{"product_id":"the-art-of-jazz-isbn-9781623545048","title":"The Art of Jazz","description":"\u003cb\u003eA perfect gift for the musicians and artists in your life!\u003cbr\u003e\u003cbr\u003e\u003ci\u003eThe Art of Jazz\u003c\/i\u003e explores how the expressionism and spontaneity of jazz spilled onto its album art, posters, and promotional photography, and even inspired standalone works of fine art.\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003eEveryone knows jazz is on the cutting edge of music, but how much do you know about its influence in the visual arts? With album covers that took inspiration from the avant-garde, jazz's primarily African American musicians and their producers sought to challenge and inspire listeners both musically and visually.\u003cbr\u003e\u003cbr\u003eArranged chronologically, each chapter covers a key period in jazz history, from the earliest days of the twentieth century to today's postmodern jazz. Chapters begin with substantive introductions and present the evolution of jazz imagery in all its forms, mirroring the shifting nature of the music itself. With two authoritative features per chapter and over 300 images, \u003ci\u003eThe Art of Jazz\u003c\/i\u003e is a significant contribution to the literature of this intrepid art form.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 \u003ci\u003eStreet Musicians\u003c\/i\u003e,  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 \u003ci\u003eCount Basie\u003c\/i\u003e), 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. \u003cbr\u003e —\u003ci\u003ePublishers Weekly\u003c\/i\u003e \u003cbr\u003e\u003ci\u003e\u003cbr\u003e\u003c\/i\u003e \u003cbr\u003eShipton, music historian and jazz radio host with  the BBC, offers a fascinating survey of how jazz influenced the art  world. As he states in his introduction, “the wider ramifications of  jazz . . . as syncopated music . . . rapidly transferred itself into the  visual and graphic arts.” The text follows this process by combining a  survey of jazz history with a parallel look at artists who illustrated  jazz sheet music, posters, and, especially, album covers, and who also  incorporated jazz influences into their own paintings and drawings.  Modern jazz forms, from bebop through free jazz and fusion, offered the  most synchronicity for visual artists, with Picasso, Warhol,  Romare Bearden, and Jean-Michel Basquiat among those whose art was used  in jazz illustration or who created specific work for album covers.  Shipton is also strong on jazz photography, calling out the use of  iconic devices like strategically placed microphones and curling  cigarette smoke. Far more than a showcase for striking album covers,  this is a remarkably insightful analysis of both art and jazz, showing  vividly how one form has fed the other. \u003ci\u003e\u003cbr\u003e\u003c\/i\u003e \u003ci\u003e—Booklist\u003cbr\u003e\u003c\/i\u003eAlyn Shipton is an award-winning author and broadcaster, who has written about jazz for over twenty years for the \u003ci\u003eTimes\u003c\/i\u003e in London and is a presenter\/producer of jazz programs for BBC Radio. As well as being on the editorial board for the original \u003ci\u003eThe Smithsonian Collection of Classic Jazz\u003c\/i\u003e, and on the executive selection committee for the acclaimed revised edition, \u003ci\u003eJazz: The Smithsonian Collection\u003c\/i\u003e, Shipton was consultant editor of the \u003ci\u003eNew Grove Dictionary of Jazz\u003c\/i\u003e. He has a lifelong interest in oral history, including editing the memoirs of Danny Barker, Doc Cheatham, and George Shearing. His monumental \u003ci\u003eNew History of Jazz\u003c\/i\u003e was the Jazz Journalists' Association book of the year, and won Alyn the coveted Jazz Writer of the Year title at the British Jazz Awards. In 2003 he won the Willis Conover\/Marian McPartland Award for lifetime achievement in jazz broadcasting. In 2010 he was named Jazz Broadcaster of the Year in the UK Parliamentary Jazz Awards. He lives in Oxford, UK, and rural France.\u003cb\u003eForeword: The Look of Jazz\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e How does jazz look? The answer is difficult to pinpoint, as few writers have addressed this question comprehensively.\u003cbr\u003e Jazz appeals most directly to the ear, but also engages the eye. Yet the visual dimension of jazz is often overlooked. There are books about jazz photography, specific record labels, album cover design, and museum exhibitions, but almost nothing has been published taking on the overall picture of the music.\u003cbr\u003e This is the first book to offer a 360-degree look—in the literal meaning of that word—at the history of jazz, from its nineteenth-century roots to its twenty-first-century eclecticism. Paintings and drawings. Portrait, studio, and documentary photography. Sheet music covers, record albums, posters, and advertisements. Imagery of musicians’ clothing, hair, eyeglasses, and facial expressions. Visualizations of the musicians, their milieu, and their music as metaphor.\u003cbr\u003e This pioneering book links the art together in a narrative, contextualizes each element in the broader history of jazz, and names and explores some of the lesser-known illustrators, designers, and artists who shaped our perception of the music in an almost subconscious way. The artists were products of their times, and the author points to several instances of stereotyping, underscoring the fact that not all the artwork depicting African American musicians was flattering or racially sensitive.\u003cbr\u003e Just as jazz has influenced poetry, fiction, dance, fashion, and vernacular language, so has the music affected the visual arts. And jazz can be strikingly visual, creating unforgettable and vivid sonic paintings such as Ellington’s eerie “The Mooche,” Miles Davis and Gil Evans’s piercing “Saeta,” or Charles Mingus’s raucous “Wednesday Night Prayer Meeting.”\u003cbr\u003e From the realm of jazz came some of the era’s leading creative artists, pursuing instantaneous, high-level communication and expression.  \u003cbr\u003e The brilliance of these artists affirms some of the most admirable values of our time: originality, individuality, risk-taking, cultural diversity, creative collaboration, and innovation.\u003cbr\u003e All were basking in the freedom that jazz affords and encourages. “If jazz means anything,” wrote Duke Ellington, “it is freedom of expression.”\u003cbr\u003e That leeway to experiment, to find and put forward one’s personal voice and style, bursts from the pages of this book, whether implied by the music and musicians or evident in the illustrations that adorn this volume.\u003cbr\u003e I first met Alyn Shipton in 1987, when he was producing an annual symposium at the Festa New Orleans Music in Ascona, Switzerland. He invited me to present a talk on ragtime, the subject of my book \u003ci\u003eRagtime: Its History, Composers, and Music,\u003c\/i\u003e which he had published in the UK. I immediately admired his eloquence, breadth of knowledge, versatility, and musical chops. I realized that Alyn Shipton is a polymath of music: writer, historian, editor, publisher, radio host, and bassist. It was with keen pleasure I renewed his acquaintance in person in London, and again in 1989, in Ascona, where, at his invitation, I delivered a lecture on Duke Ellington, later the topic of my \u003ci\u003eBeyond Category: The Life and Genius of Duke Ellington\u003c\/i\u003e. I came to regard Alyn’s \u003ci\u003eNew History of Jazz\u003c\/i\u003e, his books with Danny Barker, and his biographies of such figures as Cab Calloway, Fats Waller, and Dizzy Gillespie as essential jazz reading.\u003cbr\u003e As do I, Alyn has a deep curiosity about jazz and a profound passion to share his learning with the public. All of us are fortunate to benefit  from his erudition and insights, in his work to date and in this new book, \u003ci\u003eThe Art of Jazz.\u003c\/i\u003e\u003cbr\u003e \u003cb\u003eJohn Edward Hasse\u003c\/b\u003e\u003cbr\u003e \u003ci\u003eCurator Emeritus of American Music\u003c\/i\u003e\u003cbr\u003e\u003ci\u003e Smithsonian Institution\u003c\/i\u003e\u003cbr\u003e\u003ci\u003e Washington, DC\u003c\/i\u003e","brand":"Imagine","offers":[{"title":"Default Title","offer_id":46303325290725,"sku":"NP9781623545048","price":37.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1842\/7735\/files\/9781623545048.jpg?v=1767738165","url":"https:\/\/k12savings.com\/es\/products\/the-art-of-jazz-isbn-9781623545048","provider":"K12savings","version":"1.0","type":"link"}