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Life on the Fence

Holladay, Marvin

Verlag: George Ronald, Oxford, 2001
ISBN 10: 0853984549 / ISBN 13: 9780853984542
Gebraucht / paperback / Anzahl: 1
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Bibliografische Details

Titel: Life on the Fence

Verlag: George Ronald, Oxford

Erscheinungsdatum: 2001

Einband: paperback

Zustand: Very Good

Zustand des Schutzumschlags: No Dust Jacket

Signiert: By Author

Auflage: First Edition.

Art des Buches: Used


Very good clean copy, pages bright and tight. SIgned by author. Buchnummer des Verkäufers 198019

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Bewertung (bereitgestellt von GoodReads):
3,6 durchschnittlich
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Inhaltsangabe: Sparkling with stories of familiar names from the world of jazz - Quincy Jones, Stan Kenton, Thad Jones, Mel Lewis, Ella Fitzgerald, Dizzy Gillespie - jazz musician 'Doc' Holladay's book challenges some of the preconceived ideas about jazz and explains why he as a white man finds himself at home within the African-American community.
Ethnomusicologist Marvin 'Doc' Holladay is a living legend in the world of jazz and Life, On the Fence is his urgently compelling life chronicle of the art form's continued evolution, race relations, humanitarianism and social justice from the period of the world's greatest war through today. His powerfully untold history of interpersonal and institutional relationships that includes such jazz world luminaries as Park 'Pepper' Adams, Julian 'Cannonball' Adderley, Nathaniel 'Nat' Adderley, Quincy Jones, John Birks 'Dizzy' Gillespie completes the picture of 'American Classical Music' that the world - until now - has been waiting for! Alvin Holman, Jazzways Entertainment, Inc.
In a most familiar, readable, authentic voice, Doc has narrated the highlights of a life that is filled with wit, pathos, struggle, humility and devotion. Though having spent his life in close collaboration with some most influential and famed musicians that America has produced (himself not the least of these), Doc hardly presents himself as a celebrity, though he has every right to claim such status. Instead, his autobiography, like Doc himself, is honest, endearing and always interesting. John S. Hatcher, English Department, University of South Florida
Let me recommend Marvin 'Doc' Holladay and his autobiography with a deep personal respect for a first class musician and a first class human being. Doc's story includes most of the great jazz orchestra's ever, from Ellington to Kenton to Dorsey, from Mingus to Ella Fitzgerald to Dizzy Gillespie, who called Doc 'one of the greats of jazz'. Michael Fitzgerald
The story of Doc Holladay is both typical of the American jazzman's life, and unique unto itself. It tells of a musician dedicated beyond mere commitment, soulful as few others, and talented beyond compare. In his relative general public obscurity, yet renowned within musician's circles, Marvin 'Doc' Holladay has attained a lofty plateau of artistic expressionism which is quite evident upon hearing him play. But it is his even higher achievement as a human being that is perfectly documented in the pages of his autobiography. It is a must read for every jazz fan, and social scientists alike. Michael G. Nastos WEMU-FM All Music Guide Cadence Magazine
An insider's view of the world of jazz, and a near-mythic account of its origins, are integrated into the tale of an authentic American idealist's life and his struggle with art and (as a white man) with racism. Deeply felt spiritual truths are expressed in honest homespun prose that engages the reader. David Daniels, Music director, Warren Symphony and Prof. Emeritus, Oakland University (Michigan)

Vom Autor: As I look back over this story I find that I'm not at all sure whether this is an autobiography of a musician whose life's experience led him to the recognition of his spiritual reality - through the discovery of the Bah‡'' Faith - or of a spiritual person who has found how he might express himself creatively through the medium of music. Who knows? Not moi!

I began writing this book with the intention of writing about my discovery of the reality of the music we call jazz. As I became more involved with that community of musicians, I found that jazz was actually the indigenous classical music of America, representing the image of American people to the rest of the world. Because of my discovery, I felt that perhaps my greatest contribution would be to use my life as an example of what so many of us musicians have gone through to get a clear idea of who and what we are. The experiences I relate are not unique to me, although we all have different responses to those experiences and, of course, the names and associations are different. But such experiences, in the final analysis, help form our understanding of the reality both of the music and of the social circumstances of our lives.

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