By Paul Trynka
"Ziggy Stardust,""Changes," below Pressure,""Let's Dance,""Fame,""Heroes," and naturally, "Starman." those are the vintage songs of David Bowie, the artist whose personas are indelibly etched in our pop cognizance along his tune. He wrote and recorded with everybody from Iggy Pop to Freddie Mercury to John Lennon, bought 136 million albums, has one of many actually nice voices, and encouraged bands as wide-ranging as Nirvana and Franz Ferdinand.
Paul Trynka illuminates Bowie's probably contradictory existence and his many reinventions as an artist, supplying over three hundred new interviews with every person from classmates to managers to fanatics. He unearths Bowie's extensive impression at the leisure global, from celebrity to modern day icon, trend-setter to musical innovator. This publication will outline Bowie for future years.
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Eldridge's regular radio broadcasts under his own name from the Three Deuces in Chicago did not begin until relatively late in Dizzy's period in Philadelphia. 29 The Hill band played a few one-nighters at the Pearl in 1935 in which Eldridge appeared. He was back the following year at the Nixon Grand when he returned with Fletcher Henderson. Yet, even for a musician as talented and assiduous as Dizzy, it would be hard to assimilate an overall style from hearing a few solo moments in afternoon broadcasts, a handful of records, and fleeting appearances on live dates where the band played second place to singers and dancers.
4 Dizzy would take Taft Jordan's place and sit alongside Cuban trumpeter and saxophonist Mario Bauza (who was later to introduce Dizzy to the concept of Afro-Cuban music and be a colleague in the Cab Calloway Orchestra). Another of Webb's sidemen at the time was alto saxophonist Louis Jordan, who was already being featured as a vocalist. Dizzy would have had firsthand exposure to Jordan's slick showmanship and this may have had a bearing on his own subsequent stage persona. The Savoy was one of the most popular dance halls in Harlem.
The recorded evidence of Dizzy's first discs, made soon after his arrival in New York in May 1937, certainly show that by then he had made a remarkably complete assimilation of Roy Eldridge's approach to 28 II Groovin' High the trumpet. Clearly, during his two short years in Philadelphia, Dizzy somehow absorbed many of Eldridge's ideas, but what is truly remarkable is that he can only have had very limited direct exposure to Eldridge's own playing. Yet he not only seems to have taken on the older man's style, but by 1939 had used it as the springboard for his own.
David Bowie: Starman by Paul Trynka