By Nat Hentoff
Nat Hentoff, popular jazz critic, civil liberties activist, and fearless contrarian--"I'm a Jewish atheist civil-libertarian pro-lifer"--has lived via a lot of jazz's historical past and has identified lots of jazz's most crucial figures, frequently as good friend and confidant. Hentoff has been a tireless recommend for the overlooked components of jazz background, together with forgotten sidemen and -women. This quantity contains his most sensible contemporary work--short essays, lengthy interviews, and private reminiscences. From Duke Ellington and Louis Armstrong to Ornette Coleman and Quincy Jones, Hentoff brings the jazz greats to lifestyles and lines their paintings to gospel, blues, and lots of other kinds of yankee tune. on the Jazz Band Ball additionally comprises Hentoff's prepared, cosmopolitan observations on a variety of matters. The e-book indicates how jazz and schooling are an important partnership, how unfastened expression is the essence of liberty, and the way social justice matters like future health care and powerful civil rights and liberties preserve the entire arts--and all participants of society--strong.
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Extra info for At the Jazz Band Ball: Sixty Years on the Jazz Scene
And Harry “Sweets” The Family of Jazz 13 Edison, who captured Miranda’s attention when—as the band ran down one of the arrangements for the evening—he stopped the music and turned his score back to the arranger. “Too many notes,” Sweets said. ” My daughter, though young, was already working gigs as a pianist and singer of her own songs. But she’d never been in the company of some of jazz’s vintage creators. ” The family-like love happened again in January in New York at the International Association for Jazz Education’s Annual Conference when Dana Gioia, chairman of the National Endowment for the Arts (NEA), hosted an NEA Jazz Masters Luncheon.
The young Roy Haynes, with crackling confidence, riveted everyone’s attention and finished to a roar of applause. As a reporter, I’ve gotten to know political figures, criminal defense lawyers, some of their clients, judges, even a Supreme Court justice. But I’d rather be in the company of jazz musicians, especially at reunions when the past comes alive again. Toward the end of his book Myself Among Others: My Life in Music, George 14 What Am I Here For? ” The strangest story I know about how jazz makes the most different people into a sort of family was told to me long ago in Paris by Charles Delaunay, the standard-setter for jazz discographers and the creator of Jazz Hot magazine (many of whose stories and interviews ought to be anthologized).
They weren’t funny or weird then, and they’re not now. ” “It’s true,” Dizzy told interviewer Taylor. Playing Changes on Jazz Interviews 17 Currently, some of the most extensive and durably illuminating interviews are by Eric Nemeyer, a vibist, marimba player, drummer, pianist and composer who has worked with Sonny Stitt, Jon Faddis, Jimmy Heath and many more. He also publishes the quarterly Jazz Improv Magazine and its valuable monthly, Jazz Improv’s New York Jazz Guide. Among his interviews in both magazines was one with Wynton Marsalis in which Marsalis defined the rare essence of enduring teaching—not only teaching jazz.