Between 1925 and 1928 the Hot Five--the incomparable Louis Armstrong and four seasoned practitioners of the burgeoning jazz style--recorded fifty-five performances in Chicago for the OKeh label. Oddly enough, the quintet immortalized on vinyl with recent technology rarely performed as a unit in local nightspots. And yet, like other music now regarded as especially historic, their work in the studio summarized approaches of the past and set standards for the future. Remarkable both for popularity among the members of the public and for influence on contemporary musicians, these recordings helped make "Satchmo" a familiar household name and ultimately its bearer an adored public figure. They showcased Armstrong's genius, notably his leadership in transforming the practice of jazz as an ensemble improvisation into jazz as the art of the improvising soloist. In his study Professor Anderson--for the first time--provides a detailed account of the origins of this pioneering enterprise, relates individual pieces to existing copyright deposits, and contextualizes the music by offering a reliable timeline of Armstrong's professional activities during these years. All fifty-five pieces, moreover, are described in informed commentary [Publisher description].
Biography of jazz trumpeter and singer Louis Armstrong. This ebook is a static version of an article from Grove Music Online, a continuously updated online resource, offering comprehensive coverage of the world’s music written by leading scholars. For more information, visit www.oxfordmusiconline.com.
Most people don?t fully realize that the American legal system is owned and operated by a profit oriented service trade. To maintain their control, they require litigants to navigate through a convoluted web of abstractions for a chance to determine if there is any justice within its flawed structure. Everyone living in America , innocent or not, is in danger of being terrorized with a "trial by ordeal"philosophy that was supposed to be eliminated by the blood of the revolutionary colonists. Within this problem, there is a golden opportunity to recover valuable resources. Newly found financial energy can be the basis of an economic boom. In a patriotic, consumer orientated manner, Survival of the Slickest introduces the basic concepts of modern litigation in simple terms, the danger to every American, and why citizens must pursue a variety of recommendations.
What do Louis Armstrong, Ray Charles, Bob Dylan, Willie Nelson, Tom Waits, Cassandra Wilson, and Ani DiFranco have in common? In Highway 61 Revisited, acclaimed music critic Gene Santoro says the answer is jazz--not just the musical style, but jazz's distinctive ambiance and attitudes. As legendary bebop rebel Charlie Parker once put it, "If you don't live it, it won't come out of your horn." Unwinding that Zen-like statement, Santoro traces how jazz's existential art has infused outstanding musicians in nearly every wing of American popular music--blues, folk, gospel, psychedelic rock, country, bluegrass, soul, funk, hiphop--with its parallel process of self-discovery and artistic creation through musical improvisation. Taking less-traveled paths through the last century of American pop, Highway 61 Revisited maps unexpected musical and cultural links between such apparently disparate figures as Louis Armstrong, Willie Nelson, Bob Dylan and Herbie Hancock; Miles Davis, Lenny Bruce, The Grateful Dead, Bruce Springsteen, and many others. Focusing on jazz's power to connect, Santoro shows how the jazz milieu created a fertile space "where whites and blacks could meet in America on something like equal grounds," and indeed where art and entertainment, politics and poetry, mainstream culture and its subversive offshoots were drawn together in a heady mix whose influence has proved both far-reaching and seemingly inexhaustible. Combining interviews and original research, and marked throughout by Santoro's wide ranging grasp of cultural history, Highway 61 Revisited offers readers a new look at--and a new way of listening to--the many ways jazz has colored the entire range of American popular music in all its dazzling profusion.
It was none other than Louis Armstrong who said, "These people who make the restrictions, they don't know nothing about music. It's no crime for cats of any color to get together and blow." "You can't know what it means to be black in the United States--in any field," Dizzy Gillespie once said, but Gillespie vigorously objected to the proposition that only black people could play jazz. "If you accept that premise, well then what you're saying is that maybe black people can only play jazz. And black people, like anyone else, can be anything they want to be." In Cats of Any Color, Gene Lees, the acclaimed author of three previous collections of essays on jazz and popular music, takes a long overdue look at the shocking pervasiveness of racism in jazz's past and present--both the white racism that long ghettoized the music and generations of talented black musicians, and what Lees maintains is an increasingly virulent reverse racism aimed at white jazz musicians. In candid interviews, living jazz legends, critics, and composers step forward and share their thoughts on how racism has affected their lives. Dave Brubeck, part Modoc Indian, discusses native Americans' contribution to jazz and the deeply ingrained racism that for a time made it all but impossible for jazz groups with black and white players to book tours and television appearances. Horace Silver looks back on his long career, including the first time he ever heard jazz played live. Blacks were not not allowed into the pavilion in Connecticut where Jimmie Lunceford's band was performing, so the ten-year-old Silver listened and watched through the wooden slats surrounding the pavilion. "And oh man! That was it!" Silver recalls. Red Rodney recalls his early days with Charlie "Bird" Parker, and pianist and composer Cedar Walton tells of the time Duke Ellington played at the army base at Ford Dix and allowed the young enlisted Walton to sit in. Tracing the jazz world's shifting attitude towards race, many of the stories Lees tells are inspiring--Brubeck cancelling 23 out of 25 concert dates in the South rather than replace black bass player Eugene Wright, or Silver insisting that while he strives to provide his fellow black musicians opportunities, "I just want the best musicans I can get. I don't give a damn if they're pink or polka dot." Others are profoundly disturbing--Lees' first encounter with Oscar Peterson, after a Canadian barber flatly refused to cut Peterson's hair, or Wynton Marsalis on television claiming that blacks have been held back for so many years because the music business is controlled by "people who read the Torah and stuff." From the old shantytowns of Louisville, to the streets of South Central L.A., to the up-to-the-minute controversies surrounding Marsalis's jazz program at Lincoln Center, and the Jazz Masters awards given by the NEA, Cats of Any Color confronts racism head-on. At its heart is a passionate plea to recognize jazz not as the sole property of any one group, but as an art form celebrating the human spirit--not just for the protection of individual musicians, but for the preservation of the music itself.
Black Bottom Stomp tells the compelling stories of the lives and times of nine seminal figures in American music history, including Scott Joplin, Louis Armstrong, and Jelly Roll Morton.
Pacifist Warrior introduces Robert Pickus, his leadership role in the pacifist community (1951–2016), and his thoughtful work to constructively engage the United States in world politics. He called for leadership by the United States to move a conflict-filled world towards peace through non-military initiatives, designed to gain the reciprocation of allies and dedicated adversaries alike. Robert Pickus earned the title “Pacifist Warrior” because he not only believed pacifism in a nuclear age was a moral imperative, it was also a more effective strategy towards a world without war. Pickus’ career lasted from 1951 to 2016. As Director of the World Without War Council office in Berkeley, he engaged civic, labor, business, and religious organizations to work for a world without war. He worked at the juncture where advocates of war-as-a-last-resort met community peace advocates to develop non-military alternatives to war. His signature contribution was a compendium of American Peace Initiatives developed with other key leaders, including George Weigel, Harold Guetzkow, Sidney Hook and Ted Sorensen. During his tenure, the WWWC developed a strategy of American peace initiatives to get from here to a world without war. The ideas of reciprocation, universal participation and non-violent change apply to both arms control and disarmament as well as climate change.
You Can?t Steal a Gift is about the impact of American racism on America?s greatest gift to the world of music?jazz. In a work that combines memoir, oral history, and commentary, Gene Lees has crafted minibiographies of four great black musicians whom he knew well?Dizzy Gillespie, Clark Terry, Milt Hinton, and Nat ?King? Cole. Lees writes of them, ?All are men who had every reason to embrace bitterness . . . and didn?t.? When Lees left Montreal to become the music and drama critic of the Louisville Times in 1955, he was shocked by the racism and segregation he found in the United States. In jazz he found a community of like-minded souls who freely shared their gifts with all lovers of music, regardless of race and condition.
Mesmerizing sci-fi from the author the Denver Post calls "one of the literary giants of science fiction." The melancholy memoir of Alden Dennis Weer, an embittered old man living in a small midwestern town, reveals a miraculous dimension. For Weer's imagination has the power to obliterate time and reshape reality, transcending even death itself.
Pastor Louis Neely looks at sixteen stories of prayer in the Old and New Testament, from Israel's leaders, prophets, Christ, to an unnamed woman and how their prayers moved the heart of God.
After the runaway success of his Tales from Baseball's Golden Age, Gene Fehler presents his second installation, More Tales from Baseball's Golden Age. It is a collection of anecdotes, memories, and stories from the men who played baseball during its heyday, in the '40s and '50s. Stories include reminiscences about playing with or against baseball legends such as Hank Aaron, Mickey Mantle, Satchel Paige, and Ted Williams and interviews with nearly two dozen players who were not heard from in Tales from Baseball's Golden Age. Fehler combines lifetime statistics and personal interviews from over 50 Hall of Famers, All-Stars, and ordinary players to create a memorable book sure to delight any baseball fan, young or old.
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