By Morroe Berger
This striking two-volume paintings was once hailed as a milestone of jazz literature whilst it was once initially released in 1982. interpreting either his musical and cultural importance, the authors current the existence and profession of Benny Carter, probably the most vital and flexible figures in jazz. prior to now twenty years, Carter, in his eighties and nineties, persisted to extend his musical realm. during this re-creation, Edward Berger has introduced the remarkable Carter saga into the hot millennium, including insider bills of excursions, significant concert events, recordings, and different unique occasions. additionally, the hot paintings unearths extra of the reticent Carter's advanced personality and perspectives, gleaned from hundreds and hundreds of hours of interviews and conversations. The accompanying annotated discography, probably the most entire ever dedicated to the paintings of a unmarried musician, has been completely revised and up-to-date. Dozens of latest and formerly unpublished photos were additional.
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Extra resources for Benny Carter, a life in American music, Volume 2
Carter recalls Reeves with special respect: "He was a fine teacher, a great human being, and knew music and the sax very well. He taught the importance of learning the structure of music, yet he was never stern or rigid. " These teachers, having grown up in an earlier era, were not exactly jazz musicians. The San Juan Hill boys they taught, however, were interested in jazz exclusively, in which they also inspired one another. Many of them became well-known jazzmen within a few years in the bands of Fletcher Henderson, Duke Ellington, and in their own bands.
His old friend trumpeter Rex Stewart accurately observed in 1965 that although Carter's "gentility almost seems to be out of a forgotten age," he retained the capacity for quick anger under the right circumstances. 3 These are rudeness, greed, and inconsiderateness. In recent years, of course, his responses in such situations have been increasingly subtle but no less clear. Underneath his composure he often reveals a steely politeness that cuts deeper than anger. Born poor and black, Carter, through his talents, left poverty behind in his early twenties; he thereby escaped some of the hindrances of being black.
The San Juan Hill boys they taught, however, were interested in jazz exclusively, in which they also inspired one another. Many of them became well-known jazzmen within a few years in the bands of Fletcher Henderson, Duke Ellington, and in their own bands. Bubber Miley was one of their slightly older contemporaries who was already playing professionally. Carter, as a boy of about fifteen, was one of his admirers. " Freddy Johnson was another boyhood friend. Bobby Stark lived in the neighborhood.