Usually the writers in this book would stop at Sauter produced sixty-odd scores for Goodman but Harrison explained what Sauter did differently than Goodman: Sauter blended instrumental voices. Another example is when Harrison talked about Hudson’s “Organ Grinder’s Swing” He critiqued that “A nep plus ultra of swing with its extreme yet perfectly managed textural contrasts.” When Harrison talked about Carter’s “Dee Blues,” he mentioned that the clarinet sound was independent. Harrison had supported his statements well and he gave his critics for certain songs that he mentioned. In addition, when he talked about Reginald Foresythe that his songs were not quite jazz, not really dance music, it is a cultural mixture. Harrison spent a lot of time talking about the artists and their differences. He did not only compare the artists but also songs, for example, “How Long Blues” and “John’s Idea.” According to Harrison, “How Long Blues” is minimalist jazz, and “John’s Idea” is reduced to absolute
Usually the writers in this book would stop at Sauter produced sixty-odd scores for Goodman but Harrison explained what Sauter did differently than Goodman: Sauter blended instrumental voices. Another example is when Harrison talked about Hudson’s “Organ Grinder’s Swing” He critiqued that “A nep plus ultra of swing with its extreme yet perfectly managed textural contrasts.” When Harrison talked about Carter’s “Dee Blues,” he mentioned that the clarinet sound was independent. Harrison had supported his statements well and he gave his critics for certain songs that he mentioned. In addition, when he talked about Reginald Foresythe that his songs were not quite jazz, not really dance music, it is a cultural mixture. Harrison spent a lot of time talking about the artists and their differences. He did not only compare the artists but also songs, for example, “How Long Blues” and “John’s Idea.” According to Harrison, “How Long Blues” is minimalist jazz, and “John’s Idea” is reduced to absolute