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Comment: Pages are smooth and clear, with minimal folds or creases. Faint smudging on book edges. Minor page curl. Free of any markings or labels. Minor to moderate surface and edge wear to cover includes rubbing to edges. *** Ships from Amazon! Thanks!
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Jazz Cultures Paperback – January 7, 2002

4 out of 5 stars 2 customer reviews

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Editorial Reviews

Review

"Ake blends careful historical research with intelligent textual criticism and sophisticated cultural theory.... His critiques augment and enhance our understanding and appreciation of great artistry, but they do much more. This is new, imaginative, original, and generative work. There are very few people who can write about both music theory and social theory with such clarity, depth, and insight." - George Lipsitz, author of Dangerous Crossroads: Popular Music, Postmodernism and the Poetics of Place

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"Ake blends careful historical research with intelligent textual criticism and sophisticated cultural theory. . . His critiques augment and enhance our understanding and appreciation of great artistry, but they do much more. This is new, imaginative, original, and generative work. There are very few people who can write about both music theory and social theory with such clarity, depth, and insight."—George Lipsitz, author of Dangerous Crossroads: Popular Music, Postmodernism and the Poetics of Place

"David Ake is a jazz artist who has woodshedded with his critical theory as much as with his instrument. As an astute commentator on a wide range of jazz subjects, he has the virtuosity of an Art Tatum and the eclecticism of a John Zorn."—Krin Gabbard, author of Jammin' at the Margins: Jazz and the American Cinema

"David Ake's writing combines the best of modern scholarship with the no-nonsense attitude of a gigging musician. In Jazz Cultures, he seizes upon precisely those issues and historical moments that best reveal how jazz studies might mature into something worthy of the music. A wonderful antidote to the usual cliches of jazz history and a splendid debut."—Scott DeVeaux, author of The Birth of Bebop
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Product Details

  • Paperback: 265 pages
  • Publisher: University of California Press; First Edition edition (January 7, 2002)
  • Language: English
  • ISBN-10: 0520228898
  • ISBN-13: 978-0520228894
  • Product Dimensions: 6.1 x 0.6 x 9.2 inches
  • Shipping Weight: 6.4 ounces (View shipping rates and policies)
  • Average Customer Review: 4.0 out of 5 stars  See all reviews (2 customer reviews)
  • Amazon Best Sellers Rank: #968,330 in Books (See Top 100 in Books)

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Format: Paperback
In Jazz Cultures, David Ake (Assistant Professor of Music, University of Nevada, Reno) presents an informative and engaging history of the only authentically American contribution to world music -- Jazz. Professor Ake draws upon his expertise as a professional pianist and composer to present an impressively "reader friendly" historical survey of how jazz musicians and their audiences evolved an understanding and appreciation for this unique music which reflected the roots of the Black American subculture, went on to cross over into the dominant white popular culture, and go on to eventually achieve a world wide acclaim. Of special interest are Ake's commentaries on the concept of a "jazz standard" in the decade of the 1990s and how jazz history has never been a linear evolvement of musical styles, but a potpourri of disparate (and sometimes conflicting) creations, compositions, attitudes, performers and performances. Also available in hardcover...Jazz Cultures is strongly recommended reading for both students of American Music History and the non-specialist general reader with an interest in the development of this complex and original American musical tradition with its sometimes subtle, sometimes profound influences on 20th Century American popular culture.
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I don't know, Leonard, I think I'm going to have to give it three - well, it's not quite four. Maybe three and a half. It sounds like some of that stuff that's coming from some of those New Academic bands - where's that - Guelph? Also at Columbia there's a group of those guys. George Lewis can play that stuff, but some of the guys that follow George, well, they just haven't paid their dues! You can't just LEAP into the Post - Modern. You gotta know the tradition. It's not the quality of the questions. The questions are great. The answers? The answers are just too basic and self - satisfied and lacking in nuance. But you know, it's like Mintons and Joe Guy. A lot of the older cats, they learned about what Bebop was gonna be as a trumpet language from Joe Guy. And then Dizzy and Fats came along and washed him away. It's like, if you were gonna provide a real alternative to Roy Eldridge, you'd have to be able to have assimilated Roy in order to provide a really effective next step. These guys couldn't get on the bandstand in Paris w/ Barthes or Jacques D. (zikhrono livrakha) in a cutting contest. They'd get blown away! I mean it's cool that American Jazz Cats are trying to speak this language. But France is where the real stuff is. A guy who's trying to learn this stuff just from books and who hasn't really done their time defending it in the cafés - well, maybe in a generation or two, some little guy from Lawrence, Kansas or Grinnell, Iowa might be able to really swing and play this kind of blues. It's not ethnicity - it's GROWING Up with this kind of language as your culture! I don't think I like this one as much as that Robert Walser one you played before.
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