Jazz and the Horn
Jeffrey Agrell · Jeremy Mathez
Brass Bulletin N.º 40–105 · 1982–1999
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Parte 1
Jazz and the Horn
Brass Bulletin N.º 40 · 1982 · pp. 41–45
The horn was once considered incompatible with jazz until changing ideas of sound and musicians like John Graas quietly overturned that certainty.
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Parte 2
Jazz and the Horn
Julius Watkins
Brass Bulletin N.º 41 · 1983 · pp. 20–23
A pioneering career, landmark recordings and collaborations with jazz legends gave the French horn a place it had never occupied before.
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Parte 3
Jazz and the Horn
Getting started
Brass Bulletin N.º 42 · 1983 · pp. 36–45
For the classically trained horn player, jazz replaces the security of the printed page with listening, swing and improvisation—and a different kind of discipline.
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Parte 4
Jazz and the Horn
Thomas Bacon
Brass Bulletin N.º 45 · 1984 · pp. 34–37
Classical discipline meets jazz-rock freedom as Thomas Bacon confronts improvisation, stylistic crossover and the physical demands placed on the horn.
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Parte 5
Jazz and the Horn
Tom Varner
Brass Bulletin N.º 47 · 1984 · pp. 55–57
Choosing jazz over the orchestral path, Tom Varner confronts the horn’s stiffness, projection and unlikely place as a front-line improvising voice.
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Parte 6
Jazz and the Horn
Peter Gordon
Brass Bulletin N.º 50 · 1985 · pp. 31–34
Classically trained but drawn elsewhere, Peter Gordon made the horn at home in jazz, studios and popular music without abandoning its orchestral foundations.
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Parte 7
Jazz and the Horn
John Clark
Brass Bulletin N.º 52 · 1985 · pp. 61–65
Pendiente de digitalización
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Parte 8
Jazz and the Horn
Dale Clevenger
Brass Bulletin N.º 54 · 1986 · pp. 104–107
Pendiente de digitalización
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Parte 9
Jazz and the Horn
Richard Todd
Brass Bulletin N.º 68 · 1989 · pp. 70–73
Pendiente de digitalización
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Parte 10
Jazz and the Horn
Claudio Pontiggia
Brass Bulletin N.º 105 · 1999 · pp. 68–73
Pendiente de digitalización