LEADER 04166cam 22004694a 4500001 ocn213301950 003 OCoLC 005 20141212014128.0 008 080721s2009 miuafg b s001 0 eng 010 2008032105 020 9780472116058 (cloth : alk. paper) 020 0472116053 (cloth : alk. paper) 020 9780472033164 (pbk. :alk. paper) 020 0472033166 (pbk. :alk. paper) 035 (Sirsi) o213301950 035 (OCoLC)320427288 040 DLC |cDLC |dBTCTA |dBAKER |dUKM |dYDXCP |dC#P |dBWX |dUtOrBLW 049 EREM 050 00 ML3518 |b.H68 2009 082 00 781.65/3 |222 100 1 Howland, John Louis. |=^A1232985 245 10 "Ellington uptown" : |bDuke Ellington, James P. Johnson, & the birth of concert jazz / |cJohn Howland. 260 Ann Arbor : |bUniversity of Michigan Press, |c©2009. 300 x, 340 pages, 8 pages of plates : |billustrations, music ; |c23 cm. 336 text |2rdacontent 337 unmediated |2rdamedia 338 volume |2rdacarrier 490 1 Jazz perspectives 504 Includes bibliographical references (pages 305-327) and index. 505 0 From Clorindy to Carnegie Hall: the Harlem entertainment community -- Jazz rhapsodies in black and white: James P. Johnson's Yamekraw -- "The blues get glorified": Harlem entertainment, Negro nuances, and black symphonic jazz -- Ellingtonian extended composition and the symphonic jazz model -- "Harlem love song": the symphonic aspirations of James P. Johnson, 1930-1945 -- "Carnegie blues" and the symphonic Ellington -- Conclusion: the legacy of Harlem's concert jazz. 520 During the early decades of the twentieth century symphonic jazz involved an expansive family of music that emulated, paralleled, and intersected the jazz tradition. Though now largely forgotten, symphonic jazz was both a popular music--arranging tradition and a repertory of hybrid concert works, both of which reveled in the mildly irreverent interbreeding of white and black and high and low music. While the roots of symphonic jazz can be traced to certain black ragtime orchestras of the teens, the idiom came to maturation in the music of 1920s white dance bands. Through a close examination of the music of Duke Ellington and James P. Johnson, Ellington Uptown uncovers compositions that have usually fallen in the cracks between concert music, jazz, and popular music. It also places the concert works of these two iconic figures in context through an investigation both of related compositions by black and white peers and of symphonic jazz--style arrangements from a diverse number of early sound films, Broadway musicals, Harlem nightclub floor shows, and select interwar radio programs. Both Ellington and Johnson were part of a close-knit community of several generations of Harlem musicians. Older figures like Will Marion Cook, Will Vodery, W.C. Handy, and James Reese Europe were the generation of black musicians that initially broke New York entertainment's racial barriers in the first two decades of the century. By the 1920s, Cook, Vodery, and Handy had become mentors to Harlem's younger musicians. This generational connection is a key for understanding Johnson's and Ellington's ambitions to use the success of Harlem's white-oriented entertainment trade as a springboard for establishing a black concert music tradition based on Harlem jazz and popular music. 600 10 Ellington, Duke, |d1899-1974 |xCriticism and interpretation. |=^A66183 600 10 Johnson, James P. |q(James Price), |d1894-1955 |xCriticism and interpretation. |=^A197713 650 0 Big band music |zNew York (State) |zNew York |xHistory and criticism. |=^A94999 650 0 Jazz |xHistory and criticism. |=^A54033 830 0 Jazz perspectives (Ann Arbor, Mich.) |=^A574400 994 92 |bERE 910 PromptCat 980 2009-04-22 |b28.95 |d0 |e27.5 |f688566 |h40016605245 |iML 3518 .H68 2009 596 3 998 1543597