A jazz lexicon by Robert S Gold

By Robert S Gold

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Sample text

1923-c. 1929, obs. since jazz dance popular in the 1920's. Nigger Heaven, 120. p. I'm dying to do the Black Bottom again with OlHe! 1934 Metronome, 30. p. The cf. of Jericho, p. 14, "Been wantin' to spank foxtrot . . has outlasted . . , Black Bottom. blackstick, black-stick, n.

38. Fats doesn't like the modem music . What they call bebop . — 1949 Music Library Association Notes, Dec, p. 39. bebop: the most recent development in popular instrumental music, hot is really a series of jazz . " the intricacies of African . combined European with ( the white ) complexities harmony. Blade, 15 Feb. , p. his 158. music Of it faded away until applied to at Minton's. " Origiword used to describe the continually shifting accents of the early work of Charlie Parker, Dizzy GiUespie, Kenny Clarke, and Thelonious Monk, it soon became a free-floating, generic one as well, whose tight, rude sound impKed something harsh, jerky, and unattractive.

Bad: good. Example: flute. A superlative musician on flute. Times, call II, p. 2. , Sec. very much. Y. A — it A "He's bad— Quarterly of American Music, Fall, p. 294. ) to any word; some currency since c. 1955] The very best (usually, performer) Oral evidence only. v. face. bad scene. v. scene. bag, [prob. by analogy with "bag c. 1958; see also groove] of tricks"; current since the imaginary re- Initially, pository of a musician's ideas, conception, style, attack; by extension, the source of one's behavior: see 1962 — i960 The Jazz Word, Man, in another bag.

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