The influential but controversial German writer, broadcaster, and record producer , Joachim-Ernst Berendt (–), author of the world’s best-selling jazz. Author: Joachim-Ernst Berendt and Gunther Huesmann Price: $ Format: Paperback Book:The Jazz Book (Seventh Edition): From Ragtime to the 21st. Joachim-Ernst Berendt, a German writer who was best known as a jazz critic but who was also a radio and concert producer and the author of.
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Berendt died on 4 February at the age of 77 after a traffic accident which he was involved in as jlachim pedestrian. So jasz Desmond was a particularly successful figure of the Konitz line”, and vibist “Stefon Harris picked up where Bobby Hutcherson left off”, and “Joanne Brackeen was the first person to create a new image of the woman in jazz”. The founded the Berlin Jazz Days, an event which became a major European jazz festival, and arranged numerous concerts in Germany and elsewhere, including concerts linked to high-profile occasions like the Olympic Games in Munich, the World Expo in Osaka, Japan, and major events at the Lincoln Centre in New York.
The Marco Polo of jazz Chapter I loved this page as a kid—its clarity and seeming inevitability. In other places, however, the book is more vital. He was walking to an event to promote his new book Joachi Gehen Only Walkinghis version of experiences with nature.
Emancipation and the dilemma of Volk -jazz Chapter 7. Huesmann’s introduction makes jozchim that he was one of Berendt’s admirers and acolytes, and his approach to The Jazz Book is respectful toward his late co-author.
Books The Jazz Book: Here, Berendt and Huesmann deliver cogent summaries but also arguments for the kind of expansive view of the music in which they believe. Article added in April Joachim-Ernst Berendt, the author of the best selling book on jazz ever overall sale about 1,5 million copiesalso known as the “Pope of Jazz” in Germany, died in Hamburg, Germany, on Feburary 4,at the age of 77, after being hit by a car.
But this year brings the seventh edition, now co-authored by Gunther Huesmann. Berendt and Huesmann quickly take you far out on a limb.
Its importance lies not just in recognising the importance of a major mediator and ‘enabler’ of postwar jazz; it also models the late twentieth century shift of the jazz centre of gravity away from the US and towards international fusions.
And not just “tenorists” but those influenced by fusion.
The Jazz Book: From Ragtime to the 21st Century by Joachim-Ernst Berendt and Gunther Huesmann
This year’s collection includes many independent and self-published artists; no mainstream or superhero comic in sight. Doing the bossa in Berlin Chapter Jazz and the divide between serious and entertainment music Chapter 2. But coming from this basic chronology are myriad branches: Happily, the judgments are usually accurate, fair, and savvy.
In American-based music publication Jazz and Pop voted him Europe’s best jazz producer. In these books Berendt investigates in listening in general, i.
Andrew Wright Hurley offers a welcome, closely researched study of a joacgim who a decade after his untimely death continues to divide opinion ioachim musicians, fellow producers and critics. In the section on Wynton Marsalis, for example, they summarize the harsh critiques of Marsalis that he is too much an archivist, too suspicious of the avant-garde, too likely to hire only black musiciansbut they ultimately defend him with his considerable record of accomplishments.
They also wisely connect this question of euphony to the fact that “Africans deported as slaves to the New World were forced to speak Beerendt languages” and to play on European brrendt. Oh, how I wish that it was reasonable to find yourself in a bar, arguing the merits of Wynton Kelly versus Red Garland. The Jazz Book has always been great about this—acting as a quick summary of the existing literature.
Each gem was sharp-edged and clear. Today, of course, I am painfully aware of how oversimplified it is. From till his retirement in he was in charge of the jazz department of the SWF. Listening to the Worldand I Hear, Therefore I Existand he created a series of very successful tapes for use in meditation.
Berendt The Jazz Book
The overriding structure of The Jazz Bookthen, is a branching tree. So it is no surprise that a European, German Joachim-Ernst Berendt himself, wrote the ultimate book on jazz that should not be missing in any library. From Wikipedia, the free encyclopedia. It broke the music down by decades, style periods, instruments, meanings. Rather, it attempted to explain the music in almost taxonomic terms. It is to Hurley’s credit that he raises so many important issues surrounding jazz’s development in the second half of the twentieth century.
Here was a book that did not get long-winded about this potentially blah-blah-blah topic.
In the first German edition of Berendt’s Jazz Book was published. The Seventh Edition is still mainly Berendt’s book, with Huesmann adding material on contemporary musicians that seems positively Berendt-esque. Berendt seemed to have an inimitable attack as a writer—a pleasant but insistent bluntness that served to joacihm his book brief and cogent, if reductive.
Jazz has had a jazx and fascinating history in Germany. Anyone looking for a basic guide to the stunningly wide spectrum of musicians and bands will find in The Jazz Book ‘s chapters on “The Instruments of Jazz” a kind of smartly annotated list.
This turn to philosophy also saw him becoming a disciple of the controversial Indian mystic Osho. He not only wrote The Jazz Book joachi, but in total 33 books, translated into 16 languages, dealing mostly with music and philosophy. Finding the Blut und Boden in African roots.