Arthur Berger
- Published in print:
- 2002
- Published Online:
- May 2012
- ISBN:
- 9780520232518
- eISBN:
- 9780520928213
- Item type:
- chapter
- Publisher:
- University of California Press
- DOI:
- 10.1525/california/9780520232518.003.0011
- Subject:
- Music, History, American
In this chapter, the author shares his personal experience of being a music critic. He elaborates that the most consuming experience was one that caused him years of inconvenience and exasperation. ...
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In this chapter, the author shares his personal experience of being a music critic. He elaborates that the most consuming experience was one that caused him years of inconvenience and exasperation. It was a suit filed against the Tribune in 1952 by the Yaysnoff sisters, a two-piano team entirely new to the local concert stage, who argued that he had libeled them in a review that appeared in the 30 July paper covering their performance the previous evening as soloists with the New York Philharmonic. The proliferation of reviews of pop and dance events in the most recent decades has confronted the longhair music columnist with serious competition that did not exist in his time. In the Times serious music seems to have held its own, though it still tends to be overshadowed by the other arts. The chapter reveals the author's area of work and its ups and downs.Less
In this chapter, the author shares his personal experience of being a music critic. He elaborates that the most consuming experience was one that caused him years of inconvenience and exasperation. It was a suit filed against the Tribune in 1952 by the Yaysnoff sisters, a two-piano team entirely new to the local concert stage, who argued that he had libeled them in a review that appeared in the 30 July paper covering their performance the previous evening as soloists with the New York Philharmonic. The proliferation of reviews of pop and dance events in the most recent decades has confronted the longhair music columnist with serious competition that did not exist in his time. In the Times serious music seems to have held its own, though it still tends to be overshadowed by the other arts. The chapter reveals the author's area of work and its ups and downs.
Mike Zwerin
- Published in print:
- 2005
- Published Online:
- October 2013
- ISBN:
- 9780300108064
- eISBN:
- 9780300127386
- Item type:
- book
- Publisher:
- Yale University Press
- DOI:
- 10.12987/yale/9780300108064.001.0001
- Subject:
- Music, History, Western
In his Beat-like jaunt through the Parisian and European jazz scene, the author of this book is not unlike Jack Kerouac, Mezz Mezzrow, or Hunter S. Thompson—writers to whom, for different reasons, he ...
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In his Beat-like jaunt through the Parisian and European jazz scene, the author of this book is not unlike Jack Kerouac, Mezz Mezzrow, or Hunter S. Thompson—writers to whom, for different reasons, he owes some allegiance. What makes him special is his devotion to the troubled musicians he idolizes, and a passion for music that is blessedly contagious. Many jazz fans will know the author for his witty, irreverent, and undeniably hip music reviews and articles in the International Herald Tribune that have entertained us for decades. Based in Paris, or, rather, stuck there, as he likes to say, the author has been a music critic for the Trib since 1979 and also had a distinguished career as a trombonist. When he was just eighteen years old, he was invited by Miles Davis to play alongside Gerry Mulligan, John Lewis, and Max Roach in the band that was immortalized as The Birth of the Cool. This book offers a personal account of the jazz scene in Paris in the 1980s and 1990s. The author writes lovingly but unsparingly about figures he knew and interviewed—such as Dexter Gordon, Freddy Heineken, Miles Davis, Bob Dylan, Chet Baker, Wayne Shorter, and Melvin Van Peebles. Against this background, he tells us about his own life—split allegiances to journalism and music, and to America and France, his solitary battle for sobriety, a failing marriage, and fatherhood.Less
In his Beat-like jaunt through the Parisian and European jazz scene, the author of this book is not unlike Jack Kerouac, Mezz Mezzrow, or Hunter S. Thompson—writers to whom, for different reasons, he owes some allegiance. What makes him special is his devotion to the troubled musicians he idolizes, and a passion for music that is blessedly contagious. Many jazz fans will know the author for his witty, irreverent, and undeniably hip music reviews and articles in the International Herald Tribune that have entertained us for decades. Based in Paris, or, rather, stuck there, as he likes to say, the author has been a music critic for the Trib since 1979 and also had a distinguished career as a trombonist. When he was just eighteen years old, he was invited by Miles Davis to play alongside Gerry Mulligan, John Lewis, and Max Roach in the band that was immortalized as The Birth of the Cool. This book offers a personal account of the jazz scene in Paris in the 1980s and 1990s. The author writes lovingly but unsparingly about figures he knew and interviewed—such as Dexter Gordon, Freddy Heineken, Miles Davis, Bob Dylan, Chet Baker, Wayne Shorter, and Melvin Van Peebles. Against this background, he tells us about his own life—split allegiances to journalism and music, and to America and France, his solitary battle for sobriety, a failing marriage, and fatherhood.
Denis Crowdy
- Published in print:
- 2016
- Published Online:
- November 2016
- ISBN:
- 9780824851569
- eISBN:
- 9780824868307
- Item type:
- chapter
- Publisher:
- University of Hawai'i Press
- DOI:
- 10.21313/hawaii/9780824851569.003.0003
- Subject:
- Society and Culture, Pacific Studies
Recalling Tjibaou (2005, p.20), Sanguma proclaimed their cultural existence and found their place in the sun for a decade or so. Chapter 3 explores Sanguma’s numerous international tours, their ...
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Recalling Tjibaou (2005, p.20), Sanguma proclaimed their cultural existence and found their place in the sun for a decade or so. Chapter 3 explores Sanguma’s numerous international tours, their overseas and local reception, and how the band’s performances were placed in a period prior to the emergence of a “world music” touring and festival circuit.Less
Recalling Tjibaou (2005, p.20), Sanguma proclaimed their cultural existence and found their place in the sun for a decade or so. Chapter 3 explores Sanguma’s numerous international tours, their overseas and local reception, and how the band’s performances were placed in a period prior to the emergence of a “world music” touring and festival circuit.
