Jazz Italian Style

From its Origins in New Orleans to Fascist Italy and Sinatra

Nonfiction, Entertainment, Music, Social & Cultural Studies, Political Science, History
Cover of the book Jazz Italian Style by Anna Harwell Celenza, Cambridge University Press
View on Amazon View on AbeBooks View on Kobo View on B.Depository View on eBay View on Walmart
Author: Anna Harwell Celenza ISBN: 9781316761939
Publisher: Cambridge University Press Publication: March 6, 2017
Imprint: Cambridge University Press Language: English
Author: Anna Harwell Celenza
ISBN: 9781316761939
Publisher: Cambridge University Press
Publication: March 6, 2017
Imprint: Cambridge University Press
Language: English

Jazz Italian Style explores a complex era in music history, when politics and popular culture collided with national identity and technology. When jazz arrived in Italy at the conclusion of World War I, it quickly became part of the local music culture. In Italy, thanks to the gramophone and radio, many Italian listeners paid little attention to a performer's national and ethnic identity. Nick LaRocca (Italian-American), Gorni Kramer (Italian), the Trio Lescano (Jewish-Dutch), and Louis Armstrong (African-American), to name a few, all found equal footing in the Italian soundscape. The book reveals how Italians made jazz their own, and how, by the mid-1930s, a genre of jazz distinguishable from American varieties and supported by Mussolini began to flourish in Northern Italy and in its turn influenced Italian-American musicians. Most importantly, the book recovers a lost repertoire and an array of musicians whose stories and performances are compelling and well worth remembering.

View on Amazon View on AbeBooks View on Kobo View on B.Depository View on eBay View on Walmart

Jazz Italian Style explores a complex era in music history, when politics and popular culture collided with national identity and technology. When jazz arrived in Italy at the conclusion of World War I, it quickly became part of the local music culture. In Italy, thanks to the gramophone and radio, many Italian listeners paid little attention to a performer's national and ethnic identity. Nick LaRocca (Italian-American), Gorni Kramer (Italian), the Trio Lescano (Jewish-Dutch), and Louis Armstrong (African-American), to name a few, all found equal footing in the Italian soundscape. The book reveals how Italians made jazz their own, and how, by the mid-1930s, a genre of jazz distinguishable from American varieties and supported by Mussolini began to flourish in Northern Italy and in its turn influenced Italian-American musicians. Most importantly, the book recovers a lost repertoire and an array of musicians whose stories and performances are compelling and well worth remembering.

More books from Cambridge University Press

Cover of the book Taming Intuition by Anna Harwell Celenza
Cover of the book The Treatment of Drinking Problems by Anna Harwell Celenza
Cover of the book Basic Concepts in Data Structures by Anna Harwell Celenza
Cover of the book Banking in Crisis by Anna Harwell Celenza
Cover of the book What Freud Really Meant by Anna Harwell Celenza
Cover of the book That Noble Dream by Anna Harwell Celenza
Cover of the book Physics of Radio-Frequency Plasmas by Anna Harwell Celenza
Cover of the book Pathology of the Mediastinum by Anna Harwell Celenza
Cover of the book Exclusions from Patentability by Anna Harwell Celenza
Cover of the book Sea Ice Analysis and Forecasting by Anna Harwell Celenza
Cover of the book The Skew-Normal and Related Families by Anna Harwell Celenza
Cover of the book Spatial Analysis for the Social Sciences by Anna Harwell Celenza
Cover of the book Matrix Algebra by Anna Harwell Celenza
Cover of the book Language, Mind and Body by Anna Harwell Celenza
Cover of the book Contract Law Minimalism by Anna Harwell Celenza
We use our own "cookies" and third party cookies to improve services and to see statistical information. By using this website, you agree to our Privacy Policy