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In Search of Buddy Bolden by Donald M. Marquis Pdf
The beginnings of jazz and the story of Charles “Buddy” Bolden (1877–1931) are inextricably intertwined. Just after the turn of the century, New Orleanians could often hear Bolden’s powerful horn from the city’s parks and through dance hall windows. Despite his lack of formal training, his unique style—both musical and personal—made him the first “king” of New Orleans jazz and the inspiration for such later jazz greats as King Oliver, Kid Ory, and Louis Armstrong. For years the legend of Buddy Bolden was overshadowed by myths about his music, his reckless lifestyle, and his mental instability. In Search of Buddy Bolden overlays the myths with the substance of reality. Interviews with those who knew Bolden and an extensive array of primary sources enliven and inform Donald M. Marquis’s absorbing portrait of the brief but brilliant career of the first man of jazz. This paperback edition includes a new preface and appendix relating events and discoveries that have occurred since the book’s original publication in 1978.
Bringing to life the fabulous, colorful panorama of New Orleans in the first flush of the jazz era, this book tells the story of Buddy Bolden, the first of the great trumpet players--some say the originator of jazz--who was, in any case, the genius, the guiding spirit, and the king of that time and place. In this fictionalized meditation, Bolden, an unrecorded father of Jazz, remains throughout a tantalizingly ungraspable phantom, the central mysteries of his life, his art, and his madness remaining felt but never quite pinned down. Ondaatje's prose is at times startlingly lyrical, and as he chases Bolden through documents and scenes, the novel partakes of the very best sort of modern detective novel--one where the enigma is never resolved, but allowed to manifest in its fullness. Though more 'experimental' in form than either The English Patient or In the Skin of a Lion, it is a fitting addition to the renowned Ondaatje oeuvre.
Stefan Berg revives the wordless graphic novel in his portrait of the ‘first man of jazz’. Very little is known of Buddy Bolden. His music was never recorded and there is only one existing photograph, yet he is considered to be the first bandleader to play the improvised music that has since become known as jazz. Let That Bad Air Out tells the tragic end of a brilliant nineteenth-century jazz pioneer using traditional linocut printmaking techniques executed with a sharp and contemporary boldness.
Buddy Bolden and the Last Days of Storyville by Danny Barker Pdf
The first volume of Barker's memoirs, A Life in Jazz, followed him from New Orleans into the big bands of Cab Calloway and Benny Carter. He was working on this-the second volume-for some years before his death in 1994. Beginning with an extended portrait of Buddy Bolden as recalled by the likes of Jelly Roll Morton and Bunk Johnson as well as Barker himself, this book draws together a lifetime of stories and the vivid characters who populated "Storyville."Danny Barker (1909-1994) sang and played the guitar and banjo on over 1,000 jazz, swing, blues, and bebop records. He is a member of the Jazz Hall of Fame and recipient of the National Endowment for the Arts Music Master Award. Alyn Shipton is a writer and broadcaster on jazz. He is the editor of A Life in Jazz, the first volume of Danny Barker's memoirs.
Discover Michael Ondaatje's debut novel, 'a beautifully detailed story, perhaps the finest jazz novel ever written' Sunday Times Based on the life of cornet player Buddy Bolden, one of the legendary jazz pioneers of turn-of-the-twentieth-century New Orleans, Coming Through Slaughter is an extraordinary recreation of a remarkable musical life and a tragic conclusion. Through a collage of memoirs, interviews, imaginary conversations and monologues, Ondaatje builds a picture of a man who would work by day at a barber shop and by night unleash his talent to wild audiences who had never experienced such playing. But Buddy was also playing the field with two women, and inside his head was a ticking time-bomb which he was unable to stop.
The acclaimed author of Veronica and A Trip to the Stars returns with a dazzling new novel based on one of the great legends of musical history. New Orleans, 1900. The virtuoso cornet player Charles “Buddy” Bolden invents jazz, but after a life consumed by tragedy, the groundbreaking sound of his horn vanishes with him. Rumors persist, though, that Bolden recorded a phonograph cylinder, and over the course of a century it evolves into the elusive holy grail of jazz. Florida, the present day. Dr. Ruby Cardillo’s life is falling apart. Her husband, a prominent cardiologist, has left her for a twenty-six-year-old. Her daughter, Devon, a once promising jazz pianist, has recently finished an enforced stint picking up trash along the interstate after a drug conviction. Ruby’s estranged mother has just died, but not before conjuring up ghosts that Ruby thought she had put behind her long ago. After a long career as a well-respected anesthesiologist, Ruby suddenly jumps the tracks, forgetting to eat and sleep, indulging her every whim, wearing only purple, consuming only bottles of 1988 Château Latour. Then Ruby enlists Devon to accompany her on an impulsive road trip to New York, and both mother and daughter get more than they bargained for, discovering that their own shrouded family history is connected to the tantalizing search for Buddy Bolden’s long-lost cylinder. Ranging from turn-of-the-century Louisiana to Roaring Twenties Chicago to contemporary Manhattan, Tiger Rag is at once a moving story of loss and redemption and an intricate historical mystery from one of our most brilliant storytellers. Praise for Tiger Rag “The structure here is like a long and complex jazz arrangement. There is a comparatively simple theme set up against what might be thought of as distinctive chord changes. And then, against this main story, the author sets up what might be seen as highly individualistic solos. The themes of the male performers and the female audiences come together, separate, then come together again. If you love the world of jazz, if it’s a little like a religion to you, you’ll love this ambitious, thoughtful novel.” —The Washington Post “Describing music in a book is a bit like trying to describe color to a blind person; it rarely goes well. The opening stretch of Nicholas Christopher’s latest novel Tiger Rag, however, paints a picture of a jazz recording session so vividly that the reader might want to keep a towel handy for mopping his brow James Brown-style.” —GQ.com “Nicholas Christopher's new novel, Tiger Rag, is a New Year's treat that lovers of good music and good writing should not deny themselves. . . . Nicholas is a master at building a rich story populated with vivid characters on the bare foundation of historical record. Although no recording of Bolden and his band has yet surfaced, his sideman Willy Cornish, a trombone player, died claiming a recording session took place. Nicholas has imagined a satisfying and engrossing tale about what might have happened. He has fleshed out the lives touched by the wax cylinders that stored three versions of “Tiger Rag.” From the musicians who played with or followed Bolden, to the recording engineer and his assistant at the fateful recording session, Nicholas has created a colourful cast whose stories draw readers into their lives. . . . Nicholas is a poet as well as a novelist, and the book sings, thanks to his compelling descriptions and use of imagery. . . . [C]ompulsively readable.” —The Toronto Star
Storyville, 1907: In this raucous, bloody, red-light district, where two thousand scarlet women ply their trade in grand mansions and filthy dime-a-trick cribs, where cocaine and opium are sold over the counter, and where rye whiskey flows like an amber river, there's a killer loose. Someone is murdering Storyville prostitutes and marking each killing with a black rose. As Creole detective Valentin St. Cyr begins to unravel the murder against this extraordinary backdrop, he encounters a cast of characters drawn from history: Tom Anderson, the political boss who runs Storyville like a private kingdom; Lulu White, the district's most notorious madam; a young piano player who would come to be known as Jelly Roll Morton; and finally, Buddy Bolden, the man who all but invented jazz and is now losing his mind. No ordinary mystery, Chasing the Devil's Tail is a chilling portrait of musical genius and self-destruction, set at the very moment when jazz was born.
Jelly's Blues by Howard Reich,William M. Gaines Pdf
Jelly's Blues vividly recounts the tumultuous life of Jelly Roll Morton (1890-1941), born Ferdinand Joseph Lamonthe to a large, extended family in New Orleans. A virtuoso pianist with a larger-than-life personality, he composed such influential early jazz pieces as "Kansas City Stomp" and "New Orleans Blues." But by the late 1930s, Jelly Roll Morton was nearly forgotten as a visionary jazz composer. Instead, he was caricatured as a braggart, a hustler, and, worst of all, a has-been. He was ridiculed by the white popular press and robbed of due royalties by unscrupulous music publishers. His reputation at rock bottom, Jelly Roll Morton seemed destined to be remembered more as a flamboyant, diamond-toothed rounder than as the brilliant architect of that new American musical idiom: Jazz.In 1992, the death of a New Orleans memorabilia collector unearthed a startling archive. Here were unknown later compositions as well as correspondence, court and copyright records, all detailing Morton's struggle to salvage his reputation, recover lost royalties, and protect the publishing rights of black musicians. Morton was a much more complex and passionate man than many had realized, fiercely dedicated to his art and possessing an unwavering belief in his own genius, even as he toiled in poverty and obscurity. An especially immediate and visceral look into the jazz worlds of New Orleans and Chicago, Jelly's Blues is the definitive biography of a jazz icon, and a long overdue look at one of the twentieth century's most important composers.
As a musician who grew up in New Orleans, and later worked in New York with the major swing orchestras of Lucky Millinder and Cab Calloway, Barker is uniquely placed to give an authoritative but personal view of jazz history. In this book he discusses his life in music, from the children's 'spasm' bands of the seventh ward of New Orleans, through the experience of brass bands and jazz funerals involving his grandfather, Isidore Barbarin, to his early days on the road with the blues singer Little Brother Montgomery. Later he goes on to discuss New York, and the jazz scene he found there in 1930. His work with Jelly Roll Morton, as well as the lesser-known bands of Fess Williams and Albert Nicholas, is covered before a full account of his years with Millinder, Benny Carter and Calloway, including a description of Dizzy Gillespie's impact on jazz, is given. The final chapters discuss Barker's career from the late 1940s. Starting with the New York dixieland scene at Ryan's and Condon's he talks of his work with Wilbur de Paris, James P. Johnson and This is Jazz, before discussing his return to New Orleans and New Orleans Jazz Museum. A collection of Barker's photographs,
The Blues: A Very Short Introduction by Elijah Wald Pdf
Praised as "suave, soulful, ebullient" (Tom Waits) and "a meticulous researcher, a graceful writer, and a committed contrarian" (New York Times Book Review), Elijah Wald is one of the leading popular music critics of his generation. In The Blues, Wald surveys a genre at the heart of American culture. It is not an easy thing to pin down. As Howlin' Wolf once described it, "When you ain't got no money and can't pay your house rent and can't buy you no food, you've damn sure got the blues." It has been defined by lyrical structure, or as a progression of chords, or as a set of practices reflecting West African "tonal and rhythmic approaches," using a five-note "blues scale." Wald sees blues less as a style than as a broad musical tradition within a constantly evolving pop culture. He traces its roots in work and praise songs, and shows how it was transformed by such professional performers as W. C. Handy, who first popularized the blues a century ago. He follows its evolution from Ma Rainey and Bessie Smith through Bob Dylan and Jimi Hendrix; identifies the impact of rural field recordings of Blind Lemon Jefferson, Charley Patton and others; explores the role of blues in the development of both country music and jazz; and looks at the popular rhythm and blues trends of the 1940s and 1950s, from the uptown West Coast style of T-Bone Walker to the "down home" Chicago sound of Muddy Waters. Wald brings the story up to the present, touching on the effects of blues on American poetry, and its connection to modern styles such as rap. As with all of Oxford's Very Short Introductions, The Blues tells you--with insight, clarity, and wit--everything you need to know to understand this quintessentially American musical genre.
Author : La Marr Jurelle Bruce Publisher : Duke University Press Page : 359 pages File Size : 55,8 Mb Release : 2021-04-26 Category : Social Science ISBN : 9781478012429
How to Go Mad without Losing Your Mind by La Marr Jurelle Bruce Pdf
“Hold tight. The way to go mad without losing your mind is sometimes unruly.” So begins La Marr Jurelle Bruce's urgent provocation and poignant meditation on madness in black radical art. Bruce theorizes four overlapping meanings of madness: the lived experience of an unruly mind, the psychiatric category of serious mental illness, the emotional state also known as “rage,” and any drastic deviation from psychosocial norms. With care and verve, he explores the mad in the literature of Amiri Baraka, Gayl Jones, and Ntozake Shange; in the jazz repertoires of Buddy Bolden, Sun Ra, and Charles Mingus; in the comedic performances of Richard Pryor and Dave Chappelle; in the protest music of Nina Simone, Lauryn Hill, and Kendrick Lamar, and beyond. These artists activate madness as content, form, aesthetic, strategy, philosophy, and energy in an enduring black radical tradition. Joining this tradition, Bruce mobilizes a set of interpretive practices, affective dispositions, political principles, and existential orientations that he calls “mad methodology.” Ultimately, How to Go Mad without Losing Your Mind is both a study and an act of critical, ethical, radical madness.
Early Twentieth-Century Brass Idioms by Howard T. Weiner Pdf
The work of multiple scholars is combined in this single volume, bringing together in conversation the traditions of brass instrumentalism and jazz idiom. Early Twentieth-Century Brass Idioms: Art, Jazz, and Other Popular Traditions, edited by Howard T. Weiner, features articles by some of the most distinguished jazz and brass scholars and performers in the world. The topics covered span continents and decades and bridge gaps that until now remained uncrossed. Two primary themes emerge throughout the book and enter into dialogue with each other: the contribution brass performers made to the evolution of jazz in the early 20th century, and the influence jazz and popular music idioms had on the evolution of brass performance. The 13 articles in this volume cover a range of topics from Italian jazz trumpet style to the origins of jazz improvisation to the role of brass in klezmer music. New Orleans becomes a focal point as the essays examine the work of many important musicians, including Louis Armstrong, Buddy Bolden, Bunk Johnson, King Oliver, James Reese Europe, and Newell 'Spiegle' Willcox. Included as well is an interview with two legends of jazz trumpet, William Fielder and Joe Wilder, and the renowned performer and teacher Jimmy Owens reveals his practice techniques. Many of the essays include bibliographies, discographies, and other reference information. The meeting of the Historic Brass Society and the Institute of Jazz Studies represents the first time scholars have gathered to bring these two fields into such comprehensive discussion with each other. Early Twentieth-Century Brass Idioms: Art, Jazz, and Other Popular Traditions presents this historic conversation.
Author : Chris Thomas King Publisher : Chicago Review Press Page : 581 pages File Size : 40,8 Mb Release : 2021-06-08 Category : Music ISBN : 9781641604475
"A fresh new perspective that will be a true revolution to readers and will open new lines of discussion on . . . the importance of the city of New Orleans for generations to come." —Dr. Michael White, jazz clarinetist, composer, and Keller Endowed Chair at Xavier University of LA An untold authentic counter-narrative blues history and the first written by an African American blues artist All prior histories on the blues have alleged it originated on plantations in the Mississippi Delta. Not true, says author Chris Thomas King. In The Blues, King present facts to disprove such myths. This book is the first to argue the blues began as a cosmopolitan art form, not a rural one. As early as 1900, the sound of the blues was ubiquitous in New Orleans. The Mississippi Delta, meanwhile, was an unpopulated sportsman's paradise—the frontier was still in the process of being cleared and drained for cultivation.? Expecting these findings to be controversial in some circles, King has buttressed his conclusions with primary sources and years of extensive research, including a sojourn to West Africa and interviews with surviving folklorists and blues researchers from the 1960s folk-rediscovery epoch.? New Orleans, King states, was the only place in the Deep South where the sacred and profane could party together without fear of persecution, creating the blues.
