Crowe on the Banjo: The Music Life of J. D. Crowe by Marty Godbey

By Marty Godbey

During this first biography of mythical banjoist J. D. Crowe, Marty Godbey charts the existence and profession of 1 of bluegrass's most vital innovators. Born and raised in Lexington, Kentucky, Crowe picked up the banjo while he was once 13 years previous, encouraged via a Flatt & Scruggs functionality on the Kentucky Barn Dance. Godbey relates the lengthy, exclusive profession that undefined, as Crowe played and recorded either solo and as a part of such different ensembles as Jimmy Martin's Sunny Mountain Boys, the all-acoustic Kentucky Mountain Boys, and the innovative New South, who created an adventurously eclectic model of bluegrass through merging rock and state tune impacts with conventional kinds.

Over the a long time, this hugely influential staff introduced the careers of many different clean abilities corresponding to Keith Whitley, Ricky Skaggs, Tony Rice, Jerry Douglas, and Doyle Lawson._x000B__x000B_With a selective discography and drawing from greater than twenty interviews with Crowe and dozens extra with the avid gamers who be aware of him top, Crowe at the Banjo: The track lifetime of J. D. Crowe is the definitive track biography of a real bluegrass unique.

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But all of it is played with an unfailing precision and stylishness. Whiteman provided a model of cultural synthesis, or at least musical homogenization. At its worst this approach trivialized everything it touched; at its best it expanded the range of musical experiences available to an unsophisticated mass audience. For many listeners, Whiteman's music opened the door to jazz and to the classics. But taken in large doses the slickness begins to pall. The recorded Whiteman legacy is interesting as an archive of superb performances of forgettable music with one big exception.

Gershwin's later music expanded the devices of modernism to include Stravinskian polychords (and Poulencian insouciance) in An American in Paris and even Schoenbergian twelve-tone figures in the "/ Got Rhythm" Variations and Porgy and Bess (where the harmony often sounds like Berg's). " Ex. 4-3(a) Gershwin: Rhapsody, b. 55; Debussy: Pour lepiano, bb. 30—31; (b) Gershwin: Rhapsody, b. 68; Debussy: Reflets dans Ueau, b. 14 Few songs written before "Alexander's Ragtime Band" became part of the canon that dominated American popular culture until the rise of rock.

He exploited every possible opportunity to glue the themes together with cross-references: a method exposed in the very opening phrase of the work which combines Ritornello and Stride themes with the tag cell. In short, Gershwin worked systematically to prevent the Rhapsody from being the simple medley that the work is often taken to be. The weaknesses of the Rhapsody, contrary to much criticism, may stem from too much unity, 24 Instruction manual not incoherence — Gershwin could be heavy-handed in his motivic reminders.

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