Word: dixielanders
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...Song (sic), and he sings it on an old busted acoustic record. That's all he deserves." Other innovations: a kazoo obbligato in the Children's Chorus; a Habañera that begins with the Bach Chaconne and turns into a mélange of rock and Dixieland...
...professional music folk took to Cocker from the start. Among them was Herb Alpert, who issued Joe's first two LPs on his own A. & M. label. Now Cocker is a hotter draw than Alpert's own Tijuana Brass, the legendary combo that made millions blending Dixieland and mariachi. As the new Warner film Woodstock (see CINEMA) makes emphatically clear, Joe was one of the hits of last summer's historic Woodstock festival. In those days, working with an instrumental quartet called the Grease Band, Cocker had the habit of taking light rock, such as softer ditties...
Taste and Love. Ever since Dixieland and ragtime, jazz has worked best, and spoken most eloquently for the black American, when it was most free and spontaneous. By the middle 1950s, after swing and bebop, jazz was wedded to the classics through the progressive jazz of Brubeck, the Modern Jazz Quartet and others. It took on an increasingly formal, warmed-over character. At that moment, the need for the New Thing first stirred among future jazz movers like Alto Saxophonist Ornette Coleman, Pianist Cecil Taylor and Tenor Saxophonist John Coltrane...
...admirers all over the world. But even after a decade, the new sound is still largely unfamiliar to many listeners. Uninhibited, impolite, impatient, the New Thing often seems intended only to disturb. One reason: it is as much involved with the pain of being black in the U.S. as Dixieland was with the exhilaration of marching in New Orleans parades. "To disturb people-at least what they mean by disturb-that's the whole point," says Sunny Murray, whose dense and relentless drumming is mind-riveting. For Coleman, it has nothing to do with conscious anger. "There...
...laborer in the rice fields of rural Louisiana. They drove all the way across the country hoping just to see him, to speak to him, to learn what New Orleans jazz had been before the turn of the century, before the first World War, before the "dixieland" musicians and the arrangers of the swing era had diluted and transformed its raw power and beauty almost beyond recognition...