en
Nat Hentoff,Nat Shapiro

Hear Me Talkin' to Ya

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&quote;Music is your own experience, your thoughts, your wisdom. If you don't live it, it won't come out of your horn.&quote; — Charlie Parker&quote;What is jazz? The rhythm — the feeling.&quote; — Coleman Hawkins&quote;The best sound usually comes the first time you do something. If it's spontaneous, it's going to be rough, not clean, but it's going to have the spirit which is the essence of jazz.&quote; — Dave BrubeckHere, in their own words, such famous jazz musicians as Louis Armstrong, King Oliver, Fletcher Henderson, Bunk Johnson, Duke Ellington, Fats Waller, Clarence Williams, Jo Jones, Jelly Roll Morton, Mezz Mezzrow, Billie Holiday, and many others recall the birth, growth, and changes in jazz over the years. From its beginnings at the turn of the twentieth century in the red-light district in New Orleans (or Storyville, as it came to be known), to Chicago's Downtown section and the Original Dixieland Jazz Band and Chicago's South Side to jam sessions in Kansas City to Harlem during the Depression years, the West Coast and modern developments, the story of jazz is vividly and colorfully documented in hundreds of personal interviews, letters, tape recorded and telephone conversations, and excerpts from previously printed articles that appeared in books and magazines.There is no more fascinating and lively history of jazz than this firsthand telling by the men who made it. It should be read and re-read by all jazz enthusiasts, musicians, students of music and culture, students of American history, and other readers. &quote;A lively book bearing the stamp of honesty and naturalness.&quote; — Library Journal. &quote;A work of considerable substance.&quote; — The New Yorker. &quote;Some of the quotations are a bit racy but they give the book a wonderful flavor.&quote; — San Francisco Chronicle.
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554 печатни страници
Година на публикуване
2012
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Цитати

  • daniilvilenskiyцитирапреди 6 години
    JELLY ROLL MORTON
    I have been robbed of three million dollars all told. Everyone today is playing my stuff and I don’t even get credit. Kansas City style, Chicago style, New Orleans style—hell, they’re all Jelly Roll style. I am a busy man now and have to spend all my time dealing with attorneys, but I am not too busy to get around and hear jazz that I myself introduced twenty-five years ago, before most of the kids was even born. All this jazz I hear today is my own stuff, and, if I had been paid rightfully for my work, I would now have three million dollars more than I have now.

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