Jazz. Part 6, Swing: The Velocity of Celebration / Public Broadcasting Service (U.S.)
As the 1930s drew to a close, swing-mania was still going strong, but some fans were saying success had made the music too predictable. Their ears were tuned to a new sound, suffused with the blues-the Kansas City sound of Count Basie's band, which ignited new musical adventures. By 1938, Basie and...
| Uniform Title: | Films on Demand.
|
|---|---|
| Corporate Authors: | |
| Other Authors: | |
| Language: | English |
| Published: |
New York, N.Y. :
Infobase,
[2011], ©2000.
|
| Series: | Films on Demand.
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| Subjects: | |
| Genre: | |
| Online Access: | |
| Physical Description: | 1 online resource (110 min.) : sound, color, digital file. |
| Variant Title: |
Swing: The Velocity of Celebration |
| Format: | Electronic Video |
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| 260 | |a New York, N.Y. : |b Infobase, |c [2011], ©2000. | ||
| 300 | |a 1 online resource (110 min.) : |b sound, color, digital file. | ||
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| 490 | 0 | |a Jazz: A Film by Ken Burns | |
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| 505 | 0 | |a Introduction to Jazz in the Late 1930s (2:26) -- Swing-Mania and Big Bands (2:53) -- Swing: Commerce and Compromise (2:52) -- Saxophone - Coleman Hawkins (5:26) -- Saxophonist Lester Young (6:08) -- Kansas City (4:09) -- Kansas City Jazz (3:51) -- The Count (2:30) -- The Count (5:06) -- The Count - Mary Lou Williams (3:10) -- Memories of You (4:07) -- John Hammond and Count Basie (4:30) -- Musical Kinship (5:42) -- A Whore in Church (3:51) -- Chick Webb and Orchestra (7:27) -- The Ray (7:00) -- Ella Fitzgerald (8:30) -- Strange Fruit (7:30) -- A Reason for Living (3:01) -- A Reason for Living - Duke Ellington (3:00) -- Coda (3:59) -- Credits: 'Swing: The Velocity of Celebration, Ken Burns: Jazz, Part 6' (4:15) | |
| 520 | |a As the 1930s drew to a close, swing-mania was still going strong, but some fans were saying success had made the music too predictable. Their ears were tuned to a new sound, suffused with the blues-the Kansas City sound of Count Basie's band, which ignited new musical adventures. By 1938, Basie and his men were helping Benny Goodman bring jazz to Carnegie Hall. Soon Basie's lead saxophonist, Lester Young, was challenging Coleman Hawkins for supremacy, then teaming up with Billie Holiday for a series of recordings that revealed them as musical soul mates-although Holiday eventually wound up back in New York, pouring outrage into the anti-lynching ballad, 'Strange Fruit.' With war looming in Europe, Duke Ellington was hailed as a hero and Coleman Hawkins startled the world with a glimpse of what jazz would become. | ||
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| 650 | 0 | |a Music |y 20th century |x History and criticism. |0 http://id.loc.gov/authorities/subjects/sh2001000180 | |
| 650 | 0 | |a Musical form. |0 http://id.loc.gov/authorities/subjects/sh85088959 | |
| 650 | 0 | |a Style, Musical. |0 http://id.loc.gov/authorities/subjects/sh85129380 | |
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