By Paul Combs
Dameronia is the 1st authoritative biography of Tadd Dameron, an enormous and broadly influential determine in jazz background as the most major composers and arrangers of jazz, swing, bebop, and massive band. He prepared for names like count number Basie, Artie Shaw, Jimmie Lunceford, and Dizzy Gillespie and performed with Bull Moose Jackson and Benny Golson. This e-book units out to elucidate Dameron's position within the improvement of jazz within the post–World warfare II period. It additionally makes an attempt to make clear the tragedy of his retreat from the heart of jazz task within the Nineteen Fifties. via tracing Dameron's profession, one unearths that till 1958, while he used to be incarcerated for drug similar offenses, he was once on the vanguard of advancements in jazz, occasionally awaiting traits that will no longer improve totally for a number of years. Dameron used to be additionally a major impact on a number of high-profile musicians, together with Miles Davis, Benny Golson, and Frank Foster. Dameron was once a really inner most guy, and whereas in a few features of his existence he'll most likely stay an enigma, this publication manages to offer an intimate portrait of his existence at a number of key levels: the peak of his profession in 1949 and the short yet effective interval among his liberate from criminal and his death.
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Extra info for Dameronia: The Life and Music of Tadd Dameron
The One I Love” and “Bewildered”—in spite of some radical reharmonization—are very close in style to the three pieces that were recorded at the earlier time. “Good Bait,” “Frolic at Five,” “Moo-See-Ka,” and “Zakat,” the later of which foreshadows Tadd’s late-1940s writing for smaller bands, all reflect the changes 32 Dameronia starting to take place in Dameron’s post-AFM-ban big-band writing. 9 This is also in the Driggs Collection, and while it is credited to Ed Wilcox, it sounds very clearly like Dameron’s work from the 1945 period.
So we got together and we were playing “Lady Be Good” and there’s some changes I played in the middle where he just stopped playing and ran over and kissed me on the cheek. . And my wife would cook. 4 Another friend Dameron made while in Kansas City was Mary Lou Williams, the brilliant and often overlooked pianist, composer, and arranger who was, in a way, the heart and soul of the Andy Kirk band. ”5 Suggestions of these ideas can be heard in the arrangements recorded by the Kansas City Rockets.
25 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ bœ œ œ œ œ œ œ ‰ œ &b c Œ * No chord - line doubled at octaves below ex. 5b. 5c. Ê C 7 (implied) b œ œ œ œ œ œ œ œ Œ + œ œ œ œ œ œ œ œ œ œ œJ œ . œ œ œ œ œ œ œ œ Ó œ œ œ œ Fig. 5. ” are on the strong beats, adding to the rhythmic tension, which is resolved in the third measure (+), where the figure resolves into the longer eighth-note line. ” Regardless of whether Tadd Dameron or Myra Taylor wrote the song itself, Dameron’s arrangement for “Dig It” is a solid as the others written for the Rockets.