By Tom Piazza
In one resource, this booklet serves as a box consultant to on hand recordings in addition to a hugely available imaginative and prescient of the improvement and sound of the song, one who will provide the reader a few experience of what musicians take into consideration once they play, what different types of calls for are put on them, and what varieties of options they need to get a hold of.
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Additional info for The Guide to Classic Recorded Jazz
I am indebted to all the following, who were very understanding and more than generous in making available the recordings I needed: Terri Hinte of Fantasy; Kevin Gore, Monica Shovlin, and Arthur Levy of CBS/Sony Music; Marilyn Laverty of Shore Fire Media; Steve Backer, Marilyn Lipsius, and David Goldfarb of RCA/BMG; Michael Cuscuna of Blue Note; Michael Bloom of GRP; Don Lucoff of DL Media; Richard Seidel and Mary Stone of Polygram; Joe Fields of Muse; Didier Deutsch of Atlantic; Don Schlitten of Xanadu; James Austin of Rhino; the late Martin Williams and Tom Dube of Smithsonian; Andy McKaie and Don Thomas of MCA; P.
Publisher : University of Iowa Press isbn10 | asin : 0877454892 print isbn13 : 9780877454892 ebook isbn13 : 9781587291883 language : English subject Jazz--Discography, Sound recordings--Reviews. 78165/0266 subject : Jazz--Discography, Sound recordings--Reviews. Page iii The Guide to Classic Recorded Jazz Tom Piazza University of Iowa Press Iowa City Page iv University of Iowa Press, Iowa City 52242 Copyright (c) 1995 by Tom Piazza All rights reserved Printed in the United States of America Design by Richard Hendel No part of this book may be reproduced or used in any form or by any means, electronic or mechanical, including photocopying and recording, without permission in writing from the publisher.
Jelly Roll Morton The recordings of Jelly Roll Morton's Red Hot Peppers occupy as important a place in the history of jazz as Oliver's. The Peppers were not a working band, as Oliver's band was, but rather a group with shifting personnel and instrumentation, brought together beginning in 1926 only for recording purposes. Morton was the first real jazz composer. Oliver wrote many tunes - "Someday Sweetheart," "West End Blues," and plenty of others - but Morton was a composer: he clearly heard the shape of an entire, varied performance in his mind, and the Peppers recordings are all full aesthetic statements made within the three-minute limit of the standard 10-inch 78-rpm records of the time.