Alyn Shipton Volgorde van de boeken (chronologisch)

Dizzy Gillespie was one of the most important and best-loved musicians in jazz history. With his horn-rimmed glasses, goatee, jive talk, and upraised trumpet bell, he was the hipster who most personified bebop. The musical heir to Louis Armstrong, he created the modern jazz trumpet-playingstyle and dazzled aficionados and popular audiences alike for over 50 years.In this first full biography, Alyn Shipton covers all aspects of Dizzy's remarkable life and career, taking us through his days as a flashy trumpet player in the swing bands of the 1930s, his innovative bebop work in the 1940s, the worldwide fame and adoration he earned through his big band toursin the 1950s, and the many recordings and performances which defined a career that extended into the early 1990s. Along the way, Shipton convincingly argues that Gillespie--rather than Charlie Parker as is widely believed--had the greatest role in creating bebop, playing in key jazz groups, teachingthe music to others, and helping to develop the first original bebop repertory. Shipton also explores the dark side of Dizzy's mostly sunny personal life, his womanizing, the illegitimate daughter he fathered and supported--now a respected jazz singer in her own right--and his sometimes needlesscruelty to others.For anyone interested in jazz and one of its most innovative and appealing figures, Groovin' High is essential reading.

Pour découvrir le chant, tandis qu'un guide d'écoute aide les enfants à choisir les partitions de chant et à orienter leur goût musical.

Jazz buffs have been waiting for Danny Barker's full account of his life in jazz since the 1950s, when Nat Hentoff and Nat Shapiro published Heah Me Talkin' to Ya , an oral history of jazz which drew heavily on Barker's reminiscences. A jazz guitarist, Danny Barker played with many importantNew Orleans bands in the 1920s and then moved to New York to play with swing bands in the 1930s, notably Cab Calloway's band, at a time when several future pioneers of the bop movement were in the band, including Dizzie Gillespie. (It is Barker who made famous the scene when Gillespie and severalcohorts began playing bop during a Calloway band stage show, which produced the angry blast from Calloway, "I won't have any of that Chinese music in my band!") Barker's memoirs brilliantly recreate the jazz world of New Orleans (parades, funerals, brothels, dance halls, and more) and the pioneermusicians of the day. The book is also a knowing account of the big band swing world. It will surely rank as one of the basic documents in jazz history.