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Come si ascolta il jazz. Conversazioni con…
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Come si ascolta il jazz. Conversazioni con Wayne Shorter, Pat Metheny, Sonny Rollins, Ornette Coleman, Joshua Redman, Branford Marsalis e altri (Italian Edition) (2008 original; edició 2013)

de Ben Ratliff (Autor)

MembresRessenyesPopularitatValoració mitjanaMencions
1013274,556 (3.93)5
"The Jazz Ear will be a permanent part of learning how to listen inside the musicians playing."--Nat Hentoff,Jazz Times Jazz is conducted almost wordlessly: John Coltrane rarely told his quartet what to do, and Miles Davis famously gave his group only the barest instructions before recording his masterpieceKind of Blue. Musicians often avoid discussing their craft for fear of destroying its improvisational essence, rendering jazz among the most ephemeral and least transparent of the performing arts. InThe Jazz Ear, acclaimed music critic Ben Ratliff discusses with jazz greats the recordings that most influenced them and skillfully coaxes out a profound understanding of the men and women themselves, the context of their work, and how jazz--from horn blare to drum riff--is conceptualized. Ratliff speaks with Sonny Rollins, Ornette Coleman, Branford Marsalis, Dianne Reeves, Wayne Shorter, Joshua Redman, and others about the subtle variations in generation and attitude that define their music. Playful and keenly insightful,The Jazz Ear is a revelatory exploration of a unique way of making and hearing music.… (més)
Membre:Lucktam
Títol:Come si ascolta il jazz. Conversazioni con Wayne Shorter, Pat Metheny, Sonny Rollins, Ornette Coleman, Joshua Redman, Branford Marsalis e altri (Italian Edition)
Autors:Ben Ratliff (Autor)
Informació:minimum fax (2013), 149 pages
Col·leccions:La teva biblioteca
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The Jazz Ear: Conversations over Music de Ben Ratliff (2008)

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Ottimo libro di interviste (a proposito: perché non tradurre il titolo originale "the jazz ear - conversations over music"? quello scelto lo fa sembrare un manuale...). L'approccio non è particolarmente innovativo (far scegliere al musicista qualcosa da ascoltare e commentare) ma leggere le parole dei musicisti sulla musica altrui è sempre utile e qui il tutto è davvero ben fatto da Ratliff, a partire dalla scelta dei personaggi fino alle curiosità che emergono, passando per le tante note squisitamente musicali (che, va detto, non sono molto accessibili a chi sappia nulla o poco di teoria e pratica musicale). ( )
  d.v. | May 16, 2023 |
Not as enthralling as Ratliff's previous book about John Coltrane, but all the same, some decent conversations about jazz and music in general with eminent jazz musicians like Diane Reeves, Maria Schneider, Branford Marsalis, Joshua Redman, Sonny Rollins & Wayne Shorter. There are listening lists following each segment plus a discography of notable music written and/ or performed by Ratliff's interlocutors. Nevertheless, a CD or DVD would have been a welcome complement to this compilation. ( )
  Paulagraph | May 25, 2014 |
This is a fabulous collection of interviews with a variety of jazz musicians, including Wayne Shorter, Branford Marsalis, Guillermo Klein, Dianne Reeves and Ornette Coleman. But this is not a series of transcripts. Ben Ratliff captures subtle inflections of character in these conversations centered around a shared listening experience. Ratliff sits down with each musician to listen to music of others, and in so doing, reveals how these artists react to and dialogue with their musical influences. Sometimes the "set list" from one of these visits creates an intriguing link between the interviewees (such as Joshua Redman's experience with listening to Sonny Rollins, who is interviewed in the third chapter). In addition to the observations made by the musicians, Ratliff's ability to unobtrusively insert himself as both commentator and investigator makes this a superior reading experience to most "meet-the-artist" type books.
What I appreciated most was the variety included in these listening sessions. Sacred Harp, Kyrgyz music, Frank Sinatra, Rachmaninoff, Wagner...all of it is fair game for these musicians, who unapologetically cross the lines of categorization to search for organicism and authenticity as both performers and listeners. The questions of how perfomers/composers listen is one that is underexplored, and I would hope to see more of this type of study incorporated into a discussion of compositional and improvisational aesthetics. ( )
  rebcamuse | Apr 10, 2010 |
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"The Jazz Ear will be a permanent part of learning how to listen inside the musicians playing."--Nat Hentoff,Jazz Times Jazz is conducted almost wordlessly: John Coltrane rarely told his quartet what to do, and Miles Davis famously gave his group only the barest instructions before recording his masterpieceKind of Blue. Musicians often avoid discussing their craft for fear of destroying its improvisational essence, rendering jazz among the most ephemeral and least transparent of the performing arts. InThe Jazz Ear, acclaimed music critic Ben Ratliff discusses with jazz greats the recordings that most influenced them and skillfully coaxes out a profound understanding of the men and women themselves, the context of their work, and how jazz--from horn blare to drum riff--is conceptualized. Ratliff speaks with Sonny Rollins, Ornette Coleman, Branford Marsalis, Dianne Reeves, Wayne Shorter, Joshua Redman, and others about the subtle variations in generation and attitude that define their music. Playful and keenly insightful,The Jazz Ear is a revelatory exploration of a unique way of making and hearing music.

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