Creating Jazz Counterpoint
Regular price
€100.99
A01=Vic Hobson
African American
American History
Author_Vic Hobson
barbershop quartets
Bill Russell
Blues
Buddy Bolden
Bunk Johnson
Careless Love
Category1=Non-Fiction
Category=AVLP
Category=NL-AV
clarinets
COP=United States
cornet
cornetist
diminished chord
Discount=15
eq_art-fashion-photography
eq_bestseller
eq_isMigrated=2
eq_music
eq_nobargain
eq_non-fiction
First Man of Jazz
Format=BB
Format_Hardback
Frankie Duson
Get Out of Here and Go Home
guitarist
guitars
HMM=229
Home! Sweet Home!
IMPN=University Press of Mississippi
improvisation
ISBN13=9781617039911
Jazz
Jazzmen
Jelly Roll Morton
John Robichaux
Johnny Dodds
Kid Ory
Language_English
Louis Armstrong
melody
Music
My Bucket's Got a Hole in It
My Bucket’s Got a Hole in It
PA=Available
PD=20140330
POP=Jackson
Price_€50 to €100
PS=Active
PUB=University Press of Mississippi
ragtime
Robert Charles Riot of July 1900
Robert Goffin
Sidney Bechet
singing
SN=American Made Music Series
Subject=Music
tenor
tonality
trombones
violin
W. C. Handy
Willie Cornish
WMM=152
Product details
- ISBN 9781617039911
- Format: Hardback
- Weight: 427g
- Dimensions: 152 x 228mm
- Publication Date: 30 Mar 2014
- Publisher: University Press of Mississippi
- Publication City/Country: Jackson, US
- Product Form: Hardback
- Language: English
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The book Jazzmen (1939) claimed New Orleans as the birthplace of jazz and introduced the legend of Buddy Bolden as the ""First Man of Jazz."" Much of the information that the book relied on came from a highly controversial source: Bunk Johnson. He claimed to have played with Bolden and that together they had pioneered jazz. Johnson made many recordings talking about and playing the music of the Bolden era. These recordings have been treated with skepticism because of doubts about Johnson's credibility. Using oral histories, the Jazzmen interview notes, and unpublished archive material, this book confirms that Bunk Johnson did play with Bolden. This confirmation, in turn, has profound implications for Johnson's recorded legacy in describing the music of the early years of New Orleans jazz. New Orleans jazz was different from ragtime in a number of ways. It was a music that was collectively improvised, and it carried a new tonality--the tonality of the blues. How early jazz musicians improvised together and how the blues became a part of jazz has until now been a mystery. Part of the reason New Orleans jazz developed as it did is that all the prominent jazz pioneers, including Buddy Bolden, Bunk Johnson, Louis Armstrong, Sidney Bechet, Johnny Dodds, and Kid Ory, sang in barbershop (or barroom) quartets. This book describes in both historical and musical terms how the practices of quartet singing were converted to the instruments of a jazz band, and how this, in turn, produced collectively improvised, blues-inflected jazz, that unique sound of New Orleans.
Vic Hobson was awarded a Kluge Scholarship to the Library of Congress in 2007 and a Woest Fellowship to the Historic New Orleans Collection in 2009. A trustee for the National Jazz Archive, he is active in promoting jazz scholarship and research, and his own work has appeared in American Music, Jazz Perspectives, and the Jazz Archivist.
