¡Bemsha SWING!

19 abr 2007

I never realized Rollins had a quartet for a short period in 1963 with Don Cherry, Henry Grimes, and Billy Higgins--a pianoless group similar to those of Ornette shortly before (Cherry and Higgins had of course played in Ornette's groups shortly before.)

(I knew some Rollins trio recordings with Elvin and Wilbur Ware--also pianoless.) I love the absence of piano because it allows for so much space in the music for the bass and drums. Cherry is in top form, a nice complement to Rollins as he was on Coltrane's The Avant-Garde, in another shadow-Ornette group (Ornette's musicians without Ornette himself). The Coltrane group with Cherry and Ed Blackwell, however, never quite comes together in satisfactory form.

2 comentarios:

Jess Mynes dijo...: That sounds like a dynamite lineup. Billy Higgins is a terrific drummer.; 9:06 a. m.
John dijo...: If someone wanted to make a list of the most masterful, imaginative, innovative, and up-to-date jazz musicians of 1959, Mingus, Miles, and Rollins would probably have been on it.

And Ornette came along and laid a heavy influence on all of them.

It's astonishing.; 11:33 a. m.

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Blurbs & Reviews

"Jonathan Mayhew’s new work belongs to a certain class of surprising books: those so obviously necessary once they appear that it apparently required a stroke of genius to come up with the idea for them."

--Daniel Katz

"Jonathan Mayhew's Lorca is less the distinctive Spanish poet, whose murder in 1936 marked the beginning of the Civil War, than he is an American invention. From the 1940s to the end of the century, our poets have invoked Lorca-in translation, of course-as a Romantic, exotic, radical, and, in many cases, gay icon-the poet of mystery and the duende. The Lorca myth, Mayhew argues persuasively, has enriched American lyric, but it has also been an obstacle to a more adequately grounded understanding of Spanish poetry in the 20th century. Apocryphal Lorca is revisionist criticism at its most acute."

-Marjorie Perloff

"Enhanced by copious notes and an excellent bibliography, this book offers a perceptive, intriguing assessment of the Garcia Lorca created by the postwar generation of American poets." (Choice )

"Mayhew is a critic who is at the top of his game; he combines a breadth of knowlege of the field with acute analysis."

--John C. Wilcox, University of Illinois at Urbana-Champaign

"Let me just cut through all the usual, boring book review preliminaries and say the following thing: Jonathan Mayhew has, in Apocryphal Lorca, written an amazing book. "

--Brandon Holmquest, Calque

"The great merit of Mayhew's study is his sustained effort to document and interrogate Lorca's reception, unique among American encounters with foreign literatures in its nature and extent."

--Lawrence Venuti, TLS.

"Se trata de Jonathan Mayhew y su extraordinario estudio Apocryphal Lorca. Translation, Parody, Kitsch. Esta obra se ocupa no de García Lorca sino de cómo los escritores estadounidenses han reinventado a Lorca, desde Spicer y Rothenberg hasta O’Hara y Koch. Asimismo, es una discusión de la Deep Image —¡cuánto hay que desmenuzar de ese capítulo!— y la manera en que la poética norteamericana se ha apropiado de lo lorqueano (o lorcaesco) y del concepto de lo 'otro' que éste representa. Éste es un libro repleto de sutilezas, de tesis, apuntes, datos."

--Heriberto Yépez

"Apocryphal Lorca, sin embargo, es mucho más que un estudio de las vidas posteriores de Lorca en la poesía americana entre principios de los años 50 y 70. También ofrece un acercamiento histórico a la traducción de su obra, descubriendo reseñas de prensa significativas y discurriendo acerca de reconocimientos críticos. El texto es elegante y fresco; el análisis amplio e históricamente específico."

--María Delgado, Revista de Literatura

¡Bemsha SWING!

19 abr 2007

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