By Chick Corea
Out of print self released e-book by way of Chick Corea with a few of his insights into enjoying the piano, comping, making time, composing, and his own regulations as a musician.
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Extra info for A Work In Progress: On Being a Musician
The city was in a disturbed condition,’’ recalled George Upton with uncharacteristic understatement, alluding to the national railroad strike that paralyzed Chicago and much of the nation’s transportation system. Labor stoppages and riots erupted in the rail yards and spilled into industrial neighborhoods of the South Side. Ofﬁcials declared a state of emergency in the city, while the members of Chicago’s industrial elite avoided unnecessary public appearances. π∑ Despite the spartan character of the Exposition Building and the disruptions of the ‘‘strike excitement,’’ the ﬁrst season ended on a hopeful note.
Melodies and lyrics in multiple languages traveled orally borne in the heads of residents and visitors who sang and taught them to others. The medium of printed sheet music, and later the phonograph and radio, further accelerated the circulation patterns of music in the neighborhoods and beyond. ≥Ω Although commemorative events, metropolitan festivals, and parades brought laborers into the downtown streets, concert halls, and exhibition centers on special occasions, the primary venues of everyday musical life, other than forest preserves and picnic groves on the urban periphery, were located in Chicago’s industrial neighborhoods.
But the seismic force of Gilmore’s oeuvre altered the landscape of American music and democratic public culture in impressive ways, as even Dwight grudgingly acknowledged. Of the impact of the 1872 concerts, the critic noted: ‘‘Whether the Festival, considered musically, was good or not, it musically did good. ’’≤∂ Dwight, Upton, Gilmore, and Thomas all had overt designs on the musical masses. Each believed in the power of music to constitute a public good, whether measured socially, culturally, or aesthetically.