By Philip Larkin
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Extra resources for Jazz Writings: Essays and Reviews, 1940-1984
The new "swing" music that emerged in America with the triumph of Benny Goodman's Orchestra in 1935 was not as well received by many British jazz collectors as it was by the young Larkin, some of whom regarded it as a commercialization of jazz/ Ibid. 145. , Philip Larkin: The Man and His Work (London: Macmillan, 1989), 38-47. 11 Joseph Epstein, 'Mr Larkin Gets A Life', Life Stories (New York: Norton, 1997), 252. Reprinted in About Larkin: The Newsletter of the Philip Larkin Society, 5 (April 1998), 10-15.
The prevailing mood, therefore, is one of excited experiment ('Why don't you get a piano player? ') and some attempt is made to convey the kind of innovation each player has made or is making. Most of the studies, however, inevitably fall somewhere between the profile, the potted biography, and the musicological analysis, and not all the writers are able to produce a unified impression for this reason. Benny Green on John Lewis and Mr Horricks on Milt Jackson, Brubeck and the two drummers Max Roach and Art Blakey are the most informative pieces for the uninitiated.
THE JAZZ SCENE by Francis Newton (MacGibbon & Kee, 21s) Most books on jazz—and there are a great many by now—come from America, for to add to its history or anecdote requires firsthand acquaintance with its sources and an authoritative way with the American language. It is a truism, however, that jazz had to come to Europe to be appreciated, and as its appeal spreads European writers should be increasingly able to make their own contribution—that long cultural or sociological view that the American is often too close to take.
Jazz Writings: Essays and Reviews, 1940-1984 by Philip Larkin