{"id":1389,"date":"2011-05-19T22:55:27","date_gmt":"2011-05-19T20:55:27","guid":{"rendered":"http:\/\/www.tomajazz.com\/web\/?p=1389"},"modified":"2016-11-13T19:35:22","modified_gmt":"2016-11-13T18:35:22","slug":"understanding-jazz-ways-to-listen-tom-piazza-random-house-2005","status":"publish","type":"post","link":"https:\/\/tomajazz.com\/web\/understanding-jazz-ways-to-listen-tom-piazza-random-house-2005\/","title":{"rendered":"UNDERSTANDING JAZZ. Ways to Listen. Tom Piazza. Random House (2005)"},"content":{"rendered":"<table border=\"0\" cellspacing=\"0\" cellpadding=\"0\" width=\"100%\">\n<tbody>\n<tr>\n<td width=\"79%\" height=\"120\" valign=\"top\">\n<p style=\"text-align: justify\"><strong><a href=\"http:\/\/www.tomajazz.com\/web\/wp-content\/uploads\/2011\/05\/tom_piazza_understanding_jazz.jpg\"><img loading=\"lazy\" decoding=\"async\" class=\"alignleft size-full wp-image-1391\" src=\"http:\/\/www.tomajazz.com\/web\/wp-content\/uploads\/2011\/05\/tom_piazza_understanding_jazz.jpg\" alt=\"\" width=\"100\" height=\"152\" title=\"\"><\/a>UNDERSTANDING JAZZ. Ways to Listen.<\/strong><br \/>\nAutor: Tom Piazza (pr\u00f3logo de Wynton Marsalis)<br \/>\nEditorial: Random House (2005)<br \/>\nISBN: I-4000-6369-8<br \/>\nIdioma: ingl\u00e9s<\/p>\n<p style=\"text-align: justify\">El Lincoln Center contin\u00faa trabajando en la difusi\u00f3n did\u00e1ctica del jazz, en este caso en forma de libro. Un t\u00edtulo tan ambicioso como <em>Comprendiendo el Jazz. Formas de escuchar<\/em> y el hecho de que Wynton Marsalis sea el autor del pr\u00f3logo puede hacer creer al aficionado con prejuicios que nos encontramos ante una obra sesgada y dogm\u00e1tica, algo no del todo censurable teniendo en cuenta las \u00abjoyas\u00bb que destacados miembros del Lincoln Center han dejado a lo largo de los \u00faltimos a\u00f1os en sus opiniones. En absoluto. Tom Piazza ha conformado un texto amplio, respetuoso y humilde, en el que se intenta arrojar luz sobre aquellos aficionados que reconocen no comprender \u00ablas cosas que pasan en el jazz\u00bb, y en el que se separa claramente opini\u00f3n de informaci\u00f3n.<\/p>\n<p style=\"text-align: justify\"><em>Understanding Jazz<\/em> intenta acercar al oyente a los pormenores est\u00e9ticos y estructurales de la interpretaci\u00f3n jazz\u00edstica, sin entrar jam\u00e1s en detalles musicales que s\u00f3lo puedan ser asimilados por iniciados en el solfeo. A lo largo de seis cap\u00edtulos el autor establece la diferencia entre lo que se puede escuchar en primer y segundo plano, as\u00ed como la evoluci\u00f3n de estos conceptos a lo largo de la historia del jazz, analiza el blues como estilo y como sentimiento a la hora de improvisar, hace un discreto pero interesante comentario sobre la forma de las composiciones, aborda los conceptos de improvisaci\u00f3n, swing, ritmo, tiempo y espacio y, finalmente, da rienda suelta a su gusto personal en el cap\u00edtulo \u00abContando una historia\u00bb. Para tal cometido utiliza un lenguaje period\u00edstico f\u00e1cilmente comprensible, y se apoya en el CD que acompa\u00f1a al libro, una recopilaci\u00f3n de temas de diversas \u00e9pocas con enormes diferencias entre s\u00ed , desde el \u00abWeather Bird Rag\u00bb de Louis Armstrong interpretado por la King Oliver&#8217;s Creole Jazz Band (1923) hasta el \u00abFootprints\u00bb de Wayne Shorter a cargo del quinteto de Miles Davis (1966). La heterogeneidad del repertorio seleccionado permite a Piazza ilustrar sus comentarios con las canciones del disco, recomendando, adem\u00e1s, temas de similar factura al final de cada cap\u00edtulo.<\/p>\n<p style=\"text-align: justify\">Bastante exiguo para un m\u00fasico, es, no obstante, el libro que todos hubi\u00e9ramos querido tener cuando comenzamos a introducirnos en el jazz, y a buen seguro podr\u00e1 clarificar numerosos aspectos de la escucha jazz\u00edstica incluso para aficionados de dilatada experiencia. Un pero: expl\u00edcitamente se omite comentario de discos posteriores a 1970 (el autor remite a <em>The Penguin Guide to Jazz<\/em>). De momento no existe edici\u00f3n en castellano.<\/p>\n<p style=\"text-align: justify\">\u00a0<\/p>\n<p style=\"text-align: right\">\u00a9 2006 <a title=\"arturomora@gmail.com\" href=\"mailto:arturomora@gmail.com\">Arturo Mora Rioja<\/a><\/p>\n<\/td>\n<td width=\"2%\" height=\"120\">\u00a0<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n","protected":false},"excerpt":{"rendered":"<p>UNDERSTANDING JAZZ. Ways to Listen. Autor: Tom Piazza (pr\u00f3logo de Wynton Marsalis) Editorial: Random House (2005) ISBN: I-4000-6369-8 Idioma: ingl\u00e9s El Lincoln Center contin\u00faa trabajando en la difusi\u00f3n did\u00e1ctica del jazz, en este caso en forma de libro. Un t\u00edtulo tan ambicioso como Comprendiendo el Jazz. Formas de escuchar y<span class=\"more-link\"><a href=\"https:\/\/tomajazz.com\/web\/understanding-jazz-ways-to-listen-tom-piazza-random-house-2005\/\">Contin\u00faa leyendo<\/a><\/span><\/p>\n","protected":false},"author":4,"featured_media":0,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":true,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_feature_clip_id":0,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_post_was_ever_published":false},"categories":[17861,3],"tags":[944,260,16099,77,16100,943],"class_list":["entry","author-autor1","post-1389","post","type-post","status-publish","format-standard","category-arturo-mora-rioja","category-libros","tag-2006-arturo-mora-rioja","tag-arturo-mora-rioja","tag-toma-jazz","tag-tomajazz","tag-tomajazz-toma-jazz","tag-understanding-jazz-ways-to-listen-tom-piazza-random-house-2005"],"jetpack_featured_media_url":"","jetpack_likes_enabled":true,"jetpack_sharing_enabled":true,"jetpack-related-posts":[{"id":1377,"url":"https:\/\/tomajazz.com\/web\/to-a-young-jazz-musician-wynton-marsalis-con-selwyn-seyfu-hynds-random-house-2004\/","url_meta":{"origin":1389,"position":0},"title":"TO A YOUNG JAZZ MUSICIAN. 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