By Nat Hentoff
Nat Hentoff, popular jazz critic, civil liberties activist, and fearless contrarian--"I'm a Jewish atheist civil-libertarian pro-lifer"--has lived via a lot of jazz's heritage and has recognized lots of jazz's most crucial figures, frequently as buddy and confidant. Hentoff has been a tireless suggest for the missed components of jazz heritage, together with forgotten sidemen and -women. This quantity comprises his top contemporary work--short essays, lengthy interviews, and private reminiscences. From Duke Ellington and Louis Armstrong to Ornette Coleman and Quincy Jones, Hentoff brings the jazz greats to existence and strains their paintings to gospel, blues, and plenty of other kinds of yankee tune. on the Jazz Band Ball additionally contains Hentoff's willing, cosmopolitan observations on a variety of concerns. The booklet indicates how jazz and schooling are a necessary partnership, how loose expression is the essence of liberty, and the way social justice matters like wellbeing and fitness care and robust civil rights and liberties preserve the entire arts--and all individuals of society--strong.
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Additional info for At the Jazz Band Ball: Sixty Years on the Jazz Scene
Actually, from the beginning, my emphasis has been on the person rather than the process. I began a 1961 book, The Jazz Life (reprinted in 1975 by Da Capo), with what W. H. ” But, I wrote under that epigraph: “Music is made by men who are insistently visible, especially as in jazz, when the players are their music. . ” Beyond the Process 15 In truth, although I studied harmony briefly and clarinet much longer before I began writing about the music, I’m not at all qualified to analyze “the process” as, for example, Gunther Schuller does so impressively.
After she died, someone close to her said she played that recording very often. Paul never knew that. ” Roy is three months older than I am, but I started in radio when I was in my teens. I returned the favor and told him and the others at our table about the first time I heard Roy. At one of the Sunday jam sessions at the Savoy, a jazz room in Boston, this kid, who couldn’t have been more than seventeen or eighteen, asked to sit in on drums. He was going to Roxbury Memorial High School, near where I lived.
Mingus drew back his arm, clenched a fist, thought better of it, rushed back on the stand, got his bass, brought it down to where the accuser still stood, and played a blues that, as I felt it, shook the room. The very black man, without a word, slunk away. ” Or listen to it. I suppose these probes of how black this music is now or in the future—or any of the people who play it—will continue. But I prefer Thelonious Monk’s approach to defining the essence of jazz. As the late Leslie Gourse reported in Straight No Chaser: The Life and Genius of Thelonious Monk (Schirmer Books), No One Else Sounded Like “Pee Wee” Russell 33 Monk told a New York Post columnist in 1960, “I never tried to think of a definition [of jazz].