By John Gennari
Within the illustrious and richly documented background of yankee jazz, no determine has been extra debatable than the jazz critic. Jazz critics might be respected or reviled—often both—but they need to no longer be missed. And whereas the culture of jazz has been lined from probably each perspective, not anyone has ever became the pen again on itself to chronicle the various writers who've helped outline how we take heed to and the way we comprehend jazz. that's, after all, till now.
In Blowin' sizzling and Cool, John Gennari offers a definitive historical past of jazz feedback from the Twenties to the current. The tune itself is in demand in his account, as are the musicians—from Louis Armstrong and Duke Ellington to Charlie Parker, John Coltrane, Roscoe Mitchell, and past. however the paintings takes its form from interesting tales of the tradition's key critics—Leonard Feather, Martin Williams, Whitney Balliett, Dan Morgenstern, Gary Giddins, and Stanley Crouch, between many others. Gennari is the 1st to teach the various methods those critics have mediated the connection among the musicians and the audience—not in simple terms as writers, yet in lots of instances as manufacturers, broadcasters, live performance organizers, and public intellectuals as well.
For Gennari, the jazz culture isn't really rather a lot a set of recordings and performances because it is a rancorous debate—the dissonant noise clamoring according to the sounds of jazz. opposed to the backdrop of racial strife, classification and gender concerns, battle, and protest that has outlined the previous seventy-five years in the USA, Blowin' scorching and Cool brings to the fore jazz's most crucial critics and the function they've got performed not just in defining the heritage of jazz but additionally in shaping jazz's value in American tradition and life.
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Extra info for Blowin' Hot and Cool: Jazz and Its Critics
S. expatriate jazz musicians of major consequence (Kenny Clarke, Dexter Gordon, Johnny Griffin, George Russell, Don Cherry, and Jon Hendricks, to name just a few). John Hammond started his career in the 1930s writing for British music magazines and making records for the UK market. S. jazz’s cutting edge in the 1970s and 1980s was recorded on the Italian Black Saint and German ECM labels. Today’s serious jazz consumer, even if located in New York or Vermont, 16 r Introduction buys CDs that are produced in Italy, Japan, Germany, France, Denmark, and the Netherlands.
He also knew how to provide rich ensemble backing for the solos played by the extraordinary improvisers who passed through his organization, including trumpeters Louis Armstrong and Roy Eldridge and saxophonists Chu Berry, Coleman Hawkins, and Lester Young. 48 The Smith records, which offer the only opportunity to hear the 38 r Chapter 1 singer in a swing context, revived the career of the 1920s blues empress. Hammond always thought he did more than just that—that he had rescued Smith from a demeaning, penurious existence singing pornographic songs for tips in a North Philadelphia gin mill.
1 Hammond, then twenty-five, was well known in British jazz circles as a record producer, talent scout, journalist, and social critic. He had been commissioned by Columbia to produce a series of sessions from 1933 to 1935 for British release, and he had started his career as a jazz writer in the early 1930s in Melody Maker, Gramophone, and another British publication called Rhythm. S. jazz scene, but the foundation had been firmly laid in 1933. In a feverish seventy-two-hour stretch in November of that year, Hammond supervised the last recordings of Bessie Smith and then the first recordings of Billie Holiday.