When it was first published in 1994, King of Ragtime: Scott Joplin and his Era was widely heralded not only as the most thorough investigation of Scott Joplin's life and music, but also as a gripping read, almost a detective story. This new and expanded edition-more than a third larger than the first-goes far beyond the original publication in uncovering new details of the composer's life and insights into his music. It explores Joplin's early, pre-ragtime career as a quartet singer, a period of his life that was previously unknown. The book also surveys the nature of ragtime before Joplin entered the ragtime scene and how he changed the style. Author Edward A. Berlin offers insightful commentary on each of all of Joplin's works, showing his influence on other ragtime and non-ragtime composers. He traces too Joplin's continued music studies late in life, and how these reflect his dedication to education and probably account for the radical changes that occur in his last few rags. And he puts new emphasis on Joplin's efforts in musical theater, bringing in early versions of his Ragtime Dance and its precedents. Joplin's wife Freddie is shown to be a major inspiration to his opera Treemonisha, with her family background and values being reflected in that work. Joplin's reputation faded in the 1920s-30s, but interest in his music slowly re-emerged in the 1940s and gradually built toward a spectacular revival in the 1970s, when major battles ensued for possession of rights.

In this book we will learn the basic tools for soloing, which include scales and partial chords. We will play several 12 bar solos and analyze how they are built. Along the way you will learn all of the above techniques, but MOST importantly you will learn to create musical phrases. As the word suggests, a phrase is based on the language skills you already possess. If you think of your daily speech as a template for soloing you will bring life and vitality to your playing. *If ordering this book from Amazon there will not be a CD. Instead you can download all the audio files at: http: //learnbluesguitarnow.com/book

Transatlantic Roots Music presents a collection of essays on the debates about origins, authenticity, and identity in folk and blues music. These essays originated in an international conference on the Transatlantic paths of American roots music, out of which emerged common themes and questions of origins and authenticity in folk music, be it black or white, American or British. While the central theme of the collection is musical influences, issues of national, local, and racial identity are also recurring subjects. Were these identities invented, imagined, constructed by the performers, or by those who recorded the music for posterity?The book features a new essay on the blues by Paul Oliver alongside an essay on Oliver's seminal blues scholarship. There are also several essays on British blues and the links between performers and styles in the United States and Britain. And there are new essays on critical figures such as Alan Lomax and Woody Guthrie. This volume uniquely offers perspectives from both sides of the Atlantic on the interplay of influences in roots music and the debates about these subjects. The book draws on the work of eminent, established scholars and emerging, young academics who are already making a contribution to the field. Throughout, contributors offer the most recent scholarship available on key issues.

Singing was just one element of blues performance in the early twentieth century. Ma Rainey, Bessie Smith, and other classic blues singers also tapped, joked, and flaunted extravagant costumes on tent show and black vaudeville stages. The press even described these women as "actresses" long before they achieved worldwide fame for their musical recordings. In "Staging the Blues," Paige A. McGinley shows that even though folklorists, record producers, and festival promoters set the theatricality of early blues aside in favor of notions of authenticity, it remained creatively vibrant throughout the twentieth century. Highlighting performances by Rainey, Smith, Lead Belly, Sister Rosetta Tharpe, Sonny Terry, and Brownie McGhee in small Mississippi towns, Harlem theaters, and the industrial British North, this pioneering study foregrounds virtuoso blues artists who used the conventions of the theater, including dance, comedy, and costume, to stage black mobility, to challenge narratives of racial authenticity, and to fight for racial and economic justice.

A remarkable blend of history and drama seen through the eyes of a noted New Orleans bluesman. This extraordinary life history is the result of more than 15 years of recorded conversations, pieced together into a narrative of a uniquely American experience. Joseph's colorful portrayals of the characters who parade through his life document more than 70 years of changing relationships between blacks and whites. In his own words, he describes growing up in Louisiana, working a rice plantation, and how Gospel music put him on a career path. His candid remarks underscore the economic necessity prevalent in a musician's life. Within the tales of gigs, card games, and romantic exploits are intimate glimpses of legendary figures, including Billie Holiday and Muddy Waters. His descriptions of performing in New Orleans, New York, and Europe are especially revealing, filled with life experiences as rich as the rhythm and lyrics of the blues he played .

"Black Pearls" is an anthology of black women singers who made major contributions to American music. The word anthology derives from the Greek language meaning "gathering of flowers." In this collection, Josephine Qualls has described the evolution of Jazz music and its' related musical forms as embodied in the careers of these women ranging from Bessie Smith through Ma Rainey, Memphis Minnie, Pearl Bailey, Ethel Waters, Aretha Franklin, Mahalia Jackson (mother of pearls) and many others. Also included are descriptions of several early venues in which black women developed their talents. The musical art forms of Jazz, Blues, Gospel, Ragtime and Dixieland highlights the descriptions of the births, early years and lifelong careers of these African/American women. Spanning the years from 1895 to the present, this is an engaging and informative book leaving the reader fascinated by the amazing variety in this "collection of flowers." "Black Pearls" belongs in the library of any fan or historian of African/American music.

In I'm Feeling the Blues Right Now: Blues Tourism and the Mississippi Delta, Stephen A. King reveals the strategies used by blues promoters and organizers in Mississippi, both African American and white, local and state, to attract the attention of tourists. In the process, he reveals how promotional materials portray the Delta's blues culture and its musicians. Those involved in selling the blues in Mississippi work to promote the music while often conveniently forgetting the state's historical record of racial and economic injustice. King's research includes numerous interviews with blues musicians and promoters, chambers of commerce, local and regional tourism entities, and members of the Mississippi Blues Commission. This book is the first critical account of Mississippi's blues tourism industry. From the late 1970s until 2000, Mississippi's blues tourism industry was fragmented, decentralized, and localized, as each community competed for tourist dollars. By 2004, with the creation of the Mississippi Blues Commission, the promotion of the blues became more centralized as state government played an increasing role in promoting Mississippi's blues heritage. Blues tourism has the potential to generate new revenue in one of the poorest states in the country, repair the state's public image, and serve as a vehicle for racial reconciliation.

In the late nineteenth century, black musicians in the lower Mississippi Valley, chafing under the social, legal, and economic restrictions of Jim Crow, responded with a new musical form the blues. In Jim Crow s Counterculture, R. A. Lawson offers a cultural history of blues musicians in the segregation era, explaining how by both accommodating and resisting Jim Crow life, blues musicians created a counterculture to incubate and nurture ideas of black individuality and citizenship. These individuals, Lawson shows, collectively demonstrate the African American struggle during the early twentieth century. Derived from the music of the black working class and popularized by commercially successful songwriter W. C. Handy, early blues provided a counterpoint to white supremacy by focusing on an anti-work ethic that promoted a culture of individual escapism even hedonism and by celebrating the very culture of sex, drugs, and violence that whites feared. According to Lawson, blues musicians such as Charley Patton and Muddy Waters drew on traditions of southern black music, including call and response forms, but they didn t merely sing of a folk past. Instead, musicians saw blues as a way out of economic subservience. Lawson chronicles the major historical developments that changed the Jim Crow South and thus the attitudes of the working-class blacks who labored in that society. The Great Migration, the Great Depression and New Deal, and two World Wars, he explains, shaped a new consciousness among southern blacks as they moved north, fought overseas, and gained better-paid employment. The me -centered mentality of the early blues musicians increasingly became we -centered as these musicians sought to enter mainstream American life by promoting hard work and patriotism. Originally drawing the attention of only a few folklorists and music promoters, popular black musicians in the 1940s such as Huddie Ledbetter and Big Bill Broonzy played music that increasingly reached across racial lines, and in the process gained what segregationists had attempted to deny them: the identity of American citizenship. By uncovering the stories of artists who expressed much in their music but left little record in traditional historical sources, Jim Crow s Counterculture offers a fresh perspective on the historical experiences of black Americans and provides a new understanding of the blues: a shared music that offered a message of personal freedom to repressed citizens.

An offbeat, strangely compelling on-the-road journal by blues singer, Carl Gustafson, who says he doesn't like music, in fact, he prefers silence. (Calling to mind keyboard immortal and eccentric Glenn Gould who he said he didn't like piano music.) Who is Carl Gustafson, you may ask? An iconoclast, a rebel, a provocateur. A flag bearer for human dignity? An Indiana Jones style adventurer, seeker of truth, justice and a better American Way? Yes, yes, certainly. An outsider artist, a Henry Darger working in obscurity on his grand vision for his oversize fabric of life, and wishing to share it? Oh, yes. And mix this in, too: one part Edward Abbey for his meticulous power of observation ("I wish that mankind, rich or poor, could at least plant a single flower or sign their signature upon their life in some distinct way. If they do, I will observe it."), one part Thoreau logging nature notes, one part Kerouac on the road, one part Dylan Thomas raging into the good night, and finally 19th century French composer Hector Berlioz writing his humorous and insightful Evenings in the Orchestra - only this time the orchestra is a blues band. Another part anthropologist Margaret Mead living among the natives, another part Zen Master with his Buddhist acceptance, reluctant or otherwise, of all things around him on any given day, he carefully observes and notates all the minutia around him on any given day, all the while keeping up a conversation with himself, sometimes bemused, sometimes angry, sometimes transcendent. The writing here is paradoxical, maddening, frustrating by turns....and then all at once riveting. You'll see yourself in these pages - that's the riveting - and then, I think you might just see the prospect of your better self, too. That's the magical. (Sample chapters, blurbs, table of contents, more at http: //sarkett.com/showtime.)

Winner ASCAP Deems Taylor Award for Outstanding Book on Music
Foreword by Dr. John, Recommended by Bonnie Raitt and Joe Bonamassa
What a great resource, as fascinating as it is informative. Debra Devi s passion for the blues shines through. Bonnie Raitt

Find out what the words in your favorite blues songs "really" mean In "The Language of the Blues: From Alcorub to Zuzu," rock musician and "Huffington Post" blogger Debra Devi defines over 150 blues terms like mojo, hoodoo, buffet flat and killing floor with wild stories and fresh insights from her interviews with such blues stars as Hubert Sumlin, Robert Jr. Lockwood, Henry Gray, Little Milton Campbell, Bob Margolin, Jody Williams, Robben Ford, Jimmie Vaughan and more. As a musician myself, Devi explains, I thought I could make a contribution by talking to blues legends about what the words in these songs mean to them.

"The Language of the Blues" includes over 30 photos (17 color) and a remarkable foreword by Dr. John, who helped Devi uncover the illegal gambling origins of terms like gig and axe. Winner of the ASCAP Deems Taylor Award for Outstanding Book on Music, "The Language of the Blues" has earned praise from Bonnie Raitt, Joe Bonamassa, former Muddy Waters guitarist Bob Margolin, producer Hal Willner and even Ministry singer Al Jourgensen Joe Bonamassa says, Devi's book will teach you what you really need to know about blues history and where the blues are coming from. Al Jourgensen notes: Finally one can understand the mechanics behind the overwhelming viscera of the Blues. Debra Devi's work is a true guide book to the soul.

Devi combines her interviews with in-depth research into etymology, African language, voodoo and the origins of blues, rock and jazz. The result is a lively read "Reuters" calls one of the wittiest, bawdiest, most fascinating dictionaries ever. "Blues Revue" deems "The Language of the Blues" an essential purchase for scholars and fans and "New York Times" columnist Shelton Ivany adds, If you have any questions about blues songs, lyrics, musicians or events, chances are you will find your answers in this unparalleled publication. Don't think that "The Language of the Blues" might read like a dictionary or reference book, explains Bob Margolin. There's no plot, but you can open it at random and fall into the world of your favorite blues songs, finding out more about the lyrics than you would by guessing from context. I learned a lot more about the blues music I love.

Devi is an "American Blues Scene" columnist and former "Blues Revue" associate editor. She is the lead singer/guitarist for the rock band DEVI and a Fender Girl Rock Nation artist. Visit her at www.devi-rock.com.

This book is fascinating Take it to the bathroom and don't come out until you're done reading it. - Jimmy Vivino

This is a beautiful book. After hearing 'Hellhound on My Trail' in high school I bought every vintage blues record available at the time. Upon receiving "The Language of the Blues" I discovered my knowledge only scratched the surface. Debra Devi has written an invaluable reference book. And it's also great fun to read. - Hal Willner

Congratulations to Debra Devi for "The Language of the Blues." Its candor and witty honesty bring us into the world she describes so well with beautiful strength. This is a book that lovers of music and just plain old lovers will love to have in their collections. - Ed Sanders

The commercial explosion of ragtime in the early twentieth century created previously unimagined opportunities for black performers. However, every prospect was mitigated by systemic racism. The biggest hits of the ragtime era weren't Scott Joplin's stately piano rags. "Coon songs," with their ugly name, defined ragtime for the masses, and played a transitional role in the commercial ascendancy of blues and jazz.In "Ragged but Right," now in paperback, Lynn Abbott and Doug Seroff investigate black musical comedy productions, sideshow bands, and itinerant tented minstrel shows. Ragtime history is crowned by the "big shows," the stunning musical comedy successes of Williams and Walker, Bob Cole, and Ernest Hogan. Under the big tent of Tolliver's Smart Set, Ma Rainey, Clara Smith, and others were converted from "coon shouters" to "blues singers."Throughout the ragtime era and into the era of blues and jazz, circuses and Wild West shows exploited the popular demand for black music and culture, yet segregated and subordinated black performers to the sideshow tent. Not to be confused with their nineteenth-century white predecessors, black, tented minstrel shows such as the Rabbit's Foot and "Silas Green from New Orleans" provided blues and jazz-heavy vernacular entertainment that black southern audiences identified with and took pride in.