gendre kevin (117 risultati)

Condizione: New.

Hardback. Condizione: New. 1°. Kevin Le Gendre brings his considerable knowledge and experience to The Philosophy of Jazz, interpreting the mindset, outlook and ambition of the jazz musician and a form of music that has captured the imagination of international audiences for over a century.This is not a straight history of this genre of music but an exploration of what it means to be a jazz musician and the alchemy between players and audience during a live-music session. While drawing on historical references, in terms of cultural touchstones in Black music and the Black experience, this fascinating book very much immerses itself in the current jazz scene and the interesting directions being explored. Along the way the greats of jazz are all covered Joplin, Morton, Billie, Miles and Monk along with their influence and legacy.

Condizione: As New. Unread book in perfect condition.

Hardback. Condizione: New. 1°. Kevin Le Gendre brings his considerable knowledge and experience to The Philosophy of Jazz, interpreting the mindset, outlook and ambition of the jazz musician and a form of music that has captured the imagination of international audiences for over a century.This is not a straight history of this genre of music but an exploration of what it means to be a jazz musician and the alchemy between players and audience during a live-music session. While drawing on historical references, in terms of cultural touchstones in Black music and the Black experience, this fascinating book very much immerses itself in the current jazz scene and the interesting directions being explored. Along the way the greats of jazz are all covered Joplin, Morton, Billie, Miles and Monk along with their influence and legacy.

Hardcover. Condizione: new. Hardcover. Kevin Le Gendre brings his considerable knowledge and experience to The Philosophy of Jazz, interpreting the mindset, outlook and ambition of the jazz musician and a form of music that has captured the imagination of international audiences for over a century.This is not a straight history of this genre of music but an exploration of what it means to be a jazz musician and the alchemy between players and audience during a live-music session. While drawing on historical references, in terms of cultural touchstones in Black music and the Black experience, this fascinating book very much immerses itself in the current jazz scene and the interesting directions being explored. Along the way the greats of jazz are all covered Joplin, Morton, Billie, Miles and Monk along with their influence and legacy. Kevin Le Gendre brings his considerable knowledge and experience to The Philosophy of Jazz, interpreting the mindset, outlook and ambition of the jazz musician and a form of music that has captured the imagination of international audiences for over a century. Shipping may be from multiple locations in the US or from the UK, depending on stock availability.

HRD. Condizione: New. New Book. Shipped from UK. Established seller since 2000.

hardcover. Condizione: Very Good. Never read, no marks or highlighting in the book. Our copy is hardback, with printed covers, showing bumps at the corner tips.

Paperback. Condizione: Very Good. The book has been read, but is in excellent condition. Pages are intact and not marred by notes or highlighting. The spine remains undamaged.

Condizione: As New. Unread book in perfect condition.

Hardcover. Condizione: Brand New. 112 pages. 7.40x5.32x0.59 inches. In Stock.

Condizione: New.

Condizione: New.

Paperback. Condizione: new. Paperback. Volume 2 of this outstanding history of Black British music covers the period from the late 1960s through to the end of the 1980s, explores the points of transition from the playing of Black musics in Britain that originated elsewhere to the emergence of an indigenously Black British music that responded to the situation of being born, or at least growing up in Britain, of the experience of the virulent racism in schools and in the wider society when, after Enoch Powells rivers of blood speech, dockers marches and the regrouping of racist and fascist organisations, both white xenophobes and Black settlers realised the latter were here to stay. Le Gendre sees the emergence of the indigenous in the blending of Caribbean and rock and pop in the music of the Peddlars, Eddie Grant and the Equals, Blue Mink, the jazz-blues rock fusion of CCS, the jazz, reggae funk of Cymande; the experimental music of mixed Black and white groups such as Rip, Rig and Panic and African Head Charge; the Britishing of West African music in Osibisa, the British reggae of Dennis Bovell, Matumbe, Misty in Roots, Aswad, Linton Kwesi Johnson, and Lovers Rock; and in jazz, Courtney Pine and the Jazz Warriors. There are discussions of the impact of gatekeepers such as the BBC on Black musics, the opportunities and limitations offered by clubs and other music venues, and the debates around the performance of Black musics by white British performers. Volume 2 takes the story of Black Music Britain from the mid-1960s to the 1990s Shipping may be from multiple locations in the US or from the UK, depending on stock availability.

Paperback. Condizione: New. Volume 2 of this outstanding history of Black British music covers the period from the late 1960s through to the end of the 1980s, explores the points of transition from the playing of Black musics in Britain that originated elsewhere to the emergence of an indigenously Black British music that responded to the situation of being born, or at least growing up in Britain, of the experience of the virulent racism in schools and in the wider society when, after Enoch Powell's 'rivers of blood' speech, dockers marches and the regrouping of racist and fascist organisations, both white xenophobes and Black settlers realised the latter were here to stay. Le Gendre sees the emergence of the 'indigenous' in the blending of Caribbean and rock and pop in the music of the Peddlars, Eddie Grant and the Equals, Blue Mink, the jazz-blues rock fusion of CCS, the jazz, reggae funk of Cymande; the experimental music of mixed Black and white groups such as Rip, Rig and Panic and African Head Charge; the Britishing of West African music in Osibisa, the British reggae of Dennis Bovell, Matumbe, Misty in Roots, Aswad, Linton Kwesi Johnson, and Lovers Rock; and in jazz, Courtney Pine and the Jazz Warriors. There are discussions of the impact of gatekeepers such as the BBC on Black musics, the opportunities and limitations offered by clubs and other music venues, and the debates around the performance of Black musics by white British performers.

PAP. Condizione: New. New Book. Shipped from UK. Established seller since 2000.

PAP. Condizione: New. New Book. Shipped from UK. Established seller since 2000.

Paperback. Condizione: New. Volume 2 of this outstanding history of Black British music covers the period from the late 1960s through to the end of the 1980s, explores the points of transition from the playing of Black musics in Britain that originated elsewhere to the emergence of an indigenously Black British music that responded to the situation of being born, or at least growing up in Britain, of the experience of the virulent racism in schools and in the wider society when, after Enoch Powell's 'rivers of blood' speech, dockers marches and the regrouping of racist and fascist organisations, both white xenophobes and Black settlers realised the latter were here to stay. Le Gendre sees the emergence of the 'indigenous' in the blending of Caribbean and rock and pop in the music of the Peddlars, Eddie Grant and the Equals, Blue Mink, the jazz-blues rock fusion of CCS, the jazz, reggae funk of Cymande; the experimental music of mixed Black and white groups such as Rip, Rig and Panic and African Head Charge; the Britishing of West African music in Osibisa, the British reggae of Dennis Bovell, Matumbe, Misty in Roots, Aswad, Linton Kwesi Johnson, and Lovers Rock; and in jazz, Courtney Pine and the Jazz Warriors. There are discussions of the impact of gatekeepers such as the BBC on Black musics, the opportunities and limitations offered by clubs and other music venues, and the debates around the performance of Black musics by white British performers.

Paperback. Condizione: new. Paperback. Black British Music and the people who made it, from Tudor times to the mid '60s.This is a story of empire, colonialism and then the new energies released by the movements for freedom and independence of the post second-world-war years; of the movements of peoples across borders; of the flow of music around the triangle that takes in Africa, the Caribbean, the USA and Great Britain; of temporary but highly influential visitors like Paul Robeson; and of the settlement of ex-colonial peoples who brought their music to Britain, and changed its forms and concerns in the new context. It is the story of institutions like the military that provided spaces for black musicians, but it is also the story of individuals like John Blanke, the black trumpeter in the court of Henry VIII, Ignatius Sancho the composer and friend of Laurence Sterne in the 18th century, early nineteenth century street performers such as Joseph Johnson and Billy Waters, child prodigies such as George Bridgewater and composers such as Samuel Coleridge-Taylor in the later 19th whose music is still played today. Above all, it is the story of those individuals who changed the face of British music in the post-war period, who collectively fertilized British jazz, popular music and street theatre in ways that continue to evolve in the present. This is the story of the Windrush generation who brought calypso and steelband to Britains streets, Caribbean jazz musicians such as Joe Harriot and Shake Keane, or escapees from apartheid South Africa, such as Chris McGregor and Dudu Pukwana who brought modernity and the sounds of Soweto to British jazz, and a later generation who gave ska and reggae distinctive British accents. Based on extensive research and many first-hand interviews, one of the great virtues of Kevin Le Gendres book is lack of London-centricity, its recognition that much important development took place in cities such as Manchester, Leeds and Bristol. As a noted reviewer of black music for the BBC, the Independent, Echoes and other journals, Le Gendre brings together both a sense of historical purpose and the ability to actually describe music in vivid and meaningful ways. Don't Stop the Carnival tells the story of Black British Music and the people who made it, from Tudor times to the mid '60s. Shipping may be from multiple locations in the US or from the UK, depending on stock availability.

Paperback. Condizione: New. Black British Music and the people who made it, from Tudor times to the mid '60s.This is a story of empire, colonialism and then the new energies released by the movements for freedom and independence of the post second-world-war years; of the movements of peoples across borders; of the flow of music around the triangle that takes in Africa, the Caribbean, the USA and Great Britain; of temporary but highly influential visitors like Paul Robeson; and of the settlement of ex-colonial peoples who brought their music to Britain, and changed its forms and concerns in the new context. It is the story of institutions like the military that provided spaces for black musicians, but it is also the story of individuals like John Blanke, the black trumpeter in the court of Henry VIII, Ignatius Sancho the composer and friend of Laurence Sterne in the 18th century, early nineteenth century street performers such as Joseph Johnson and Billy Waters, child prodigies such as George Bridgewater and composers such as Samuel Coleridge-Taylor in the later 19th whose music is still played today. Above all, it is the story of those individuals who changed the face of British music in the post-war period, who collectively fertilized British jazz, popular music and street theatre in ways that continue to evolve in the present. This is the story of the Windrush generation who brought calypso and steelband to Britain's streets, Caribbean jazz musicians such as Joe Harriot and Shake Keane, or escapees from apartheid South Africa, such as Chris McGregor and Dudu Pukwana who brought modernity and the sounds of Soweto to British jazz, and a later generation who gave ska and reggae distinctive British accents. Based on extensive research and many first-hand interviews, one of the great virtues of Kevin Le Gendre's book is lack of London-centricity, its recognition that much important development took place in cities such as Manchester, Leeds and Bristol. As a noted reviewer of black music for the BBC, the Independent, Echoes and other journals, Le Gendre brings together both a sense of historical purpose and the ability to actually describe music in vivid and meaningful ways.

Paperback. Condizione: New. Black British Music and the people who made it, from Tudor times to the mid '60s.This is a story of empire, colonialism and then the new energies released by the movements for freedom and independence of the post second-world-war years; of the movements of peoples across borders; of the flow of music around the triangle that takes in Africa, the Caribbean, the USA and Great Britain; of temporary but highly influential visitors like Paul Robeson; and of the settlement of ex-colonial peoples who brought their music to Britain, and changed its forms and concerns in the new context. It is the story of institutions like the military that provided spaces for black musicians, but it is also the story of individuals like John Blanke, the black trumpeter in the court of Henry VIII, Ignatius Sancho the composer and friend of Laurence Sterne in the 18th century, early nineteenth century street performers such as Joseph Johnson and Billy Waters, child prodigies such as George Bridgewater and composers such as Samuel Coleridge-Taylor in the later 19th whose music is still played today. Above all, it is the story of those individuals who changed the face of British music in the post-war period, who collectively fertilized British jazz, popular music and street theatre in ways that continue to evolve in the present. This is the story of the Windrush generation who brought calypso and steelband to Britain's streets, Caribbean jazz musicians such as Joe Harriot and Shake Keane, or escapees from apartheid South Africa, such as Chris McGregor and Dudu Pukwana who brought modernity and the sounds of Soweto to British jazz, and a later generation who gave ska and reggae distinctive British accents. Based on extensive research and many first-hand interviews, one of the great virtues of Kevin Le Gendre's book is lack of London-centricity, its recognition that much important development took place in cities such as Manchester, Leeds and Bristol. As a noted reviewer of black music for the BBC, the Independent, Echoes and other journals, Le Gendre brings together both a sense of historical purpose and the ability to actually describe music in vivid and meaningful ways.

Condizione: New.

Condizione: NEW.

Condizione: NEW.

Condizione: New.

Condizione: New.

Condizione: New.

hardcover. Condizione: New. 1st.

hardcover. Condizione: New. 1st.

Condizione: New.

Condizione: New.