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Cargando... The Evolution of Mann: Herbie Mann and the Flute in Jazz (Hal Leonard Jazz Biography)por Cary Ginell
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(Book). More than any other musician, Herbie Mann was responsible for establishing the flute as an accepted jazz instrument. Prior to his arrival, the flute was a secondary instrument for saxophonists, but Mann found a unique voice for the flute, presenting it in different musical contexts, beginning with Afro-Cuban, and then continuing with music from Brazil, the Middle East, the Caribbean, Japan, and Eastern Europe. As Mann once said, "People would say to me, 'I don't know where you are right now,' and I would respond, 'And you're not going to know where I'm going to be tomorrow.'" A self-described restless spirit, Herbie Mann also was a master at marketing himself. His insatiable curiosity about the world led him to experiment with different kinds of sounds, becoming a virtual Pied Piper of jazz. He attracted thousands to his concerts while alienating purists and critics alike. His career lasted for five decades, from his beginnings in a tiny Brooklyn nightclub to appearances on international stages. "I want to be as synonymous with the flute as Benny Goodman is for the clarinet," he was fond of saying. By the time he died of prostate cancer in 2003, he had fulfilled his desire. No se han encontrado descripciones de biblioteca. |
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Like Yusef Lateef, Mann played many different instruments, including handmade flutes of various materials. The tenor saxophone was part of his early career, and one constant through the remainder was the alto flute. His compositions evoke different images, emotions or experiences. Mann was a prolific recording artist, with Atlantic Records for most of his career, and two separate attempts at his own label.
The author makes good use of DownBeat reviews and other related sources. Part of the subject’s goal was to be both artistic and commercially successful, an act he was able to balance. He did pay his band better than other band leaders were doing at the time. However, some of his fellow musicians were critical, not openly but among themselves, of Mann’s musicianship. He always found out what was popular at the time, not only to sell more records, but to provide a “point of reference” to draw in more listeners. On his African tour, they played the first song, “Caravan,” in three styles, and whichever got the best response was used for the rest of the set. Although he scouted out bossa nova in Brazil, Stan Getz beat him to introducing this style in North America: because one of his live albums was still doing so well, the record company delayed releasing his first bossa nova album.
The author of “The Evolution of Mann” also plays flute, so you can see where some of the interest came from to make this biography. I didn’t know much about Herbie Mann, and while this book doesn’t reveal too much about the Mann himself, it gives a comprehensive review of his discography and public performances.
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