Download Ben Sidran: A Life in the Music by Ben Sidran PDF

By Ben Sidran

Publish 12 months note: First released March twenty fifth 2003 by means of Taylor alternate Publishing

Sidran's splendidly crafted memoir revisits the various diverse points of his existence and profession: As a performer, he has recorded with jazz icons (Miles Davis, Dizzy Gillespie, Jon Hendricks) and rock legends (Eric Clapton, Van Morrison, Steve Miller); as a composer, he has scored movies (Hoop Dreams); and as a student he has written books and articles at the historical past of jazz and black tune in the USA.

With a charismatic and expert voice, Sidran illuminates scenes from his adolescence in Chicago and provides an within view of the recording undefined, additionally revealing an information of the heritage of Jewish contributions to jazz.

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He told one audience in 1964, ‘I have my Bob Dylan mask on’ (Wilentz 2003: 290). Throughout his career he has had his Bob Dylan mask on, or rather one of his many Dylan masks. Many of his characters are enigmatic and mysterious, like the ‘Man in the Long Black Coat’ (1989): ‘He had a face like a mask’. ’. The Drifter’s Escape 45 Dylan’s long catalogue of outlaw songs contains many western heroes, but also some modern ones, such as Lenny Bruce. Not only did Dylan write a song to Bruce, there are also several references to him in his liner notes and other writings (for example ‘Some Other Kind of Songs’ on Another Side and ‘11 Outlined Epitaphs’ on The Times They Are A-Changin’).

He does this by presenting three aesthetic theories: those of R. G. Collingwood, Michael Oakeshott and F. G. Lorca. The crucial point is distinguishing between those lyrics that may be taken as propositions about the world and whose contexts may illuminate them, and those that are non-propositional and about which it Introduction 21 makes little sense to ask whether they are right or wrong, and for which the search for meaningful contexts detracts from their poetic imagery. It is suggested that different types of lyric poetry are characteristic of Dylan’s various styles, and that the theoretical conclusions help us to distinguish what types of questions may be asked of them.

There’s gonna be a war called the Battle of Armageddon which is like something you never even dreamed about. And Christ will set up His Kingdom, and He’ll rule it from Jerusalem. I know, far out as that might seem this is what the Bible says (Heylin 1992: 144–5). But Dylan, as so often before, did not stay convinced by fundamentalist Christianity for very long. He was soon distancing himself from it and recovering his more usual sceptical, detached pose. In ‘Sweetheart Like You’ (1983) he sings rather poignantly, ‘There’s only one step down from here, baby,/It’s called the land of permanent bliss’.

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