The Amazing Bud Powell

The Amazing Bud Powell
Автор книги: id книги: 1586880     Оценка: 0.0     Голосов: 0     Отзывы, комментарии: 0 3905,89 руб.     (38,8$) Читать книгу Купить и скачать книгу Купить бумажную книгу Электронная книга Жанр: Музыка, балет Правообладатель и/или издательство: Ingram Дата добавления в каталог КнигаЛит: ISBN: 9780520955158 Скачать фрагмент в формате   fb2   fb2.zip Возрастное ограничение: 0+ Оглавление Отрывок из книги

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Bud Powell was not only one of the greatest bebop pianists of all time, he stands as one of the twentieth century’s most dynamic and fiercely adventurous musical minds. His expansive musicianship, riveting performances, and inventive compositions expanded the bebop idiom and pushed jazz musicians of all stripes to higher standards of performance. Yet Powell remains one of American music’s most misunderstood figures, and the story of his exceptional talent is often overshadowed by his history of alcohol abuse, mental instability, and brutalization at the hands of white authorities. In this first extended study of the social significance of Powell’s place in the American musical landscape, Guthrie P. Ramsey, Jr. shows how the pianist expanded his own artistic horizons and moved his chosen idiom into new realms. Illuminating and multi-layered, <i>The Amazing Bud Powell</i> centralizes Powell’s contributions as it details the collision of two vibrant political economies: the discourses of art and the practice of blackness.

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Guthrie P. Ramsey. The Amazing Bud Powell

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Michael P. Roth and Sukey Garcetti have endowed this imprint to honor the memory of their parents, Julia and Harry Roth, whose deep love of music they wish to share with others.

In addition, the publisher gratefully acknowledges the generous contribution to this book provided by the Research Opportunity Grant from the School of Arts and Sciences at the University of Pennsylvania.

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Wonderful times with rooms and audiences, compared to respect among peers and the real thing—a distinct dichotomy produced in two very different cultural spaces. Harlem was a woodshed. It was a rite-of-passage experience in which bebop musicians came of age. Fifty-Second Street, on the other hand, represented the larger marketplace, the media, and commercial industry. With proper exposure on the Street, an artist could gain access to record contracts and prestigious concert bookings in halls that previously had been off-limits. A bebop musician’s career soon depended on having others manage or navigate this move. Thus, bebop’s journey to 52nd Street represented another important rite of passage: it became a mainstream business. The economic reality that bebop musicians could not sustain careers in Harlem is an important point to keep in mind while reevaluating the notion that bebop was somehow exclusively anticommercial.

Bebop musicians found themselves turning to audiences outside Harlem for wider recognition. They could not achieve lucrative careers away from the white publications or from downtown audiences. Furthermore, they could not help but care what critics wrote about their music, nor could they thrive economically without them. Miles Davis noted that critics became keenly interested in bebop only after musicians began playing on the Street, which provided them with money and media exposure. Nightclubs such as the Three Deuces, Kelley’s Stables, the Onyx, and the Downbeat Club became more important to bebop’s survival than Harlem clubs because of the economic opportunities available in midtown Manhattan.

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