By Robert Crunden
During this ebook Robert Crunden places the "jazz" again within the Jazz Age. Jazz was once America's maximum contribution to the Modernist circulation, but it truly is a lot missed. after we listen the time period "Jazz Age," we conjure the ghosts of Fitzgerald, Hemingway, and Eliot, now not Jelly Roll Morton, Louis Armstrong, Ethel Waters, George Gershwin, and Duke Ellington. with the intention to right this imbalance, Crunden re-introduces us to those musical luminaries who gave the period its identify as he strains the early background of jazz from New Orleans to Chicago to manhattan. whereas Crunden emphasizes track over literature and the visible arts, he by no means fails to map the complicated cross-currents of literature that handed among jazz musicians and their "Lost new release" friends, a veritable festival of the glittering personalities of the day-James Joyce, Alfred Stieglitz, Georgia O'Keeffe, Paul Strand, John Dos Passos, Langston Hughes, Gertrude Stein.
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Additional info for Body And Soul: The Making Of American Modernism
18 As Ornstein disappeared from the creative horizon, Ernest Bloch took his place in Rosenfeld's pantheon of promising mod- BODY AND SOUL 16 ernists. Fond of theories about the Orient and the Occident and their differing creative environments, Rosenfeld pounced on the Swiss Jew who fused the two. Out of place in Switzerland, Belgium, and France, Bloch was a Wandering Jew, "homeless" everywhere and not just in America. Rosenfeld sometimes went out of his way to say unpleasant things about Jews who attempted to assimilate into Christian culture, such as Mendelssohn and Mahler; he wanted his Jews to be proud and assertive in expressing their heritage.
But then, everyone has quirks. He didn't want to live in Paris, either. This page intentionally left blank P A R T ONE THE REDISCOVERY OF AMERICA This page intentionally left blank ONE EDGARD VARESE AND THE SOUND OF THE CITY When, toward the end of the 1920s, Paul Rosenfeld surveyed the American musical scene for a popular audience, he ranged swiftly over a large number of years and folk sources, but being a man of cultivated urban tastes, he preferred to dwell on art music. He personally knew, or knew of, many of those on whom he wrote.
Rosenfeld's initial reaction to Hartley's paintings was strongly positive, and he delighted in creating a verbal penumbra about a work of art that appealed to him. " A few days later, Hartley himself dropped by with three canvases from a recent trip to New Mexico, although only one seemed complete. Rosenfeld's feelings were "violently discordant. " He was full of admiration, knew the one unnamed painting that he had commissioned to be "superb and unique," but was not sure whether he could "manage to live with it.