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E-book Make It New : Reshaping Jazz in the 21st Century

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Penilaian

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Organizing this book into chapters that read like magazine profiles makes it more digestible for readers and allows them to read the chapters in whichever order they prefer. Goldberg’s book was structured that way, as was series editor Martin Williams’s similarly readable Jazz Masters of New Orleans (1967). More challenging was deciding which artists to include. I made and remade lists of thirty or so possibilities as I began my research, and found that about half of them kept bubbling to the top as musicians whose work had the qualities I was looking for. I wanted people whose music was taking jazz places it hadn’t been, as opposed to carrying on styles of jazz already being established when Gold-berg’s book was published. I wanted musicians whose work has both intellectual and visceral appeal, who neither pandered to audiences nor were indifferent to pleasing them—that is, musicians whose work had a chance to captivate listeners who weren’t necessarily jazz aficionados. I wanted people who illustrated how significantly jazz had changed over the fifteen years between my leaving an edit-ing job at DownBeat in October 1987 and starting to write weekly on jazz for the Boston Globe in late 2002.The title Make It New, borrowed from Ezra Pound’s modernist call to arms, reflects those changes. When I left DownBeat, jazz was in its neoclassical period—a time when Wynton Marsalis and others dubbed “young lions” were emphasizing a return to the principles of straight-ahead jazz of the 1950s and earlier, particularly the foundational elements of swing and the blues. The newer styles of jazz that had arisen in the 1960s and ’70s didn’t disappear, and other experimentation had con-tinued throughout the peak neoclassical years, but the neoclassicists were better marketed, meaning they dominated what little attention jazz received from main-stream media and got the most work in clubs and concert halls. This had changed, however, by the time I began covering jazz for the Globe. The newer talents on the scene showed more interest in not only mastering the music that had preceded them, but also building on that foundation to create something new.1A digression in a 2013 “Before and After” session in JazzTimes magazine suc-cinctly summarized this evolution. The pianist Kenny Werner was discussing a track by the young trumpeter Ambrose Akinmusire when he said, “You know, the ’70s were about creativity. The ’80s became this neoclassicist thing. The bad thing was that people got hung up on what is and what isn’t jazz. But the good thing is that musicians really trained themselves.

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Ketersediaan

Informasi Detail

Judul Seri

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No. Panggil

781.65 BEU m

Penerbit

USA : Lever Press., 2019

Deskripsi Fisik

304 hlm

Bahasa

English

ISBN/ISSN

9781643150055

Klasifikasi

781.65

Tipe Isi

text

Tipe Media

computer

Tipe Pembawa

online resource

Edisi

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Subjek

Jazz Music

Info Detail Spesifik

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Pernyataan Tanggungjawab

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Versi lain/terkait

Lampiran Berkas

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