The Miles Davis Companion: Four Decades of CommentaryGary Carner Schirmer Books, 1996 - 274 síður The Miles Davis Companion profiles the life and career of jazz trumpeter Miles Davis. From '50s "cool" jazz to '70s jazz-rock fusion to '90s hip-hop, Davis was an innovative musician who always created new sounds and styles. Throughout his career, Davis attacked stereo-types and refused to kowtow to the musical (or popular) press. The Companion draws on profiles, interviews, liner notes, and original reviews of recordings to give a full picture of his work. It also includes essays on the impact of Davis's life and music, his controversial stance toward women and other musicians, and his transformation from jazz musician to cultural icon. |
From inside the book
Niðurstöður 1 - 3 af 69
Síða 33
... rhythm section played with a looseness that pivots off of Williams's cymbal splashes and unclinched rhythms , Carter walking some of the most impressive bass lines of the day , and Hancock developing his own version of the impressionism ...
... rhythm section played with a looseness that pivots off of Williams's cymbal splashes and unclinched rhythms , Carter walking some of the most impressive bass lines of the day , and Hancock developing his own version of the impressionism ...
Síða 61
... rhythm sec- tion around when he and I , Max , and Duke Jordan were playing together . Like we'd be playing the blues , and Bird would start on the 11th bar , and as the rhythm sections stayed where they were and Bird played where he was ...
... rhythm sec- tion around when he and I , Max , and Duke Jordan were playing together . Like we'd be playing the blues , and Bird would start on the 11th bar , and as the rhythm sections stayed where they were and Bird played where he was ...
Síða 99
... rhythm section . His imagination was essentially orchestral and , as his trios developed , they blurred any significant distinction between foreground and background . Through use of rests and shifts of rhythm and tempo , Jamal's groups ...
... rhythm section . His imagination was essentially orchestral and , as his trios developed , they blurred any significant distinction between foreground and background . Through use of rests and shifts of rhythm and tempo , Jamal's groups ...
Efni
Letter to David Breskin | 1 |
Play the Right Thing | 21 |
Homage to Miles Davis | 41 |
Höfundarréttur | |
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