The Art of Jazz
Alyn Shipton, author
Alyn Shipton is an award-winning author and broadcaster who presents jazz programs for BBC radio and was the jazz critic of the Times in London for over twenty years. He is currently a jazz research fellow at the Royal Academy of Music in London and lives in Oxford, UK.
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Musician Shipton gathers over 300 colorful images of jazz paintings, studio photos, record covers, and posters in this vibrant illustrated history. John Edward Hasse, a curator at the Smithsonian Institution Museum of American History, writes in the introduction: “Jazz appears most directly to the ear but also engages the eye. Yet the visual dimension of jazz is often overlooked.” A detailed summary of early jazz follows—from the brass bands of New Orleans and Louis Armstrong to Duke Ellington, Bessie Smith, and Jelly Roll Morton—supported by a collection of eye-popping photos (a soft-focus head shot of Peggy Lee in 1947; Count Basie’s orchestra squeezed together onstage at New York City’s Famous Door jazz club in 1938) and artwork (such as Street Musicians, by Harlem-born abstract expressionist painter Norman Lewis). Meanwhile, noted illustrators, designers, and graphic artists such as Andy Warhol (who designed the cover of RCA’s 1955 album Count Basie), Verve Records’ David Stone Martin, and Blue Note’s Reid Miles provided album cover designs for bebop and modern jazz records. Other album cover images include those of the ever-evolving Miles Davis, Ornette Coleman, and 21st-century jazz musicians, Kamasi Washington among them.
This indispensable work of the genre’s art is perfect for jazz aficionados.
It’s known for its blue notes, its spontaneity, and its stars, from Billie Holiday and Ella Fitzgerald to Count Basie, Louis Armstrong, and Duke Ellington. Moreover, “if jazz means anything,” wrote Ellington, “it is freedom of expression.” A new book from the writer, broadcaster, and bassist Alyn Shipton collects more than 300 images—“Visualizations of the musicians, their milieu, and their music as metaphor,” writes John Edward Hasse in the foreword—in a vibrant visual history. By the time the word “jazz” made it into The Oxford English Dictionary—and as a supplement, no less, the original 1928 edition having appeared without it—the Jazz Age was in full swing. It left the dictionary in the dust, “creating unforgettable and vivid sonic paintings,” writes Hasse, and encouraging in its musicians “that leeway to experiment, to find and put forward one’s personal voice and style” that made their music so enduring.
Page count: 256
Trim size: 9 3/4 x 11