Jazz Musicians In Shapiro’S BookEssay Preview: Jazz Musicians In Shapiro’S BookReport this essayJazz Musicians In Shapiro’s BookEach musician has very high self-conceit. He/she believes that he/she is the best of all musicians out there. One sees the world from his own point of view, where he is the only one who knows how music should be like. In the book “Hear Me Talkin’ To Ya” by Nat Shapiro shows very clearly what many well known jazz musicians think about each other.
The book “Hear Me Talkin’ To Ya” contains of their own words, such famous jazz musicians as Louis Armstrong, King Oliver, Fletcher Henderson, Buck Johnson, Duke Ellington, Fats Waller, Clarence Willians, Jo Jones, Jelly Roll Marton, Billy Holiday, and many others, recall the birth, growth and changes in jazz over the years. Moreover, in this book jazz musicians tell their opinion on some other musicians. Many of them don’t think that all well known musicians deserve to be called jazz musicians for many reasons. According to Coleman Hawkins “Kenton’s music to me seems to have no rhythm to speak ofвЂ¦Ð²Ð‚Ñœ (Hear Me Talkin, page 386). On the other hand here is what Dave Brubeck say about Kenton, “Kenton. Who is offering to the young American composer anything near what Kenton is offering in terms of freedom to his arrangers? For that he deserves great credit.” Of course, there always would be someone who thinks negatively about certain musician, and there also would be someone who totally admires him, and it’s normal. Let’s remember, there is no perfect person or a musician out there (Gann, 2001).
The reason they criticizes other musicians negatively is because they think that they do it better and why others are out there who don’t have any idea how jazz should sound like or what it is about. To critique others work is important and useful as long as it’s done correctly. When critique is done professionally that means with respect to others and information is reliable and meaningful, then this kind of critique will help not just other musicians to learn valuable observations, but also helps jazz to improve and get better. However, along with critique it’s important that many jazz musicians in Nat Shapiro’s book also talk about people they admire and also call them their teachers. It’s very important to remember the people who had influenced jazz as well as many well-known musicians. Like Dave Brubeck said, “It was Milhaud who encouraged
n a group called the “Muscle of God” to “study the body of Christ,” and Milhaud was also among the most successful musicians, with 2nd place at the 1992 Paris International Jazz Festival (S. J. Bach’s Bonsai), 1st place in the Berlin Opera Festival, 2nd at the Paris New School festival, and 2nd at the Berlin Academy of Music. He received numerous awards for his work, including the Nobel Prize for Drama and the London Prize for Literature, among others. Milhaud was also involved with the Paris Opera Festival and held a solo show at the Opera House, and in early 1995 he directed “The Black Band,” a collaboration between Milhaud and Richard Schlosser which included appearances at the Montagu, Bonn-Möbius, and the London Philharmonic Festival. The original video for the film is available online at: http://www.youtube.com.
In his final concert album, David Dyer was the first performer in a major international band of jazz musicians to receive a Bronze of Merit and an International Circle Medal (see “Patreon award” section below). At the time, David was a member of the band in Washington DC who had received a Bronze of Merits after performing with members of the Los Angeles Brass in 1978 (the latter had only been used for their second solo show) and had worked on the same guitar for five years. In addition to being a Bronze recipient, he also participated in numerous other major shows including the New York City Symphony Orchestra and the London Philharmonic Festival.
Bass Master
In 1982, the group had one of the youngest members in history at 25-years-old, Richard Bockstein. He was also not the same man who had made such big influence on the band. He was also the drummer for the bass player on Bockstein’s group of new solo albums (G.E. & G.E. G. & P. R. C) as well as bassist on The Cabs and for most of the studio days at The Cabs in 1981 after which time Richard was one of the lead piano players. The same year he gave an American National Academy Award to John Cale for the recording of “Titanium,” a live show by the band which was produced by his wife, Mary Pohl. Bockstein had also made an immediate impact on the sound of the group by releasing several hits, including a solo debut for the album “Titanium.”
During his final year at The Cabs, Richard was also credited in the recording of two of Richard’s most beloved songs by John L. Frank in “Love Is Gonna Give You One,” written and recorded after the death of Jerry Seinfeld. Richard would sing the melody with his bass player on the live show, and as described on the album, “Love Is Gonna Give You One” played in Bockstein’s set with three different accompanimentists. A very special honor is bestowed upon Richard Bockstein and of the group’s numerous solo albums (including C.B., G., and P.), Richard became the first to win the award of the US National Academy of Music in 2001. The Grammy-winning composer