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 identified lots of jazz's most vital figures, usually as buddy and confidant. Hentoff has been a tireless recommend for the missed components of jazz background, together with forgotten sidemen and -women. This quantity contains his top fresh work--short essays, lengthy interviews, and private memories. From Duke Ellington and Louis Armstrong to Ornette Coleman and Quincy Jones, Hentoff brings the jazz greats to existence and strains their artwork to gospel, blues, and lots of other kinds of yankee tune. on the Jazz Band Ball additionally contains Hentoff's prepared, cosmopolitan observations on a variety of concerns. The publication exhibits how jazz and schooling are a necessary partnership, how loose expression is the essence of liberty, and the way social justice matters like well-being care and powerful civil rights and liberties retain all of the 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
My partial list of originators—and I’m sure you have yours—includes Louis Armstrong, Mr. Ellington, Count Basie, Charlie Christian, Charlie Parker, Miles Davis, Thelonious Monk, John Coltrane, Ornette Coleman and Lester Young. All were black, and some were influenced by non-blacks. Lester Young told me that Frank Trumbauer, mainly known for his association with Bix Beiderbecke, “was my idol. When I started to play, I bought all his records and I imagine I can still play those solos. I tried to get the sound of the C melody saxophone on the tenor.
Of all the interviews with musicians that I’ve done, there is one with Duke Ellington that has been a guide for me, not only in writing about music but in everything else I write and do. Ellington taught me to avoid categorizing anything: “The other night I heard a cat on the radio, and he was talking about ‘modern’ jazz. So he played a record to illustrate his point, and there were devices in that music I heard cats using in the 1920s. These large words like ‘modern’ don’t mean anything. Everybody who’s had anything to say in this music—all the way back— has been an individualist .
They weren’t funny or weird then, and they’re not now. ” “It’s true,” Dizzy told interviewer Taylor. Playing Changes on Jazz Interviews 17 Currently, some of the most extensive and durably illuminating interviews are by Eric Nemeyer, a vibist, marimba player, drummer, pianist and composer who has worked with Sonny Stitt, Jon Faddis, Jimmy Heath and many more. He also publishes the quarterly Jazz Improv Magazine and its valuable monthly, Jazz Improv’s New York Jazz Guide. Among his interviews in both magazines was one with Wynton Marsalis in which Marsalis defined the rare essence of enduring teaching—not only teaching jazz.