Rubin Abdullin: “Technologies that Allow Us to Watch Carnegie Hall Streams Sitting on the Coach are Provocation”

10.34690/113 ◽  
2020 ◽  
pp. 68-73
Author(s):  
Юрий Семёнович Карпов ◽  
Александра Михайловна Нагорнова
Keyword(s):  
2019 ◽  
pp. 53-60
Author(s):  
Con Chapman

This chapter describes the early years of Hodges’s association with Duke Ellington beginning in 1928, when the band strove to play “jungle music” that would titillate white patrons of the segregated Cotton Club, where the group served as house band. Hodges’s seductive approach added a new dimension to the growls, hot rhythms, and strange harmonies that characterized Ellington’s early efforts; the warmth of his tone, his flatted “blue” notes and his plaintive phrasing brought an element of New Orleans to Ellington’s New York band that it had lacked after the brief tenure of Sidney Bechet ended. Noteworthy performances of the 1930s are described, including Hodges’s participation in Benny Goodman’s 1938 mixed-race concert at Carnegie Hall. Goodman and Ellington were rivals, and Ellington was upset that Goodman got to Carnegie Hall before he did and that Hodges showed an independent streak by participating.


2018 ◽  
Vol 35 (3) ◽  
pp. 397-430
Author(s):  
Benjamin Givan

Cecil Taylor (1929–2018), who was associated with the postwar black musical avant-garde, and Mary Lou Williams (1910–81), who had roots in jazz’s swing era, met in a notorious 1977 Carnegie Hall recital. These two African American pianists possessed decidedly different temperaments and aesthetic sensibilities; their encounter offers a striking illustration of how conflicts between coexisting performance strategies can reveal a great deal about musicians’ thought processes and worldviews. Evidence from unpublished manuscripts and letters, published interviews and written commentary by the performers, the accounts of music critics, and musical transcriptions from a commercial recording (the album Embraced) reveals that, in addition to demonstrating the performers’ distinct musical idiolects, the concert engaged longstanding debates over jazz’s history and definition as well as broader issues of black American identity. In particular, it dispelled still potent notions of jazz as a genre with a unilinear historical trajectory, and it encapsulated the inherent ambivalence toward the past often exhibited by the jazz avant-garde.


1978 ◽  
Vol 6 (1) ◽  
pp. 71
Author(s):  
Lester A. Walton ◽  
L. H. White ◽  
A. W. K. ◽  
Lucien H. White
Keyword(s):  

2018 ◽  
Vol 62 (2) ◽  
pp. 78-96
Author(s):  
Geoffrey Lokke

The Trial (1956), a black nationalist play by Louis X (Louis Farrakhan), was expanded into a musical pageant called Orgena (1959) and performed in major venues by “The Muslims” of Boston’s Mosque No. 11, including two nights at Carnegie Hall. The history of The Trial and its development into Orgena generate discussion of the theology, politics, and cultural legacy of the Nation of Islam.


Author(s):  
Court Carney

In January 1938, Benny Goodman took command of Carnegie Hall on a blustery New York City evening and for two hours his band tore through the history of jazz in a performance that came to define the entire Swing Era. Goodman played Carnegie Hall at the top of his jazz game leading his crack band—including Gene Krupa on drums and Harry James on trumpet—through new, original arrangements by Fletcher Henderson. Compounding the historic nature of the highly publicized jazz concert, Goodman welcomed onto the stage members of Duke Ellington’s band to join in on what would be the first major jazz performance by an integrated band. With its sprit of inclusion as well as its emphasis on the historical contours of the first decades of jazz, Goodman’s Carnegie Hall concert represented the apex of jazz music’s acceptance as the most popular form of American musical expression. In addition, Goodman’s concert coincided with the resurgence of the record industry, hit hard by the Great Depression. By the late 1930s, millions of Americans purchased swing records and tuned into jazz radio programs, including Goodman’s own show, which averaged two million listeners during that period. And yet, only forty years separated this major popular triumph and the very origins of jazz music. Between 1900 and 1945, American musical culture changed dramatically; new sounds via new technologies came to define the national experience. At the same time, there were massive demographic shifts as black southerners moved to the Midwest and North, and urban culture eclipsed rural life as the norm. America in 1900 was mainly a rural and disconnected nation, defined by regional identities where cultural forms were transmitted through live performances. By the end of World War II, however, a definable national musical culture had emerged, as radio came to link Americans across time and space. Regional cultures blurred as a national culture emerged via radio transmissions, motion picture releases, and phonograph records. The turbulent decade of the 1920s sat at the center of this musical and cultural transformation as American life underwent dramatic changes in the first decades of the 20th century.


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