Abstract In this paper, the writer studies the life and the musical development of tenor saxophonist John Coltrane. The writer looks at Coltrane's early life and his musical beginnings. The writer discusses Coltrane's search for new modes of expression. The writer notes Coltrane's position as an avant-garde leader and examines the influence of religion on his work.
From the Paper "One of modern jazz's most innovative musicians, tenor saxophonist John Williams Coltrane, commonly called Trane, died a couple of months before ..... yet his influence remains as profound after his death as in his lifetime. His greatness comes from his search for new modes of expression as well as his masterful musicianship. Starting in the bebop style he reshaped modern jazz as a leader in the avant-garde with his later free form style and modal improvisation. John Coltrane's life was based ... "
Abstract This paper analyzes the book "Family Man: Fatherhood, Housework and Gender Equity," written in 1996 by sociologist Scott Coltrane. The paper describes Coltrane's view that men have become more involved with the household responsibilities over the past several decades. The paper also briefly describes Coltrane's ten general trends that he discusses in his book.
From the Paper "Coltrane spends a great deal of his book giving evidence about how men are helping out more around the house and with the children. However, in the last chapter, he hedges by saying that changes are occurring slowly and the division of labor depends on the mindset of the couple--traditional and conservative versus more liberal and open minded. "Yet overall men still do considerably less than their wives around the house," admits Coltrane. Factors such as long-term gender roles, greater importance on the man's role over the woman's, and women who feel guilty about handing over the broom, will take longer to change (p. 230)."
Abstract This paper discusses poems by Amiri Baraka, Robert Hayden, and Michael S. Harper, exploring how each poet uses imagery of the human (specifically African-American) body to convey meaning. Baraka sees the body as a potential instrument for social change, calling for Black poets to create work that will inspire real action. Hayden describes the horrific lynching of a Southern Black man, exposing the sinister motives of his white attackers. Finally, Harper crafts a tribute to Coltrane, detailing the legendary musician's struggle with pain, both physical and existential.
From the Paper "I have been reading the work of Amiri Baraka for several years now, but have only recently become more intensely interested in the complex style of this challenging poet. Baraka probably has the most unique, original style of any modern poet I?ve read, a style which, for me, is generally most effective when he reads it aloud than when simply read from the printed page. Much of Baraka's poetry is heavily influenced by jazz music, so if follows that his poems are fantastic on a purely auditory level. As entertaining and stirring a performer as Baraka is, I would argue that his poems must not be looked at as performance pieces, but also as the work of an accomplished craftsman. To that end, I searched for examples of literary criticism and scholarship that focused on the text of Baraka's work, rather than his impassioned delivery of it."
Abstract This paper examines how during the time period of 1962 to 1966, Art Pepper had many experiences which massively influenced his music such as John Coltrane and his time spent in San Quentin prison. It also looks at how throughout Art Pepper's life, he used his music to express his emotions.
From the Paper "The radical style of John Coltrane's jazz greatly influenced Art's music. Coltrane's style revolutionized the 60s jazz scene and many people criticized him. Art too at first criticized Coltrane but later began to learn from him and imitate his style. Hersh Hamel stated, "Art was very influenced by Coltrane at that time because he was in jail with some pretty radical players. Art heard those guys in Quentin, and at first he didn't like it so much, he said, but after hearing them practice day after day, he started to pick up on what they were doing and to like it more and more." Coltrane's radical style influenced Art so much that he began to change his own style. Yet this caused him to be criticized greatly even by his own friends. Shelly Manne felt that Art was losing his own musical identity. "
The following paper critically analyzes the following Michael S.Harper poems: "Peace on Earth"; "American History"; "Dear John", "Dear Coltrane"; and "Makin' Jump Shots".
Abstract This paper examines the works of Michael S. Harper and the way in which Harper sees music as a link between past and present. The writer comments on the way in which Harper continues to use jazz as a basis for his poetry expanding his philosophies, somewhat from the early 1970s to include different themes.
From the Paper "In the opening of the poem "Dear John, Dear Coltrane" Harper begins by telling us about the black man's pain. Harper says that he interprets the poem's opening as a declaration that men should not assert manhood. The poem is a declaration of tenderness, and a reminder to the reader of a suffering beyond the personal and historical to the cultural, that there can be no reservations fixed to sensibility, that personality gives power through the synthesis of personal history and the overtones of America in and by contact."
Abstract Jazz is a music that belongs to all races. This paper argues that, even though there have been a majority of African-American musicians in the jazz community, anyone can play it, write it, and express their feelings through it. There was music being played at the same time jazz began by other people who had a big influence on jazz, however. This paper shows that there have also been many white musicians who have made important and influential contributions to jazz. Over the last few decades, many jazz artists and critics have become vocal about their opinion about jazz and race because there are so many strong opinions about it. The writer concludes that this issue has been discussed privately since jazz became popular and that the connection between jazz and race continues to be a widely discussed topic in the jazz community.
From the Paper "The connection between jazz music and race has been discussed since jazz first became a genre one hundred years ago. Over the last four decades, many jazz artists have become more vocal about the idea that jazz is a black music. The argument is not that all good jazz musicians are black, but that the most immediate and significant ancestors have been black. Some of the major jazz innovators such as Louis Armstrong, Duke Ellington, Charlie Parker, Miles Davis Thelonious Monk, and John Coltrane have been black. The view of jazz as a black music, however, is controversial. There are many that believe that jazz is not the property of just one racial group. Artists who are or were not black such as Benny Goodman, Artie Shaw Stan Getz, Bix Beiderbecke, Gerry Mulligan, Dave Brubeck, Frank Trumbauer, and Charlie Haden have also left distinguished marks on jazz. At the turn of the century, when jazz first became popular, white and black musicians were playing very similar, though not identical, forms of music. Some artists and critics claim that the jazz expression of black Americans is a creative reflection of the black experience, however, most artists see jazz as a way to express personal experience, no matter what race they are. Though the first innovative jazz musicians were black, jazz is a music that belongs to all races."
This paper reviews the jazz collection of five works by Miles Davis on the CD "Kind of Blue" in which he is joined by legendary players on piano, drums, bass, alto and tenor saxophone.
910 words (approx. 3.6 pages), 0 sources, 2005, $ 32.95
Abstract This paper explains that the pieces in Miles Davis' jazz CD "Kind of Blue" are loosely composed, consisting of improvisation within a musical framework, which produces a feeling of freedom without the clutter of a larger ensemble. The author points out that, when the listener focuses on just hearing the music, he or she can discover the structure behind the melodies and appreciate each instrument and its player individually. The paper relates that the favorite piece on the CD is "Blue in Green", which is the most melodic piece in the collection; Bill Evans creates a lush and romantic mood and his playing invites the listener to put down whatever he is doing and just listen.
From the Paper "Bill Evans's piano solos gave a languid feeling with an unhurried, soft touch that was romantic and contemplative. Between the two saxophonists, I preferred the work of John Coltrane, who has a dusky sound that broadens as it gains volume. Cannonball Adderly's alto sax brought the energy level up and made me feel like getting up off the couch and moving around. I was struck by the contrast of these two players and, although alto and tenor saxes play in different registers, the difference in their sound is attributable to more than this. It is a matter of individual style and each musician's approach. This switch in mood makes the CD more interesting and eliminated any possibility of monotony or of boredom on the part of the listener."
