PDF Thelonious Monk Quartet with John Coltrane at Carnegie Hall (Oxford Studies in Recorded Jazz)

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  1. Thelonious Monk Quartet Featuring John Coltrane at Carnegie Hall
  2. Brooklyn College | Reading Jazz Recordings
  3. Also Available As:
  4. Documenting Jazz 12222

Taking a wide-ranging approach to the recording, Solis addresses issues of "liveness," jazz teaching and learning, enculturation, and historiography. Because nearly a half century passed between when the recording was made and its public release, it is a particularly interesting lens through which to view jazz both as a historical tradition and as a contemporary cultural form. Most importantly Solis accounts for the music itself. Offering in depth analytical discussions of each composition, as well as Monk's and Coltrane's improvisational performances he provides insight into Monk's impact on Coltrane as he developed his signature "sheets of sound" style, as well as into the influence of a strong side-man, like Coltrane, on Monk at his creative and professional peak.

The first study of one of the most significant jazz releases of the twenty-first century, Thelonious Monk Quartet with John Coltrane at Carnegie Hall is essential reading for all jazz scholars, students, musicians, and fans.

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Thelonious Monk Quartet Featuring John Coltrane at Carnegie Hall

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Link Either by signing into your account or linking your membership details before your order is placed. Description Table of Contents Product Details Click on the cover image above to read some pages of this book! Industry Reviews "Solis's arguments are compelling and wide ranging, covering the specifics of this concert and recording but reiterating essential points for jazz studies research pertaining to the musical work, issues of authenticity and reproduction, nostalgia and reissued recordings, and academic institutionalization, among others, that make the book applicable and engaging beyond just the scope of its primary object of study.

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Brooklyn College | Reading Jazz Recordings

Jazz in Available Light Illuminating the Jazz from the s, 70s and 80s. By revising and rearranging tempos, feels, harmonic progressions, rhythms, and melodic statements, this quintet treated the studio space and the recording process as dynamic supplements to compositional, formal, and improvisational processes.

Tackley arduously parses through all of the contemporaneous literature—newspaper reviews and articles, program notes, first-hand accounts of musicians and audience members—pertaining to the Carnegie performance, as well as the subsequent literature concerning the LP and CD releases. In doing so, she excavates an intricate reception history of the music, considering the inter-generational audiences at whom the concert and its subsequent releases on record were aimed, as well as the shifting historiographic modalities within which critics were writing.

All are succinctly summarized in provocative but easily digestible prose. Tackley's musical analysis in "Part II" which accounts for the bulk of the book , however, is a lackluster component in her study.

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Every track on the recording is studied to some degree, and much of these analyses draw from Tackley's personal transcriptions—an assiduous undertaking on her part to be sure. Yet much of what the reader evinces from these conclusions is disproportionate to the time, work, and space devoted to their presentation. At times, Tackley misses opportunities to tease out a more fruitful analysis that would be germane to, and thus enrich, the wonderfully astute work she offers in Parts I and III of her study.

Her comparison of Benny Goodman's and Harry James's respective solos on "Life Goes to a Party" seems to miss the mark completely, making interpretive claims that are unsubstantiated by the music's auditory import. Underwhelming musical analysis aside, Tackley's historical realizations here are fresh and elucidating. Her findings from investigating the critical receptions of the performance and its different disseminations on record are well-nuanced and effectively deployed throughout her study.

This ambivalence was culturally informed by his own personal history, relationships, and views on the ideas espoused by writers like W.

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Du Bois, Booker T. Washington, and Dave Peyton. Musically, Harker demonstrates this ambivalence through Armstrong's coupling of novelty and polish in his performances. His affinity for vaudeville, classical trumpet etudes, the novelty and precision implicit in a trumpet replicating the jagged arpeggiated figures of a clarinet, and the echoing of popular dance rhythms con- temporary with these records' release, were all cultural codes that are subsumed in Armstrong's trumpet work in these recordings. Armstrong's stop-time solo on "Potato Head Blues" is representative of this reading.

Documenting Jazz 12222

This solo is widely considered a turning point toward a more vertical, harmonically-based approach to improvisation—a marked shift in the paradigm of jazz solo improvisation. While this realization is not altogether inaccurate, it does not tell the whole story. Harker enriches and expands our conception of this performance's historical import by considering it not as a necessary, artistic expres- sion of a new aesthetic of jazz "improvisation"—a term Harker also problematizes provocatively—but rather as a calculated, polished solo on which Armstrong had clearly been working for some time.

Armstrong had no aspirations of rewriting the lexicon of jazz soloing style with "Potato Head Blues," but instead aimed to imbue the performance with certain cultural codes. His analysis presents an enlightening examination of Armstrong's famous recording of "West End Blues.

blehipkneeleral.tk Recordings "offer data points that can be charted in retrospect, and compared with relevant contemporaneous events, to perceive historical patterns of which [the performer] might have been unaware" Brian Harker's words concerning Louis Armstrong speak on behalf of all of those for whom analysis of jazz recordings is an ambivalent undertaking: "If we are chastened by a recognition of all that records leave out, we may nevertheless appreciate the powerful reflection they give of Armstrong's waking world in the s" We'll show you around and introduce you to one of the most beautiful campuses in the country.

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