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/9780195083491.003.0018
- Subject:
- Music, Popular
Ragtime is a separate genre of African-American syncopated music; it is not a type of crude pre-jazz; however, it made a valuable contribution to jazz as a whole. It is, in a way, a formal and ...
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Ragtime is a separate genre of African-American syncopated music; it is not a type of crude pre-jazz; however, it made a valuable contribution to jazz as a whole. It is, in a way, a formal and polished music. Much has been said regarding Morton's insistence that riffs were for background. Several of his recordings had riff melodies. He also pointed out that a pianist should emulate an orchestra. Almost every piano style in jazz was lifted from a band or horn style.Less
Ragtime is a separate genre of African-American syncopated music; it is not a type of crude pre-jazz; however, it made a valuable contribution to jazz as a whole. It is, in a way, a formal and polished music. Much has been said regarding Morton's insistence that riffs were for background. Several of his recordings had riff melodies. He also pointed out that a pianist should emulate an orchestra. Almost every piano style in jazz was lifted from a band or horn style.
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/9780195083491.003.0027
- Subject:
- Music, Popular
No matter how often he heard about it, Morton was repeatedly struck by accounts of the magnificent slice of life which prevailed freely in the Storyville district. People from every economic group, ...
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No matter how often he heard about it, Morton was repeatedly struck by accounts of the magnificent slice of life which prevailed freely in the Storyville district. People from every economic group, every, race, every class, and from other parts of the globe came there. Morton played three choruses there, to re-create the type of music Tony Jackson played for the naked dances in the houses. The memory was later expanded and modified into a fuller record. The basis for this was a series of ragtime riffs, modified from chorus to chorus.Less
No matter how often he heard about it, Morton was repeatedly struck by accounts of the magnificent slice of life which prevailed freely in the Storyville district. People from every economic group, every, race, every class, and from other parts of the globe came there. Morton played three choruses there, to re-create the type of music Tony Jackson played for the naked dances in the houses. The memory was later expanded and modified into a fuller record. The basis for this was a series of ragtime riffs, modified from chorus to chorus.
Papa Jo Jones
- Published in print:
- 2011
- Published Online:
- August 2015
- ISBN:
- 9780816673001
- eISBN:
- 9781452947419
- Item type:
- book
- Publisher:
- University of Minnesota Press
- DOI:
- 10.5749/minnesota/9780816673001.001.0001
- Subject:
- Music, Popular
This book presents Papa Jo Jones’s (Jonathan David Samuel Jones) inimitable life and opinions, as originally told to the prominent jazz historian and novelist Albert Murray and now transcribed, ...
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This book presents Papa Jo Jones’s (Jonathan David Samuel Jones) inimitable life and opinions, as originally told to the prominent jazz historian and novelist Albert Murray and now transcribed, arranged, and introduced by Paul Devlin. Drawn from fourteen tapes recorded over eight years beginning in 1977, the book is an impressionistic series of riffs and tales by Jones: his life as a musician on the road in segregated America, his outstanding solo career following his years with the Basie band, and his interactions with iconic artists and cultural figures of the time, including Ralph Ellison, James Baldwin, Langston Hughes, Duke Ellington, Louis Armstrong, Bill “Bojangles” Robinson, and Satchell Paige. A true American original and jazz luminary, Papa Jo Jones bedazzled and intrigued many with his outrageous, volatile personality and his innovative drumming—and nowhere does his fierce intellect and humor shine more marvelously than in his life’s telling.Less
This book presents Papa Jo Jones’s (Jonathan David Samuel Jones) inimitable life and opinions, as originally told to the prominent jazz historian and novelist Albert Murray and now transcribed, arranged, and introduced by Paul Devlin. Drawn from fourteen tapes recorded over eight years beginning in 1977, the book is an impressionistic series of riffs and tales by Jones: his life as a musician on the road in segregated America, his outstanding solo career following his years with the Basie band, and his interactions with iconic artists and cultural figures of the time, including Ralph Ellison, James Baldwin, Langston Hughes, Duke Ellington, Louis Armstrong, Bill “Bojangles” Robinson, and Satchell Paige. A true American original and jazz luminary, Papa Jo Jones bedazzled and intrigued many with his outrageous, volatile personality and his innovative drumming—and nowhere does his fierce intellect and humor shine more marvelously than in his life’s telling.
Katherine Baber
- Published in print:
- 2019
- Published Online:
- September 2019
- ISBN:
- 9780252042379
- eISBN:
- 9780252051210
- Item type:
- chapter
- Publisher:
- University of Illinois Press
- DOI:
- 10.5622/illinois/9780252042379.003.0003
- Subject:
- Music, History, American
Chapter 2 examines the influence of Bernstein’s two most important models for synthesizing jazz styles as part of a personalized American style: Aaron Copland and George Gershwin. Taking Prelude, ...
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Chapter 2 examines the influence of Bernstein’s two most important models for synthesizing jazz styles as part of a personalized American style: Aaron Copland and George Gershwin. Taking Prelude, Fugue and Riffs as a case study, this chapter shows how patterns of usage in Copland’s and Gershwin’s music, particularly the expressive dichotomy between jazz and the closely related blues style, clearly influenced Bernstein’s version of jazz. Given Bernstein’s deep personal identification with both composers, it also becomes clear how some jazz styles, particularly the blues, could express intimate or private sentiments and mediate the formation of a musical subjectivity.Less
Chapter 2 examines the influence of Bernstein’s two most important models for synthesizing jazz styles as part of a personalized American style: Aaron Copland and George Gershwin. Taking Prelude, Fugue and Riffs as a case study, this chapter shows how patterns of usage in Copland’s and Gershwin’s music, particularly the expressive dichotomy between jazz and the closely related blues style, clearly influenced Bernstein’s version of jazz. Given Bernstein’s deep personal identification with both composers, it also becomes clear how some jazz styles, particularly the blues, could express intimate or private sentiments and mediate the formation of a musical subjectivity.
