The Uncrowned King of Swing: Fletcher Henderson and Big Band JazzOxford University Press, 13/01/2005 - 352 páginas If Benny Goodman was the "King of Swing," then Fletcher Henderson was the power behind the throne. Now Jeffrey Magee offers a fascinating account of Henderson's musical career, throwing new light on the emergence of modern jazz and the world that created it. Drawing on an unprecedented combination of sources, including sound recordings and hundreds of scores that have been available only since Goodman's death, Magee illuminates Henderson's musical output, from his early work as a New York bandleader, to his pivotal role in building the Kingdom of Swing. He shows how Henderson, standing at the forefront of the New York jazz scene during the 1920s and '30s, assembled the era's best musicians, simultaneously preserving jazz's distinctiveness and performing popular dance music that reached a wide audience. Magee reveals how, in Henderson's largely segregated musical world, black and white musicians worked together to establish jazz, how Henderson's style rose out of collaborations with many key players, how these players deftly combined improvised and written music, and how their work negotiated artistic and commercial impulses. Whether placing Henderson's life in the context of the Harlem Renaissance or describing how the savvy use of network radio made the Henderson-Goodman style a national standard, Jeffrey Magee brings to life a monumental musician who helped to shape an era. "An invaluable survey of Henderson's life and music." --Don Heckman, Los Angeles Times "Magee has written an important book, illuminating an era too often reduced to its most familiar names. Goodman might have been the King of Swing, but Henderson here emerges as that kingdom's chief architect." --Boston Globe "Excellent.... Jazz fans have waited 30 years for a trained musicologist...to evaluate Henderson's strengths and weaknesses and attempt to place him in the history of American music." --Will Friedwald, New York Sun |
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Página 1
... key figure in the jazz tradition. Henderson's position in jazz history has been well established for some time. After a tentative start in which his band attempted to imitate the popular dance orchestra of Paul Whiteman, so the story ...
... key figure in the jazz tradition. Henderson's position in jazz history has been well established for some time. After a tentative start in which his band attempted to imitate the popular dance orchestra of Paul Whiteman, so the story ...
Página 2
... key agent in a teleological evolution. No wonder Martin Williams believed that Henderson deserved a place in the jazz tradition. From a later vantage point, however, the “jazz tradition” itself may be a problematic framework through ...
... key agent in a teleological evolution. No wonder Martin Williams believed that Henderson deserved a place in the jazz tradition. From a later vantage point, however, the “jazz tradition” itself may be a problematic framework through ...
Página 5
... keys—going beyond the familiar F, B♭, and E♭ that formed the common ground for most brass and reed players, whether improvising or reading music. Once he began writing arrangements in the 1930s, musicians were astonished with the ...
... keys—going beyond the familiar F, B♭, and E♭ that formed the common ground for most brass and reed players, whether improvising or reading music. Once he began writing arrangements in the 1930s, musicians were astonished with the ...
Página 10
... key that matches D♭ (A=440) on the reissues I have heard of this 1925 recording. Yet the stock arrangement, which the Henderson band clearly used, is in the key of C. Reduced to C on a variable speed cassette player, the performance ...
... key that matches D♭ (A=440) on the reissues I have heard of this 1925 recording. Yet the stock arrangement, which the Henderson band clearly used, is in the key of C. Reduced to C on a variable speed cassette player, the performance ...
Página 11
... keys were easier to play than those in sharp keys. Therefore, keys sharper than D major were immediately suspect. Of course, that assumption creates problems because of Henderson's well-documented penchant for arranging in unusually sharp ...
... keys were easier to play than those in sharp keys. Therefore, keys sharper than D major were immediately suspect. Of course, that assumption creates problems because of Henderson's well-documented penchant for arranging in unusually sharp ...
Índice
1 | |
12 | |
2 The Paul Whiteman of the Race | 27 |
The Advent of Don Redman | 39 |
4 A New Orleans Trumpeter in a New York Band | 72 |
5 A Paradox of the Race? | 97 |
6 Beyond the Ballroom | 120 |
7 Connies Inn Orchestra | 136 |
10 Never Say Never Again | 233 |
Fletcher Hendersons Arrangements for Benny Goodman | 245 |
Notes | 273 |
Bibliography | 293 |
Discography | 301 |
Acknowledgments | 305 |
Credits | 309 |
Index | 311 |
Outras edições - Ver tudo
The Uncrowned King of Swing: Fletcher Henderson and Big Band Jazz Jeffrey Magee Pré-visualização limitada - 2005 |
The Uncrowned King of Swing: Fletcher Henderson and Big Band Jazz Jeffrey Magee Pré-visualização limitada - 2005 |
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