52nd Street, the street of jazz
著者
書誌事項
52nd Street, the street of jazz
(A Da Capo paperback)
Da Capo Press, [1977]
- タイトル別名
-
Street that never slept
大学図書館所蔵 全3件
  青森
  岩手
  宮城
  秋田
  山形
  福島
  茨城
  栃木
  群馬
  埼玉
  千葉
  東京
  神奈川
  新潟
  富山
  石川
  福井
  山梨
  長野
  岐阜
  静岡
  愛知
  三重
  滋賀
  京都
  大阪
  兵庫
  奈良
  和歌山
  鳥取
  島根
  岡山
  広島
  山口
  徳島
  香川
  愛媛
  高知
  福岡
  佐賀
  長崎
  熊本
  大分
  宮崎
  鹿児島
  沖縄
  韓国
  中国
  タイ
  イギリス
  ドイツ
  スイス
  フランス
  ベルギー
  オランダ
  スウェーデン
  ノルウェー
  アメリカ
注記
Reprint of the 1971 ed. published by Coward, McCann & Geoghegan, New York, under title: The street that never slept
Includes index
内容説明・目次
内容説明
Back in the thirties and forties, when New York City was the capital of the jazz world,you could hail a cab, ask the driver to take you to "The Street," and find yourself on 52nd Street between Fifth and Sixth Avenues. Musicians, jazz lovers, college students, big businessmen,everybody knew that this was "The Street that Never Slept," the Street where every night was New Year's Eve, the Street that Variety editor Abel Green so aptly dubbed "America's Montmartre." Here, for the price of a drink or two, you could walk through the whole history of jazz. Hot jazz was born and raised on The Street, as were the big swing bands of the thirties and the modern "cool" jazz combos of the forties. Comics like Alan King and Joey Adams got their start on the Street, as did musicians like Erroll Garner, Jack Teagarden, and Coleman Hawkins. Bessie Smith performed on the Street, and so did Count Basie, Charlie "Bird" Parker, Dizzy Gillespie, Billie Holiday, Art Tatum, Sarah Vaughn, the Dorsey Brothers, Artie Shaw, and other jazz greats.Arnold Shaw was there,as musician, composer, PR man, and just plain listener,and he recreates for us the three swinging decades that were the history if the Street: its birth in Prohibition-era speakeasies, where musicians jammed for gin or just for the fun of it its post-Repeal blossoming as the centre of the jazz universe, lined up and down on both sides with tiny, smoke-filled rooms where black and white musicians played to capacity crowds its postwar decline as the Street became a tawdy tenderloin of strip and clip joints.
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