{"title":"Keith Waters","description":null,"products":[{"product_id":"studio-recordings-of-the-miles-davis-quintet-1965-68-book-keith-waters-9780195393842","title":"The Studio Recordings of the Miles Davis Quintet, 1965-68","description":"The influence of Miles Davis's \"second great quintet,\" consisting of Davis (trumpet), Wayne Shorter (tenor saxophone), Herbie Hancock (piano), Ron Carter (bass), and Tony Williams (drums) continues to resonate. Jazz musicians, historians, and critics have celebrated the group for its improvisational communication, openness, and its transitional status between hard bop and the emerging free jazz of the 1960s, creating a synthesis described by one quintet member as \"controlled freedom.\" The book provides a critical analytical study of the Davis quintet studio recordings released between 1965-68, including E.S.P., Miles Smiles, Sorcerer, Nefertiti, Miles in the Sky, and Filles de Kilimanjaro. In contrast to the quintet's live recordings, which included performances of older jazz standards, the studio recordings offered an astonishing breadth of original compositions. Many of these compositions have since become jazz standards, and all of them played a central role in the development of contemporary jazz composition.   Using transcription and analysis, author Keith Waters illuminates the compositional, improvisational, and collective achievements of the group. With additional sources, such as rehearsal takes, alternate takes, session reels, and copyright deposits of lead sheets, he shows how the group in the studio shaped and altered features of the compositions. Despite the earlier hard bop orientation of the players, the Davis quintet compositions offered different responses to questions of form, melody, and harmonic structure, and they often invited other improvisational paths, ones that relied on an uncanny degree of collective rapport. And given the spontaneity of the recorded performances-often undertaken with a minimum of rehearsal-the players responded with any number of techniques to address formal, harmonic, or metrical discrepancies that arose while the tape was rolling.   The book provides an invaluable resource for those interested in Davis and his sidemen, as well as in jazz of the 1960s. It serves as a reference for jazz musicians and educators, with detailed transcriptions and commentary on compositions and improvisations heard on the studio recordings.","brand":"WoB","offers":[{"title":"GB \/ VERY_GOOD \/ INTERNAL","offer_id":49567606243601,"sku":"GOR006976918","price":0.0,"currency_code":"GBP","in_stock":false},{"title":"US \/ NEW \/ INGRAM","offer_id":50999755964689,"sku":"NIN9780195393842","price":0.0,"currency_code":"GBP","in_stock":false},{"title":"US \/ GOOD \/ SBYB","offer_id":52117543878929,"sku":"CIN0195393848G","price":0.0,"currency_code":"GBP","in_stock":false},{"title":"GB \/ NEW \/ INGRAM","offer_id":52493292536081,"sku":"NLS9780195393842","price":0.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0784\/4072\/6801\/files\/0195393848.jpg?v=1776765472"},{"product_id":"jazz-book-henry-martin-9780028647890","title":"Jazz","description":null,"brand":"WoB","offers":[{"title":"US \/ VERY_GOOD \/ SBYB","offer_id":50290796626193,"sku":"CIN0028647890VG","price":0.0,"currency_code":"GBP","in_stock":false},{"title":"US \/ GOOD \/ SBYB","offer_id":50311406518545,"sku":"CIN0028647890G","price":0.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0784\/4072\/6801\/files\/0028647890.jpg?v=1751387706"},{"product_id":"postbop-jazz-in-the-1960s-book-keith-waters-9780190604578","title":"Postbop Jazz in the 1960s","description":"Innovations in postbop jazz compositions of the 1960s occurred in several dimensions, including harmony, form, and melody. Postbop jazz composers such as Wayne Shorter, Herbie Hancock, and Chick Corea broke with earlier tonal jazz traditions. Their compositions marked a departure from the techniques of jazz standards and original compositions that defined small-group repertory through the 1950s: single-key orientation, schematic 32-bar frameworks (in AABA or ABAC forms), and tonal harmonic progressions. The book develops analytical pathways through a number of compositions, including \"El Gaucho,\" \"Penelope,\" \"Pinocchio,\" \"Face of the Deep\" (Shorter); \"King Cobra,\" \"Dolphin Dance,\" \"Jessica\" (Hancock); \"Windows,\" \"Inner Space,\" \"Song of the Wind\" (Corea); as well as \"We Speak\" (Little); \"Punjab\" (Henderson); \"Beyond All Limits\" (Shaw). These case studies offer ways to understand their harmonic syntax, melodic and formal designs, and general principles of harmonic substitution. By locating points of contact among these postbop techniques-and by describing their evolution from previous tonal jazz practices-the book illustrates the syntactic changes that emerged during the 1960s.","brand":"WoB","offers":[{"title":"- \/ - \/ -","offer_id":50999628398865,"sku":"","price":0.0,"currency_code":"GBP","in_stock":true},{"title":"US \/ NEW \/ INGRAM","offer_id":50999631020305,"sku":"NIN9780190604578","price":0.0,"currency_code":"GBP","in_stock":false},{"title":"US \/ GOOD \/ SBYB","offer_id":52117363458321,"sku":"CIN0190604573G","price":0.0,"currency_code":"GBP","in_stock":false},{"title":"GB \/ NEW \/ INGRAM","offer_id":52488737227025,"sku":"NLS9780190604578","price":0.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0784\/4072\/6801\/files\/0190604573.jpg?v=1750908121"},{"product_id":"rhythmic-and-contrapuntal-structures-in-the-music-of-arthur-honegger-book-keith-waters-9781138728691","title":"Rhythmic and Contrapuntal Structures in the Music of Arthur Honegger","description":"This title was first published in 2002. Through analyses of a number of Honegger's compositions, including extended analyses of two of Honegger's orchestral works, \"Mouvement symphonique No. 2 (Rugby)\" and \"Symphonie pour cordes\", Keith Waters examines the principles of musical organization in Honegger's music and shows how these principles are based on systematic rhythmic and contrapuntal strategies. Musical form in Honegger's work, the book argues, is articulated by contrapuntal and rhythmic structures rather than by tonal structure, and it is this that provides the source of compositional unity in Honegger's music.","brand":"WoB","offers":[{"title":"GB \/ NEW \/ INGRAM","offer_id":52426290823441,"sku":"NLS9781138728691","price":0.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0784\/4072\/6801\/files\/9781138728691.jpg?v=1759157306"},{"product_id":"studio-recordings-of-the-miles-davis-quintet-1965-68-book-keith-waters-9780195393835","title":"The Studio Recordings of the Miles Davis Quintet, 1965-68","description":"The influence of Miles Davis's \"second great quintet,\" consisting of Davis (trumpet), Wayne Shorter (tenor saxophone), Herbie Hancock (piano), Ron Carter (bass), and Tony Williams (drums) continues to resonate. Jazz musicians, historians, and critics have celebrated the group for its improvisational communication, openness, and its transitional status between hard bop and the emerging free jazz of the 1960s, creating a synthesis described by one quintet member as \"controlled freedom.\" The book provides a critical analytical study of the Davis quintet studio recordings released between 1965-68, including E.S.P., Miles Smiles, Sorcerer, Nefertiti, Miles in the Sky, and Filles de Kilimanjaro. In contrast to the quintet's live recordings, which included performances of older jazz standards, the studio recordings offered an astonishing breadth of original compositions. Many of these compositions have since become jazz standards, and all of them played a central role in the development of contemporary jazz composition.   Using transcription and analysis, author Keith Waters illuminates the compositional, improvisational, and collective achievements of the group. With additional sources, such as rehearsal takes, alternate takes, session reels, and copyright deposits of lead sheets, he shows how the group in the studio shaped and altered features of the compositions. Despite the earlier hard bop orientation of the players, the Davis quintet compositions offered different responses to questions of form, melody, and harmonic structure, and they often invited other improvisational paths, ones that relied on an uncanny degree of collective rapport. And given the spontaneity of the recorded performances-often undertaken with a minimum of rehearsal-the players responded with any number of techniques to address formal, harmonic, or metrical discrepancies that arose while the tape was rolling.   The book provides an invaluable resource for those interested in Davis and his sidemen, as well as in jazz of the 1960s. 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