Read e-book online Bacharach: Maestro! The Life of a Pop Genius PDF

By Michael Brocken

ISBN-10: 1842402196

ISBN-13: 9781842402191

Overlaying the well known and public parts of Burt Bacharach's existence, in addition to these facets that experience formerly been hidden from the media, this publication examines a celebrated profession spanning 50 years. lined intimately are Bacharach's formerly undocumented youth; his paintings with lyricist Hal David; his golden years composing hit after hit; his various relationships with ladies and his 4 marriages, together with these to Angie Dickinson and Carole Bayer Sager; and his contemporary collaborations with Elvis Costello and Noel Gallagher.

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Extra info for Bacharach: Maestro! The Life of a Pop Genius

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Irma, however , recurrently insisted that Burt devote substantial ‘free’ time to his music studies – including cello (“I couldn’t keep time to the radio. I was also a cellist. It was a rented cello. They even gave me a bow: the whole outfit” [Bacharach to Saal, Newsweek, 1970]), drums, and piano from the age of 12 years – and her word as a Jewish mother was legislature. Burt later admitted to New Musical Express that this period was a difficult one that has continued to af fect him throughout his life.

But, as with Fer guson, to this very day critics are divided about Peterson as a jazz musician. Some do not regard him as an innovator at all. Yet his technical skills appealed to many punters. For example, by the time that Bacharach was listening to Peterson, the latter had long been regarded as a ‘popular’ (rather than ‘jazz’) artist in Canada (he was recorded by RCA Canada 1945-9). This musical apartheid is hardly surprising in jazz circles where opinion and rhetoric often rule the day . But, once again we can see not only a communication divide between the production and the reception of music, but also a more fundamental distinction between critical theory and popular praxis existing around expressions of ‘the popular’.

In an interview with BBC Radio 2 disc jockey Steve Wright, Burt was asked about the complexity of his songs to which he replied: I always try to make them like little movies or little stories, emotional – ups, downs. I don’ t think you can stay at one peak, those are the kind of records that you play for two weeks and you don’t want to hear again. I like songs like ‘24 Hours FromTulsa’ that tell a story, which get emotional. (Bacharach toWright, BBC Radio 2, 2000) Rather than merely considering Bacharach as a seldom examined connection with French Impressionists such as Erik Satie, perhaps we also should be considering both men as members of some kind of school of musical thought, stretching from pre-WWI Paris via 1920s Dada-ism to the Brill Building in New York – what Joseph Lanza describes succinctly as “The ‘Canned’ Avant-Garde” (Lanza,1994:14).

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Bacharach: Maestro! The Life of a Pop Genius by Michael Brocken


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