Free Ebook Lost Chords: White Musicians and their Contribution to Jazz, 1915-1945, by Richard M. Sudhalter
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Lost Chords: White Musicians and their Contribution to Jazz, 1915-1945, by Richard M. Sudhalter
Free Ebook Lost Chords: White Musicians and their Contribution to Jazz, 1915-1945, by Richard M. Sudhalter
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Review
"[Lost Chords]--which includes profiles of a number of celebrated European-American jazzmen--Beidecker, Bunny Berigan, Benny Goodman and Artie Shaw, to name a few--is at its most intriguing when examining such lesser known figures as the sweetly tragic New Orleans cornetist Emmett Hardy, the multitalented bandleader Adrian Rollins and the irascible braggart Nick LaRocca.... There's much to be learned from his scholarly narrative."--Publishers Weekly
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About the Author
Richard M. Sudhalter is a highly respected musician, considered one of today's outstanding trumpet players. A noted critic, broadcaster, and historian, he was co-author of Bix: Man and Legend, still cited as the definitive Beiderbecke biography. He lives on Long Island's North Fork.
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Product details
Paperback: 890 pages
Publisher: Oxford University Press; 1 edition (November 29, 2001)
Language: English
ISBN-10: 9780195148381
ISBN-13: 978-0195148381
ASIN: 019514838X
Product Dimensions:
6 x 2.1 x 9 inches
Shipping Weight: 2.6 pounds (View shipping rates and policies)
Average Customer Review:
4.5 out of 5 stars
19 customer reviews
Amazon Best Sellers Rank:
#2,564,479 in Books (See Top 100 in Books)
I daresay it would be difficult, if not impossible, to find a jazz historian who didn't believe that the music was primarily created by black Americans. However, jazz is a CULTURAL music; the notes and rhythms are oblivious to skin color. While the culture that produced jazz and blues existed mostly in the black communities, there were significant contributions made to the music by non-black musicians who found pathways into the revolt of the gutbucket: blues, ragtime and jazz. The tragedy of these musicians is that except for a very few they have been marginalized by history and jazz critics. Sudhalter's book redeems, at last, their legacy and contribution to the music. The musicians themselves were, for the most part, never the ones to have issues: note the friendship and mutual respect that existed between Armstrong and Beiderbecke, or the Fletcher Henderson and Goldkette orchestras in the late 1920s. Invariably, when you use terms like "black" and "white" musicians you start a war with the pedantic critics, which is why I prefer to speak in terms of culturally created music and " non-black" musicians. Yes, maybe its all semantics, but my only wish is that Sudhalter might have framed the terms without reference to "white" and "black". Perhaps "forgotten" is a better term, but it so happens that most of the "forgotten" musicians happened to be white.At any rate, its a great book and a classic for the ages.
The book is brilliant. Sudhalter was a great musical and cultural historian and a wonderful writer, and this book should be a cornerstone of all sorts of collections. I was disappointed only in the physicality of the book: I ordered a new copy but mine appears distinctly used. I do not recommend the particular seller I got my copy from.
When "Lost Chords" first came out, I was hosting & producing a classic jazz radio program, and featured cuts analyzed in the book and addressed several issues that were brewing in the press - that is, the jazz press, which mostly took the attitude that a book highlighting white musicians contributions to jazz had to be, if for no other reason than its very existence, racist.That view was utter nonsense, and re-proved my long-held contention that many a reviewer never actually read their review subjects.This book was the first at-length attempt to give many under-appreciated white musicians their due for contributions to the art form. In no way was Richard Sudhalter unfairly criticizing black musicians - time and time again, he pointed out that many still-fabulous black artists had some technical flaws - but Sudhalter points out the same flaws in many of the white musicians he critiques, too.Take the case of Red Nichols - perhaps the single most aggrieved white jazz musician of his time. Sudhalter examines his career and recordings, and placed Nichols properly in context as one of the great hornmen of his era. No, Mr. Sudhalter does not place Red in the same strata as, say, Louis Armstrong or Bix Beiderbecke...because he wasn't. But, unlike many other jazz critics and writers from the 1930's on, Sudhalter points out the subtle yet marked differences between Nichols' output and several other musicians, and also tries to explain WHY Nichols received brutal treatment - when he wasn't completely ignored, that is - at the hands of critics.It is this fascination with perspectives, a devout attempt to uncover ignored jazz giants and re-focusing the reader's attentions on key performers & performances, that makes "Lost Chords" absolutely essential reading to anyone interested in jazz history.It is well worth adding to a serious jazz fan's library at any reasonable price.
Not a mere antidote to political correctness in jazz criticism; Lost Chords is a prewar cultural history, a lesson in music structure, a history of woodwind instruments, a guide to innovations in guitar tuning, AND MORE. It shows the musicians as human beings with all their failings, humor, drives, hard work, and talent. I especially loved the account of the bass sax --- an instrument that looks like it could double as a moonshine still --- and its usefulness in the early days of sound recording. Sudhalter admonishes us to listen to the music and to make up your own mind. Exactly right. A good place to start is Robert Parker's Bix Beiderbecke Great Original Performances 1924-1930 (available on Amazon) If you have ever heard an early 78 rpm record, you will be astonished at Parker's sound restoration.
This book gave me a closer look at a number of musicians whose work I had not really investigated. It's a great launching pad to explore musicians who made an undeniable contribution to jazz but whose work has either been overshadowed, ignored or pushed out of the general picture. A fantastic resource and Sudhalter's untimely demise was a great loss to those interested in jazz history.
A very comprehensive study in detail of 30 years of jazz.This is a book to be dipped into or read chapter at a time.I haven't read all of it yet,just the bits that interested me.It is a mine of information with no equal.Every jazz enthusiast should have it
A wonderful trip thru what must have been an incredible period to be an active jazz fan.Thank you Jeff Ellis for your accomplishments. The nine years you have invested are proven by this book to be extraordinarily justified.Readers should be aware there is a companion CD of selected samples of the jazz discussed in this book which should also be ordered.
A lgreat gift
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