Jazz in Search of Itself PDF
Preview Jazz in Search of Itself
JAZZ IN SEARCH OF ITSELF L A R R Y K A R T Jazz in Search of Itself Yale University Press NEW HAVEN AND LONDON FORJACOB PublishedwithassistancefromtheLouisSternMemorialFund. Copyright(cid:1)2004byYaleUniversity.Allrightsreserved.Thisbookmaynotbe reproduced,inwholeorinpart,includingillustrations,inanyform(beyondthatcopying permittedbySections107and108oftheU.S.CopyrightLawandexceptbyreviewersfor thepublicpress),withoutwrittenpermissionfromthepublishers. SetinMiniontypebyBinghamtonValleyComposition. PrintedintheUnitedStatesofAmerica. LibraryofCongressCataloging-in-PublicationData Kart,Larry,1942– Jazzinsearchofitself/LarryKart. p. cm. Includesindex. ISBN0-300-10420-0(cloth:alk.paper) 1.Jazz—Historyandcriticism.I.Title. ML3506.K372004 781.65'09—dc22 2004041413 AcataloguerecordforthisbookisavailablefromtheBritishLibrary. Thepaperinthisbookmeetstheguidelinesforpermanenceanddurabilityofthe CommitteeonProductionGuidelinesforBookLongevityoftheCouncilonLibrary Resources. 10 9 8 7 6 5 4 3 2 1 ThefollowingpieceswerefirstpublishedintheChicagoTribuneandappearhereby permission:JohnnyGriffin;IraSullivan;LouisArmstrong;BlackBeauty,WhiteHeat;Earl Hines;CountBasie;DukeEllington;ArthurRollini;ArnettCobb;ArtieShaw;LouisBellson; RubyBraff;DizzyGillespie;TheloniousMonk;HerbieNichols;OscarPeterson;StanGetz; WoodyHermanandStanGetz;AlCohn;ArtPepper;SonnyStitt;JackieMcLean;Clifford BrownandMaxRoach;PhillyJoeJones;HoraceSilver;BillEvans;KeithJarrett;Gary Burton;PatMetheny;McCoyTyner;WayneShorter;OrnetteColeman;CecilTaylor;Roscoe Mitchell;EvanParker;VillageVanguardJazzOrchestra;Milestones;MilesReturns;Lee Konitz;MarsalisatTwenty-One;TheDeathofJazz?;“TheDeathofJazz?”Revisited;The MarsalisBrothersFurtherOn;TheSound-Alikes;GershwinMusicals;HoagyCarmichael; SmithsonianPop;BillieHoliday;SarahVaughan;CabaretMusic;ChrisConnor;Tony Bennett;TheJazzmanasRebel;AnitaO’Day;JazzGoestoCollege. ThefollowingpieceswerefirstpublishedinDownBeatmagazineandappearhereby permission:NotesandMemoriesoftheNewMusic;LeeMorgan,DonaldByrd,Blue Mitchell;FrankZappa;MilesintheSky;InaSilentWay;TheLostQuintet;Jazzinthe GlobalVillage;RaidersoftheLostArt. AnexcerptfromTheOxfordCompaniontoJazzappearsherebypermissionofOxford UniversityPress. JazzandJackKerouacfirstappearedinTheReviewofContemporaryFiction. CONTENTS Preface xi Introduction:Enactmentin Sound 1 PART ONE Notes and Memories of the New Music, 1969 PART TWO A Way of Living JohnnyGriffin 28 Ira Sullivan 33 WilburCampbell 37 PART THREE The Generators LouisArmstrong 46 Black Beauty,WhiteHeat 49 Earl Hines 51 Count Basie 54 Duke Ellington 57 ArthurRollini 62 Arnett Cobb 64 Artie Shaw 65 LouisBellson 67 Ruby Braff 68 vi CONTENTS PART FOUR Moderns and After Dizzy Gillespie 73 TheloniousMonk 78 Monk in Motion 81 HerbieNichols 85 Oscar Peterson 88 Stan Getz 90 Woody HermanandStan Getz 95 Al Cohn 99 Art Pepper 105 SonnyStitt 111 Jackie McLean 112 SonnyRollins 116 Hank Mobley 119 Tina Brooks 126 CliffordBrownandMax Roach 130 PhillyJoe Jones 133 Horace Silver 134 Lee Morgan,DonaldByrd,Blue Mitchell 135 Bill Evans 138 Keith Jarrett 149 Gary Burton 150 Pat Metheny 155 Frank Zappa 161 McCoy Tyner 167 Wayne Shorter 170 Ornette Coleman 176 Cecil Taylor 185 Roscoe Mitchell 188 Evan Parker 194 The VanguardJazz Orchestra 196 PART FIVE Miles Davis Milestones 201 Milesin theSky 206 CONTENTS vii In a SilentWay 208 The Lost Quintet 209 Miles Returns 212 Fillesde Kilimanjaro 214 PART SIX Tristano-ites Lee Konitz 220 Tristano,Konitz, Marsh 225 PART SEVEN The Neo-Con Game Jazz in the Global Village 240 Raidersof the Lost Art 248 Marsalisat Twenty-One 251 The Deathof Jazz? 255 “The Death of Jazz?” Revisited 261 The MarsalisBrothersFurtherOn 265 The Sound-Alikes 270 PART EIGHT Singers and Songmakers GershwinMusicals 278 HoagyCarmichael 283 SmithsonianPop 287 Billie Holiday 291 SarahVaughan 295 CabaretMusic 301 ChrisConnor 306 Tony Bennett 307 Standardsand “Standards” 313 PART NINE Alone Together The Jazzmanas Rebel 320 Anita O’Day 326 Jazz and Jack Kerouac 330 Jazz Goes to College 336 PREFACE In every case the pieces collected here came to be written be- cause other people asked for them. But that is no excuse. Long before I put myself in a position to be asked to write regularly about jazz—first, in 1968–69, for a magazine (Down Beat) and then, from 1977 to 1988, for a newspaper (the Chicago Trib- une)—I wanted to be put there, in part because of a notion I’d begun to have about the role that someone who writes about jazz necessarily occupies. Unlike the two other chief new arts—photographyandmo- tion pictures—that arose or coalesced at some pointduringthe nineteenthcentury,jazzdoesnothaveaprimarilytechnological basis, though it would come to benefit greatly from technolog- icalmeansofdissemination(thephonographrecordandradio). Instead, jazz’s primary “material” is the quintessentially histor- ical set of human circumstances under which it arose—thecol- lision/interpenetration of particular peoples under particular conditions in a new and expanding nation that had a form of government based on particular principles. And perhaps it is that inaugural immersion in the flux of history that has made jazz’sfurtherartisticdevelopmentsoimmediate,visible,andin- tense—as though this art were compelled to give us a running accountofitsneedtobemadeandtheneedsitsmakingserved. Of course, the same could be said of any other burst of novel artisticactivity—say,paintingandsculptureinfifteenth-century ix
The list of books you might like
