Louis Armstrong and Paul Whiteman: Two Kings of JazzIn Louis Armstrong and Paul Whiteman the jazz scholar Joshua Berrett offers a provocative revision of the history of early jazz by focusing on two of its most notable practitioners—Whiteman, legendary in his day, and Armstrong, a legend ever since. |
From inside the book
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... clarinets, mandolins, drum, and piano, had “all but secured complete control of the cabaret and dance field in the city.” Even though these were very largely note-reading, “straight” players who rarely improvised, they caught the pulse ...
... clarinet , thumping piano and the clattering traps describe vividly a husky hostler dragging his wife by the hair around their squalid hut behind the stable . The ' G - r - r - r ! ' of the cor- net and the moan of the trombone are Fido ...
... clarinet obbligato was modified in favor of a warmer and more varied texture. All of this was made possible by the dividing of the brass and reeds into sections, having countermelodies accompany statements by the brass, and inserting ...
... clarinet tradition to the cornet and trumpet . Their meeting is captured in the following charming anecdote in Bechet's au- tobiography : " [ Black Benny ] said to me one day , ' You think you can play . But I know a little boy around ...
... clarinet . In addition , Piron and Williams opened a small publishing company that year , and their first hit was very soon in coming- " I Wish I Could Shimmy Like My Sister Kate . " Louis Armstrong remembered crossing paths for the ...
Contents
1 | |
37 | |
3 Some Liked It Hot | 68 |
4 Uneasy Lies the Head | 99 |
5 Shared Memory | 148 |
6 Out Chorus | 196 |
Notes | 213 |
General Index | 231 |
Index of Musical Titles | 239 |