The Jazz Review, Vol.1, No.2 (Dec. 1958)
This PDF is a full-text searchable reproduction of the entire issue of this publication with all images, including advertisements.
This PDF is a full-text searchable reproduction of the entire issue of this publication with all images, including advertisements.
This PDF is a full-text searchable reproduction of the entire issue of this publication with all images, including advertisements.
My body goes here
Jazz Studies Online: You're from New York. What kept you here when you decided to pursue a career as a jazz musician? What features did the city offer then that others did not? Given that you stayed in New York (or nearby) have your motivations for being here changed?
Jazz Studies Online: You're not from New York originally. What lured you here? What features did the city offer then that others did not? If you've stayed here, have your motivations for being here changed?
Jazz Studies Online: You're not from New York originally. What lured you here? What features did the city offer then that others did not? Given that you still make a point of visiting here regularly, have your motivations for coming here changed at all?
Jazz Studies Online: You're from New York. What kept you here when you decided to pursue a career as a jazz musician? What features did the city offer then that others did not? Given that you stayed in New York (or nearby) have your motivations for being here changed?
This PDF is a full-text searchable reproduction of the entire issue of this publication with all images, including advertisements.
Chevan documents the musical literacy of early jazz musicians in order to debunk romantic notions of "primitivism" in jazz. Even as jazz first emerged as a distinct musical form, its leading musicians had to read music as well as improvise. Reading music was essential to understand the variety of styles they absorbed and incorporated and to function in any professional situation they found themselves in.