Upon his return to the United States in 1939, he recorded a stunningly beautiful solo masterpiece on the standard "Body and Soul," a huge seller which was later set to words by jazz singer Eddie Jefferson, and then again, in harmony, by the Manhattan Transfer. Michael Cuscuna maintains that Silver and Blakey's efforts were in response to the New York bebop scene: Both Art and Horace were very, very aware of what they wanted to do. (Of course, this was, also the cool jazz approach of Gerry Mulliganbut with a very different result.). Gil Evans was. an abrupt, two-note ending to a melodic line. The gulf between the world as it is for the jazz virtuoso of the 1940s--dominated by war, gross social inequality, degrading racial discrimination, and, often, philistine ignorance, and how it ought to be--full of beauty and freedom, gives the resulting spontaneous improvisations of the jazz master of the 1940s an added passion. But Tristanos own audience remained tiny, this Atlantic album containing his moving elegy to Charlie Parker, 'Requiem', and his controversial multi-tracking of his own piano lines, 'Line Up, providing a brief moment when everyone sat up and took notice. Rec. Keith Shadwick, Ella Fitzgerald (v) and the Buddy Bregman Orchestra. History of Jazz: Ch. 8 - 11 Flashcards | Quizlet Entrenched patterns of segregation, both in the music industry and in society at large, automatically gave white musicians a nearly insuperable advantage in the mainstream market, blunting black ambition and forcing it into new channels. Keith Shadwick, Tristano (p), Lee Konitz (as), Peter Ind, Gene Ramey (b), Jeff Morton and Art Taylor (d). More a populariser than innovator, his soulful sound was much easier to assimilate and thus connected instantly with fans of both straight-ahead jazz and R&B/ soul. vocabulary. Regardless of whatever suffering accompanies artistic endeavors, there is something especially fulfilling, a profound inner joy, that arises from communicating the creative, artistic experience itself.
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