By Nat Hentoff
Nat Hentoff, well known 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 background and has recognized lots of jazz's most vital figures, frequently as buddy and confidant. Hentoff has been a tireless suggest for the overlooked elements of jazz background, together with forgotten sidemen and -women. This quantity contains his most sensible fresh 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 existence and lines their paintings to gospel, blues, and lots of different kinds of yank song. on the Jazz Band Ball additionally comprises Hentoff's prepared, cosmopolitan observations on quite a lot of concerns. The e-book exhibits how jazz and schooling are a necessary partnership, how unfastened expression is the essence of liberty, and the way social justice matters like healthiness care and powerful civil rights and liberties maintain all of the arts--and all contributors of society--strong.
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Extra resources for At the Jazz Band Ball: Sixty Years on the Jazz Scene
Artie Shaw refused to let himself be limited, even by success. After he first quit the music scene in 1939, walking off the bandstand at the Café Rouge of the Hotel Pennsylvania in New York, he said: “I wanted to resign from the planet, not just music. It stopped being fun with success. Money got in the way. Everybody got greedy—including me. Fear set in. ” In 1954, at forty-three, he left for good and never again performed. He turned to writing and an array of other interests because his curiosity about how much one could learn about learning never flagged.
Why don’t you three guys come and join the band? You’re only working one or two nights [a week] with Harry James. ” Just knowing Duke was one of the joys of my life. One night, the band was on, but he hadn’t come in yet. Standing at the door of the club, I felt a hand on my shoulder, then heard his magisterial voice. ” I felt I had been knighted. Duke Ellington’s Posthumous Revenge 7 23 Duke Ellington’s Posthumous Revenge Long ago, I worked part-time at a Boston radio station that mostly played what its announcers solemnly called “serious music”—Bach, Beethoven, Bartók and other such cats.
Make sure that not only do they play in balance, but that they also get the proper human and vocal quality to their sound. . ) Two years ago, the BLS band almost made the cutoff score for the second round of the Essentially Ellington Competition. But to use an old Boston term, they have a lot of sticktoitiveness. And they learn, and play, from the entire jazz legacy. Last year, for instance, they performed Charles Mingus charts, and that’s as challenging and ultimately satisfying as reading Caesar’s Gallic Wars in the original Latin, which I used to have to do at BLS.