Winter ’13: xxxxxxx Credit Essay xxxxxxx due Friday, xxxxxxx xxxxxxx
Read xxxxxxx essay below, xxxxxxx answer these xxxxxxx in xxxxxxx xxxxxxx (about 2 xxxxxxx typed, double xxxxxxx 12 point xxxxxxx font, 1” xxxxxxx essay, i.e. xxxxxxx the questions xxxxxxx xxxxxxx context xxxxxxx your narrative xxxxxxx You will xxxxxxx graded xxxxxxx xxxxxxx quality and xxxxxxx of your xxxxxxx and how xxxxxxx you back xxxxxxx your opinion. xxxxxxx can bring xxxxxxx xxxxxxx to xxxxxxx or email xxxxxxx to me.
- Who xxxxxxx Mike xxxxxxx xxxxxxx some research)
- Who xxxxxxx Ken Burns? xxxxxxx some research)
- Why xxxxxxx you think xxxxxxx Zilber is xxxxxxx passionate with xxxxxxx xxxxxxx concerning xxxxxxx Burns and xxxxxxx associates?
- Do you xxxxxxx or xxxxxxx xxxxxxx Mr. Zilber, xxxxxxx why or xxxxxxx not?
J'ACCUSE, xxxxxxx and MARSALIS xxxxxxx or - xxxxxxx xxxxxxx WYNTON'S xxxxxxx LIE
O.K., maybe xxxxxxx stakes aren't xxxxxxx high as xxxxxxx the Dreyfuss xxxxxxx and Emile xxxxxxx I ain't xxxxxxx xxxxxxx share xxxxxxx consonant or xxxxxxx but to xxxxxxx of xxxxxxx xxxxxxx care passionately xxxxxxx jazz, Ken xxxxxxx has committed xxxxxxx perjury. Aided xxxxxxx abetted by xxxxxxx amanuensis, Wynton xxxxxxx xxxxxxx is xxxxxxx off on xxxxxxx American public xxxxxxx series xxxxxxx xxxxxxx part hagiography, xxxxxxx faux-nostalgia and, xxxxxxx it comes xxxxxxx the last xxxxxxx years, largely xxxxxxx lie of xxxxxxx xxxxxxx commission.
Let me xxxxxxx you a xxxxxxx What xxxxxxx xxxxxxx think of xxxxxxx series on xxxxxxx presidents that xxxxxxx 18 hours xxxxxxx presidents before xxxxxxx Roosevelt and xxxxxxx xxxxxxx on xxxxxxx from TR xxxxxxx Well, in xxxxxxx Burns xxxxxxx xxxxxxx the same xxxxxxx He spends xxxxxxx hours on xxxxxxx music before xxxxxxx and TWO xxxxxxx on the xxxxxxx xxxxxxx that. xxxxxxx go back xxxxxxx our presidential xxxxxxx a xxxxxxx xxxxxxx Burns documentary xxxxxxx our leaders xxxxxxx have spent xxxxxxx much time xxxxxxx Grover Cleveland, xxxxxxx Fillmore and xxxxxxx xxxxxxx as xxxxxxx TR, Wilson, xxxxxxx Eisenhower, Kennedy, xxxxxxx Nixon, xxxxxxx xxxxxxx Clinton combined.
Would YOU xxxxxxx such a xxxxxxx gave a xxxxxxx representation of xxxxxxx history. And xxxxxxx xxxxxxx within xxxxxxx miniscule two xxxxxxx segment on xxxxxxx from xxxxxxx xxxxxxx Bill Clinton, xxxxxxx asserted that xxxxxxx of significance xxxxxxx after Wilson xxxxxxx the second xxxxxxx of Ronald xxxxxxx xxxxxxx might xxxxxxx that maybe, xxxxxxx perhaps, some xxxxxxx history xxxxxxx xxxxxxx through Richard xxxxxxx was left xxxxxxx (so they xxxxxxx fit in xxxxxxx on George xxxxxxx perhaps.)
A little xxxxxxx is in xxxxxxx Jazz xxxxxxx xxxxxxx an astounding xxxxxxx of ferment, xxxxxxx and upheaval xxxxxxx the 1960s xxxxxxx 1970s, much xxxxxxx the rest xxxxxxx xxxxxxx country. xxxxxxx precepts were xxxxxxx transformed or xxxxxxx chucked. xxxxxxx xxxxxxx music resulted, xxxxxxx with some xxxxxxx horrible sonic xxxxxxx (As an xxxxxxx of the xxxxxxx I believe xxxxxxx xxxxxxx circle xxxxxxx Hell is xxxxxxx for uninterrupted xxxxxxx to xxxxxxx xxxxxxx solo double xxxxxxx For Alto).
The 1970s xxxxxxx Miles' ex-sidemen xxxxxxx a staggering xxxxxxx of jazz, xxxxxxx xxxxxxx free xxxxxxx Latin influences xxxxxxx such seminal xxxxxxx as xxxxxxx xxxxxxx Mahavishnu, Headhunters, xxxxxxx as a xxxxxxx Lookout Farm. xxxxxxx paraphrase Marty xxxxxxx this fierce xxxxxxx brilliant fusion xxxxxxx xxxxxxx as xxxxxxx to do xxxxxxx today's corporate xxxxxxx jazz xxxxxxx xxxxxxx Welles' Citizen xxxxxxx had to xxxxxxx with Welles' xxxxxxx for Ernst xxxxxxx Julio Gallo.
By the xxxxxxx xxxxxxx the xxxxxxx cultural retrenchment xxxxxxx rampant everywhere, xxxxxxx our xxxxxxx xxxxxxx President to xxxxxxx Cosby's Politically xxxxxxx update of xxxxxxx Knows Best. xxxxxxx was sadly xxxxxxx that the xxxxxxx xxxxxxx unfettered xxxxxxx and reaction xxxxxxx brought in xxxxxxx the xxxxxxx xxxxxxx John Lennon, xxxxxxx a month xxxxxxx a half xxxxxxx the giddy xxxxxxx took office.
Wynton Marsalis xxxxxxx xxxxxxx the xxxxxxx in the xxxxxxx 80s, a xxxxxxx cocksure xxxxxxx xxxxxxx hailing from xxxxxxx cradle of xxxxxxx New Orleans. xxxxxxx with brash xxxxxxx tremendous mimicry xxxxxxx of those xxxxxxx xxxxxxx come xxxxxxx and an xxxxxxx unprecedented ability xxxxxxx switch xxxxxxx xxxxxxx classical and xxxxxxx worlds, Marsalis xxxxxxx the critical xxxxxxx corporate jazz xxxxxxx by tsunami. xxxxxxx Wynton mined xxxxxxx xxxxxxx fields xxxxxxx mid-60s Miles, xxxxxxx brother Branford xxxxxxx a xxxxxxx xxxxxxx Shorter to xxxxxxx brother's prince xxxxxxx darkness, Kenny xxxxxxx tearing it xxxxxxx ala Herbie xxxxxxx on the xxxxxxx xxxxxxx the xxxxxxx Tain Watts xxxxxxx a Tony xxxxxxx thing. xxxxxxx xxxxxxx group remains xxxxxxx best group xxxxxxx far, and xxxxxxx is no xxxxxxx that the xxxxxxx the group xxxxxxx xxxxxxx before xxxxxxx fell under xxxxxxx influence of xxxxxxx profoundly xxxxxxx xxxxxxx music critics, xxxxxxx Crouch and xxxxxxx Murray.
Crouch's partner xxxxxxx the education xxxxxxx Eliza Marsalis xxxxxxx was Albert xxxxxxx xxxxxxx cultural xxxxxxx specializing in xxxxxxx blues, Murray xxxxxxx superb xxxxxxx xxxxxxx the early xxxxxxx musicians all xxxxxxx way through xxxxxxx KC territory xxxxxxx of the xxxxxxx 1930s. Unfortunately, xxxxxxx xxxxxxx developed xxxxxxx powerful formalist xxxxxxx wherein jazz xxxxxxx essentially xxxxxxx xxxxxxx music. This xxxxxxx utterly inaccurate xxxxxxx history. I xxxxxxx have time xxxxxxx delineate all xxxxxxx the non-blues xxxxxxx xxxxxxx which xxxxxxx up and xxxxxxx to inform xxxxxxx from xxxxxxx xxxxxxx Europe to xxxxxxx to Brass xxxxxxx so if xxxxxxx want a xxxxxxx and detailed xxxxxxx of Murray's xxxxxxx xxxxxxx Dick xxxxxxx essay in xxxxxxx NY Times xxxxxxx couple xxxxxxx xxxxxxx back. Suffice xxxxxxx to say, xxxxxxx that jazz xxxxxxx essentially a xxxxxxx music is xxxxxxx saying that xxxxxxx xxxxxxx basically xxxxxxx shrimp dish.
Under the xxxxxxx of xxxxxxx xxxxxxx Murray, Marsalis xxxxxxx increasingly dogmatic xxxxxxx the real xxxxxxx was pre-fusion, xxxxxxx pre-modal, then xxxxxxx and now xxxxxxx xxxxxxx is xxxxxxx as modern xxxxxxx Wynton likes xxxxxxx venture. xxxxxxx xxxxxxx now the xxxxxxx Reagan of xxxxxxx and like xxxxxxx has no xxxxxxx of those xxxxxxx 60s and xxxxxxx xxxxxxx to xxxxxxx in the xxxxxxx days of xxxxxxx Satchmo xxxxxxx xxxxxxx recordings. "Well, xxxxxxx we go xxxxxxx style="margin-left:-18.0pt;">
That xxxxxxx certainly his xxxxxxx but in xxxxxxx drive to xxxxxxx xxxxxxx music, xxxxxxx has gained xxxxxxx powerful allies xxxxxxx his xxxxxxx xxxxxxx far reaching xxxxxxx for the xxxxxxx form. He xxxxxxx Jazz at xxxxxxx Center, an xxxxxxx dedicated mainly xxxxxxx xxxxxxx of xxxxxxx 1920s-1950s, is xxxxxxx far the xxxxxxx recognized xxxxxxx xxxxxxx jazz musician xxxxxxx the mainstream xxxxxxx and now, xxxxxxx the unholy xxxxxxx with Burns, xxxxxxx put his xxxxxxx xxxxxxx rewriting xxxxxxx history of xxxxxxx to write xxxxxxx all xxxxxxx xxxxxxx advances of xxxxxxx 1960s and xxxxxxx He and xxxxxxx are guilty xxxxxxx historical malpractice.
I have xxxxxxx xxxxxxx little xxxxxxx theory about xxxxxxx based on xxxxxxx more xxxxxxx xxxxxxx speculation. I xxxxxxx seeing him xxxxxxx through town xxxxxxx I was xxxxxxx student at xxxxxxx England in xxxxxxx xxxxxxx and xxxxxxx are the xxxxxxx age and xxxxxxx recall xxxxxxx xxxxxxx by his xxxxxxx playing with xxxxxxx Free, cocky xxxxxxx utterly unselfconscious, xxxxxxx dazzled the xxxxxxx We all xxxxxxx xxxxxxx buzzing xxxxxxx the young xxxxxxx who had xxxxxxx trumpet xxxxxxx xxxxxxx unparalleled authority xxxxxxx joy - xxxxxxx freely into xxxxxxx from Clark xxxxxxx to mid-60s xxxxxxx to Woody xxxxxxx xxxxxxx Freddie xxxxxxx We were xxxxxxx that anyone xxxxxxx had xxxxxxx xxxxxxx assimilated all xxxxxxx these styles xxxxxxx more at xxxxxxx a young xxxxxxx would surely, xxxxxxx soon as xxxxxxx xxxxxxx his xxxxxxx voice, reinvent xxxxxxx jazz canon. xxxxxxx was xxxxxxx xxxxxxx matter of xxxxxxx style="margin-left:-18.0pt;">
By xxxxxxx next time xxxxxxx heard Wynton, xxxxxxx years later xxxxxxx the Village xxxxxxx xxxxxxx was xxxxxxx immersed in xxxxxxx NYC jazz xxxxxxx Playing xxxxxxx xxxxxxx with such xxxxxxx as Wayne xxxxxxx Drew Gress, xxxxxxx Monder Jimmy xxxxxxx Mark Feldman, xxxxxxx Kikoski, Bruce xxxxxxx xxxxxxx Schuller xxxxxxx John Riley xxxxxxx others, I xxxxxxx a xxxxxxx xxxxxxx sense of xxxxxxx my generation xxxxxxx looking into xxxxxxx I eagerly xxxxxxx what Wynton xxxxxxx have to xxxxxxx xxxxxxx Maybe xxxxxxx would lead xxxxxxx way - xxxxxxx a xxxxxxx xxxxxxx to speak. xxxxxxx we were xxxxxxx to a xxxxxxx careful and xxxxxxx regressive display xxxxxxx neo-conservative soloing xxxxxxx xxxxxxx odds xxxxxxx the joyful xxxxxxx unscripted music xxxxxxx had xxxxxxx xxxxxxx only a xxxxxxx years before. xxxxxxx has continued xxxxxxx his ever xxxxxxx regressive musical xxxxxxx At last xxxxxxx xxxxxxx trumpet xxxxxxx is channeling xxxxxxx and is xxxxxxx advocating xxxxxxx xxxxxxx to the xxxxxxx megaphone style xxxxxxx recording, since xxxxxxx is a xxxxxxx authentic approach xxxxxxx those nasty xxxxxxx xxxxxxx (I'm xxxxxxx kidding, he xxxxxxx that!)
Wynton, xxxxxxx xxxxxxx pope of xxxxxxx retro-crowd, released xxxxxxx papal bull xxxxxxx both senses xxxxxxx the word) xxxxxxx papal bull: xxxxxxx xxxxxxx jazz xxxxxxx cynical, commercial xxxxxxx Free jazz xxxxxxx pseudo-intellectual xxxxxxx xxxxxxx so on xxxxxxx so on. xxxxxxx pronouncement from xxxxxxx and approving xxxxxxx from Crouch, xxxxxxx et al. xxxxxxx xxxxxxx to xxxxxxx him from xxxxxxx awful truth: xxxxxxx had xxxxxxx xxxxxxx to say xxxxxxx the art xxxxxxx he loved. xxxxxxx through his xxxxxxx Burns, he xxxxxxx found an xxxxxxx xxxxxxx audience xxxxxxx spread his xxxxxxx lie about xxxxxxx after xxxxxxx xxxxxxx style="margin-left:-18.0pt;">The hills xxxxxxx alive, with xxxxxxx sound of...Buddy?
Jazz xxxxxxx viewed as xxxxxxx soloist's art xxxxxxx xxxxxxx Thanks xxxxxxx Louis Armstrong xxxxxxx others who xxxxxxx free xxxxxxx xxxxxxx collective front xxxxxxx born in xxxxxxx marching bands xxxxxxx New Orleans. xxxxxxx to 1925, xxxxxxx the possible xxxxxxx xxxxxxx Sidney xxxxxxx individuals were xxxxxxx coming out xxxxxxx the xxxxxxx xxxxxxx Armstrong's creative xxxxxxx and stunning xxxxxxx were so xxxxxxx that most xxxxxxx (and this xxxxxxx one of xxxxxxx xxxxxxx that xxxxxxx Marsalis and xxxxxxx agree on) xxxxxxx him xxxxxxx xxxxxxx singlehandedly creating xxxxxxx idea of xxxxxxx jazz solo xxxxxxx That happened xxxxxxx 1925, as xxxxxxx Jelly Roll xxxxxxx xxxxxxx first xxxxxxx jazz composer) xxxxxxx recordings, so xxxxxxx contend xxxxxxx xxxxxxx as a xxxxxxx for extemporaneous xxxxxxx creation dates xxxxxxx then, specifically xxxxxxx Hot Five xxxxxxx of Armstrong xxxxxxx xxxxxxx exquisite xxxxxxx of Bix xxxxxxx style="margin-left:-18.0pt;">
If xxxxxxx artist xxxxxxx xxxxxxx longer with xxxxxxx we can xxxxxxx more speak xxxxxxx about what xxxxxxx sounded like xxxxxxx having the xxxxxxx xxxxxxx of xxxxxxx work than xxxxxxx can credibly xxxxxxx forth xxxxxxx xxxxxxx speaking ability xxxxxxx any president xxxxxxx to TR.
Well, guess xxxxxxx There are xxxxxxx recordings of xxxxxxx xxxxxxx group xxxxxxx ALL before xxxxxxx Buddy Bolden, xxxxxxx so xxxxxxx xxxxxxx Wynton and xxxxxxx crew, stopped xxxxxxx in 1907. xxxxxxx up anyone xxxxxxx 93. O.K. xxxxxxx rest of xxxxxxx xxxxxxx just xxxxxxx air to xxxxxxx venture an xxxxxxx There xxxxxxx xxxxxxx doubt that xxxxxxx is a xxxxxxx at taking xxxxxxx photographs and xxxxxxx contemporary narration xxxxxxx it, but xxxxxxx xxxxxxx the xxxxxxx at having xxxxxxx year old xxxxxxx play xxxxxxx xxxxxxx thinks Buddy xxxxxxx sorta, coulda, xxxxxxx sounded like. xxxxxxx at the xxxxxxx of Bill xxxxxxx (More on xxxxxxx xxxxxxx on.)
Whether or xxxxxxx you think xxxxxxx two xxxxxxx xxxxxxx on a xxxxxxx where there xxxxxxx no documentation xxxxxxx the sounds xxxxxxx created is xxxxxxx surely you xxxxxxx xxxxxxx that xxxxxxx two hours xxxxxxx the years xxxxxxx which xxxxxxx xxxxxxx seems a xxxxxxx out of xxxxxxx when only xxxxxxx hours are xxxxxxx on the xxxxxxx between 1961 xxxxxxx xxxxxxx and xxxxxxx of that xxxxxxx hours is xxxxxxx falsely xxxxxxx xxxxxxx jazz had xxxxxxx its way xxxxxxx 1965 and xxxxxxx when Wynton xxxxxxx Marsalis took xxxxxxx the joint. xxxxxxx xxxxxxx understand, xxxxxxx spends as xxxxxxx time on xxxxxxx period xxxxxxx xxxxxxx is zero xxxxxxx evidence of xxxxxxx music as xxxxxxx does on xxxxxxx most extensively xxxxxxx 40 years xxxxxxx xxxxxxx history xxxxxxx the music. xxxxxxx is utterly xxxxxxx in xxxxxxx xxxxxxx representation.
Ah'm xxxxxxx 'lizabeth, ah'm xxxxxxx Now Zilber's xxxxxxx Louis, ah'm xxxxxxx xxxxxxx meet xxxxxxx 'lizabeth. Relax, xxxxxxx a beta-blocker xxxxxxx read xxxxxxx xxxxxxx style="margin-left:-18.0pt;">Without Louis xxxxxxx there would xxxxxxx no jazz xxxxxxx we know xxxxxxx He was xxxxxxx first great xxxxxxx xxxxxxx jazz, xxxxxxx man responsible xxxxxxx the whole xxxxxxx of xxxxxxx xxxxxxx telling his xxxxxxx Armstrong's glorious xxxxxxx unhurried swing xxxxxxx exceptional virtuosity, xxxxxxx with an xxxxxxx song-like lyricism, xxxxxxx xxxxxxx it xxxxxxx to be xxxxxxx jazz musician. xxxxxxx set xxxxxxx xxxxxxx new standard xxxxxxx improvisers (AND xxxxxxx with his xxxxxxx scatting. His xxxxxxx scatting is xxxxxxx just about xxxxxxx xxxxxxx such xxxxxxx go out xxxxxxx my way xxxxxxx listen xxxxxxx xxxxxxx singers: You've xxxxxxx lyrics, use xxxxxxx To paraphrase xxxxxxx anyone playing xxxxxxx today is xxxxxxx on the xxxxxxx xxxxxxx giants xxxxxxx Armstrong is xxxxxxx original giant xxxxxxx whom xxxxxxx xxxxxxx balance.
This is xxxxxxx what Burns xxxxxxx xxxxxxx assert. xxxxxxx interview after xxxxxxx Burns has xxxxxxx smug xxxxxxx xxxxxxx sophistry for xxxxxxx who challenges xxxxxxx Bill Evans, xxxxxxx Wayne Shorter, xxxxxxx Jarrett, Chick xxxxxxx et al. xxxxxxx xxxxxxx short xxxxxxx "Name me xxxxxxx person from xxxxxxx past xxxxxxx xxxxxxx as good xxxxxxx Louis, Duke, xxxxxxx or Miles xxxxxxx I'll put xxxxxxx in." This xxxxxxx the fella xxxxxxx xxxxxxx years xxxxxxx owned Kind xxxxxxx Blue, Love xxxxxxx and xxxxxxx xxxxxxx of rock xxxxxxx style="margin-left:-18.0pt;">
Well xxxxxxx baby, I'm xxxxxxx sure what xxxxxxx mean by xxxxxxx but ya xxxxxxx xxxxxxx Newton xxxxxxx back from xxxxxxx dead he xxxxxxx be xxxxxxx xxxxxxx and nonplussed xxxxxxx quantum physics xxxxxxx today. By xxxxxxx same token, xxxxxxx Louis in xxxxxxx band of xxxxxxx xxxxxxx day xxxxxxx musicians, say xxxxxxx Douglas' group xxxxxxx Dave xxxxxxx xxxxxxx the rhythms, xxxxxxx melodies, forms xxxxxxx tempos played xxxxxxx be so xxxxxxx in advance xxxxxxx anything conceived xxxxxxx xxxxxxx the xxxxxxx Five that xxxxxxx Louis would xxxxxxx utterly xxxxxxx xxxxxxx bewildered. That xxxxxxx make one xxxxxxx than the xxxxxxx - it's xxxxxxx comparing Mandarin xxxxxxx Provencal cuisine. xxxxxxx xxxxxxx show's xxxxxxx fatuousness of xxxxxxx Marsalis-supplied line xxxxxxx defense.
The iconicizing xxxxxxx Louis goes xxxxxxx far into xxxxxxx that Burns xxxxxxx valuable space xxxxxxx xxxxxxx companion xxxxxxx set shoehorning xxxxxxx Armstrong's kitschy xxxxxxx of xxxxxxx xxxxxxx while at xxxxxxx same time xxxxxxx no space xxxxxxx the 61-2000 xxxxxxx for Keith xxxxxxx Bill Evans, xxxxxxx xxxxxxx John xxxxxxx Wes Montgomery, xxxxxxx Mahavishnu, Dave xxxxxxx Art xxxxxxx xxxxxxx Chicago, Steps xxxxxxx and...I'll stop xxxxxxx cause I'm xxxxxxx to keep xxxxxxx thing under xxxxxxx words. I xxxxxxx xxxxxxx think xxxxxxx most diehard xxxxxxx jazz fanatic xxxxxxx assert xxxxxxx xxxxxxx Hello Dolly xxxxxxx with Chick's xxxxxxx He Sings, xxxxxxx he Sobs xxxxxxx Wayne Shorter's xxxxxxx Dancer in xxxxxxx xxxxxxx to xxxxxxx it is xxxxxxx more important. xxxxxxx when xxxxxxx xxxxxxx on a xxxxxxx artist, he xxxxxxx with faint xxxxxxx style="margin-left:-18.0pt;">
This xxxxxxx just one xxxxxxx among many xxxxxxx xxxxxxx staggering xxxxxxx about post xxxxxxx jazz. Who's xxxxxxx talking xxxxxxx xxxxxxx he says: xxxxxxx obviously talented xxxxxxx ________ is, xxxxxxx isn't a xxxxxxx soloist or xxxxxxx or a xxxxxxx xxxxxxx Why xxxxxxx Hancock of xxxxxxx Most practicing xxxxxxx musicians xxxxxxx xxxxxxx Herbie among xxxxxxx top pianists xxxxxxx the history xxxxxxx jazz. From xxxxxxx earth-shattering work xxxxxxx the Miles xxxxxxx xxxxxxx of xxxxxxx 60s to xxxxxxx exquisite blue xxxxxxx releases, xxxxxxx xxxxxxx cross-cultural Sextant, xxxxxxx African, jazz xxxxxxx funk to xxxxxxx astonishing duet xxxxxxx with Wayne xxxxxxx and Chick xxxxxxx xxxxxxx has xxxxxxx himself as xxxxxxx artist of xxxxxxx highest xxxxxxx xxxxxxx a soloist, xxxxxxx and composer.
But no, xxxxxxx Burns says xxxxxxx I think xxxxxxx Burns/Marsalis party xxxxxxx xxxxxxx never xxxxxxx clearly stated xxxxxxx in the xxxxxxx to xxxxxxx xxxxxxx episode, covering xxxxxxx According to xxxxxxx film, jazz, xxxxxxx the early xxxxxxx had lost xxxxxxx way. Hello xxxxxxx xxxxxxx Girl xxxxxxx Ipanema excepted, xxxxxxx and other xxxxxxx rock xxxxxxx xxxxxxx outselling jazz xxxxxxx large margins. xxxxxxx mind that xxxxxxx such as xxxxxxx and Diz xxxxxxx came close xxxxxxx xxxxxxx sales xxxxxxx Sinatra and xxxxxxx Como and xxxxxxx Elvis xxxxxxx xxxxxxx sold Miles' xxxxxxx hit, Kind xxxxxxx Blue by xxxxxxx to one.)
Miles, according xxxxxxx the film, xxxxxxx xxxxxxx you xxxxxxx beat 'em, xxxxxxx 'em. Yep, xxxxxxx a xxxxxxx xxxxxxx Miles spurned xxxxxxx challenging fare xxxxxxx Hello Dolly xxxxxxx the obvious xxxxxxx pandering of xxxxxxx Runs The xxxxxxx xxxxxxx and xxxxxxx Burns/Marsalis go xxxxxxx to hail xxxxxxx Gordon's xxxxxxx xxxxxxx 1976, purveying xxxxxxx smooth hard xxxxxxx of the xxxxxxx as saving xxxxxxx from itself: xxxxxxx vast sea xxxxxxx xxxxxxx electric xxxxxxx and squawking xxxxxxx jazz charlatans. xxxxxxx a xxxxxxx xxxxxxx trumpet terror xxxxxxx New Orleans xxxxxxx on the xxxxxxx coincidentally right xxxxxxx the same xxxxxxx as another xxxxxxx xxxxxxx Ronald xxxxxxx and led xxxxxxx unwashed masses xxxxxxx from xxxxxxx xxxxxxx of fusion xxxxxxx free, back xxxxxxx the sober, xxxxxxx recreations of xxxxxxx more distant xxxxxxx of jazz.
By xxxxxxx way, as xxxxxxx above, Wynton xxxxxxx the first xxxxxxx jazz musician xxxxxxx xxxxxxx history xxxxxxx the music xxxxxxx not ONE xxxxxxx to xxxxxxx xxxxxxx Furthermore, he xxxxxxx the first xxxxxxx jazz musician xxxxxxx history who xxxxxxx his cue xxxxxxx two NON-MUSICIANS, xxxxxxx xxxxxxx and xxxxxxx Murray.
The amazing xxxxxxx break xxxxxxx xxxxxxx superimposed rhythms xxxxxxx densely free xxxxxxx of the xxxxxxx quintet has xxxxxxx every band xxxxxxx Woody Shaw xxxxxxx xxxxxxx Douglas xxxxxxx Wallace Roney xxxxxxx Tim Hagans. xxxxxxx powerful xxxxxxx xxxxxxx of Coltrane, xxxxxxx volcanic dialogues xxxxxxx Elvin Jones, xxxxxxx stretched harmonies xxxxxxx Tyner's insistent xxxxxxx have marked xxxxxxx xxxxxxx player xxxxxxx Coltrane, including xxxxxxx Shorter, Liebman, xxxxxxx Brecker, xxxxxxx xxxxxxx and Wynton's xxxxxxx style="margin-left:-18.0pt;">
Then xxxxxxx get to xxxxxxx 70s. I xxxxxxx it is xxxxxxx PC to xxxxxxx xxxxxxx but xxxxxxx 1970s had xxxxxxx wealth of xxxxxxx music. xxxxxxx xxxxxxx 30s, and xxxxxxx 50s, it xxxxxxx a time xxxxxxx the music xxxxxxx widely popular, xxxxxxx records such xxxxxxx xxxxxxx Hancock's xxxxxxx and Weather xxxxxxx Heavy Weather xxxxxxx a xxxxxxx xxxxxxx each. Like xxxxxxx 30s and xxxxxxx 50s, one xxxxxxx to separate xxxxxxx wheat from xxxxxxx chaff - xxxxxxx xxxxxxx as xxxxxxx makes a xxxxxxx distinction between xxxxxxx Basie xxxxxxx xxxxxxx Miller, one xxxxxxx to make xxxxxxx qualitative distinction xxxxxxx Grover Washington'' xxxxxxx Magic" and xxxxxxx Report's "The xxxxxxx xxxxxxx style="margin-left:-18.0pt;">Incredibly, xxxxxxx in his xxxxxxx allotment of xxxxxxx 1965 xxxxxxx xxxxxxx tunes), picks xxxxxxx Magic", Hancock's xxxxxxx and Weather xxxxxxx "Birdland" as xxxxxxx of the xxxxxxx tunes. That xxxxxxx xxxxxxx like xxxxxxx Paul McCartney xxxxxxx "Till there xxxxxxx you" xxxxxxx xxxxxxx of the xxxxxxx of the xxxxxxx Meanwhile a xxxxxxx wealth of xxxxxxx material from xxxxxxx decade is xxxxxxx xxxxxxx far xxxxxxx stellar representations xxxxxxx Hancock and xxxxxxx Report.
And yet, xxxxxxx finds time xxxxxxx include Wynton's xxxxxxx project, the xxxxxxx xxxxxxx Jazz xxxxxxx doing a xxxxxxx of Take xxxxxxx A xxxxxxx xxxxxxx George Orwell, xxxxxxx Orwell, there's xxxxxxx package from xxxxxxx Burns and xxxxxxx Marsalis for xxxxxxx at the xxxxxxx xxxxxxx George xxxxxxx to the xxxxxxx counter, please.
A xxxxxxx xxxxxxx friends of xxxxxxx who are xxxxxxx up in xxxxxxx music biz, xxxxxxx received sneak xxxxxxx say "hey, xxxxxxx xxxxxxx Mike. xxxxxxx know the xxxxxxx 40 years xxxxxxx bullshit, xxxxxxx xxxxxxx the hell, xxxxxxx publicity is xxxxxxx publicity, don't xxxxxxx think?"