Backstory in Blue : Ellington at Newport '56

個数:

Backstory in Blue : Ellington at Newport '56

  • 在庫がございません。海外の書籍取次会社を通じて出版社等からお取り寄せいたします。
    通常6~9週間ほどで発送の見込みですが、商品によってはさらに時間がかかることもございます。
    重要ご説明事項
    1. 納期遅延や、ご入手不能となる場合がございます。
    2. 複数冊ご注文の場合、分割発送となる場合がございます。
    3. 美品のご指定は承りかねます。
  • 【入荷遅延について】
    世界情勢の影響により、海外からお取り寄せとなる洋書・洋古書の入荷が、表示している標準的な納期よりも遅延する場合がございます。
    おそれいりますが、あらかじめご了承くださいますようお願い申し上げます。
  • ◆画像の表紙や帯等は実物とは異なる場合があります。
  • ◆ウェブストアでの洋書販売価格は、弊社店舗等での販売価格とは異なります。
    また、洋書販売価格は、ご注文確定時点での日本円価格となります。
    ご注文確定後に、同じ洋書の販売価格が変動しても、それは反映されません。
  • 製本 Hardcover:ハードカバー版/ページ数 304 p.
  • 言語 ENG
  • 商品コード 9780813542829
  • DDC分類 781.650797457

Full Description

Certificate of Merit for the 2009 Association for Recorded Sound Collections Award for Excellence in Historical Recorded Sound Research

It may be that the song most baby boomers identify from July 1956 is a simple twelve-bar blues, hyped on national television by a twenty-one-year-old Elvis Presley and his handlers. But it is a very different song, with its elongated fourteen-bar choruses of rhythm and dissonance, played on the night of July 7, 1956, by a fifty-seven-year-old Duke Ellington and his big band that got everybody on their feet and moving as one. More than fifty years later, "Diminuendo and Crescendo in Blue," recorded at the 1956 Newport Jazz Festival, still makes a profound statement about postwar America—how we got there and where it all went.

Backstory in Blue is a behind-the-scenes look at this epic moment in American cultural history. It is the story of who and what made Ellington's composition so compelling and how one piece of music reflected the feelings and shaped the sensibilities of the postwar generation. As John Fass Morton explains, it was music expressed as much by those who performed offstage as by those who performed on.

Written from the point of view of the audience, this unique account draws on interviews with fans and music professionals of all kinds who were there and whose lives were touched, and in some cases changed, by the experience. Included are profiles of George Avakian, who recorded and produced Ellington at Newport 1956; Paul Gonsalves, the tenor sax player responsible for the legendary twenty-seven choruses that enabled the rebirth of Ellington's career; and the "Bedford Blonde," Elaine Anderson, whose dance ignited both the band and the crowd.

Duke Ellington once remarked, "I was born at Newport." Here we learn that Newport was much more than the turning point for Ellington's career.  It was the tipping point for a generation and a musical genre.

Contents

Foreword by Jonathan Yardley
Acknowledgments
How We Got There
Newport '56
Where It All Went
Notes
Bibliography
Index