Altura Do Sol
2011-01-01 11:15:49 UTC
Qualcuno ha (magari in italiano) la critica di G.Shuller (link o altro)
al brano in oggetto?
Sonny Rollins, “Blue Seven,” June 22, 1956. Saxophone Colossus,
Prestige, 7079.
In his book The Jazz Tradition, Martin Williams declared “Blue Seven” a
“masterpiece” and “one of the great pleasures of recorded jazz,” arguing
that tenor saxophonist Rollins was unexcelled at sculpting long solos
that amount to “spontaneous orchestrations.”
A similar characterization of “Blue Seven” was rendered in far more
technical detail by Gunther Schuller in an essay titled “Sonny Rollins
and the Challenge of Thematic Improvisation,” first published in the
inaugural edition of the Jazz Review (edited by Williams and Nat
Hentoff) in 1958.
Schuller’s essay quickly became a landmark of jazz criticism, its
exhaustively close reading of Rollins’s performance heralding an
intellectually dense style of jazz writing similar to literary New
Criticism. The essay gained infamy for another reason: Rollins read the
essay and found himself stymied by its exalted claims for his mastery,
which factored into his decision to withdraw from public performance for
several years. (See Blowin’ Hot and Cool, pp. 180-81, 198-99)
gracias
al brano in oggetto?
Sonny Rollins, “Blue Seven,” June 22, 1956. Saxophone Colossus,
Prestige, 7079.
In his book The Jazz Tradition, Martin Williams declared “Blue Seven” a
“masterpiece” and “one of the great pleasures of recorded jazz,” arguing
that tenor saxophonist Rollins was unexcelled at sculpting long solos
that amount to “spontaneous orchestrations.”
A similar characterization of “Blue Seven” was rendered in far more
technical detail by Gunther Schuller in an essay titled “Sonny Rollins
and the Challenge of Thematic Improvisation,” first published in the
inaugural edition of the Jazz Review (edited by Williams and Nat
Hentoff) in 1958.
Schuller’s essay quickly became a landmark of jazz criticism, its
exhaustively close reading of Rollins’s performance heralding an
intellectually dense style of jazz writing similar to literary New
Criticism. The essay gained infamy for another reason: Rollins read the
essay and found himself stymied by its exalted claims for his mastery,
which factored into his decision to withdraw from public performance for
several years. (See Blowin’ Hot and Cool, pp. 180-81, 198-99)
gracias