West Coast Jazz: differenze tra le versioni - Wikipedia

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{{Genere musicale

|nome =West Coast jazzJazz

|immagine =Key of C, trompe l'oeil mural by John Pugh.jpg

|didascalia =Murale che celebra il luogo di nascita del West Coast Jazz, di John Pugh

|origini_s = <nowiki></nowiki>{{hlist|[[Bebop]]|[[swing]]|[[musica classica]]}}

|origini_c = {{hlist|[[Anni 1940|Anni '40]], |[[West Coast (Stati Uniti d'America)|Costa occidentale degli Stati Uniti]]}}▼

* [[Bebop]]

* [[swing]]

* [[musica classica]]

▲|origini_c = [[Anni 1940|Anni '40]], [[West Coast (Stati Uniti d'America)|Costa occidentale degli Stati Uniti]]

|generi_c = [[Cool jazz]]

|scene = {{hlist|[[Los Angeles]]|[[San Francisco]]}}

|scene = <nowiki></nowiki>

* [[Los Angeles]]

* [[San Francisco]]

|nomicat = jazz}}

Il '''West Coast jazzJazz''' referssi toriferisce stylesagli ofstili di [[jazz]] thatche developedsi insvilupparono a [[Los Angeles]] ande [[San Francisco]] duringnegli the[[anni 1950s'50]]. Il West Coast jazzJazz isCoast oftenè seenspesso asvisto acome un subgenresottogenere ofdel [[cool jazz]], whichche consistedconsisteva ofin auno stile calmerpiù stylecalmo thandi [[bebop]] oro [[hard bop]]. TheLa musicmusica reliedsi relativelybasava morerelativamente onpiù compositionsulla andcomposizione arrangemente thansull'arrangiamento onche thesull'esecuzione individuallyimprovvisata improvisedindividuale playingdi ofaltri otherstili jazz styles. AlthoughSebbene thisquesto stylestile dominateddominasse, itnon wasera notl'unica theforma only form ofdi jazz heardascoltata onsulla thecosta Americanoccidentale West Coastamericana.

==Storia==

===Contesto===

BeforePrima della [[Worldseconda Warguerra IImondiale]], thela westcosta coastoccidentale ofdegli theStati U.S.Uniti hostedospitava auna bustlingvivace musicscena scenemusicale, thoughsebbene itsla activitysua remainedattività largelyrimanesse localizedin gran parte localizzata.<ref name="carr">{{citeCita booklibro|last1cognome1=Carr|first1nome1=Roy|author-link1wkautore1=Roy Carr|titletitolo=A Century of Jazz: A Hundred Years of the Greatest Music Ever Made|yearanno=2006|orig-yearannooriginale=1997|publishereditore=Hamlyn|locationcittà=London|chaptercapitolo=The Cool on the Coast|pagespp=[https://archive.org/details/centuryofjazz0000carr/page/92 92–105]|isbn=0-681-03179-4|chapter-urlurlcapitolo=https://archive.org/details/centuryofjazz0000carr/page/92|lingua=en}}</ref> InNel 1917, [[Jelly Roll Morton]] movedsi totrasferì in [[California]] ande remainedrimase ina Los Angeles untilfino al 1922, whenquando hepartì left forper Chicago.<ref name="wynn">{{Cita libro|curatore1=Ron Wynn|curatore2=Michael Erlewine|titolo=AllMusic Guide to Jazz|data=1994|editore=Miller Freeman|città=San Francisco|isbn=0-87930-308-5|url=https://archive.org/details/allmusicguidetoj00wynn|lingua=en}}</ref><ref name="schuller_grove-oxford">{{CiteCita web|lastcognome=Schuller|firstnome=Gunther|author-linkwkautore=Gunther Schuller|titletitolo=Jelly Roll Morton | url=http://www.oxfordmusiconline.com/subscriber/article/grove/music/19179 | access-dateaccesso=September 12, settembre 2011 | workopera=Grove Music Online. Oxford Music Online}}</ref><ref name="wynn">{{cite book|editor1-lastlingua=Wynn|editor1-first=Ron|editor2-last=Erlewine|editor2-first=Michael|title=AllMusic Guide to Jazz|date=1994|publisher=Miller Freeman|location=San Francisco|isbn=0-87930-308-5|url=https://archive.org/details/allmusicguidetoj00wynnen}}</ref>{{Rp| 481}} [[Kid Ory]] formedformò auna band ina Los Angeles afterdopo movingessersi totrasferito in California innel 1919.<ref name="aar">{{citecita web|last1cognome1=Carr|first1nome1=Roy|titletitolo=Kid Ory, "Tailgate" Trombonist & Composer|url=http://www.aaregistry.org/historic_events/view/kid-ory-tailgate-trombonist-composer|websitesito=African American Registry|access-dateaccesso=September 28, settembre 2011|lingua=en}}</ref> InNel 1944, [[Norman Granz]] beganiniziò staginga mettere in scena [[Jazz at the Philharmonic]] showsal at [[Hazard's Pavilion|Philharmonic Auditorium]] indi Los Angeles.<ref name="carr" /> InNel 1946, [[Ross Russell (jazz)|Ross Russell]]fondò establishedla [[Dial Records (1946)|Dial Records]] ina Hollywood toper recordregistrare [[Charlie Parker]] duringdurante hisil sojournsuo insoggiorno a Los Angeles.<ref name="yanow">{{citecita web|last1cognome1=Yanow|first1nome1=Scott|titletitolo=Ross Russell|url=http://www.allmusic.com/artist/ross-russell-mn0000293171/biography|websitesito=AllMusic|access-dateaccesso=8 Septembersettembre 2017|lingua=en}}</ref> MeanwhileNel frattempo, alungo thrivingla jazzCentral sceneAvenue had appeared alongdi Los Angeles's [[Centralera Avenueapparsa (Losuna Angeles)|Centralfiorente Avenue]]scena jazz, featuringcon [[Dexter Gordon]], [[Wardell Gray]], [[Teddy Edwards]], [[Charles Mingus]], ande [[Buddy Collette]]. L'attività della Central Avenue's activityrivaleggiava rivaledcon thatquella ofdella theprecedente scena jazz earlierdi [[Kansas City jazz(Kansas)|Kansas City]] scene, butma atall'epoca theera timepoco itconosciuta wasal little-knowndi fuori outsidedi Los Angeles.<ref name="carr" />

InNel 1947, [[Woody Herman]] organizedorganizzò auna newnuova band, thei Second Herd, ina Los Angeles. TheIl groupgruppo includedcomprendeva tenori saxophonists[[Sassofono tenore|sassofonisti tenore]] [[Stan Getz]], [[Zoot Sims]], ande [[Herbie Steward]], ande baritoneil saxophonist[[Sassofono baritono|sassofonista baritono]] [[Serge Chaloff]]. TheIl resultingsuono risultante dei "Four Brothers", soundchiamato (namedcosì per la forcomposizione thedi [[Jimmy Giuffre]] composition, "[[''Four Brothers''", (jazzche standard)|Fourmetteva Brothers]],"in whichrisalto highlightedquesto thisgruppo, group)fu wasun aprecursore precursordello of thestile cool style.<ref name="wynn" />{{Rp| 336}}.<ref name="tanner">{{citeCita booklibro|lastcognome=Tanner|firstnome=Paul O. W.|author-linkwkautore=Paul Tanner|author2autore2=Maurice Gerow|author3autore3=David W. Megill|titletitolo=Jazz|orig-yearannooriginale=1964|editionedizione=6th|yearanno=1988|publishereditore=William C. Brown, College Division|locationcittà=Dubuque, IA|isbn=0-697-03663-4|pagespp=[https://archive.org/details/jazz00tann/page/103 103]–111|chaptercapitolo=Cool (1949-1955)|url=https://archive.org/details/jazz00tann|url-accesslingua=registrationen}}</ref>

===Sviluppo===

InNel 1949–19501949-1950 baritoneil saxophonistsassofonista baritono [[Gerry Mulligan]] participatedpartecipò inalla theband di [[Miles Davis]] band, contributingcontribuendo arrangementsagli toarrangiamenti thedelle recordingsregistrazioni thatche becamedivennero ''[[Birth of the Cool]]'' (1957). InNel 1952 Mulligan, whoche hadsi movedera totrasferito in California, formedformò anun innovativequartetto andinnovativo successfulsenza piano-lesspianoforte e di successo quartetcon withil trumpetertrombettista [[Chet Baker]], drummeril batterista [[Chico Hamilton]], ande il bassistbassista Bob Whitlock.<ref name="carr" /><ref name="wynn" />{{Rp| 304}} Mulligan wouldavrebbe laterpoi formformato aun [[Decetdecetto (music)|decet]]basato basedsul on thenonetto ''Birth of the Cool'' nonet.<ref name="carr" />

InNel 1950 [[Stan Kenton]] disbandedsciolse hisla sua Innovations Orchestra ina Los Angeles. ManyMolti ofdei the musiciansmusicisti, somealcuni ofdei whomquali hadavevano alsoanche playedsuonato innella band di Woody Herman's band, chosescelsero todi remainrimanere in California. TrumpeterIl trombettista [[Shorty Rogers]] ande i drummersbatteristi [[Stan Levey]] ande [[Shelly Manne]] wereerano centralfigure figurescentrali amongin thisquesto groupgruppo ofdi musiciansmusicisti. MuchGran ofparte thisdi activityquesta centeredattività onsi theconcentrò sull'Hermosa Beach [[Lighthouse Café]], wheredove bassistil bassista [[Howard Rumsey]] leddiresse auna house band, thei Lighthouse All-Stars.<ref name="carr" />

Manne suggerì che lo stile di vita rilassato di questi musicisti in California si rifletteva in un approccio rilassato e rilassato al jazz.<ref name="manne">{{cita libro|cognome=Manne |nome=Shelly|altri=Reginald Buckner|titolo=Jazz: American Classic |tipo=Intervista: video|opera = Citato in Tanner ''et al'' - "Hard Bop – Funky"|capitolo=Jazz|p=113|lingua=en}}</ref> Bob Rusch concorda:<blockquote>Il sound della costa occidentale forse non aveva la gravità che aveva quello della costa orientale, ma, dopo tutto, questi erano californiani che si godevano il sole e il surf e la misura in cui la celebrità si offriva attraverso il lavoro in studio offerto dall'[[industria dello spettacolo]]. Penso che, sapete, pensate alla California come al sole e al surf, e pensate a New York come al cemento e alla sabbia, e la musica in qualche modo riflette questo. Uno migliore dell'altro? Dipende da cosa vuoi.<ref name="rusch2012">{{Cita pubblicazione|cognome=Rusch|nome=Robert D.|wkautore=Bob Rusch|data=gennaio 2012|titolo=Papatamus|rivista=Cadence Magazine|volume=38|numero=1 (399)|p=136|editore=Cadence Magazine|città=[[Richland (Oregon)]]|issn=0162-6973|lingua=en}}</ref></blockquote>

Manne suggested that these musicians' relaxed lifestyle in California was reflected in a laid-back, relaxed approach to jazz.<ref name="manne">{{cite interview |last=Manne |first=Shelly |subject-link=Shelly Manne |interviewer=Reginald Buckner |title=Jazz: American Classic |type=Interview: video}} Cited in Tanner ''et al''. "Hard Bop – Funky." ''Jazz'', p. 113.</ref> [[Bob Rusch]] concurs:

Durante gli [[anni '50]] [[Chico Hamilton]] guidò un gruppo che, insolito per un gruppo jazz, includeva un violoncellista, [[Fred Katz]]. Tanner, Gerow e Megill paragonano la musica di Hamilton alla [[musica da camera]] e hanno notato che il "sottile controllo ritmico di Hamilton e l'uso di diverse altezze e timbri di batteria" erano adatti per questo stile di musica.<ref name="tanner" />

<blockquote>The West coast sound perhaps didn't have the gravitas that the East coast had, but, after all, these were Californians enjoying the sun and the surf and the extent that celebrity offered itself through the studio work that the entertainment industry was offering. So I think, you know, you think of California as sun and surf, you think of New York City as cement and grit, and the music somewhat reflected that. One better than the other? Depends what you want.<ref name="rusch2012">{{cite journal | last =Rusch | first =Robert D. | author-link=Bob Rusch |date=January 2012 | title =Papatamus | journal = [[Cadence Magazine]] | volume =38 | issue =1 (399) | page =136 | publisher = Cadence Magazine | location = [[Richland, Oregon]] | issn = 0162-6973 }}</ref></blockquote>

InNel 1951, pianistil pianista [[Dave Brubeck]] hiredassunse altoil saxophonist[[Sassofono contralto|sassofonista contralto]] [[Paul Desmond]], formingformando aun quartetquartetto.<ref name="carr" /><ref name="wynn" />{{Rp|119}} Desmond'sLo playingstile styledi ranDesmond counterandava tocontro il [[bebop]], aspoiché heusava seldomraramente usedelementi [[blues]] elements, anded wasera influencedinfluenzato byda [[Pete Brown (jazz musician)|Pete Brown]] ande [[Benny Carter]] ratherpiuttosto thanche da [[Charlie Parker]].<ref name="carr" /><ref name="wynn" />{{Rp|203}}▼

During the 1950s, Chico Hamilton led an ensemble that (unusual for a jazz group) included a cellist, [[Fred Katz (cellist)|Fred Katz]]. Tanner, Gerow, and Megill liken Hamilton's music to [[chamber music]], and have noted that Hamilton's "subtle rhythmic control and use of different drum pitches and timbres" were well-suited for this style of music.<ref name="tanner" />

Le etichette discografiche Pacific Jazz e [[Contemporary Records|Contemporary]] erano due delle etichette discografiche più conosciute che incidevano il West Coast Jazz, proprio come la [[Blue Note Records]] era la più grande etichetta [[Hard bop|hard-bop]]. Alcuni dei principali pionieri della West Coast Jazz furono [[Shorty Rogers]], [[Gerry Mulligan]], [[Chet Baker]], [[Stan Getz]], [[Bud Shank]], Bob Cooper, [[Jimmy Giuffre]], [[Shelly Manne]], [[Russ Freeman (pianista)|Russ Freeman]], Bill Holman, [[André Previn]], e [[Dave Brubeck]] con [[Paul Desmond]]. Nel 1952-1962 la cantante jazz [[Anita O'Day]] registrò 17 album di Norman Granz per le etichette [[Norgran Records|Norgran]] e [[Verve Records|Verve]] a Los Angeles.

▲In 1951, pianist [[Dave Brubeck]] hired alto saxophonist [[Paul Desmond]], forming a quartet.<ref name="carr" /><ref name="wynn" />{{Rp|119}} Desmond's playing style ran counter to bebop, as he seldom used [[blues]] elements, and was influenced by [[Pete Brown (jazz musician)|Pete Brown]] and [[Benny Carter]] rather than Charlie Parker.<ref name="carr" /><ref name="wynn" />{{Rp|203}}

WhileMentre manymolti Losmusicisti Angelesjazz areadella jazzzona musiciansdi Los Angeles, particularlyin theparticolare formergli membersex ofmembri delle theband Herman ande Kenton bands, foundtrovarono regularlavoro employmentregolare innegli broadcast andstudi motiontelevisivi picturee studioscinematografici, mostla ofmaggior theseparte musiciansdi werequesti whitemusicisti erano bianchi, leadingportando toad accusationsaccuse thatche thegli studiosstudi deliberatelyescludevano excludeddeliberatamente Africangli Americansafroamericani.<ref name="carr" /> TheLa situationsituazione wasfu aun contributingfattore factorche towardcontribuì theall'integrazione integrationdelle ofsezioni thedi Los Angeles chapters of thedella [[American Federation of Musicians]] duringdurante thei earlyprimi 1950sanni '50.<ref name="young">{{CiteCita web| lastcognome=Young| firstnome=Marl|titletitolo=Amalgamation of Local 47 and 767 |url=http://www.promusic47.org/amalgamation.htm |workopera=Overture Magazine| datedata=Marchmarzo 1999 |archive-urlurlarchivio=https://web.archive.org/web/20091214233113/http://www.promusic47.org/amalgamation.htm |archive-datelingua=2009-12-14en}}</ref><ref name="mclellan">{{citecita web|last1cognome1=McLellan|first1nome1=Dennis|titletitolo=Marl Young dies at 92; pianist was key in desegregating L.A. musicians unions|url=http://articles.latimes.com/2009/may/03/local/me-marl-young3|websitesito=Los Angeles Times|access-dateaccesso=March 4, marzo 2010|datedata=3 Maymaggio 2009|lingua=en}}</ref> PianistIl pianista [[Marl Young]] recalledricordò thatche innel 1950,:▼

The [[Pacific Jazz Records|Pacific Jazz]] and [[Contemporary Records|Contemporary]] record labels were two of the best known that carried West Coast jazz, just as [[Blue Note Records]] was the biggest hard-bop label. Some of the major pioneers of West Coast jazz were Shorty Rogers, Gerry Mulligan, Chet Baker, Stan Getz, [[Bud Shank]], [[Bob Cooper (musician)|Bob Cooper]], Jimmy Giuffre, Shelly Manne, [[Russ Freeman (pianist)|Russ Freeman]], [[Bill Holman (musician)|Bill Holman]], [[André Previn]], and Dave Brubeck with Paul Desmond. In 1952–1962 jazz singer [[Anita O'Day]] recorded 17 albums for Norman Granz's Los Angeles-based [[Norgran Records|Norgran]] and [[Verve Records|Verve]] labels.{{Relevance inline|sentence|reason=Not sure of the relevance here, I guess it's because Norgran & Verve were based in LA? Were all the recordings made there, &/or are they characteristic of a West Coast style? Lots of other artists recorded for Granz.|date=March 2023}}

<blockquote>per quanto ne sapevo, non c'erano neri che lavorano regolarmente nel settore, soprattutto sulle reti - ABC, CBS e NBC. [Estelle Edson] mi ha chiesto se il fatto che i sindacati dei musicisti fossero segregati contribuisse alla scarsità di neri nel settore Certamente potrebbe aver contribuito al fatto che tutti i contratti per l’assunzione di musicisti negli studi radiotelevisivi e cinematografici furono negoziati dall’allora sindacato tutto bianco Local 47. Il sindacato nero, Local 767, adottò semplicemente le tariffe negoziate dal Local 47, se e quando un musicista nero ha ricevuto una chiamata in studio.<ref name="young" /></blockquote>

▲While many Los Angeles area jazz musicians, particularly the former members of the Herman and Kenton bands, found regular employment in broadcast and motion picture studios, most of these musicians were white, leading to accusations that the studios deliberately excluded African Americans.<ref name="carr" /> The situation was a contributing factor toward the integration of the Los Angeles chapters of the [[American Federation of Musicians]] during the early 1950s.<ref name="young">{{Cite web| last=Young| first=Marl|title=Amalgamation of Local 47 and 767 |url=http://www.promusic47.org/amalgamation.htm |work=Overture Magazine| date=March 1999 |archive-url=https://web.archive.org/web/20091214233113/http://www.promusic47.org/amalgamation.htm |archive-date=2009-12-14}}</ref><ref name="mclellan">{{cite web|last1=McLellan|first1=Dennis|title=Marl Young dies at 92; pianist was key in desegregating L.A. musicians unions|url=http://articles.latimes.com/2009/may/03/local/me-marl-young3|website=Los Angeles Times|access-date=March 4, 2010|date=3 May 2009}}</ref> Pianist [[Marl Young]] recalled that in 1950,

Young, whoche alsoaveva heldanche auna lawlaurea degreein legge, workedha lavorato con i musicisti withdel Local 767 musicians (includingtra cui Buddy Collette, [[Red Callender]], ande Benny Carter) alonginsieme withai membri del Local 47 members (includingtra cui [[Roger Segure]]) toper integrateintegrare theil unionsindacato. [[Josephine Baker]] supportedha sostenuto lo thesforzo localdi integrationintegrazione effortlocale.<ref name="young" />▼

<blockquote>as far as I knew, there were no blacks working regularly in the industry, especially on the networks – ABC, CBS and NBC. [Estelle Edson] asked me if the fact that the Musicians Unions were segregated contributed to the scarcity of blacks in the industry. It certainly could have been a contributing factor in that all the contracts for employment of musicians in the broadcast and motion picture studios were negotiated by the then all-white union, Local 47. The black union, Local 767, merely adopted the scales negotiated by Local 47, if and when a black musician got a studio call.<ref name="young" /></blockquote>

▲Young, who also held a law degree, worked with Local 767 musicians (including Buddy Collette, [[Red Callender]], and Benny Carter) along with Local 47 members (including [[Roger Segure]]) to integrate the union. [[Josephine Baker]] supported the local integration effort.<ref name="young" />

===California Hard===

AlthoughAnche se il West Coast jazzJazz isè oftenspesso comparedparagonato toallo thestile cool style, i musicisti di Los Angeles musicianslocalmente locallyconosciuti known ascome "hard swingers,", "blewhanno suonato bop asduro toughcome asqualsiasi anythingcosa emergingemergesse out ofda Detroit ande New York...."<ref name="carr" /> InNegli lateranni years,successivi la theirloro musicmusica wasera knownconosciuta ascome "California Hard." [[Roy Carr]] notesnota thatche thisquesto isnon notè surprisingsorprendente. ByAlla thefine latedegli 1940sanni quaranta, thela scena di Central Avenue sceneaveva hadi themusicisti mostpiù bebop musiciansal outsidedi fuori di New York. [[Max Roach]] ande [[Clifford Brown]], Shelly Manne, ande [[Curtis Counce]] establishedfondarono band harder-soundingpiù bandsdure ina Los Angeles.<ref name="carr" />

==Sound==

Il West Coast jazzJazz sometimesa featuredvolte apresentava rhythmuna section[[sezione thatritmica]] omittedche theometteva usel'uso ofdi aun pianopianoforte, guitar,una orchitarra anyo chordaluno instrumentstrumento a corde, tendingtendente toad aun moresuono openpiù andaperto freere soundpiù libero, ascome exemplifiedesemplificato bydalla thecollezione di Gerry Mulligan collection ''The Original Quartet with Chet Baker'' (Blue Note, 1998). AnotherUn'altra characteristiccaratteristica isè thel'inclusione inclusiondi ofstrumenti jazz non- standard jazzcome instrumentsil such[[corno asfrancese]] thee Frenchla horn[[Tuba and(strumento musicale)|tuba]]. Gil EvansL'sarrangiamento arrangementdi on[[Gil theEvans]] sull'album ''Birth of the Cool'' albumpresentava featuredquesti thesestrumenti instrumentsin atun amomento timein whencui thestava Westemergendo Coastlo stylestile wasdella emergingWest Coast.<ref name="Roach">{{citecita web|last1cognome1=Roach|first1nome1=Geoff|titletitolo=West Coast Jazz|url=https://www.allaboutjazz.com/west-coast-jazz-by-geoff-roach.php|websitesito=All About Jazz|access-dateaccesso=15 Augustagosto 2017|datedata=27 Februaryfebbraio 2005|lingua=en}}</ref>

== Accoglienza ==

Tanner, Gerow, ande Megill aresono largelyin dismissivegran ofparte thesprezzanti termdel termine "West Coast jazzJazz". AsCome itspesso oftensi refersriferisce toa Gerry Mulligan ande ai hissuoi associatessoci in California, "West Coast" merelydiventa becomessemplicemente synonymoussinonimo withdi "cool jazz", althoughanche se [[Lester Young]], [[Claude Thornhill]], ande Miles Davis werevivessero based ina New York. AtAllo thestesso same timetempo, manymolti musiciansmusicisti associatedassociati withal West Coast jazzJazz "wereerano muchmolto morepiù involvedcoinvolti in aun approccio hotterpiù approachcaldo toal jazz. CommunicationDato beingche whatla itcomunicazione is,è itquella ische hardlyè, likelyè thatdifficilmente anyprobabile styleche ofuno stile di jazz wassia fosteredstato exclusivelypromosso inesclusivamente onein un'area."<ref name="tanner" />

SomeAlcuni observersosservatori lookeddisprezzavano down uponil West Coast jazzJazz becauseperché manymolti ofdei itssuoi musiciansmusicisti wereerano whitebianchi, ande becauseperché somealcuni listenersascoltatori, critics,critici ande historiansstorici perceivedpercepivano thatche thela musicmusica wasera tootroppo cerebralcerebrale, effete,affettata oro effeminateeffeminata, oro thatche itmancava lackeddi [[Swing (jazz performance style)|swing]].<ref name="gridley">{{citeCita journalpubblicazione|last1cognome1=Gridley|first1nome1=Mark C.|titletitolo=Clarifying Labels: Cool Jazz, West Coast, and Hard Bop|journalrivista=Tracking: Popular Music Studies|volume=2|issuenumero=2|url=http://www.icce.rug.nl/~soundscapes/DATABASES/TRA/Clarifying_labels.shtml|access-dateaccesso=15 Februaryfebbraio 2017|publishereditore=International Association for the Study of Popular Music|lingua=en}}</ref><ref name="salerni">{{citeCita journalpubblicazione|last1cognome1=Salerni|first1nome1=Paul|titletitolo=Review: ''West Coast Jazz'' by Ted Gioia|journalrivista=Italiana Americana|datedata=1995|volume=13|issuenumero=2|pagespp=232–234| jstor=29776316|lingua=en}}</ref><ref name="smith">{{Cite interviewCita libro| titlenome=The Music (West Coast jazz) Ted| work=Rediscovering Dave Brubeck | lastcognome=Gioia | firstnome2=Ted Stanley| subject-link=Ted Gioia | last2cognome2=Crouch | first2curatore=StanleyHedrick Smith| subject-link2titolo=StanleyThe CrouchMusic |(West interviewer=[[Hedrick Smith]]Coast jazz)| url=https://www.pbs.org/brubeck/theMusic/westCoastJazz.htm |accesso=15 publisherfebbraio 2017|anno=2001|editore=[[National Public Radio|NPR]] | datelingua=2001 en| access-dateopera=2017-02-15Rediscovering Dave Brubeck}}</ref> HoweverTuttavia, musicisti [[African Americanafroamericani]] musicians playedsuonarono in thequesto stylestile, includingtra cui [[Curtis Counce]], [[John Lewis (pianistpianista)|John Lewis]], [[Chico Hamilton]], [[Harry Edison|Harry "Sweets" Edison]], [[Buddy Collette]], [[Red Callender]], [[Harold Land]], [[Eugene Wright]] ande [[Hampton Hawes]].

==Film==

*2005: ''{{Cita libro|titolo = Jazz on the West Coast: The Lighthouse''|autore (RoseKing= Productions2005, Kenneth Koenig)|data=1º settembre 2006|altri=Attori: Howard Rumsey, Bud Shank, Stan Levey|editore = RoseKing Productions|lingua = en}}

==Note==

Line 67 ⟶ 60:

==Collegamenti esterni==

* {{Collegamenti esterni}}

* {{Cita web|url=https://www.allmusic.com/style/ma0000002933|titolo=West Coast Jazz Music Style Overview|sito=AllMusic|lingua=en|accesso=25 febbraio 2024}}

* {{Cita web|url=https://finto.fi/yso/en/page/p30056|titolo=Finto: YSO: West Coast -jazz|sito=finto.fi|lingua=en|accesso=25 febbraio 2024}}

* {{Cita web|url=https://www.sapere.it/enciclopedia/West+Coast+Jazz.html|titolo=West Coast Jazz su Enciclopedia {{!}} Sapere.it|data=5 giugno 2020|lingua=it|accesso=25 febbraio 2024}}

* {{Cita web|url=https://doppiojazz.it/wp/2023/06/14/west-coast-jazz-laltra-faccia-della-luna/|titolo=West Coast Jazz, l'altra faccia della luna|autore=Francesco Cataldo Verrina|sito=DOPPIO JAZZ Storie di Uomini & Dischi|data=14 giugno 2023|lingua=it|accesso=25 febbraio 2024}}

* {{Cita web|url=https://www.masterclass.com/articles/west-coast-jazz-explained|titolo=West Coast Jazz Guide: 3 Characteristics of West Coast Jazz|data=7 giugno 2021|autore=MasterClass|editore=MasterClass|accesso=25 febbraio 2024|lingua=en}}

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