Williams Martin
- Published in print:
- 1993
- Published Online:
- October 2011
- ISBN:
- 9780195083491
- eISBN:
- 9780199853205
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195083491.003.0029
- Subject:
- Music, Popular
Dinah Washington (real name: Ruth Jones) was raised on praise music and was a member of church choir as a pianist before she was fifteen years old. She became a jazz performer by winning an amateur ...
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Dinah Washington (real name: Ruth Jones) was raised on praise music and was a member of church choir as a pianist before she was fifteen years old. She became a jazz performer by winning an amateur contest. She also worked with Lionel Hampton. In an interview, Washington stated the she objected to her nickname as the “Queen of the Blues,” because she sings more pop music than blues. Though her first record entitled “Evil Gal Blues” had four blues singles.Less
Dinah Washington (real name: Ruth Jones) was raised on praise music and was a member of church choir as a pianist before she was fifteen years old. She became a jazz performer by winning an amateur contest. She also worked with Lionel Hampton. In an interview, Washington stated the she objected to her nickname as the “Queen of the Blues,” because she sings more pop music than blues. Though her first record entitled “Evil Gal Blues” had four blues singles.
Eric Porter
- Published in print:
- 2012
- Published Online:
- September 2012
- ISBN:
- 9780520271036
- eISBN:
- 9780520951358
- Item type:
- chapter
- Publisher:
- University of California Press
- DOI:
- 10.1525/california/9780520271036.003.0002
- Subject:
- Music, History, American
This chapter confronts the notion of a jazz “essence,” showing how musicians' adoption or rejection of this concept can work as a strategy toward shifting musical identities and professional ...
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This chapter confronts the notion of a jazz “essence,” showing how musicians' adoption or rejection of this concept can work as a strategy toward shifting musical identities and professional opportunities, and suggesting that jazz must be understood through its relationship to other vernacular and popular practices. Contending with the ways that musicians, fans, and critics alike have defined artistic projects by investing in or rejecting elements of jazz's assumed essence, at both musical and symbolic levels, gives us greater insight into the production of this music as a socially situated art. This challenge to jazz historiographical practices helps us to expand the parameters of jazz history and to rethink its ontology. Among the artists given close consideration are Don Byron, Charles Mingus, Dinah Washington, Caetano Veloso, and João Gilberto.Less
This chapter confronts the notion of a jazz “essence,” showing how musicians' adoption or rejection of this concept can work as a strategy toward shifting musical identities and professional opportunities, and suggesting that jazz must be understood through its relationship to other vernacular and popular practices. Contending with the ways that musicians, fans, and critics alike have defined artistic projects by investing in or rejecting elements of jazz's assumed essence, at both musical and symbolic levels, gives us greater insight into the production of this music as a socially situated art. This challenge to jazz historiographical practices helps us to expand the parameters of jazz history and to rethink its ontology. Among the artists given close consideration are Don Byron, Charles Mingus, Dinah Washington, Caetano Veloso, and João Gilberto.
Martin Williams
- Published in print:
- 1993
- Published Online:
- October 2011
- ISBN:
- 9780195083491
- eISBN:
- 9780199853205
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195083491.001.0001
- Subject:
- Music, Popular
This collection of record notes, interviews, portraits, and reviews recalls the Charlie Parker-Dizzy Gillespie Dial Record sessions, Langston Hughes reading poetry to the sound of jazz, and Thelonius ...
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This collection of record notes, interviews, portraits, and reviews recalls the Charlie Parker-Dizzy Gillespie Dial Record sessions, Langston Hughes reading poetry to the sound of jazz, and Thelonius Monk recording for the Library of Congress. In addition, in this book there are profiles of such legendary performers as Billie Holiday, Dinah Washington, Duke Ellington, and Fats Waller, and chapters on the importance of jazz history and a jazz-view of The Beatles.Less
This collection of record notes, interviews, portraits, and reviews recalls the Charlie Parker-Dizzy Gillespie Dial Record sessions, Langston Hughes reading poetry to the sound of jazz, and Thelonius Monk recording for the Library of Congress. In addition, in this book there are profiles of such legendary performers as Billie Holiday, Dinah Washington, Duke Ellington, and Fats Waller, and chapters on the importance of jazz history and a jazz-view of The Beatles.
Clark Terry
Gwen Terry (ed.)
- Published in print:
- 2011
- Published Online:
- May 2012
- ISBN:
- 9780520268463
- eISBN:
- 9780520949782
- Item type:
- book
- Publisher:
- University of California Press
- DOI:
- 10.1525/california/9780520268463.001.0001
- Subject:
- Music, History, American
This is the story of one of the most recorded jazz trumpeters of all time, Clark Terry, born in 1920. Thi sbook takes us from his impoverished childhood in St. Louis, Missouri, where jazz could be ...
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This is the story of one of the most recorded jazz trumpeters of all time, Clark Terry, born in 1920. Thi sbook takes us from his impoverished childhood in St. Louis, Missouri, where jazz could be heard everywhere, to the smoke-filled small clubs and carnivals across the Jim Crow South where he got his start, and on to worldwide acclaim. The book takes us behind the scenes of jazz history as it introduces scores of legendary greats—Ella Fitzgerald, Oscar Peterson, Dizzy Gillespie, Dinah Washington, Doc Severinsen, Ray Charles, Thelonious Monk, Billie Holiday, Sarah Vaughan, Coleman Hawkins, Zoot Sims, and Dianne Reeves, among many others. The book also reveals much about Terry's own personal life, his experiences with racism, how he helped break the color barrier in 1960 when he joined the Tonight Show band on NBC, and why—at ninety years old—his students from around the world still call and visit him for lessons.Less
This is the story of one of the most recorded jazz trumpeters of all time, Clark Terry, born in 1920. Thi sbook takes us from his impoverished childhood in St. Louis, Missouri, where jazz could be heard everywhere, to the smoke-filled small clubs and carnivals across the Jim Crow South where he got his start, and on to worldwide acclaim. The book takes us behind the scenes of jazz history as it introduces scores of legendary greats—Ella Fitzgerald, Oscar Peterson, Dizzy Gillespie, Dinah Washington, Doc Severinsen, Ray Charles, Thelonious Monk, Billie Holiday, Sarah Vaughan, Coleman Hawkins, Zoot Sims, and Dianne Reeves, among many others. The book also reveals much about Terry's own personal life, his experiences with racism, how he helped break the color barrier in 1960 when he joined the Tonight Show band on NBC, and why—at ninety years old—his students from around the world still call and visit him for lessons.
Williams Martin
- Published in print:
- 1993
- Published Online:
- October 2011
- ISBN:
- 9780195083491
- eISBN:
- 9780199853205
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195083491.003.0042
- Subject:
- Music, Popular
Cannonball Adderley was a colleague of Miles Davis in some of the early experimental projects. But his own inclinations usually kept him in the modern mainstream, and his great success as a leader ...
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Cannonball Adderley was a colleague of Miles Davis in some of the early experimental projects. But his own inclinations usually kept him in the modern mainstream, and his great success as a leader had sometimes seemed to be as interesting socially as musically. “The Cannonball Adderley Quintet In Person” was the latest of a series of albums his group had recorded before night-club audiences. The recital had guest appearances by Nancy Wilson, and by Lou Rawls, a handsome blues singer. It also featured instrumentals in which there were more blue notes per four-bar phase than ever was believed possible.Less
Cannonball Adderley was a colleague of Miles Davis in some of the early experimental projects. But his own inclinations usually kept him in the modern mainstream, and his great success as a leader had sometimes seemed to be as interesting socially as musically. “The Cannonball Adderley Quintet In Person” was the latest of a series of albums his group had recorded before night-club audiences. The recital had guest appearances by Nancy Wilson, and by Lou Rawls, a handsome blues singer. It also featured instrumentals in which there were more blue notes per four-bar phase than ever was believed possible.
