This stellar collection contains banjo tab arrangements of 12 bluegrass/folk songs from this Grammy-winning Album of the Year. Includes: Angel Band * The Big Rock Candy Mountain * Didn't Leave Nobody but the Baby * Down to the River to Pray * I Am a Man of Constant Sorrow * I Am Weary (Let Me Rest) * I'll Fly Away * In the Highways (I'll Be Somewhere Working for My Lord) * In the Jailhouse Now * Keep on the Sunny Side * and You Are My Sunshine, plus lyrics and a banjo notation legend.

The acclaimed classic biography, fully revised, becomes the definitive. The revised edition of Ian Carr's classic biography of Miles Davis throws new light on his life and career from the early days in New York, with Charlie Parker, to his Birth of the Cool band, through his drug addiction in the early 1950s, and the years of extraordinary achievements, 1954-1960, during which he created a whole series of masterpieces on record, and drew to his band such unequalled talents as John Coltrane, Bill Evans, Wynton Kelly and Cannonball Adderly. Carr also gives a detailed description of Miles's dark reclusive period, 1975-1980, and his descent towards disintegration. He also tells how the events of one single day forced Davis to turn back to life and return slowly to music. The incessant activity of his last ten years - the music-making, his painting and art exhibitions, his extraordinary trumpet playing, his marriage to and divorce from Cicely Tyson - is recounted with fascinating insight. Miles Davis, whose work has been called 'one of the greatest musical legacies of the twentieth century', remained controversial until the end, and this definitive biography examines the controversy from all sides. With access to the inner circle of Davis's friends and associates, Ian Carr includes new interviews with such jazz greats as Max Roach, George Russell, George Avakian, Ron Carter, John Carisi, John Scofield, Bill Evans and Jack and Lydia DeJohnette, and revisits those who contributed to the first edition, including Keith Jarrett, Dave Holland, Joe Zawinul and Paul Buckmaster. This new, revised edition is an essential source for those who want to understand Miles, his music and the 'jazz life'.

(Guitar Recorded Versions). 30 tunes: Evil * Got My Mojo Working * Honey Bee * I'm Your Hoochie Coochie Man * more.

‘Astonishing, soul-baring – the must-read memoir by rock’s greatest survivor’ DAILY MAIL

***The full, dramatic story of one of the most remarkable women in music history, celebrating Tina Turner’s 60th year in the industry***

'Unbearably poignant' THE TIMES, Book of the Week

Love’s got everything to do with it.

Tina Turner is the Queen of Rock ‘n’ Roll, a musical icon celebrating her 60th year in the industry. In this dramatic autobiography, she tells the story of a truly remarkable life in the spotlight.

From her early years picking cotton in Nutbush, Tennessee to her rise to fame alongside Ike Turner, and finally to her phenomenal success in the 1980s and beyond, Tina candidly examines her personal history, from her darkest hours to her happiest moments and everything in between.

In her honest and heart-felt voice, Tina reveals:

· How (love) and a kidney transplant saved her life – and how her new husband made an incredible personal sacrifice
· How she has coped with the tragic suicide of her son
· How ex-husband Ike Turner forced her to go to a brothel on their wedding night… and why she tried to kill herself because of Ike’s mistresses
· The Cinderella moment when David Bowie made Tina a star …
· …and the day Mick Jagger ripped her skirt off!
AND MUCH MORE

Brimming with her trademark blend of strength, energy, heart and soul, My Love Story is a gripping, surprising memoir, as memorable and entertaining as any of her greatest hits.
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Nadine Jansen, a flugelhornist and pianist, remembers a night in the 1940s when a man came out of the audience as she was playing both instruments. "I hate to see a woman do that," he explained as he hit the end of her horn, nearly chipping her tooth. Half a century later, a big band named Diva made its debut in New York on March 30, 1993, with Melissa Slocum on bass, Sue Terry on alto sax, Lolly Bienenfeld on trombone, Sherrie Maricle on drums, and a host of other first rate instrumentalists. The band made such a good impression that it was immediately booked to play at Carnegie Hall the following year. For those who had yet to notice, Diva signaled the emergence of women musicians as a significant force in jazz.
Madame Jazz is a fascinating invitation to the inside world of women in jazz. Ranging primarily from the late 1970s to today's vanguard of performance jazz in New York City and on the West Coast, it chronicles a crucial time of transition as women make the leap from novelty acts regarded as second class citizens to sought-out professionals admired and hired for their consummate musicianship. Author Leslie Gourse surveys the scene in the jazz clubs, the concert halls, the festivals, and the recording studios from the musicians' point of view. She finds exciting progress on all fronts, but also lingering discrimination. The growing success of women instrumentalists has been a long time in coming, she writes. Long after women became accepted as writers and, to a lesser extent, as visual artists, women in music--classical, pop, or jazz--faced the nearly insuperable barrier of chauvinism and the still insidious force of tradition and habit that keeps most men performing with the musicians they have always worked with, other men.
Gourse provides dozens of captivating no-holds-barred interviews with both rising stars and seasoned veterans. Here are up-and-coming pianists Renee Rosnes and Rachel Z., trumpeter Rebecca Coupe Frank, saxophonist Virginia Mayhew, bassist Tracy Wormworth, and drummer Terri Lynne Carrington, and enduring legends Dorothy Donegan, Marian McParland and Shirley Horne. Here, as well, are conversations with three pioneering business women: agent and producer Helen Keane, manager Linda Goldstein, and festival and concert producer Cobi Narita. All of the women speak insightfully about their inspiration and their commitment to pursuing the music they love. They are also frank about the realities of life on the road, and the extra dues women musicians pay in a tough and competitive field where everybody pays dues. A separate chapter offers a closer look at women musicians and the continual stress confronting those who would combine love, marriage, and/or motherhood with a life in music.
Madame Jazz is about the history that women jazz instrumentalists are making now, as well as an inspiring preview of the even brighter days ahead. It concludes with Frankie Nemko's lively evaluation of the West Coast jazz scene, and appends the most comprehensive list ever assembled of women currently playing instruments professionally.

Bold and original, The Power of Black Music offers a new way of listening to the music of black America, and appreciating its profound contribution to all American music.

Created in the jazz clubs of New York City, and initially treated by most musicians and audiences as radical, chaotic, and bewildering: bebop has become, Thomas Owen writes, `the lingua franca of jazz, serving as the principal musical language of thousands of jazz musicians.'

In Bebop, Owens conducts us on an insightful, loving tour through the music, players, and recordings that changed American culture. Combining vivid portraits of bebop's gigantic personalities - among them Charlie Parker, Dizzy Gillespie, and Miles Davis - with deft musical analysis, he offers an instrument-by-instrument look at the key players and their innovations.

It was none other than Louis Armstrong who said, "These people who make the restrictions, they don't know nothing about music. It's no crime for cats of any color to get together and blow." "You can't know what it means to be black in the United States--in any field," Dizzy Gillespie once said, but Gillespie vigorously objected to the proposition that only black people could play jazz. "If you accept that premise, well then what you're saying is that maybe black people can only play jazz. And black people, like anyone else, can be anything they want to be."
In Cats of Any Color, Gene Lees, the acclaimed author of three previous collections of essays on jazz and popular music, takes a long overdue look at the shocking pervasiveness of racism in jazz's past and present--both the white racism that long ghettoized the music and generations of talented black musicians, and what Lees maintains is an increasingly virulent reverse racism aimed at white jazz musicians. In candid interviews, living jazz legends, critics, and composers step forward and share their thoughts on how racism has affected their lives. Dave Brubeck, part Modoc Indian, discusses native Americans' contribution to jazz and the deeply ingrained racism that for a time made it all but impossible for jazz groups with black and white players to book tours and television appearances. Horace Silver looks back on his long career, including the first time he ever heard jazz played live. Blacks were not not allowed into the pavilion in Connecticut where Jimmie Lunceford's band was performing, so the ten-year-old Silver listened and watched through the wooden slats surrounding the pavilion. "And oh man That was it " Silver recalls. Red Rodney recalls his early days with Charlie "Bird" Parker, and pianist and composer Cedar Walton tells of the time Duke Ellington played at the army base at Ford Dix and allowed the young enlisted Walton to sit in. Tracing the jazz world's shifting attitude towards race, many of the stories Lees tells are inspiring--Brubeck cancelling 23 out of 25 concert dates in the South rather than replace black bass player Eugene Wright, or Silver insisting that while he strives to provide his fellow black musicians opportunities, "I just want the best musicans I can get. I don't give a damn if they're pink or polka dot." Others are profoundly disturbing--Lees' first encounter with Oscar Peterson, after a Canadian barber flatly refused to cut Peterson's hair, or Wynton Marsalis on television claiming that blacks have been held back for so many years because the music business is controlled by "people who read the Torah and stuff."
From the old shantytowns of Louisville, to the streets of South Central L.A., to the up-to-the-minute controversies surrounding Marsalis's jazz program at Lincoln Center, and the Jazz Masters awards given by the NEA, Cats of Any Color confronts racism head-on. At its heart is a passionate plea to recognize jazz not as the sole property of any one group, but as an art form celebrating the human spirit--not just for the protection of individual musicians, but for the preservation of the music itself.

As music columnist for The Nation, Gene Santoro has established himself as an important new critical voice, able to write well on a broad spectrum of popular music and jazz, without losing touch with the cutting edge of today's music scene.

Dancing in Your Head gathers Santoro's liveliest reviews and essays for the first time, introducing a fresh and provocative perspective on several decades of musicians and their work. From the legendary blues singer Robert Johnson to Miles Davis and James Brown, from the sounds of Neil Young and Lou Reed to Public Enemy's controversial rap lyrics, this books offers sharp and honest reflections on the evolution of jazz, rock and roll, and rap.

Art Tatum was the greatest virtuoso performer in the history of jazz piano; his technique overwhelmed almost every jazz player who heard him and caused classical virtuosos to take notice.

Through extensive interviews with Tatum's friends and fellow musicians, James Lester captures the complexities of this remarkable talent and the vibrant jazz world of the 1930s and 1940s in which he played.

Duke Ellington is universally recognized as one of the towering figures of 20th-century music, both a brilliant composer and one of the preeminent musicians in jazz history.

In The Duke Ellington Reader, Mark Tucker offers the first historical anthology of writings about this major African-American musician. The volume includes over a hundred selections - interviews, critical essays, reviews, memoirs, and over a dozen writings by Ellington himself - with generous introductions and annotations for each selection provided by the editor. The result is a unique sourcebook that illuminates Ellington's work and reveals the profound impact his music has made on listeners over the years.

In Chicago Jazz, William Howland Kenny offers a wide-ranging look at jazz in the Windy City, revealing how Chicago became the major centre for jazz in the 1920s, one of the most vital periods in the history of the music.

The author of "Women, Race and Class" suggests that "Ma" Rainey, Bessie Smith, and Billie Holiday represent a black working-class, feminist ideology and historical consciousness. Davis' illuminating analysis of the songs performed by these artists provides readers with a compelling and transformative understanding of their musical and social contributions and of their relation to both the African-American community and American culture. of photos.

A well researched account of gospel blues that encompasses the broader cultural and religious histories of the African-American experience between the late 1890s and the 1930s. Harris skilfully contextualizes sacred and secular music styles within African-American religious history and significant social developments of the period.

No one can tell us more about jazz than the musicians themselves. Unfortunately, most oral histories have limited scope--focusing on a particular era or style--and fail to capture the full, rich story of jazz. Now, in this vivid oral history, W. Royal Stokes presents nearly a century of jazz--its people, places, periods, and styles--as it was seen by the artists who created America's most distinctive music.
Here, along with the author's enlightening commentary, are the words of musicians famous and little-known, veterans of the early years and pathbreakers of the present, telling us about their origins and adventures, about the places and performers they have known. We read of young artists learning their skills surrounded by poverty, going on to win fame around the world. We feel the excitement of jazz before the war ("The music was all over the place," recalled Wild Bill Davison. "It's just unbelievable how many bands there were in Chicago. You could go anywhere and there'd be a band."). And we glimpse the gritty, hard life hidden beneath the beauty of the notes they played: "I remember not eating practically a month several times," said Mary Lou Williams. "During the depression we played engagements and we knew we weren't going to get any money because Andy would scatch his face when he was walking toward the band and the trumpet player would pull out his horn and play the 'Weary Blues.' And we'd laugh about it. We hadn't eaten in a couple of days and nothing was said, because the music was our survival."
Stokes not only uncovers the history of jazz in the major cities and regions--New Orleans, for instance, Chicago in the '20s and '30s, Kansas City, and California from the '50s to the present--but he goes on to bring us the story of the big bands, post-bebop developments, vocalists, jazz around the globe, and the contemporary scene ("I was about eleven and my brother Mike started to bring home a lot of Miles Davis records from school and that did it for me," remembers Pat Metheny. "First time I heard Miles playing 'My Funny Valentine, ' that whole record just destroyed me."). And he takes a close look at the rising place of women as instrumentalists in the last decade.
Jazz is America's most original contribution to music, and--as the late Dexter Gordon lamented--America is the one country where it is little known. But W. Royal Stokes uncovers a scene that is as alive as ever, with this fascinating look at how it has been made and remade from the first decades of the century to today.

Martin Williams is recognized as one of the most significant jazz critics of recent times. This third collection of record notes, interviews, portraits, and reviews recalls the Charlie Parker-Dizzy Gillespie Dial Record sessions, Langston Hughes reading poetry to the sound of jazz, and Thelonius Monk recording for the Library of Congress. In addition, there are profiles of such legendary performers as Billie Holiday, Dinah Washington, Duke Ellington, and Fats Waller, and lively essays on the importance of jazz history and a jazz-view of The Beatles.

Martin Williams is one of the most perceptive and entertaining jazz critics writing in America today. This collection of pieces on the past, present, and future of the jazz idiom includes profiles of Sidney Bechet, Ornette Coleman, and Miles Davis, an assessment of jazz-rock fusion, and a look at the pressures placed on musicians and their music by commercialism.

This perceptive study takes a fresh look at jazz in relation to other art forms and places it in the context of contemporary culture. This original approach relates the work of Louis Armstrong, Bix Beiderbecke, Duke Ellington, Charlie Parker, and Ormette Coleman to such subjects as primitivism, neoclassicism, improvisation, aesthetics, and good taste.

Exploring the diverse landscape of American life, the stories in Blues and Trouble: Twelve Stories capture the lives of people caught between circumstance and their own natures or on the run from fate, from a Jewish couple encountering a dealer in Nazi memorabilia to the troubled family of a Gulf Coast fisherman awaiting a hurricane. Tom Piazza's debut short story collection, originally published in 1996, heralded the arrival of a startlingly original and vital presence in American fiction and letters. Set in Memphis, New Orleans, Florida, Texas, New York City, and elsewhere, the stories echo voices from Ernest Hemingway to Robert Johnson in their sharp eye for detail and their emotional impact. New to this volume is an introduction written by the author. Drawing themes, forms, and stylistic approaches from blues and country music, these stories present a tough, haunting vision of a landscape where the social and spiritual ground shifts constantly underfoot.