9780199975617

Listening to Jazz

by
  • ISBN13:

    9780199975617

  • ISBN10:

    0199975612

  • Edition: 1st
  • Format: Paperback
  • Copyright: 2/16/2015
  • Publisher: Oxford University Press

Note: Supplemental materials are not guaranteed with Rental or Used book purchases.

Purchase Benefits

  • Free Shipping On Orders Over $59!
    Your order must be $59 or more to qualify for free economy shipping. Bulk sales, PO's, Marketplace items, eBooks and apparel do not qualify for this offer.
  • Get Rewarded for Ordering Your Textbooks! Enroll Now
  • We Buy This Book Back!
    In-Store Credit: $18.90
    Check/Direct Deposit: $18.00
List Price: $82.08 Save up to $32.83
  • Rent Book $49.25
    Add to Cart Free Shipping

    TERM
    PRICE
    DUE

Supplemental Materials

What is included with this book?

  • The New copy of this book will include any supplemental materials advertised. Please check the title of the book to determine if it should include any access cards, study guides, lab manuals, CDs, etc.
  • The Rental copy of this book is not guaranteed to include any supplemental materials. Typically, only the book itself is included. This is true even if the title states it includes any access cards, study guides, lab manuals, CDs, etc.

Summary

Listening to Jazz offers an engaging introduction to the rich history and culture of jazz. Featuring coverage of all standard periods and genres, this text helps students understand how jazz evolved and how its various styles intersect and blend. A wealth of innovative features, including a series of sidebars, in-depth listening guides, the incorporation of Spanish-Caribbean and women musicians, and historic introductions enhance students' appreciation for this powerful and important genre of music.

Distinctive Features
* Balanced coverage of jazz history and culture, performance, and listening skills
* In-depth "Listening Guide" and "Listening Focus" boxes build students' listening skills on a variety of levels
* A full chapter on jazz in the twenty-first century offers the most up-to-date coverage of the current jazz scene
* Full treatment of all jazz eras--with coverage of women's and Spanish-Caribbean musicians' contributions to jazz woven throughout
* Section overviews provide historical context for the development of jazz and show how cultural/social movements shaped and were shaped by the music
* A series of sidebars throughout the text address important subjects:
** "Questions and Controversies" boxes address issues relevant to each period in jazz history
** "Jazz Lives" boxes offer brief biographies of key players, composers, and jazz promoters
** "In Performance" boxes highlight issues faced by working musicians
** "Read All About It" callouts provide references to source readings and critical essays in Robert Walser's anthology, Keeping Time, 2nd Ed., which can be packaged with this text
* Downloadable audio, available for purchase separately or in a bundle with the text, offers student access to high-quality recordings of key listening examples. A Spotify playlist will also be available on the companion website.

Author Biography


Benjamin Bierman is Associate Professor in the Department of Art and Music at John Jay College, City University of New York.

Table of Contents


All chapters end with CODA: Chapter Summary, Talkin' Jazz: Key Terms, Think About This: For Further Discussion and Study, and Look It Up: Key Resources
Preface
Jazz Styles Timeline
1. Introducing Jazz
1st Chorus: What Is Jazz?
--What is jazz?
2nd Chorus: What Are the Elements of Jazz?
--What is the role of composition and arranging in jazz?
--What are the different types of jazz instrumentation?
--What are the various types of jazz ensembles?
OVERVIEW. PRE-JAZZ: 1865-1910
2. Precursors of Jazz: 1870s-1890s
1st Chorus: The Blues
--What are the blues?
--JAZZ LIVES: JAMES P. JOHNSON
--QUESTIONS AND CONTROVERSIES: GENDER IN THE BLUES
--LISTENING FOCUS: "BACK WATER BLUES" (1927) BYBESSIE SMITH (VOCAL) WITH JAMES P. JOHNSON (PIANO)
2nd Chorus: Ragtime
--What is ragtime?
--JAZZ LIVES: SCOTT JOPLIN
--LISTENING FOCUS: "MAPLE LEAF RAG," SCOTT JOPLIN (COMPOSED 1897, PUBLISHED 1899; REC. 1916 ON PIANO ROLL)
3rd Chorus: Early Jazz
--How did ragtime influence the birth of jazz?
--JAZZ LIVES: W. C. HANDY
--LISTENING FOCUS: "MEMPHIS BLUES" BY LIEUT. JIM EUROPE'S 369TH US INFANTRY ("HELLFIGHTERS") BAND (1919), COMPOSED BY W. C. HANDY (1912)
3. New Orleans Jazz: 1880s-1920
1st Chorus: New Orleans: The Birthplace of Jazz
--How did the mixture of different ethnic groups in New Orleans?influence the development of jazz?
--JAZZ LIVES: BUDDY BOLDEN, FREDDIE KEPPARD, AND JACK "PAPA" LAINE
--Who were some of the key early New Orleans jazz musicians?
2nd Chorus: The First Jazz Record
--QUESTIONS AND CONTROVERSIES: LISTENING TO EARLY JAZZ RECORDINGS
--LISTENING FOCUS: "LIVERY STABLE BLUES" (1917) BY THE ORIGINAL DIXIELAND JAZZ BAND
3rd Chorus: Ferdinand "Jelly Roll" Morton
--Why Was Jelly Roll Morton a Key Figure in the Development of Jazz?
4th Chorus: Joseph "King" Oliver and Sidney Bechet
--What was the influence of "King" Oliver on early jazz music and its performers?
--LISTENING GUIDE: "BLACK BOTTOM STOMP" (1926), FERDINAND "JELLY ROLL" MORTON AND HIS RED HOT PEPPERS
--IN PERFORMANCE: JAZZ COMPOSITION AND ARRANGING
--JAZZ LIVES: KING OLIVER
--Why is Sidney Bechet considered the first virtuosic soloist in jazz?
--LISTENING FOCUS: "DIPPERMOUTH BLUES" (1923) BY KING OLIVER'S CREOLE?JAZZ BAND
--JAZZ LIVES: SIDNEY BECHET
5th Chorus: Louis Armstrong
--Why is Louis Armstrong among the most influential musicians in the history of jazz?
--LISTENING FOCUS: "CAKE WALKING BABIES (FROM HOME)" (1924) BY CLARENCE WILLIAMS AND THE BLUE FIVE
--LISTENING GUIDE: "HOTTER THAN THAT" (1927) BY LOUIS ARMSTRONG AND HIS HOT FIVE
--QUESTIONS AND CONTROVERSIES: LOUIS ARMSTRONG TAKES A STAND
OVERVIEW. JAZZ GOES TO TOWN: 1910-1930
4. Chicago Jazz: Late 1917-1930
--Why did a thriving jazz scene develop in Chicago in the late 1910s and early 1920s?
1st Chorus: Bix Beiderbecke and Paul Whiteman
--How did Bix Beiderbecke's style differ from those of Louis Armstrong and other early jazz trumpeters?
--What was Paul Whiteman's role in popularizing jazz?
--LISTENING GUIDE: "SINGIN' THE BLUES" (1927) BY FRANKIE TRUMBAUER?AND HIS ORCHESTRA
--IN PERFORMANCE: JAZZ GUITAR
2nd Chorus: Earl "Fatha" Hines and Louis Armstrong
--How did Earl Hines revolutionize jazz piano?
--JAZZ LIVES: EARL "FATHA" HINES
--LISTENING FOCUS: "WEATHER BIRD" (1928) BY EARL "FATHA" HINES (PIANO)?AND LOUIS ARMSTRONG (TRUMPET)
--IN PERFORMANCE: SPONTANEOUS INTERACTION IN JAZZ
3rd Chorus: Lovie Austin and Lil Hardin Armstrong
--What role did women play in jazz in the early decades?
--QUESTIONS AND CONTROVERSIES: WOMEN IN JAZZ
--LISTENING FOCUS: "TRAVELING BLUES" (1924) BY LOVIE AUSTIN?AND HER BLUES SERENADERS
5. New York Jazz: 1920s-1930s
1st Chorus: Fletcher Henderson
--How did New York City become a major jazz center?
--How did popular songwriters influence the jazz repertoire?
--What role did Fletcher Henderson play in developing the New York Jazz scene?
--JAZZ LIVES: FLETCHER HENDERSON
--LISTENING GUIDE: "NEW KING PORTER STOMP" (1932) BY FLETCHER HENDERSON'S ORCHESTRA
2nd Chorus: New York Bands: Benny Carter, Chick Webb, Cab Calloway, and Jimmie Lunceford
--How did the successful New York ballrooms and nightclubs influence the development of jazz?
--JAZZ LIVES: BENNY CARTER
--LISTENING FOCUS: "SYMPHONY IN RIFFS" (1933) BY THE BENNY CARTER ORCHESTRA
--LISTENING FOCUS: "GO HARLEM" (1936) BY THE CHICK WEBB ORCHESTRA
3rd Chorus: Instrumental Masters: Roy Eldridge and Coleman Hawkins
--What role did star soloists play in these bands?
--LISTENING FOCUS: "ROCKIN' CHAIR" (1941) BY ROY ELDRIDGE?WITH GENE KRUPA AND HIS ORCHESTRA
--LISTENING FOCUS: "BODY AND SOUL" (1939) BY COLEMAN HAWKINS?AND HIS ORCHESTRA
--IN PERFORMANCE: "BODY AND SOUL"
4th Chorus: Harlem Stride Piano
--What are the distinguishing characteristics of stride piano?
--IN PERFORMANCE: JAZZ HARMONY
--JAZZ LIVES: ART TATUM
--LISTENING FOCUS: "LIZA" (1934, TAKE D) BY ART TATUM (PIANO)
5th Chorus: Afro-Caribbean Influence on Jazz: Alberto Socarrás
--How has Afro-Caribbean music influenced jazz?
--IN PERFORMANCE: CLAVE AND LATIN POLYRHYTHMS
--LISTENING FOCUS: "MASABI" (1935) BY ALBERTO SOCARRÁS Y SU ORQUESTA CUBANACAN
6. Kansas City Jazz: 1920s-1940
1st Chorus: Kansas City and Territory Bands
--Why was Kansas City a center for the early development of swing music?
--IN PERFORMANCE: THE HARD LIFE OF A TERRITORY BAND MUSICIAN
--LISTENING FOCUS: "THE COUNT" (1940) BY ANDY KIRK AND HIS TWELVE CLOUDS OF JOY
2nd Chorus: Boogie-Woogie: "Big" Joe Turner and Pete Johnson
--What is Boogie-Woogie?
--IN PERFORMANCE: CAFÉ SOCIETY, NEW YORK CITY
--JAZZ LIVES: JOHN HAMMOND
--LISTENING FOCUS: "ROLL 'EM PETE" (1938) BY BIG JOE TURNER (VOCAL)?AND PETE JOHNSON (PIANO)
3rd Chorus: William "Count" Basie
--What were the key elements of Basie's early style?
--How did Basie's band change in the years after world war II?
--LISTENING GUIDE: "SENT FOR YOU YESTERDAY (AND HERE YOU?COME TODAY)" (1938) BY THE COUNT BASIE ORCHESTRA?FEATURING JIMMY RUSHING
4th Chorus: Lester Young
--JAZZ LIVES: LESTER YOUNG
--LISTENING GUIDE: "LESTER LEAPS IN" (1939) BY COUNT BASIE'S?KANSAS CITY SEVEN
OVERVIEW. FROM SWING TO BOP: 1930-1950
7. The Swing Era
--What is swing music?
1st Chorus: Benny Goodman
--Why is Benny Goodman generally credited as launching the swing era?
--QUESTIONS AND CONTROVERSIES: RACE IN THE SWING ERA
--IN PERFORMANCE: SIDE MUSICIANS
--LISTENING GUIDE: "SWINGTIME IN THE ROCKIES" (1938) BY THE BENNY GOODMAN ORCHESTRA
--IN PERFORMANCE: UNDERSTANDING FORM
2nd Chorus: Big-Band Innovators: Artie Shaw, Glenn Miller, and Tommy Dorsey
--Who were some other popular bandleaders during the swing era?
--LISTENING FOCUS: "BEGIN THE BEGUINE" (1938) BY ARTIE SHAW
--LISTENING FOCUS: "ON THE SUNNY SIDE OF THE STREET" (1944) BY THE TOMMY DORSEY ORCHESTRA
3rd Chorus: Women in Jazz: "All-Girl" Swing Big Bands
--What were the unique challenges faced by the "All-Girl" bands during the swing era?
--QUESTIONS AND CONTROVERSIES: WOMEN IN JAZZ
4th Chorus: Latin Styles During the 1930s
--How did Latin Bands continue to influence mainstream jazz in the 1930s?
--LISTENING FOCUS: "BLUE LOU" (1944) BY THE INTERNATIONAL SWEETHEARTS OF RHYTHM
--LISTENING FOCUS: "EL MANISERO" (1930) BY DON AZPIAZÚ AND HIS HAVANA CASINO ORCHESTRA
8. Duke Ellington
--Why is Duke Ellington considered one of America's most important composers and bandleaders?
1st Chorus: Early Ellington
--What were the stylistic hallmarks of the early Ellington Band?
--JAZZ LIVES: BUBBER MILEY
--LISTENING FOCUS: "BLACK AND TAN FANTASY" (1927 VERSION) BY DUKE ELLINGTON AND THE WASHINGTONIANS
--QUESTIONS AND CONTROVERSIES: WHO WROTE DUKE ELLINGTON'S HITS?
2nd Chorus: Later Ellington
--What impact did the hiring of Billy Strayhorn have on the Ellington Band?
--JAZZ LIVES: BILLY STRAYHORN
--How did Ellington's Style change in his later years?
--LISTENING GUIDE: "KO-KO" (1940) BY DUKE ELLINGTON AND HIS FAMOUS ORCHESTRA
--QUESTIONS AND CONTROVERSIES: CLASSICAL VS. JAZZ COMPOSITION
--LISTENING FOCUS: "A TONE PARALLEL TO HARLEM (THE HARLEM SUITE)" (1951) BY DUKE ELLINGTON AND HIS ORCHESTRA
9. Swing-Era Vocalists
1st Chorus: Swing Vocalists: Billie Holiday and Ella Fitzgerald
--Who were the key jazz vocalists during the swing era?
--QUESTIONS AND CONTROVERSIES: WHAT DISTINGUISHES A JAZZ SINGER?FROM A POPULAR SINGER?
--LISTENING FOCUS: "STRANGE FRUIT" (1939) BY BILLIE HOLIDAY?WITH ORCHESTRA
--QUESTIONS AND CONTROVERSIES: BILLIE HOLIDAY AND "STRANGE FRUIT"
--LISTENING FOCUS: "LADY BE GOOD" (1947 VERSION) BY ELLA FITZGERALD, ACCOMPANIED BY BOB HAGGART AND HIS ORCHESTRA
2nd Chorus: From Jazz to Pop: Nat King Cole and Frank Sinatra
--How did some vocalists cross over from jazz to become popular music stars?
--LISTENING FOCUS: "STRAIGHTEN UP AND FLY RIGHT" (1943)?BY THE KING COLE TRIO
--JAZZ LIVES: FRANK SINATRA
--IN PERFORMANCE: SWING MUSICIANS IN THE HOLLYWOOD?RECORDING STUDIOS
--LISTENING FOCUS: "COME DANCE WITH ME" (1959)?BY FRANK SINATRA WITH BILLY MAY AND HIS ORCHESTRA
3rd Chorus: Louis Jordan and Dinah Washington
10. Bebop and Beyond: 1940s
What is Bebop?
1st Chorus: Bird and Diz
--Why are Charlie Parker and Dizzy Gillespie considered the prime movers behind the Bebop movement?
--IN PERFORMANCE: BEBOP CHANGES THE ROLE OF THE RHYTHM SECTION
--JAZZ LIVES: CHARLIE PARKER
--QUESTIONS AND CONTROVERSIES: RACE AND ECONOMICS IN THE BIRTH OF BEBOP
--JAZZ LIVES: DIZZY GILLESPIE
--IN PERFORMANCE: JAM SESSIONS' ROLE IN THE DEVELOPMENT OF BEBOP
--LISTENING GUIDE: "SALT PEANUTS" (1945) BY CHARLIE PARKER AND DIZZY GILLESPIE
--IN PERFORMANCE: "JAZZ AND STRINGS"
--LISTENING FOCUS: "JUST FRIENDS" (1949) BY CHARLIE PARKER WITH STRINGS
--LISTENING FOCUS: "MANTECA" (1947) BY THE DIZZY GILLESPIE ORCHESTRA FEATURING CHANO POZO
2nd Chorus: Thelonious Monk and Bud Powell
--How did Thelonious Monk and Bud Powell create a new role for pianists in Bebop music?
--JAZZ LIVES: THELONIOUS MONK
--LISTENING FOCUS: "MONK'S MOOD" (1957) BY THELONIOUS MONK QUARTET WITH JOHN COLTRANE
--LISTENING FOCUS: "UN POCO LOCO" (1951) BY BUD POWELL
--QUESTIONS AND CONTROVERSIES: MONK AND POWELL: STRUGGLES WITH MENTAL ILLNESS
3rd Chorus: Big-Band Bebop
--What role did big bands play in the Bebop era?
--LISTENING FOCUS: "FOUR BROTHERS" (1947) BY WOODY HERMAN'S SECOND HERD; JIMMY GIUFFRE (ARRANGER)
--LISTENING FOCUS: "SID'S DELIGHT" (1949) BY TADD DAMERON AND HIS ORCHESTRA/BIG TEN
OVERVIEW. BUILDING THE MAINSTREAM: 1950-1975
11. Jazz in the 1950s
--How did the jazz world change in the 1950s?
1st Chorus: Cool Jazz/West Coast Jazz, Progressive Jazz
--What is cool jazz?
--LISTENING GUIDE: "BOPLICITY" (1949) BY THE MILES DAVIS NONET
--IN PERFORMANCE: LENNIE TRISTANO'S INFLUENCE ON COOL JAZZ
--How did cool jazz develop on the West Coast?
--JAZZ LIVES: CHET BAKER
--LISTENING FOCUS: "LINE FOR LYONS" (1952) BY GERRY MULLIGAN QUARTET WITH CHET BAKER
--What is progressive jazz?
--LISTENING FOCUS: "BLUE RONDO A LA TURK" (1959) BY THE DAVE BRUBECK QUARTET
--QUESTIONS AND CONTROVERSIES: PROGRESSIVE JAZZ AND THIRD STREAM
2nd Chorus: Hard Bop
--What is Hard Bop?
--IN PERFORMANCE: ART BLAKEY'S SCHOOL OF JAZZ
--LISTENING FOCUS: "MOANIN'" (1958) BY ART BLAKEY AND THE JAZZ MESSENGERS
--JAZZ LIVES: BENNY GOLSON AND LEE MORGAN
--LISTENING GUIDE: "JOY SPRING" (1955) BY THE CLIFFORD BROWN-MAX ROACH QUINTET
3rd Chorus: The Mambo Craze
--How did the Mambo craze continue the Latin influence on jazz?
--JAZZ LIVES: TITO PUENTE
4th Chorus: The Early Avant-Garde
--What is Avant-Garde jazz?
--LISTENING FOCUS: "MAMBO INN" (1955) BY THE TITO PUENTE ORCHESTRA
--QUESTIONS AND CONTROVERSIES: THE RESISTANCE TO FREE JAZZ
--LISTENING FOCUS: "CONGENIALITY" (1959) BY THE ORNETTE COLEMAN QUARTET
12. The 1960S
1st Chorus: Soul Jazz
--What is soul jazz?
--IN PERFORMANCE: THE HAMMOND B3 ORGAN AND LESLIE SPEAKERS
--LISTENING FOCUS: "SOUL SHOUTIN'" (1963) BY SHIRLEY SCOTT
--LISTENING FOCUS: "COMPARED TO WHAT" (1969) BY LES MCCANN AND EDDIE HARRIS
2nd Chorus: Small Combo Latin Jazz: The Brazilian Influence on Jazz
--What were the key developments in Latin jazz in the early 1960s?
--JAZZ LIVES: CAL TJADER
--LISTENING FOCUS: "SOUL SAUCE (GUACHI GUARO)" (ROUGH MIX) (1964) BY CAL TJADER
--LISTENING FOCUS: "DESAFINADO" (1962) BY STAN GETZ AND CHARLIE BYRD
3rd Chorus: The Association for the Advancement of Creative Musicians
--How did the Avant-Garde jazz movement continue to develop in the 1960s?
--LISTENING FOCUS: "BARNYARD SCUFFLE SHUFFLE" (1973) BY THE ART ENSEMBLE OF CHICAGO
--QUESTIONS AND CONTROVERSIES: MUSIC OR NOISE?
13. Five Views of the Mainstream
1st Chorus: Miles Davis
--How did Miles Davis continue to innovate and change?throughout his career?
--IN PERFORMANCE: MILES DAVIS, BANDLEADER
--LISTENING FOCUS: "SO WHAT" (1959) BY THE MILES DAVIS SEXTET
--LISTENING FOCUS: "E.S.P." (1965) BY THE MILES DAVIS QUINTET
2nd Chorus: John Coltrane
--How did John Coltrane set a new standard for jazz saxophone?
--LISTENING FOCUS: "NUTTY" (1957) BY THE THELONIOUS MONK QUARTET?WITH JOHN COLTRANE
--LISTENING GUIDE: "RESOLUTION" (1965) BY THE JOHN COLTRANE QUARTET
--JAZZ LIVES: ALICE COLTRANE
3rd Chorus: Charles Mingus
--How did Charles Mingus revitalize jazz composition and arranging for larger ensembles?
--QUESTIONS AND CONTROVERSIES: MINGUS THE MAN
--LISTENING GUIDE: "FABLES OF FAUBUS" (1959) BY CHARLES MINGUS
4th Chorus: Bill Evans and Herbie Hancock
What new innovations did pianists-composers Bill Evans and Herbie Hancock bring to jazz?
--LISTENING GUIDE: "WALTZ FOR DEBBY" (TAKE 1, 1961) BY THE BILL EVANS TRIO
--QUESTIONS AND CONTROVERSIES: IS FUSION MUSIC JAZZ?
--LISTENING GUIDE: "ACTUAL PROOF" (1974, EXCERPT 0:00-6:06) BY HERBIE HANCOCK
OVERVIEW. INTO THE PRESENT: 1975-TODAY
14. Many Movements
1st Chorus: Jazz Fusion
--What is jazz fusion music and why is it controversial among jazz fans?
--QUESTIONS AND CONTROVERSIES: THE FUSION FISSION
--LISTENING FOCUS: "BIRDS OF FIRE" (1973) BY JOHN MCLAUGHLIN?AND THE MAHAVISHNU ORCHESTRA
--IN PERFORMANCE: NEW AUDIENCES AND NEW VENUES
--LISTENING GUIDE: "BIRDLAND" (1977) BY WEATHER REPORT
2nd Chorus: The Avant-Garde Continues
--How did the Avant-Garde movement of the 1960s continue to develop over the following decades?
--LISTENING FOCUS: "STREAMS OF CHORUS AND SEED" (1976) BY CECIL TAYLOR UNIT
3rd Chorus: Neo-Traditionalists and the Continuing Mainstream
--Who were the Neo-traditionalists and what impact did they have on jazz in the 1980s-1990s?
--QUESTIONS AND CONTROVERSIES: MUSIC DISTRICUTION
--How did mainstream jazz continue to flourish and grow in this period?
--JAZZ LIVES: WYNTON MARSALIS
--LISTENING GUIDE: "DELFEAYO'S DILEMMA" (1985) BY WYNTON MARSALIS
4th Chorus: The Downtown Scene
--What is the downtown scene and what role has it played in jazz music?
15. Jazz Today
--What distinguishes today's jazz from that of earlier periods?
--LISTENING FOCUS: "FREEDOM DANCE" (2012) BY LIONEL LOUEKE
--IN PERFORMANCE: A NEW TRAINING GROUND
1st Chorus: The Contemporary Rhythm Section
--How has the role of the rhythm section changed in contemporary jazz?
--LISTENING FOCUS: "RUBYLOU'S LULLABY" (2008) BY BRIAN BLADE AND THE FELLOWSHIP BAND
--LISTENING FOCUS: "LITTLE FLY" (2012) BY ESPERANZA SPALDING
--LISTENING FOCUS: "FEEDBACK, PT. 2" (2010) BY JASON MORAN
--LISTENING FOCUS: "AFRO BLUE" (2012) BY THE ROBERT GLASPER?EXPERIMENT
--QUESTIONS AND CONTROVERSIES: WHAT SHOULD WE CALL IT?
2nd Chorus: Horn Players
--How have the changes in the jazz scene impacted horn players?
--LISTENING FOCUS: "BEBA" (2010) BY STEVE COLEMAN AND FIVE ELEMENTS
--LISTENING FOCUS: "SILENCIO" (2011) BY MIGUEL ZENÓN
--LISTENING FOCUS: "THE FOLKS WHO LIVE ON THE HILL" (2013) BY JOSHUA REDMAN
--LISTENING FOCUS: "CHILD'S PLAY" (2005) BY TERENCE BLANCHARD
3rd Chorus: Vocalists
--How have vocalists extended their technique to suit their work in contemporary jazz?
--LISTENING FOCUS: "BLACKBIRD" (2010) BY CASSANDRA WILSON
4th Chorus: Strings
--How does the popularity of strings in jazz today reflect a new interest in more varied instrumentation?
--LISTENING FOCUS: "FULL TIME" (2010) BY REGINA CARTER
5th Chorus: Small Groups and Big Bands
--How have small groups and bands-from musicians' collectives to big bands-shaped the new jazz landscape?
Glossary
Index

Rewards Program

Write a Review