That Jazz - Monkey Max Music and File Download

More documents

Recommendations

Info

In this part . . . The Part of Tens is a quick reference tool that gives you ten items of key information in basic areas. Summing it all up in this part, I give you two important lists: top cities to visit for a sampling of great jazz and ways to build your collection of music.
In This Chapter Chapter 18 Ten Great Cities for Jazz � Hearing great live jazz in city clubs � Discovering other cultural venues and jazz resources To truly experience jazz, you have to hear it live. While dozens of American cities offer a lot of live jazz, the ten cities in this chapter stand above the rest for their excellent mixes of local, national, and international talent; the quality of their venues; and a larger context that’s rich in arts and aesthetic attractions. So take a plane, train, or automobile and get out of here! Austin Known as the “Live Music Capital of the World,” Austin has one of the highest per capita club ratios of any American city — more than Los Angeles, Las Vegas, Memphis, Nashville, or New York City — according to the city’s Web site (www.ci.austin.tx.us). This music madness infuses the jazz scene. When you arrive in Austin, one of your first priorities is to dial in some music courtesy of several radio stations that feature jazz, including Paul Trachtenberg’s weekday afternoon “Jazz, Etc.” on KUT-FM (90.5), a longrunning local favorite (www.kut.org). Small local radio stations are into music for love, not money, and they tend to be great sources of information about bands and clubs. They announce upcoming performances, they interview performers, they give away tickets, and you may even get a deejay on the phone to make a personal recommendation for a venue or concert. Some fun jazz venues that you may want to check out include the following: � Austin Java Café & Bar (www.austinjava.com) � Manuel’s (www.austincityguide.com/content/manuel’saustin-restaurant-downtown.asp)
Page 1:
Jazz FOR DUMmIES‰ by Dirk Sutro 2
Page 4 and 5:
Jazz For Dummies ® , 2nd Edition P
Page 6 and 7:
Publisher’s Acknowledgments We’
Page 9 and 10:
Table of Contents Introduction.....
Page 11 and 12:
Table of Contents Ragging the Rhyth
Page 13 and 14:
Table of Contents Let’s Get Funky
Page 15 and 16:
Table of Contents Guinness Jazz Fes
Page 17 and 18:
Table of Contents Avant Garde Jazz
Page 19 and 20:
Introduction As you begin your jour
Page 21 and 22:
What You’re Not to Read I include
Page 23 and 24:
Part VI: Appendixes Part VI covers
Page 25 and 26:
Part I All That Jazz: A Tour of the
Page 27 and 28:
In This Chapter Chapter 1 In the Be
Page 29 and 30:
Chapter 1: In the Beginning: Enteri
Page 31 and 32:
Meanwhile, Latin music had a signif
Page 33 and 34:
Chapter 2 Altered Ears: Understandi
Page 35 and 36:
Chapter 2: Altered Ears: Understand
Page 37 and 38:
Page 39 and 40:
Page 41 and 42:
Page 43 and 44:
Page 45 and 46:
Page 47 and 48:
Page 49 and 50:
In This Chapter Chapter 3 The Schem
Page 51 and 52:
Chapter 3: The Scheme of Things: El
Page 53 and 54:
Page 55 and 56:
Page 57 and 58:
Page 59 and 60:
Page 61 and 62:
Page 63 and 64:
Page 65 and 66:
In This Chapter Chapter 4 Tools of
Page 67 and 68:
Figure 4-1: A soprano sax looks lik
Page 69 and 70:
Chapter 4: Tools of the Trade: The
Page 71 and 72:
Page 73 and 74:
Figure 4-6: The bass clarinet is mo
Page 75 and 76:
Strumming Along: Strings Chapter 4:
Page 77 and 78:
Page 79 and 80:
seconds, filling the space behind a
Page 81 and 82:
� Cymbals: In early jazz, one cym
Page 83 and 84:
Figure 4-8: A musician plays a vibr
Page 85 and 86:
Page 87 and 88:
Part II Jazz Greats and Great Jazz:
Page 89 and 90:
Chapter 5 The Birth of an American
Page 91 and 92:
Chapter 5: The Birth of an American
Page 93 and 94:
Page 95 and 96:
Page 97 and 98:
Page 99 and 100:
Page 101 and 102:
Page 103 and 104:
Figure 5-3: Jelly Roll Morton is fa
Page 105 and 106:
Page 107 and 108:
Page 109 and 110:
Page 111 and 112:
Chapter 6 The Golden Era of Big Ban
Page 113 and 114:
Chapter 6: The Golden Era of Big Ba
Page 115 and 116:
Page 117 and 118:
Page 119 and 120:
Page 121 and 122:
Page 123 and 124:
Page 125 and 126:
Page 127 and 128:
Page 129 and 130:
Page 131 and 132:
Page 133 and 134:
In This Chapter � Witnessing the
Page 135 and 136:
Chapter 7: Bebop to Cool: The 1940s
Page 137 and 138:
Surveying Influential Bebop Musicia
Page 139 and 140:
Figure 7-1: Charlie Parker was nick
Page 141 and 142:
Page 143 and 144:
Page 145 and 146:
Figure 7-4: Ella Fitzgerald was the
Page 147 and 148:
Page 149 and 150:
Page 151 and 152:
Page 153 and 154:
Page 155 and 156:
Page 157 and 158:
Page 159 and 160:
Figure 7-5: Miles Davis played both
Page 161 and 162:
In This Chapter Chapter 8 A Radical
Page 163 and 164:
Figure 8-1: Classical fugues influe
Page 165 and 166:
Mingus’s 1972 album Let My Childr
Page 167 and 168:
Chapter 8: A Radical Departure: The
Page 169 and 170:
Page 171 and 172:
Figure 8-5: Cecil Taylor overlapped
Page 173 and 174:
Hear Dolphy’s wild leaps of imagi
Page 175 and 176:
Chicago In Chicago, a group of Afri
Page 177 and 178:
Page 179 and 180:
Although some fans and critics dism
Page 181 and 182:
Page 183 and 184:
Chapter 9 The Perfect Hybrid: Latin
Page 185 and 186:
In the ’30s, bandleaders Don Azpi
Page 187 and 188:
Chapter 9: The Perfect Hybrid: Lati
Page 189 and 190:
O’Farrill created “Undercurrent
Page 191 and 192:
musical elements through travels to
Page 193 and 194:
Gato Barbieri Born in Argentina, sa
Page 195 and 196:
Mongo Santamaria For his prolific o
Page 197 and 198:
population in 2005, for instance),
Page 199 and 200:
Hilton Ruiz Ruiz (born 1952) grew u
Page 201 and 202:
In This Chapter Chapter 10 Looking
Page 203 and 204:
Chapter 10: Looking Ahead: The Pres
Page 205 and 206:
Page 207 and 208:
Figure 10-1: Wynton Marsalis plays
Page 209 and 210:
Page 211 and 212:
Page 213 and 214:
Other musicians Other musicians who
Page 215 and 216:
Part III The Beat Goes On: Jazz App
Page 217 and 218:
Chapter 11 Mass Appeal: Taking Note
Page 219 and 220:
Chapter 11: Mass Appeal: Taking Not
Page 221 and 222:
Page 223 and 224:
Page 225 and 226:
Page 227 and 228:
Page 229 and 230:
Page 231 and 232:
In This Chapter � Jazzing up your
Page 233 and 234:
on together in 1959. Charles Mingus
Page 235 and 236:
Chapter 12: Good Times: Jazzing Up
Page 237 and 238:
Page 239 and 240:
Page 241 and 242:
Page 243 and 244:
Sending Your Guests Home with Fun P
Page 245 and 246:
Chapter 13 Lovin’ It Live: A Jazz
Page 247 and 248:
Chapter 13: Lovin’ It Live: A Jaz
Page 249 and 250:
Page 251 and 252:
Page 253 and 254:
Page 255 and 256:
Page 257 and 258:
Page 259 and 260:
In This Chapter Chapter 14 Travelin
Page 261 and 262:
Chapter 14: Traveling Jazz: Your Ti
Page 263 and 264:
Page 265 and 266:
Page 267 and 268:
Page 269 and 270: Chapter 14: Traveling Jazz: Your Ti
Page 271 and 272: Part IV I Like the Way You Play: Th
Page 273 and 274: Chapter 15 Feeding the Jazz Jones:
Page 275 and 276: Chapter 15: Feeding the Jazz Jones:
Page 287 and 288: Chapter 16 So You Wanna Be in a Ban
Page 289 and 290: Chapter 16: So You Wanna Be in a Ba
Page 309 and 310: In This Chapter Chapter 17 Digital
Page 311 and 312: Chapter 17: Digital Jazz: Making Mu
Page 319: Part V The Part of Tens
Page 323 and 324: Cool venues to check out include
Page 325 and 326: Los Angeles Considering its wealth
Page 327 and 328: As in many other cities, local radi
Page 329 and 330: Chapter 18: Ten Great Cities for Ja
Page 331 and 332: San Diego Chapter 18: Ten Great Cit
Page 333 and 334: San Francisco Bay Area Big time jaz
Page 335 and 336: Chapter 19 Ten Tips for Building an
Page 337 and 338: Chapter 19: Ten Tips for Building a
Page 345 and 346: Part VI Appendixes
Page 347 and 348: Appendix A More Than 100 Recommende
Page 349 and 350: Bebop and Hard Bop Appendix A: More
Page 351 and 352: Avant Garde Jazz and Free Jazz Begi
Page 353 and 354: Appendix B Trustworthy Jazz Labels
Page 355 and 356: � Benny Goodman, clarinetist �
Page 357 and 358: � Count Basie, bandleader and pia
Page 359 and 360: Appendix C Resources for Further Ja
Page 361 and 362: Appendix C: Resources for Further J
Page 363 and 364: The Story of Jazz (Oxford Universit
Page 369 and 370: • Numerics • 12-bar format, 32-
Page 371 and 372:
lesser-known, 221-222 Lunceford, Ji
Page 373 and 374:
Howard Rumsey’s Lighthouse All-St
Page 375 and 376:
Fitzgerald, Ella (vocalist) as bebo
Page 377 and 378:
Jazz Messengers, 134, 171 jazz musi
Page 379 and 380:
multi-track recording, 292, 293 mus
Page 381 and 382:
Herman, Woody, 218 improvisation, 4
Page 383 and 384:
stretching words, 38 stride piano,
Page 385 and 386:
BUSINESS, CAREERS & PERSONAL FINANC
show all

That Jazz - Monkey Max Music and File Download

Create successful ePaper yourself

Delete template?

Save as template?