By Dave Oliphant
Jazz is considered one of America's maximum presents to the humanities, and local Texas musicians have performed a big position within the improvement of jazz from its start in ragtime, blues, and boogie-woogie to its so much modern manifestation in loose jazz. Dave Oliphant started the interesting tale of Texans and jazz in his acclaimed e-book Texan Jazz, released in 1996. carrying on with his riff in this interesting musical subject, Oliphant uncovers during this new quantity extra of the prolific connections among Texas musicians and jazz. Jazz Mavericks of the Lone megastar nation provides 16 released and formerly unpublished essays on Texans and jazz. Oliphant celebrates the contributions of such very important figures as Eddie Durham, Kenny Dorham, Leo Wright, and Ornette Coleman. He additionally takes a fuller examine Western Swing via Milton Brown and his Musical cakes and a overview of Duncan McLean's Lone famous person Swing. furthermore, he lines the connection among British jazz feedback and Texas jazz and defends the recognition of Texas folklorist Alan Lomax because the first biographer of mythical jazz pianist-composer Jelly Roll Morton. In different essays, Oliphant examines the hyperlinks among jazz and literature, together with fiction and poetry through Texas writers, and divulges the probably not likely connection among Texas and Wisconsin in jazz annals. all of the essays during this e-book underscore the $64000 components performed via Texas musicians in jazz heritage and the importance of Texas to jazz, as additionally validated through Oliphant's experiences of the Ken Burns PBS sequence on jazz and Alfred Appel Jr.'s Jazz Modernism.
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Evans and Tate had played together in the San Antonio band of Troy Floyd, and Tate, like both Evans and Carl “Tatti” Smith, had been with a number of territory bands. Tate’s solos with The Roots of Texan Jazz 27 the Basie band are perhaps even bigger-toned than Evans’s, and much more daring, as evinced by his improvisation on “Seventh Avenue Express” 66 from October 19, 1947. Both Illinois Jacquet (born in Louisiana in 1922 but from age one a resident of Houston) and Arnett Cobb (born in Houston in 1918) were members of the Houston band of Milt Larkin, who was born in the Bayou City on October 10, 1910, took up the trumpet under the influence of New Orleans cornetist Bunk Johnson, and formed his own unit in 1936.
Meehan had wondered why Gillespie played so many weird, dissonant notes, but by 1946 he was a convert to the new music. He would haunt the St. Louis nightspots with other white musicians who “dug” bebop, especially Eddie Johnson, who could scat-sing Bird and Dizzy’s most famous solos. Mr. Meehan remembered Parker clowning on stage at the St. Louis Birdland, puffing through his fingers as if he were smoking pot. On one occasion, when Stan Kenton’s Orchestra came to the city’s Tune Town Ballroom, Mr.
In April 1946 Mr. Meehan was discharged and returned to St. Louis where he studied violin at the city’s Institute of Music and regularly listened to such bebop classics as “Groovin’ High,” “Koko,” and “Ornithology” on a jukebox at Bal Tabern. On first hearing bebop, Mr. Meehan had wondered why Gillespie played so many weird, dissonant notes, but by 1946 he was a convert to the new music. He would haunt the St. Louis nightspots with other white musicians who “dug” bebop, especially Eddie Johnson, who could scat-sing Bird and Dizzy’s most famous solos.