it was a disaster, but musically it succeeded.) Giola's statement that "Mingus was the closest jazz has come to having its own Ezra Pound," is baffling. To a large degree, however, these are editorial (the book is only 395 pages long), as well as critical decisions. Not everyone would agree, as I do, with Giola's dismissive statement that Kenny G. "sold over $20 million of emaciated pseudo-jazz to a devoted audience. A critic cannot and should not please everyone.
Giola commands our respect because of his thorough knowledge of jazz and its web-like variations and influences. He knows his material well, whether it's the origins of jazz or the "Third Stream" and "Free Jazz" movements of relatively recent years. I recommend this book very highly to both musician and non-musician alike, jazz aficionado and novice. You may read the book as an introduction to jazz, or to achieve a greater synthesis of what you already know. It may also serve as a springboard to more narrowly focused jazz writing, such as Rosenthal's "Hard Bop" or Lees' "Meet Me at Jim and Andy's." There is a general index, an index of songs and albums, 15 pages on recommended listening, eight black and white photos, some notes on sources, as well as suggestions for further reading. This book, and perhaps a copy of the "Penguin Guide to Jazz," could easily serve as the core of a jazz lover's bookshelf.
49 internautes sur 51 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 Among my top five of Jazz Books 25 avril 2000
Par Ian Muldoon - Publié sur Amazon.com
Format:Relié|Achat vérifié
I have a reasonable library of jazz books (including The Horn by JC Holmes, American Musicians by Whitney Balliett, Reading Jazz by Gottlieb, etc, etc) but my top five are HEAR ME TALKIN' TO YA by Hentoff and Shapiro; FOUR LIVES IN THE BEBOP BUSINESS by A.B. Spellman; STRAIGHT LIFE by Art and Laurie Pepper; THE STORY OF JAZZ by Marshall Stearns; and AS SERIOUS AS YOUR LIFE by Val Wilmer. What do I want in a jazz book? I want information, authenticity, entertainment; and decent writing. Now I have to move Mr Stearns over to make way for Mr Gioia and his HISTORY OF JAZZ for I believe it deserves to be in that exalted company.
17 internautes sur 18 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 Fantastic Survey of Jazz 8 décembre 1999
Par miss teri parson - Publié sur Amazon.com
Format:Broché|Achat vérifié
Is there any other book that is as true as this book, when recalling the intricate history of jazz? If there is, it has escaped my eyes and i invite the opurtunity to read it. Ted Gioia is not only articulate in his representation of jazz history, but his facts are documented well above reproach. He even includes a suggested listening section at the back of the book. Incredible book! I am using it as an aid in teaching my highschool class the history of jazz. This book is a necessary investment for any jazz afficianado.
16 internautes sur 17 ont trouvé ce commentaire utile 
3.0 étoiles sur 5 The History of Jazz 9 février 2011
Par Sam Adams - Publié sur Amazon.com
Readers looking for a history of jazz who already know the history might find this book impressive in what it covers. Readers looking for a guide to the history of jazz and jazz styles will, I think, be disappointed. At its best, it covers (not completely, of course) the personnel, songs, and albums of the jazz world from its prehistory to the 1990s, and at its worst it does the same. There is a lot here, looking at it from one viewpoint, and nowhere near enough, looking at it from another. Gioia tried to cram and arrange an encyclopedia's worth of jazz facts into a linear history, and often what he ends up offering is not much more than a list of names and titles and dates, as if the history of jazz were reducible to a collection of liner notes. It isn't quite that bad. He does offer extended discussions on some artists, three examples being Duke Ellington, Charles Mingus, and Cecil Taylor. Such mini-biographies interspersed throughout the chapters save the book from full-stop tedium.

Readers already familiar (through hearing the music) with the myriad variations and changes in jazz over its history will be pleased, I suppose, to find descriptions of the music and its styles written in that strange idiom of music criticism which means almost nothing unless you already know what is being described. At one point Gioia sounds almost like H. P. Lovecraft as he describes Albert Ayler's "darting phrases, hieroglyphics of sound representing some hitherto unknown sublunar mode; tones Adolphe Sax never dreamed of, and Selmer never sanctioned." (353)
11 internautes sur 11 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 A History for the intermediate listener. 9 octobre 2006
Par Neutiquam Erro - Publié sur Amazon.com
The back cover of this Oxford paperback claims that the book is suitable as an introduction to jazz or as an authoritative reference. I must admit that I am neither a jazz officianado nor a complete novice to the world of swing, bebop and fusion, making me incapable of confirming the cover's claims. However, for me, this book filled in the gaps quite nicely.

Most of my knowledge of jazz has come from the radio. The big names keep popping up but lesser known lights get little air time and I am at the whim of the dj's tastes. "The History of Jazz" covers them all, starting at the very beginning - drum circle dances in pre-abolition New Orleans. It then discusses the roots of early dixie land jazz (ragtime, Joplin, and the blues) and then describes the movement of jazz from New Orleans to Chicago and New York. It intersperses lively anecdotes about the fathers of jazz -Jelly Roll Morton was a procurer (pimp?) early on- with music theory and analysis. Buddy Bolden, Louis Armstrong and Morton all have a section devoted to them. A chapter on the jazz age pays special attention to Armstrong's Hot Five and subsequent career. Bix Beiderbecke's biography is given in detail along with notes on many other famous players of his day. A chapter is devoted to Harlem, stride piano, Waller, Ellington and the advent of the big bands, ending with a description of society and music at the Cotton Club. The Swing era gets a chapter to itself with even more in-depth treatment of big bands and those who led them (Goodman, the Dorsey's etc.). Kansas City style jazz, and european jazz traditions (Django Reinhardt) are also covered. The details of Billie Holiday's life, although well known, make for a sad story.

The second half of the book, which covers modern jazz, the fragmentation of jazz styles and recent jazz developments, is much less coherent than the first. The section on bebop with its lengthy discussion of the life and influence of Bird and Gillespie continues to be readable and thorough. However, as the author approaches the present day, the writing, like the jazz, seems to fragment. This is not to say that it isn't enjoyable reading, just that the sheer number of names and styles begins to pull the book in too many directions. California jazz, trad jazz, cool jazz, hard bop, post-bop and soul, free jazz, post-modern jazz and the various fusion forms leave the reader gasping for air. It seems clear to me that I will need to go out and listen to a lot of things to round out my education. Fortunately the book is well supplied with notes, further readings and, best of all a recommended listening list.

While I might not have understood everything the author had to say about the subtleties of the music, this book has made me a much keener fan of jazz. It has created in me the desire to seek out new and different forms of the music and to listen more carefully to the old stuff. For this, I gladly give it five stars.
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