Straight Life: The Story Of Art Pepper

Author: Art Pepper,Laurie Pepper

Publisher: Canongate Books

ISBN: 178211226X

Category: Biography & Autobiography

Page: 675

View: 7402

Art Pepper (1925 - 1982) was described as the greatest alto-saxophonist of the post-Charlie Parker generation. But Straight Life is much more than a jazz book - it is oneof the most explosive, yet one of the most lyrical, of all autobiographies, narrated on tape to his wife Laurie. Pepper refuses to tiptoe round many of the unpalatable episodes of a life that involved alcoholism, heroin addiction,armed robberies and five of what should have been his most productive years imprisoned in San Quentin. The result is an autobiography like no other, a masterpiece of the spoken word, shaped into a genuine work of literature.

Straight life

Author: Art Pepper,Laurie Pepper

Publisher: Editions Parenthèses

ISBN: 9782863640173

Category: Jazz musicians

Page: 359

View: 6226

Autobiographie du saxophoniste alto Art Pepper, figure de légende de la West Coast en son entier, ce livre, parlant d'une existence de la façon la plus intime et sincère qui soit, témoigne aussi d'une génération entière : celle des Américains nés entre 1920 et 1925, happés par la Seconde Guerre mondiale, emprisonnés parfois dans les drogues pour supporter l'intolérable ambiant et eux-mêmes. C'est le roman d'un microcosme désolé, chérissant en la subtilité de l'expression musicale et le pouvoir de communiquer son émotion les raisons majeures de vivre, portées à chaque instant par une conscience fascinée de la mort qui donne le ton de toute l'expérience, et la signe.

Outside and Inside

Author: Reva Marin

Publisher: Univ. Press of Mississippi

ISBN: 1496829999

Category: Music

Page: 272

View: 9136

Outside and Inside: Representations of Race and Identity in White Jazz Autobiography is the first full-length study of key autobiographies of white jazz musicians. White musicians from a wide range of musical, social, and economic backgrounds looked to black music and culture as the model on which to form their personal identities and their identities as professional musicians. Their accounts illustrate the triumphs and failures of jazz interracialism. As they describe their relationships with black musicians who are their teachers and peers, white jazz autobiographers display the contradictory attitudes of reverence and entitlement, and deference and insensitivity that remain part of the white response to black culture to the present day. Outside and Inside features insights into the development of jazz styles and culture in the urban meccas of twentieth-century jazz in New Orleans, Chicago, New York, and Los Angeles. Reva Marin considers the autobiographies of sixteen white male jazz instrumentalists, including renowned swing-era bandleaders Benny Goodman, Artie Shaw, and Charlie Barnet; reed instrumentalists Mezz Mezzrow, Bob Wilber, and Bud Freeman; trumpeters Max Kaminsky and Wingy Manone; guitarist Steve Jordan; pianists Art Hodes and Don Asher; saxophonist Art Pepper; guitarist and bandleader Eddie Condon; and New Orleans–style clarinetist Tom Sancton. While critical race theory informs this work, Marin argues that viewing these texts simply through the lens of white privilege does not do justice to the kind of sustained relationships with black music and culture described in the accounts of white jazz autobiographers. She both insists upon the value of insider perspectives and holds the texts to rigorous scrutiny, while embracing an expansive interpretation of white involvement in black culture. Marin opens new paths for study of race relations and racial, ethnic, and gender identity formation in jazz studies.

Jazz in Search of Itself

Author: Larry Kart

Publisher: Yale University Press

ISBN: 0300128193

Category: Music

Page: 352

View: 4032

In this engaging and astute anthology of jazz criticism, Larry Kart casts a wide net. Discussing nearly seventy major jazz figures and many of the music’s key stylistic developments, Kart sees jazz as a unique perpetual narrative—one in which musicians, their audiences, and the evolving music itself are intimately intertwined. Because jazz arose from the collision of specific peoples under particular conditions, says Kart, its development has been unusually immediate, visible, and intense. Kart has reacted to and judged the music in a similarly active, attentive, and personal manner. His involvement and attention to detail are visible in these pieces: essays that analyze the supposed return to tradition that the music of Wynton Marsalis has come to exemplify; searching accounts of the careers of Miles Davis, Thelonius Monk, Bill Evans, and Lennie Tristano; and writing that explores jazz’s relationship to American popular song and examines the jazz musician’s role as actual and would-be social rebel.

The Professor

Author: Terry Castle

Publisher: Atlantic Books Ltd

ISBN: 0857893122

Category: Fiction

Page: 300

View: 505

At the heart of this striking collection is the title work: a candid and wrenching exploration of Castle's relationship, during her graduate school years, with a female professor. At once hilarious and rueful, it is a pitch-perfect recollection of the fiascos of youth: how we come to own (or disown) our sexuality; how we understand (or fail to) the emotional needs and wishes of others; how the ordeals of desire can prompt a lifelong search for self-understanding. With The Professor: And Other Writings Terry Castle cements her reputation as a truly remarkable writer: distinctive, wise, frank, incredibly funny and utterly fearless.

The History of Jazz

Author: Ted Gioia

Publisher: Oxford University Press

ISBN: 0195399706

Category: History

Page: 444

View: 8360

A panoramic history of the genre brings to life the diverse places in which jazz evolved, traces the origins of its various styles, and offers commentary on the music itself.

Dark Side of the Tune: Popular Music and Violence

Author: Professor Bruce Johnson,Professor Martin Cloonan

Publisher: Ashgate Publishing, Ltd.

ISBN: 140949392X

Category: Music

Page: 254

View: 3074

Written against the academically dominant but simplistic romanticization of popular music as a positive force, this book focuses on the 'dark side' of the subject. It is a pioneering examination of the ways in which popular music has been deployed in association with violence, ranging from what appears to be an incidental relationship, to one in which music is explicitly applied as an instrument of violence. A preliminary overview of the physiological and cognitive foundations of sounding/hearing which are distinctive within the sensorium, discloses in particular their potential for organic and psychic violence. The study then elaborates working definitions of key terms (including the vexed idea of the 'popular') for the purposes of this investigation, and provides a historical survey of examples of the nexus between music and violence, from (pre)Biblical times to the late nineteenth century. The second half of the book concentrates on the modern era, marked in this case by the emergence of technologies by which music can be electronically augmented, generated, and disseminated, beginning with the advent of sound recording from the 1870s, and proceeding to audio-internet and other contemporary audio-technologies. Johnson and Cloonan argue that these technologies have transformed the potential of music to mediate cultural confrontations from the local to the global, particularly through violence. The authors present a taxonomy of case histories in the connection between popular music and violence, through increasingly intense forms of that relationship, culminating in the topical examples of music and torture, including those in Bosnia, Darfur, and by US forces in Iraq and Guantánamo Bay. This, however, is not simply a succession of data, but an argumentative synthesis. Thus, the final section debates the implications of this nexus both for popular music studies itself, and also in cultural policy and regulation, the ethics of citizenship, and arguments about human rights.

Live at The Cellar

Author: Marian Jago

Publisher: UBC Press

ISBN: 0774837713

Category: Music

Page: 364

View: 7993

In the 1950s and ’60s, co-operative jazz clubs opened their doors in Canada in response to new forms of jazz expression emerging after the war and the lack of performance spaces outside major urban centres. Operated by the musicians themselves, these hip new clubs created spaces where jazz musicians practised their art. Live at the Cellar looks at this unique period in the development of jazz in Canada. Centered on Vancouver’s legendary Cellar club, it explores the ways in which these clubs functioned as sites for the performance and exploration of jazz as well as for countercultural expression. Jago combines original research with archival evidence, interviews, and photographs to shine a light on a period of astonishing musical activity that paved the way for Canada’s vibrant jazz scene today.