That Jazz - Monkey Max Music and File Download

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Jazz For Dummies ® , 2nd Edition Published by Wiley Publishing, Inc. 111 River St. Hoboken, NJ 07030-5774 www.wiley.com Copyright © 2006 by Wiley Publishing, Inc., Indianapolis, Indiana Published simultaneously in Canada No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, scanning, or otherwise, except as permitted under Sections 107 or 108 of the 1976 United States Copyright Act, without either the prior written permission of the Publisher, or authorization through payment of the appropriate per-copy fee to the Copyright Clearance Center, 222 Rosewood Drive, Danvers, MA 01923, 978-750-8400, fax 978-646-8600. Requests to the Publisher for permission should be addressed to the Legal Department, Wiley Publishing, Inc., 10475 Crosspoint Blvd., Indianapolis, IN 46256, 317-572-3447, fax 317-572-4355, or online at http:// www.wiley.com/go/permissions. Trademarks: Wiley, the Wiley Publishing logo, For Dummies, the Dummies Man logo, A Reference for the Rest of Us!, The Dummies Way, Dummies Daily, The Fun and Easy Way, Dummies.com and related trade dress are trademarks or registered trademarks of John Wiley & Sons, Inc. and/or its affiliates in the United States and other countries, and may not be used without written permission. All other trademarks are the property of their respective owners. Wiley Publishing, Inc., is not associated with any product or vendor mentioned in this book. LIMIT OF LIABILITY/DISCLAIMER OF WARRANTY: THE PUBLISHER AND THE AUTHOR MAKE NO REP- RESENTATIONS OR WARRANTIES WITH RESPECT TO THE ACCURACY OR COMPLETENESS OF THE CON- TENTS OF THIS WORK AND SPECIFICALLY DISCLAIM ALL WARRANTIES, INCLUDING WITHOUT LIMITATION WARRANTIES OF FITNESS FOR A PARTICULAR PURPOSE. NO WARRANTY MAY BE CRE- ATED OR EXTENDED BY SALES OR PROMOTIONAL MATERIALS. THE ADVICE AND STRATEGIES CON- TAINED HEREIN MAY NOT BE SUITABLE FOR EVERY SITUATION. THIS WORK IS SOLD WITH THE UNDERSTANDING THAT THE PUBLISHER IS NOT ENGAGED IN RENDERING LEGAL, ACCOUNTING, OR OTHER PROFESSIONAL SERVICES. IF PROFESSIONAL ASSISTANCE IS REQUIRED, THE SERVICES OF A COMPETENT PROFESSIONAL PERSON SHOULD BE SOUGHT. NEITHER THE PUBLISHER NOR THE AUTHOR SHALL BE LIABLE FOR DAMAGES ARISING HEREFROM. THE FACT THAT AN ORGANIZATION OR WEBSITE IS REFERRED TO IN THIS WORK AS A CITATION AND/OR A POTENTIAL SOURCE OF FUR- THER INFORMATION DOES NOT MEAN THAT THE AUTHOR OR THE PUBLISHER ENDORSES THE INFOR- MATION THE ORGANIZATION OR WEBSITE MAY PROVIDE OR RECOMMENDATIONS IT MAY MAKE. FURTHER, READERS SHOULD BE AWARE THAT INTERNET WEBSITES LISTED IN THIS WORK MAY HAVE CHANGED OR DISAPPEARED BETWEEN WHEN THIS WORK WAS WRITTEN AND WHEN IT IS READ. For general information on our other products and services, please contact our Customer Care Department within the U.S. at 800-762-2974, outside the U.S. at 317-572-3993, or fax 317-572-4002. For technical support, please visit www.wiley.com/techsupport. Wiley also publishes its books in a variety of electronic formats. Some content that appears in print may not be available in electronic books. Library of Congress Control Number: 2006922428 ISBN-13: 978-0-471-76844-9 ISBN-10: 0-471-76844-8 Manufactured in the United States of America 10 9 8 7 6 5 4 3 2 1 2B/RS/QW/QW/IN
About the Author Dirk Sutro is a writer and jazz lover based in Encinitas, California. He’s covered jazz for more than 20 years. As host of The Lounge on KPBS-FM public radio in San Diego from 1999 to 2004, Dirk interviewed jazz musicians including Arthur Blythe, Don Byron, Holly Hofmann, Lee Konitz, Mundell Lowe, Bennie Maupin, Steve Lacy, Joe Lovano, Charles McPherson, Sam Rivers, and Mike Wofford. He was the jazz critic for the San Diego edition of the Los Angeles Times from 1988 to 1992 and is the author of two books about architecture: West Coast Wave: New California Houses and San Diego Architecture from Missions to Modern. He currently serves as program promotion manager for the Department of Music at the University of California, San Diego. He’s a graduate of U.C. Berkeley (BA in English) and San Diego State University (MS in Mass Communications). Author’s Acknowledgments Thanks to those who have stoked my interest in jazz over the years: Craig Huntington, Jon Hendricks, Todd Barkan and his Keystone Korner, and San Francisco Chronicle jazz critic Thomas Albright. Also to those who have encouraged, informed, and inspired me: My parents, Dr. Henry A. and Joann Sutro; Grandpa and Grandma Sutro; Grandpa and Grandma Freeman; Jack Freeman; Anthony Davis; Mark Dresser; Holly Hofmann; Chubby Jackson; Tom Judson; Barney and Phyllis Kessel; Charles McPherson; Moody and Linda; Peter Sprague; Tony Vick; Bill Wilson; and Mike Wofford. Love and thanks for the patience to my wife and sounding board, Sally; my daughters, Hannah and Semira; and their mother, Berta Harris.
Page 1: Jazz FOR DUMmIES‰ by Dirk Sutro 2
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 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: Chapter 3: The Scheme of Things: El
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Chapter 3: The Scheme of Things: El
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In This Chapter Chapter 4 Tools of
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Figure 4-1: A soprano sax looks lik
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Chapter 4: Tools of the Trade: The
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Figure 4-6: The bass clarinet is mo
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Strumming Along: Strings Chapter 4:
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seconds, filling the space behind a
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� Cymbals: In early jazz, one cym
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Figure 4-8: A musician plays a vibr
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Part II Jazz Greats and Great Jazz:
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Chapter 5 The Birth of an American
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Chapter 5: The Birth of an American
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Figure 5-3: Jelly Roll Morton is fa
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Chapter 6 The Golden Era of Big Ban
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Chapter 6: The Golden Era of Big Ba
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In This Chapter � Witnessing the
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Chapter 7: Bebop to Cool: The 1940s
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Surveying Influential Bebop Musicia
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Figure 7-1: Charlie Parker was nick
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Figure 7-4: Ella Fitzgerald was the
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Figure 7-5: Miles Davis played both
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In This Chapter Chapter 8 A Radical
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Figure 8-1: Classical fugues influe
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Mingus’s 1972 album Let My Childr
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Chapter 8: A Radical Departure: The
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Figure 8-5: Cecil Taylor overlapped
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Hear Dolphy’s wild leaps of imagi
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Chicago In Chicago, a group of Afri
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Although some fans and critics dism
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Chapter 9 The Perfect Hybrid: Latin
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In the ’30s, bandleaders Don Azpi
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Chapter 9: The Perfect Hybrid: Lati
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O’Farrill created “Undercurrent
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musical elements through travels to
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Gato Barbieri Born in Argentina, sa
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Mongo Santamaria For his prolific o
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population in 2005, for instance),
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Hilton Ruiz Ruiz (born 1952) grew u
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In This Chapter Chapter 10 Looking
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Chapter 10: Looking Ahead: The Pres
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Figure 10-1: Wynton Marsalis plays
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Other musicians Other musicians who
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Part III The Beat Goes On: Jazz App
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Chapter 11 Mass Appeal: Taking Note
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Chapter 11: Mass Appeal: Taking Not
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In This Chapter � Jazzing up your
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on together in 1959. Charles Mingus
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Chapter 12: Good Times: Jazzing Up
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Sending Your Guests Home with Fun P
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Chapter 13 Lovin’ It Live: A Jazz
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Chapter 13: Lovin’ It Live: A Jaz
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In This Chapter Chapter 14 Travelin
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Chapter 14: Traveling Jazz: Your Ti
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Part IV I Like the Way You Play: Th
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Chapter 15 Feeding the Jazz Jones:
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Chapter 15: Feeding the Jazz Jones:
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Chapter 16 So You Wanna Be in a Ban
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Chapter 16: So You Wanna Be in a Ba
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In This Chapter Chapter 17 Digital
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Chapter 17: Digital Jazz: Making Mu
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Part V The Part of Tens
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In This Chapter Chapter 18 Ten Grea
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Cool venues to check out include
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Los Angeles Considering its wealth
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As in many other cities, local radi
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Chapter 18: Ten Great Cities for Ja
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San Diego Chapter 18: Ten Great Cit
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San Francisco Bay Area Big time jaz
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Chapter 19 Ten Tips for Building an
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Chapter 19: Ten Tips for Building a
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Part VI Appendixes
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Appendix A More Than 100 Recommende
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Bebop and Hard Bop Appendix A: More
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Avant Garde Jazz and Free Jazz Begi
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Appendix B Trustworthy Jazz Labels
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� Benny Goodman, clarinetist �
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� Count Basie, bandleader and pia
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Appendix C Resources for Further Ja
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Appendix C: Resources for Further J
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The Story of Jazz (Oxford Universit
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• Numerics • 12-bar format, 32-
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lesser-known, 221-222 Lunceford, Ji
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Howard Rumsey’s Lighthouse All-St
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Fitzgerald, Ella (vocalist) as bebo
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Jazz Messengers, 134, 171 jazz musi
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multi-track recording, 292, 293 mus
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Herman, Woody, 218 improvisation, 4
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stretching words, 38 stride piano,
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BUSINESS, CAREERS & PERSONAL FINANC
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