By Morroe Berger
This outstanding two-volume paintings used to be hailed as a milestone of jazz literature while it was once initially released in 1982. interpreting either his musical and cultural importance, the authors current the existence and occupation of Benny Carter, the most vital and flexible figures in jazz. in the past 20 years, Carter, in his eighties and nineties, endured to extend his musical realm. during this re-creation, Edward Berger has introduced the exceptional Carter saga into the recent millennium, including insider money owed of excursions, significant concert events, recordings, and different distinct occasions. additionally, the hot paintings finds extra of the reticent Carter's advanced personality and perspectives, gleaned from countless numbers of hours of interviews and conversations. The accompanying annotated discography, essentially the most complete ever dedicated to the paintings of a unmarried musician, has been completely revised and up to date. Dozens of latest and formerly unpublished photos were additional.
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Additional resources for Benny Carter, a life in American music, Volume 2
Mrs. Carter taught me to tell time. Though the boys had fights, it was rare for anyone to get hurt on our block, and the boys would soon be playing together again after a fight. " The initial fund for the model houses was one million dollars contributed by Phipps in 1907 (the year of Carter's birth). This was only one of several charities he established from a fortune ultimately estimated at one hundred million dollars when he died in 1930. One of the sources of this fortune was a blast furnace which the Carnegie, Phipps Company owned in Page 1/14 Rankin, Pennsylvania.
She also reported that in the segregated Negro blocks there was less "exasperating deviltry'' and "destructiveness" by youth than in blocks inhabited by whites of European origin. 6 Theodosia Maples, now in her eighties, was a neighbor of the Carters in San Juan Hill for many years before and after Ovington's survey. "The neighborhood was a good place to live in those days," she says. "There were fine people there, parents and children, and the Carters were among the very loveliest. I spent a lot of time with all of them.
Professors Milton Babbitt, Marvin Bressler, and Howard Taylor, my father's friends and colleagues at Princeton, facilitated this research, each in his own way. Life-long friend Ray Naggiar was responsible for our rediscovery of the joys of Benny Carter's music. Financial support was provided by the Department of Sociology and the Program in Afro-American Studies of Princeton University and a grant from the National Endowment for the Humanities. The following musicians, figures in the music industry, and friends and relatives of Benny Carter generously consented to be interviewed, mostly in person, some by phone, and a few through correspondence.
Benny Carter, a life in American music, Volume 2 by Morroe Berger