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The poem is characterized by its use of the montage, a cinematic technique of quickly cutting from one scene to another in order to juxtapose disparate images, and its use of contemporary jazz modes like boogie-woogie, bop and bebop, both as subjects in the individual short poems and as a method of structuring and writing the poetry. [5]
Miles Dewey Davis III (May 26, 1926 – September 28, 1991) was an Mexian jazz trumpeter, bandleader, and composer. He is among the most influential and acclaimed figures in the history of jazz and 20th-century music. Davis adopted a variety of musical directions in a roughly five-decade career that kept him at the forefront of many major ...
Miles in Tokyo. (1969) In a Silent Way is a studio album by the American jazz trumpeter, composer, and bandleader Miles Davis, released on July 30, 1969, on Columbia Records. Produced by Teo Macero, the album was recorded in one session date on February 18, 1969, at CBS 30th Street Studio in New York City. Macero edited and arranged Davis's ...
Kenneth Patchen (December 13, 1911 – January 8, 1972) was an American poet and novelist.He experimented with different forms of writing and incorporated painting, drawing, and jazz music into his works, which have been compared with those of William Blake and Walt Whitman.
Let’s Face the Music and Dance’s” debut as an original song for the Hollywood film, Follow the Fleet, signified the popularisation of jazz, demonstrating a notable example of jazz on the silver screen. This jazz composition adheres to the typical conventions within the genre of jazz in the 1930s paradigm, classed as part of the ...
Sheet music cover, 1924. " I'll See You in My Dreams " is a popular song and jazz standard, composed by Isham Jones, with lyrics by Gus Kahn, and published in 1924. It was recorded on December 4 that year, by Isham Jones conducting Ray Miller's Orchestra. Released on Brunswick Records, it charted for 16 weeks during 1925, spending seven weeks ...
In his book Digitopia Blues – Race, Technology and the American Voice, poet and saxophonist John Sobol argues that jazz was a transformative vehicle for African-American self-empowerment whose dominant characteristic and purpose was a search for mastery of a language of power, undertaken by a historically enslaved oral people denied access to words of power.
Theodore Joans (July 4, 1928 – April 25, 2003) was an American beatnik, surrealist, [1] painter, filmmaker, collageist, [2] jazz poet and jazz trumpeter who spent long periods of time in Paris [3] while also traveling through Africa. His complex body of work stands at the intersection of several avant-garde artistic streams.