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J AZZ
Its Evolution and Essence
Translated by David Noakes
- By Andre Hodeir -
Illustrated with some musical notation .
ISBN: -
Publisher: Secker & Warburg, London, UK
Published: 1956
Binding: HARD cover with Dustjacket 295 pages
Condition : UNread & displayed condition! HERE in MELBOURNE! A retired display copy as illustrated!
Edition: FIRST EDITION: 1st printing 1956
TIGHT, SCARCE HARDCOVER WITH Dustjacket ~ IN MELBOURNE ...
WHY do ebayers buy from US?
Because you KNOW what you're getting. My close up photos are of the actual item!!
Remains UNread - it was the display copy in a private collection(a duplicate copy as it were_. It is Tight - neat, no inscriptions or marks within. Appears as in my photos - this is the exact copy !! A nicely preserved copy - superb!
Minimal, if any, discernible shelf wear to the black cloth boards, the interior is tight and spotlessly clean with 295 pages. THIS copy is the FIRST EDITION(UK): First printing from 1956 - the UK publishing by Secker & Warburg, London.
Illustrated with some musical notation.
SCARCE title - this is an UNread FIRST EDITION copy!!
In original black cloth boards, with red and orange titles to the spine HARD cover binding, in publisher's illustrated dustjacket, clipped, and showing just very mild edgewear mainly around the spine ends - otherwise which are in excellent condition.
(Stored with 2021!)
Measures approx. 8¾ x 6 inches or 22 x 15cms
SYNOPSIS ....
This is the First British Edition - First Impression.
Translated by David Noakes.
A comprehensive history. This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artefact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work.
This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.
As a reproduction of a historical artefact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
Originally published in 1954 as "Hommes et problèmes du jazz" , this book was perhaps the first to go beyond general description and subjectivity in jazz writing.
About the Author
André Hodeir (22 January 1921 – 1 November 2011) was a French violinist, composer, arranger and musicologist. Hodeir was born in Paris. His initial training was as a classical violinist and composer. He studied at the Conservatoire de Paris, where he took Olivier Messiaen's analysis class, and won first prizes in fugue, harmony, and music history. While pursuing these studies, he discovered jazz, and embarked on an exploration of all music forms, jazz as well as classical. Initially, he recorded on violin under the pseudonym of Claude Laurence (see Tom Lord's "Jazz Discography"). Subsequently as a critic he expressed vigorous disgust with nearly all early jazz (Jazz: Its Evolution and Essence; 1957). Hodeir was a founder, in 1954, and director of Jazz Groupe de Paris, made up of nine musicians, including Bobby Jaspar, Pierre Michelot and Nat Peck. In 1957, at the invitation of Ozzie Cadena of Savoy Records, he recorded an album of his own compositions with a group of American musicians which included, among others, Donald Byrd, Idrees Sulieman, Frank Rehak, Hal McKusick, Eddie Costa and George Duvivier and, on one track, the singer Annie Ross. He was the author of two books of Essais (1954 and 1956), of numerous film scores, including Le Palais Idéal by Ado Kyrou, the Jazz Cantata for the film Chutes de pierres, danger de mort by Michel Fano, and Brigitte Bardot's Une Parisienne. Hodeir was the founder of his own orchestra during the Sixties (Catalyse, Arte della commedia dell', Transplantation, Crepuscule with Nelly, etc., available in an album by Martial Solal, in 1984). He wrote several works based on James Joyce, including the 1966 jazz cantata Anna Livia Plurabelle,[2] and the 1972 work Bitter Ending, featuring The Swingle Singers and a jazz quintet, on the final monologue of Finnegans Wake.
Great Reference - Informative and Interesting read!
Reviews
THE definitive book!! … This is the definitive book on the pre-early-1950s history of jazz, written by a critic who was also a practicing professional jazz musician. It is a bit dated as it was written in the early 50s. Some of the author's opinions, while valid at the time, have since been proven incorrect. For example, he indicates that Ellington is pretty much over, but as Duke said, "I was reborn at Newport!" (In 1956). Hodeir is also incorrect about Jimmy Giuffre, saying he proves counterpoint is not suitable for jazz. Giuffre shortly proved him wrong, as did Brubeck. Hodeir does an excellent job delineating the differences between "Early Jazz" and the cul-de-sac of "Dixieland." He also makes an excellent point, which is still true in too many instances, that small combo Jazz must move beyond playing the "Head," followed by solos from every member of the group and closing out with the "Head." Kenny Werner has solved this problem beautifully, but I'm not aware of very many others who have followed his example. (As always, I remain open to critical comment from other reviewers and try to learn from everyone.
Renowned reference! … This book is quoted in many books about jazz. It has some interesting ideas and facts - it is very traditional in its ideas and prose.
A gem!! … I read this in college and found it fascinating.. Would love to find it again.
ICONIC … The composer, critic, and jazz advocate Andre Hodeir died yesterday at the age of 90; I felt the need to pay tribute by reviewing one of the most important books ever written on jazz. Originally published in 1954 as Hommes et problèmes du jazz, this book was perhaps the first to go beyond general description and subjectivity in jazz writing. Hodeir examined musicians and recordings in great detail, and applied uncompromising, intelligent critical standards to jazz. His chapter on Duke Ellington's "Concerto for Cootie" was a revelation to me, and it remains among the best jazz criticism ever written. Given this book's importance, and what it meant to me personally as a young man trying to learn about jazz, it feels strange not to give this book a five-star rating. But it's not without its flaws. Hodeir's critical stance is sometimes overly severe - he's particularly hard on New Orleans clarinetist Johnny Dodds, a musician whose music I love. Dodds was a limited musician who produced some beautiful music, but Hodeir can't forgive his weaknesses. Hodeir wrote two more books on jazz; the third one, The Worlds of Jazz, is one of the strangest jazz books ever written. But that's a subject for another review. RIP, M. Hodeir; thanks for your music and your writing.
WONDERFUL .. .. The first 40 years or so of recorded jazz from the perspective of a composer/conductor/critic whose background is in the European Classical tradition, creating in the modern idiom. So, Armstrong, Ellington, Bird, and Miles from the point of view of someone who is at home with Debussy and Ravel and Milhaud. While I don't agree with all of his insights or opinions, his close reading of such work as Concerto for Cootie, or Koko, or The Birth of the Cool recordings are rewarding. And while he does sell Armstrong's Hot 5 recordings short, he does give an entire chapter to the underrated Dickie Wells.
Marvellous Reading!
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