Jazz Standards on Record, 1900-1942: A Core RepertoryCenter for Black Music Rsrch, 1992 - 94 pagina's |
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American Angeles Decca Band New York Benny Goodman Benny Goodman Quartet Billy Black Blues Boys Camden Chicago Brunswick Chicago Decca Chicago OKeh Chicago Victor Chicago Vocalion Chick City Pathe Actuelle Columbia rejected Core Repertory Cotton Decca rejected Duke Ellington Eddie Fats Waller Five Pennies Fletcher Henderson Fred Georgians Harry Jack Jazz Band Jimmy Joe Daniels Lionel Hampton London Columbia London Decca London His Master's London Parlophone London Regal Zonophone Louis Armstrong Louis Blues Love Master's Voice medley Memphis Mills Music Nat Gonella NJ Victor Orch Orchestra Chicago Orchestra London Orchestra New York Paris Swing Performer Quintette Ramblers Record Red Nichols Rhythm Kings Richmond Six Swingers Society standard Street Ted Lewis Teddy Wilson Tommy Dorsey Trio tunes York City Banner York City Bluebird York City Brunswick York City Columbia York City Decca York City Harmony York City OKeh York City Pathe York City Victor York City Vocalion
Populaire passages
Pagina xxii - I have tried to identify the musicians to be heard on discs made in the name of jazz, or of dance music with close affiliation to jazz, as well as vocal records with jazz groups used as accompaniment, made between 1917 and 1942. Also included are important and interesting records made of ragtime...
Pagina xxv - Richard Crawford. American Sacred Music Imprints, 1698-1810: A Bibliography. Worcester, Mass.: American Antiquarian Society, 1990. Buechner, Alan C. "Yankee Singing Schools and the Golden Age of Choral Music in New England.
Pagina xxiv - By 1929 almost every big band had two or three pieces based on the Tiger Rag changes, one or two from, say, / Ain't Got Nobody or After You've Gone. And by 1932 You're Driving Me Crazy, a comparatively complex piece, had lost its melody and acquired the more jazzlike theme called Moten Swing. Almost every big band soon had one piece based on King Porter Stomp' s chord changes, and some had more than one.
Pagina xiv - A Good Man Is Hard to Find, Baby Won't You Please Come Home, I Wish I Could Shimmy Like My Sister Kate, Someday Sweetheart.
Pagina xxii - Italy was made possible by the University of Michigan's Horace H. Rackham School of Graduate Studies...
Pagina xxii - Jazz, p. 256. standard: a number which has stood the test of time and found a permanent place in the repertory of jazz performers.
Pagina v - jazz standards" — the term is used by musicians and fans alike — are tunes accepted and shared so widely that jazz musicians who have never played together can be expected, on the spot and without notation, to be able to perform them .1 Collectively, the standards of any jazz style seem to catch its spirit and character.
Pagina xiv - Swing That Music / Poor Butterfly / When You're Smiling / If I Could Be With You / I Can't Believe That You're In Love With Me / I Want To Be Happy / New Orleans / Royal Garden Blues / Oh!
Pagina xxiii - Murray writes, that the blues represents "the expression of sadness. Not one characterizes it as good-time music. Nor is there any reference whatsoever to its use as dance music
Pagina xxiv - Try to imagine the Count Basie book of 1938 without changes borrowed from Tea for Two, Honeysuckle Rose, and Diga Diga Doo. Or Ellington without Rose Room, Exactly Like You, or the ubiquitous Tiger Rag.