By Robert Crunden
During this e-book Robert Crunden places the "jazz" again within the Jazz Age. Jazz used to be America's maximum contribution to the Modernist stream, but it's a lot missed. once we pay attention the time period "Jazz Age," we conjure the ghosts of Fitzgerald, Hemingway, and Eliot, no longer Jelly Roll Morton, Louis Armstrong, Ethel Waters, George Gershwin, and Duke Ellington. so as to right this imbalance, Crunden re-introduces us to those musical luminaries who gave the period its identify as he strains the early historical past of jazz from New Orleans to Chicago to big apple. whereas Crunden emphasizes tune over literature and the visible arts, he by no means fails to map the advanced cross-currents of literature that handed among jazz musicians and their "Lost iteration" friends, a veritable competition of the glittering personalities of the day-James Joyce, Alfred Stieglitz, Georgia O'Keeffe, Paul Strand, John Dos Passos, Langston Hughes, Gertrude Stein.
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Extra info for Body And Soul: The Making Of American Modernism
Rosenfeld buckled down to finish his essay on Anderson, and in it he dwelt as much on the man he knew as on the problematic prose he read. " "His boastfulness, lust, self-infatua- Robert M. Crunden 27 tion, his great weariness, promptings of the messianic delusion, despair," they too seemed ubiquitous. Skeptical of the quality of some work, Rosenfeld admired Winesburg, Ohio. " 36 T h e third prose writer in the Stieglitz circle came and went so quickly that he long remained absent from many accounts of 1920s writing.
18 As Ornstein disappeared from the creative horizon, Ernest Bloch took his place in Rosenfeld's pantheon of promising mod- BODY AND SOUL 16 ernists. Fond of theories about the Orient and the Occident and their differing creative environments, Rosenfeld pounced on the Swiss Jew who fused the two. Out of place in Switzerland, Belgium, and France, Bloch was a Wandering Jew, "homeless" everywhere and not just in America. Rosenfeld sometimes went out of his way to say unpleasant things about Jews who attempted to assimilate into Christian culture, such as Mendelssohn and Mahler; he wanted his Jews to be proud and assertive in expressing their heritage.
But he soon discovered that Brussels and Paris were closed at the top to Jews, no matter how talented or assimilated, and the discovery led to the religious assertiveness of the Three Jewish Poems, Israel, and Schelomo. " Yet by composing with such skill, Bloch transcended his cultural origins: "He most surely is not" a "Jewish composer," Rosenfeld continued. " 19 In person, Bloch proved as impressive as his best works. In 1922, Rosenfeld attended a "Bloch afternoon" that recalled the occasion in 1920 when he had prepared the review that appeared in Musical Portraits.
Body And Soul: The Making Of American Modernism by Robert Crunden