n this engaging and astute anthology of jazz criticism, Larry Kart
casts a wide net. Discussing nearly seventy major jazz figures and many
of the music’s key stylistic developments, Kart sees jazz as a unique
perpetual narrative―one in which musicians, their audiences, and the
evolving music itself are intimately intertwined.
Because jazz arose
from the collision of specific peoples under particular conditions, says
Kart, its development has been unusually immediate, visible, and
intense. Kart has reacted to and judged the music in a similarly active,
attentive, and personal manner. His involvement and attention to detail
are visible in these pieces: essays that analyze the supposed return to
tradition that the music of Wynton Marsalis has come to exemplify;
searching accounts of the careers of Miles Davis, Thelonius Monk, Bill
Evans, and Lennie Tristano; and writing that explores jazz’s
relationship to American popular song and examines the jazz musician’s
role as actual and would-be social rebel.
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