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003 OCoLC;

005 20141212161048.0;

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010 a| 2001017177;

020 a| 0826447546 (hardback);

035 a| (Sirsi) o45338600;

035 a| (OCoLC)45338600;

042 a| pcc;

049 a| EREM;

050 00 a| ML3506b| .S47 2001;

082 00 a| 781.65/092| 21;

100 1 a| Shipton, Alyn.=| ^A207367;

245 12 a| A new history of jazz /c| Alyn Shipton.;

260 a| London ;a| New York :b| Continuum,c| 2001.;

300 a| x, 965 pages, 16 pages of plates :b| illustrations ;c| 25 cm;

336 a| text2| rdacontent;

337 a| unmediated2| rdamedia;

338 a| volume2| rdacarrier;

504 a| Includes bibliographical references (pages 931-940) and indexes.;

520 a| The March 1913 issue of the San Francisco Bulletin coined the term "jazz"--using it to describe a dance music full of vigor and "pep." Over time, jazz became the word used to describe the syncopated bands that became popular in New Orleans at the turn of the twentieth century, playing a fiery mix of African and European music that then became popular in Chicago and New York and, finally, the world over. It wasn't long before the Roaring 1920s became known as "the Jazz Age," forever attaching the music form to decadence, booze, sex, and dancing. In his mammoth book, BBC presenter and London Times jazz critic Alyn Shipton investigates how jazz first started--examining the precursors of the music, identifying the difficulties in mapping out its history, and challenging the traditional views of its development. More than just a rote narrative, this book provides critical analysis of the jazz history that has been "written" among both academics and musicians over the last century. The author argues that the music's history is so characterized by underground clubs, regional styles, and the "fringe" element in general that previous attempts at tracing its routes have failed to grasp the big picture. He even questions the possibility of creating a universally applicable definition of jazz. He also explores how different things contributed to the modern notions of jazz music. He examines how the development of sound recordings, instrumental innovations, and new methods of music publishing took the art form from its bayou routes to different urban areas around the country, and finally beyond the borders of the United States. This book further examines how the network of theaters, concert halls, and performances that sprang up all over the United States in the twentieth century contributed to the spread of the music's popularity and the different styles that have developed over the years. Leaving no stone unturned, the author's history of jazz is as sweeping as it is personal.;

650 0 a| Jazzx| History and criticism.=| ^A54033;

994 a| X0b| ERE;

910 a| PromptCat;

980 a| 2001-12-26b| 35d| 1.91e| 29.4f| 947828;

596 a| 3;

998 a| 864045;

999 a| ML3506 .S47 2001w| LCc| 1i| 30372011356703d| 5/13/2025e| 3/24/2025f| 4/11/2024g| 5l| MSTm| JMUSICn| 22p| $29.40q| 5r| Ys| Yt| MGESBKu| 1/18/2002x| BOOKz| MCIRCo| .STAFF. enhanced 9/20/23 -jjab;

A new history of jazz / Alyn Shipton.

Author/creator	Shipton, Alyn
Format	Book
Publication Info	London ; New York : Continuum, 2001.
Description	x, 965 pages, 16 pages of plates : illustrations ; 25 cm
Subjects	Jazz--History and criticism.

Contents	Introduction: rethinking jazz history -- Part I: Origins. 1. Precursors. The music of the plantations ; Ragtime and syncopated music ; Blues and vaudeville ; Brass bands -- 2. Classic jazz. New Orleans ; The Original Dixieland Jazz Band ; Jazz on the move ; Chicago and King Oliver ; Chicago and Jelly Roll Morton ; Chicago and Louis Armstrong ; Red Nichols, Bix Beiderbecke, and the Austin High School Gang ; The Chicago small groups -- 3. Piano jazz : stride and boogie-woogie -- 4. The rise of the big bands. Paul Whitemman: the king of jazz ; Territory bands ; Fletcher Henderson ; A change in the rhythm section ; Early Ellington ; Out of the territories ; The swing era -- 5. International jazz to World War II. Origins of international jazz ; Britain ; Germany ; France ; Elsewhere in Europe ; Further afield - Part II: From swing to bop. 6. Small groups in transition. Swing street ; Swing in, swing out: changes to the small swing ensemble -- 7. The birth of bebop. A psychological shift ; A remarkable partnership ; From the Three Deuces to Billy Berg's ; Bebop piano ; Closing the door on bebop -- 8. Big-band bebop. Dizzy Gillespie's orchestra and the West Coast bands ; From Krupa to Kenton -- 9. Dissemination. The A.F.M. recording ban of 1942 ; The player piano ; Sound recording ; Radio broadcasting ; Jazz on film -- 10. Jazz singing to 1950 -- 11. The New Orleans revival and mainstream jazz. Not so much a revival, more a way of life ; Burgundy street blues ; Jazz at the Philharmonic and "mainstream" jazz -- Part III: Consolidation of bebop. 12. Early Miles Davis -- 13. Hard bop and soul-jazz -- 14. Cool jazz and the West Coast movement -- 15. Big bands in transition -- Part IV: New jazz. 16. Coltrane and Mingus. John Coltrane ; Charles Mingus -- 17. Free jazz: Ornette Coleman and the "New thing". Ornette Coleman ; Free jazz: the followers of Coltrane and Coleman -- 18. Politicization : the AACM and other organizations -- 19. Jazz as world music. India ; Africa ; Europe and Russia -- 20. Jazz fusions. Origins of jazz-rock ; Miles Davis and jazz-rock ; Fusion in the wake of Miles Davis ; From jazz-rock to "smooth jazz" -- 21. Postmodern jazz. In the tradition: looking back ; In the tradition: looking forward.
Abstract	The March 1913 issue of the San Francisco Bulletin coined the term "jazz"--using it to describe a dance music full of vigor and "pep." Over time, jazz became the word used to describe the syncopated bands that became popular in New Orleans at the turn of the twentieth century, playing a fiery mix of African and European music that then became popular in Chicago and New York and, finally, the world over. It wasn't long before the Roaring 1920s became known as "the Jazz Age," forever attaching the music form to decadence, booze, sex, and dancing. In his mammoth book, BBC presenter and London Times jazz critic Alyn Shipton investigates how jazz first started--examining the precursors of the music, identifying the difficulties in mapping out its history, and challenging the traditional views of its development. More than just a rote narrative, this book provides critical analysis of the jazz history that has been "written" among both academics and musicians over the last century. The author argues that the music's history is so characterized by underground clubs, regional styles, and the "fringe" element in general that previous attempts at tracing its routes have failed to grasp the big picture. He even questions the possibility of creating a universally applicable definition of jazz. He also explores how different things contributed to the modern notions of jazz music. He examines how the development of sound recordings, instrumental innovations, and new methods of music publishing took the art form from its bayou routes to different urban areas around the country, and finally beyond the borders of the United States. This book further examines how the network of theaters, concert halls, and performances that sprang up all over the United States in the twentieth century contributed to the spread of the music's popularity and the different styles that have developed over the years. Leaving no stone unturned, the author's history of jazz is as sweeping as it is personal.
Bibliography note	Includes bibliographical references (pages 931-940) and indexes.
LCCN	2001017177
ISBN	0826447546 (hardback)

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A new history of jazz / Alyn Shipton.

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