By John Gennari
Within the illustrious and richly documented background of yank jazz, no determine has been extra debatable than the jazz critic. Jazz critics could be respected or reviled—often both—but they need to no longer be missed. And whereas the culture of jazz has been lined from likely each attitude, no one has ever became the pen again on itself to chronicle the numerous writers who've helped outline how we take heed to and the way we comprehend jazz. that's, after all, till now.
In Blowin' scorching and Cool, John Gennari presents a definitive historical past of jazz feedback from the Twenties to the current. The song itself is sought after in his account, as are the musicians—from Louis Armstrong and Duke Ellington to Charlie Parker, John Coltrane, Roscoe Mitchell, and past. however the paintings takes its form from attention-grabbing tales of the tradition's key critics—Leonard Feather, Martin Williams, Whitney Balliett, Dan Morgenstern, Gary Giddins, and Stanley Crouch, between many others. Gennari is the 1st to teach the various methods those critics have mediated the connection among the musicians and the audience—not in basic terms as writers, yet in lots of instances as manufacturers, broadcasters, live performance organizers, and public intellectuals as well.
For Gennari, the jazz culture isn't really a lot a set of recordings and performances because it is a rancorous debate—the dissonant noise clamoring based on the sounds of jazz. opposed to the backdrop of racial strife, classification and gender concerns, struggle, and protest that has outlined the earlier seventy-five years in the USA, Blowin' scorching and Cool brings to the fore jazz's most crucial critics and the position they've got performed not just in defining the heritage of jazz but in addition in shaping jazz's value in American tradition and life.
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Additional resources for Blowin' Hot and Cool: Jazz and Its Critics
While copping to having once delivered a “mezzroll” to a mutual musician friend in London, Feather carefully notes that Mezzrow never offered marijuana to him, and that his only experience with the substance amounted to a few puffs on one joint given him by Charlie Barnet and another passed to him at a social event at Louis Armstrong’s house. ”37 This was no greater social distance, of course, than that which separated Feather from any number of musicians. What more decisively distinguished Feather and Mezzrow was the way they conceptualized their relationship to 34 r Chapter 1 blacks.
The artist and writer Sharony Andrews Green has spoken to me with great pride about helping young New York male jazz musicians with domestic chores they can’t handle because of their busy traveling schedules. 31 Women who deserve further study include the Canadian-born Helen Oakley Dance, a major figure on the jazz scene of the 1930s and 1940s as a writer, producer, and publicist; and Valerie Wilmer, the British writer and photographer, whose book As Serious as Your Life: The Story of the New Jazz (1977) provides both an indispensable view of the post-1960s avant garde and a bracing look at race and gender relations in jazz.
45 Fellow critics invested in the sanctity of Hammond’s purist mission by characterizing his work in corporate precincts as a kind of strategic guerilla offensive. In 1940, when a group of self-proclaimed “California hot music addicts” circulated a petition protesting Hammond’s Columbia affiliation on the grounds that it compromised his professed anticommercialism—at Columbia Hammond was obliged to record “sweet” bands as well as the “Not Only a New Art Form but a New Reason for Living” r 37 “hot” bands he much preferred—Down Beat critic Dave Dexter Jr.
Blowin' Hot and Cool: Jazz and Its Critics by John Gennari