By Alyn Shipton
Jazz Makers gathers jointly brief biographies of greater than 50 of jazz's maximum stars, from its early beginnings to the current. The tales of those cutting edge instrumentalists, bandleaders, and composers display the interesting background of jazz in six elements: * The Pioneers, together with Scott Joplin, Louis Armstrong, and Bessie Smith * Swing Bands and Soloists, with Duke Ellington, Ella Fitzgerald, and Billie vacation * The Piano Giants, that includes fat Waller, paintings Tatum, and Mary Lou Williams * beginning of Bebop, together with Dizzy Gillepsie, Charlie Parker, and Miles Davis * Cool Jazz, not easy Bop, and Fusion, with John Coltrane, Sonny Rollins, and Stan Getz * A Century of Jazz, that includes Wynton Marsalis, Joshua Redman, and different modern greats.
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Extra resources for Jazz Makers: Vanguards of Sound (Oxford Profiles)
At the start of the 1920s, the music that Whiteman produced was a long way from the jaunty syncopated rhythm of the Original Dixieland Jazz Band, let alone the freer, jazzier sounds of King Oliver. Whiteman's band sounded ponderous and genteel by turns; nevertheless, his influence encouraged a number of bandleaders to experiment with similar large forces. This second set of profiles begins with the man who first successfully integrated the authentic AfricanAmerican rhythms and pitches of jazz with the emergent form of big band music, Fletcher Henderson.
RCA Bluebird 82499. ] Hasse, John Edward. Beyond Category: The Life and Genius of Duke Ellington. New York: Simon & Schuster, 1993. The Duke's Men: Small Groups, Vols. I and II. Columbia 468618, 472994 (both twoCD sets). ] Nicholson, Stuart. Reminiscing in Tempo: A Portrait of Duke Ellington. Boston: Northeastern University Press, 1999. The Blanton-Webster Band. Bluebird 13181 (also RCA 5659-2) (three-CD set). ] Black, Brown, and Beige. RCA Bluebird 86641 (three-CD set). ] Ellington at Newport (1956) Complete.
Then, he would assemble the clarinet as he came on stage and blow everyone away with his powerful solos. He also briefly played the cornet in some of New Orleans' many marching bands. In his entire life, Bechet took only a few lessons. He hated the written exercises given to him by his teacher, "Big Eye" Louis Nelson, and preferred to play truant from school to practice the clarinet alone. By his 20th birthday, Sidney had played with all the bestknown bandleaders in New Orleans. However, in common with many of them, he decided to travel north to Chicago to work.