{"id":2224,"date":"2012-09-14T10:00:00","date_gmt":"2012-09-14T08:00:00","guid":{"rendered":"http:\/\/www.tomajazz.com\/web\/?p=2224"},"modified":"2016-05-21T20:29:56","modified_gmt":"2016-05-21T18:29:56","slug":"leido-visto-o-escuchado-orrin-keepnews-acerca-de-ornette-coleman-y-el-jazz","status":"publish","type":"post","link":"https:\/\/tomajazz.com\/web\/leido-visto-o-escuchado-orrin-keepnews-acerca-de-ornette-coleman-y-el-jazz\/","title":{"rendered":"Le\u00eddo, visto o escuchado: Orrin Keepnews acerca de Ornette Coleman y el jazz"},"content":{"rendered":"
\"\"<\/a><\/div>\n

\u00abThere can be no neat summing-up at this point, for which one should be thankful. If there could be, it would have to mean that jazz was complete; or, in other words, dead. But that is far from the case…\u00bb
\nThose words opened the final paragraph of the first (1955) edition of this book. We went on to note that Chet<\/b> Baker<\/b> was the choice as the subject of the final picture, although the bet was hedged by the comment: \u00abwithin a year, this closing spot might better belong to someone else.\u00bb
\nThe quickly shifting tides and emphases of jazz may very well make any new choice every bit as vulnerable as that one proved to be. However, the present selection seems not only suitable, but safe. Ornette<\/b> Coleman<\/b> has already spearheaded a jazz revolution. Even if time should prove his revolution less consequential than it might seem now, or his role in it less vital, Coleman<\/b> can still qualify as an effective symbol of the truth that jazz is, above all, change and movement. Hopefully, jazz can move forward without losing contact with his own past -and possibly a book such as this one can help in that respect. But with or without remembrance of the past, inevitably jazz has changed, does change, will change again.
\nThus it is more than reasonably certain that this is just the last page for the time being (wich was the case last time); it is not The End.<\/p><\/blockquote>\n

P\u00e1rrafo final de la edici\u00f3n revisada por Orrin Keepnews de A Pictorial History Of Jazz. People and Places from New Orleans to Modern Jazz<\/i>. Orrin Keepnews and Bill Grauer, Jr. Spring Books.\u00a0\u00a9 Orrin Keepnews, Jane Grauer 1966<\/p>\n","protected":false},"excerpt":{"rendered":"

\u00abThere can be no neat summing-up at this point, for which one should be thankful. If there could be, it would have to mean that jazz was complete; or, in other words, dead. But that is far from the case…\u00bb Those words opened the final paragraph of the first (1955)Contin\u00faa leyendo<\/a><\/span><\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":""},"categories":[4313,9531,13061,1038,4758],"tags":[13060,16099,16100],"class_list":["entry","author-pachi","post-2224","post","type-post","status-publish","format-standard","category-bun","category-especial-contenidos","category-ornette-coleman-gracias-maestro","category-contenidos","category-blogs","tag-especial-ornette-coleman","tag-toma-jazz","tag-tomajazz-toma-jazz"],"jetpack_featured_media_url":"","jetpack_likes_enabled":true,"jetpack_sharing_enabled":true,"jetpack-related-posts":[{"id":55949,"url":"https:\/\/tomajazz.com\/web\/pete-laroca-sims-the-voice-of-experience-jazz-interview-by-pachi-tapiz-published-in-2004\/","url_meta":{"origin":2224,"position":0},"title":"Pete \u00abLaRoca\u00bb Sims: the voice of experience [Jazz Interview] By Pachi Tapiz [Published in 2004]","author":"Tomajazz","date":"26 julio, 2021","format":false,"excerpt":"Pete \"LaRoca\" Sims\u00a0is a legendary drummer. 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Interview by Arturo Mora","author":"Tomajazz","date":"1 julio, 2005","format":false,"excerpt":"XXV Festival de Jazz de Vitoria-Gasteiz, Espa\u00f1a. \u00a9 Carmen Lluss\u00e0, 2000 On mid-June 2005 the Pat Metheny Group was in the middle of the European leg of their The Way Up world tour.Arturo Mora had the chance to talk to Pat Metheny while the guitarrist was in Nice (France). Here\u2019s\u2026","rel":"","context":"En \u00ab*_Arturo Mora Rioja\u00bb","block_context":{"text":"*_Arturo Mora Rioja","link":"https:\/\/tomajazz.com\/web\/category\/arturo-mora-rioja\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/www.tomajazz.com\/perfiles\/metheny\/llussa\/pat3.jpg?resize=350%2C200","width":350,"height":200},"classes":[]},{"id":10490,"url":"https:\/\/tomajazz.com\/web\/tomajazz-interviews-anthony-braxton-ii\/","url_meta":{"origin":2224,"position":2},"title":"Tomajazz interviews Anthony Braxton (II)","author":"Sergio Cabanillas","date":"1 diciembre, 2007","format":false,"excerpt":"Go back to the first part In this second part, Braxton elaborates \u00ad\u2013 at length \u2013 on the evolution of his music in the last twenty years, the origin and development of the Ghost Trance Musics, his advice to newcomers to his music, his perception of his own audience, and,\u2026","rel":"","context":"En \u00ab*_Arturo Mora Rioja\u00bb","block_context":{"text":"*_Arturo Mora Rioja","link":"https:\/\/tomajazz.com\/web\/category\/arturo-mora-rioja\/"},"img":{"alt_text":"Anthony Braxton \u00a9 Sergio Cabanillas, 2007","src":"https:\/\/i0.wp.com\/www.tomajazz.com\/web\/wp-content\/uploads\/2014\/02\/ANTHONY_BRAXTON_7587.jpg?resize=350%2C200","width":350,"height":200},"classes":[]},{"id":5412,"url":"https:\/\/tomajazz.com\/web\/stephen-keogh-gmf-interview-the-social-awareness-of-jazz-by-sergio-cabanillas\/","url_meta":{"origin":2224,"position":3},"title":"Stephen Keogh & GMF Interview: The social awareness of jazz. 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