A practical comprehensive guide to rock, jazz and pop arranged by one of Britain's most gifted and versatile musicians. Written in lively, accessible and entertaining style, this book contains everything the professional arranger or aspiring amateur needs to know, from setting out a lead sheet to scoring a full arrangement. The problems and pitfalls of writing for every group of instrument are discussed, from keyboards, drums and bass to brass strings, woodwind, percussion, guitar and a 'cappella' vocal writing. Packed with vital tips and hints, and presented in easy-to-use reference format, Rock, Jazz and Pop Arranging also includes two valuable appendices - on time saving shortcuts and chord symbols - and indispensable glossary.

From the Preface by Ted Gioia:All of these musicians fought their way back over the next decade, and their success in re-establishing themselves as important artists was perhaps the first signal, initially unrecognized as such, that a re-evaluation of the earlier West Coast scene was under way. Less fortunate than these few were West Coasters such as Sonny Criss, Harold Land, Curtis Counce, Carl Perkins, Lennie Niehaus, Roy Porter, Teddy Edwards, Gerald Wilson, and those others whose careers languished without achieving either a later revival or even an early brief taste of fame. Certainly some West Coast jazz players have been awarded a central place in jazz history, but invariably they have been those who, like Charles Mingus or Eric Dolphy, left California for Manhattan. Those who stayed behind were, for the most part, left behind. The time has come for a critical re-evaluation of this body of work. With more than forty years of perspective--since modern jazz came to California-we can perhaps now begin to make sense of the rich array of music presented there during those glory years. But to do so, we need to start almost from scratch. We need to throw away the stereotypes of West Coast jazz, reject the simplifications, catchphrases, and pigeonholings that have only confused the issue. So many discussions of the music have begun by asking, "What was West Coast jazz?"--as if some simple definition would answer all our questions. And when no simple answer emerged--how could it when the same critics asking the question could hardly agree on a definition of jazz itself?--this failure was brandished as grounds for dismissing the whole subject. My approach is different. I start with the music itself, the musicians themselves, the geography and social situation, the clubs and the culture. I tried to learn what they have to tell us, rather than regurgitate the dubious critical consensus of the last generation. Was West Coast jazz the last regional style or merely a marketing fad? Was there really ever any such thing as West Coast jazz? If so, was it better or worse than East Coast jazz? Such questions are not without merit, but they provide a poor start for a serious historical inquiry. I ask readers hoping for quick and easy answers to approach this work with an open mind and a modicum of patience. Generalizations will emerge; broader considerations will become increasingly clear; but only as we approach the close of this complex story, after we have let the music emerge in all its richness and diversity. By starting with some theory of West Coast jazz, we run the risk of seeing only what fits into our theory. Too many accounts of the music have fallen into just this trap. Instead, we need to see things with fresh eyes, hear the music again with fresh ears.

Sweet Bitter Blues: Washington, DC's Homemade Blues depicts the life and times of harmonica player Phil Wiggins and the unique, vibrant music scene around him, as described by music journalist Frank Matheis. Featuring Wiggins's story, but including information on many musicians, the volume presents an incomparable documentary of the African American blues scene in Washington, DC, from 1975 to the present. At its core, the DC-area acoustic "down home" blues scene was and is rooted in the African American community. A dedicated group of musicians saw it as their mission to carry on their respective Piedmont musical traditions: Mother Scott, Flora Molton, Chief Ellis, Archie Edwards, John Jackson, John Cephas, and foremost Phil Wiggins. Because of their love for the music and willingness to teach, these creators fostered a harmonious environment, mostly centered on Archie Edwards's famous barbershop where Edwards opened his doors every Saturday afternoon for jam sessions. Sweet Bitter Blues features biographies and supporting essays based on Wiggins's recollections and supplemented by Matheis's research, along with a foreword by noted blues scholar Elijah Wald, historic interviews by Dr. Barry Lee Pearson with John Cephas and Archie Edwards, and previously unpublished and rare photographs. This is the story of an acoustic blues scene that was and is a living tradition.

Notes and Tones is one of the most controversial, honest, and insightful books ever written about jazz. As a black musician himself, Arthur Taylor was able to ask his subjects hard questions about the role of black artists in a white society. Free to speak their minds, these musicians offer startling insights into their music, their lives, and the creative process itself. This expanded edition is supplemented with previously unpublished interviews with Dexter Gordon and Thelonious Monk, a new introduction by the author, and new photographs. Notes and Tones consists of twenty-nine no-holds-barred conversations which drummer Arthur Taylor held with the most influential jazz musicians of the '60s and '70s,including:

Influenced at a young age by classic country, Tejano, western swing, and the popular music of wartime America, blues musician Delbert McClinton grew up with a backstage pass to some of the most significant moments in American cultural and music history. From his birth on the high plains of West Texas during World War II to headlining sold-out cruises on chartered luxury ships well into his seventies, McClinton admits he has been "One of the Fortunate Few." This book chronicles McClinton's path through a free-range childhood in Lubbock and Fort Worth; an early career in the desegregated roadhouses along Fort Worth's Jacksboro Highway, where he led the house bands for Jimmy Reed, Muddy Waters, Bo Diddly, and others while making a name for himself as a regional player in the birth of rock and roll; headlining shows in England with a little-known Liverpool quartet called The Beatles; and heading back to Texas in time for the progressive movement, kicking off Austin's burgeoning role in American music history. Today, more than sixty years after he first stepped onto a stage, Delbert McClinton shows no signs of slowing down. He continues to play sold-out concert and dance halls, theaters, and festival events across the nation. An annual highlight for his fans is the Delbert McClinton Sandy Beaches Cruise, the longest-running music-themed luxury cruise in history at more than twenty-five years of operation. More than the story of a rags-to-riches musician, Delbert McClinton: One of the Fortunate Few offers readers a soundtrack to some of the most pivotal moments in the history of American popular music-all backed by a cooking rhythm section and featuring a hot harmonica lead.

Hard bop was a brand of post bebop jazz that enveloped many of the most talented American musicians in the period between 1955 and 1956. These were years unrivalled in jazz history for the number of musically brilliant records issued - including Art Blakey's Ugetsu, Miles Davis's Kind of Blue, Thelonius Monk's Brilliant Corners, and Sonny Rollins's Saxophone Colossus.

This is the first book devoted entirely to hard bop, combining a narrative of the movement's evolution, from its beginnings as an amalgam of bebop and R&B to its experimental breakthroughs in the 1960s. With close analyses of musicians' styles and recordings, as well as specific tendencies within the school, such as `soul jazz', it offers a much needed examination of the artists, milieus, and above all the sounds of one of America's greatest musical epochs.

Here, for the first time, is a book which analyses popular music from a musical, as opposed to a sociological, biographical, or political point of view. Peter van der Merwe has made an extensive survey of Western popular music in all its forms - blues, ragtime, music hall, waltzes, marches, parlour ballads, folk music - uncovering the common musical language which unites these disparate styles. The book examines the split between `classical' and`popular' Western music in the nineteenth and early twentieth centuries, shedding light, in the process, on the `serious' music of the time. With a wealth of musical illustrations ranging from Strauss waltzes to Mississippi blues and from the Middle Ages to the 1920s, the author lays bare the tangled roots of the popular music of today in a book which is often provocative, always readable, and outstandingly comprehensive in its scope.

Texas Blues allows artists to speak in their own words, revealing the dynamics of blues, from its beginnings in cotton fields and shotgun shacks to its migration across boundaries of age and race to seize the musical imagination of the entire world.Fully illustrated with 495 dramatic, high-quality color and black-and-white photographs - many never before published - ""Texas Blues"" provides comprehensive and authoritative documentation of a musical tradition that has changed contemporary music. Award-winning documentary filmmaker and author Alan Govenar here builds on his previous groundbreaking work documenting these musicians and their style with the stories of 110 of the most influential artists and their times.From Blind Lemon Jefferson and Aaron ""T-Bone"" Walker of Dallas, to Delbert McClinton in Fort Worth, Sam ""Ligntnin'"" Hopkins in East Texas, Baldemar (Freddie Fender) Huerta in South Texas, and Stevie Ray Vaughan in Austin, ""Texas Blues"" shows the who, what, where, and how of blues in the Lone Star State.

In "Getting the Blues," Stephen Nichols shows how blues music offers powerful insight into the biblical narrative and the life of Jesus. Weaving Bible stories together with intriguing details of the lives of blues musicians, he leads readers in a vivid exploration of how blues music teaches about sin, suffering, alienation, and worship. Nichols unpacks the Psalms, portions of the prophets, and Paul's writings in this unique way, revealing new facets of Scripture.
"Getting the Blues" will resonate with all readers interested in Christianity and culture. In the end they will emerge with a greater understanding of the value of "theology in a minor key"--a theology that embraces suffering as well as joy.
EXCERPT
This book attempts a theology in a minor key, a theology that lingers, however uncomfortably, over Good Friday. It takes its cue from the blues, harmonizing narratives of Scripture with narratives of the Mississippi Delta, the land of cotton fields and Cyprus swamps and the moaning slide guitar. This is not a book by a musician, however, but by a theologian. And so I offer a theological interpretation of the blues. Cambridge theologian Jeremy Begbie has argued for music's intrinsic ability to teach theology. As an improvisation on Begbie's thesis, I take the blues to be intrinsically suited to teach a particular theology, a theology in a minor key. This is not to suggest that a theology in a minor key, or the blues for that matter, utterly sounds out despair like the torrents of a spinning hurricane. A theology in a minor key is no mere existential scream. In fact, a theology in a minor key sounds a rather hopeful melody. Good Friday yearns for Easter, and eventually Easter comes. Blues singers, even when groaning of the worst of times, know to cry out for mercy because they know that, despite appearances, Sunday's coming. . . . The blues, like the writings of Flannery O'Connor, need not mention him Christ] in every line, or in every song, but he haunts the music just the same. At the end of the day, he serves as the resolution to the conflict churning throughout the blues, the conflict that keeps the music surging like the floodwaters of the Mississippi River.

Born to shell-shocked parents in shell-shocked London shortly after the end of World War II, Paul 'Sailor' Vernon came into his own during the 1960s when spotty teenage herberts with bad haircuts began discovering The Blues. For the Sailor it became a lifelong obsession that led him first to record collecting and stalking unsuspecting visiting bluesmen, and then into a whirlwind of activity as a rare record hunter, record dealer, magazine proprietor/editor, video bootlegger and record company director before a variety of personal and business setbacks eventually ushered him into seeking a more stable form of existence. The many twists and turns in the author's roller-coaster adventure of a life are all vividly charted in this hilarious illustrated autobiography. GASP as you read how he road-tripped his way through the Deep South armed only with a Rand McNally map, a Swiss army knife and an emergency jar of Marmite! MARVEL as you absorb in-depth descriptions of legendary performances by long-departed giants of the Blues! CHOKE on your coffee as one rotten gag after another blindsides you! REND YOUR GARMENTS as you realise just how many original Blues 78's went through his sweaty hands! SHOUT "BLIMEY!" within earshot of surprised elderly relatives as you follow the rags-to-riches tale of his extraordinary life! It's all here in this one-of-a-kind life history that will leave you reaching for an enamel bucket and a fresh bottle of disinfectant!

Chicago blues musicians parlayed a genius for innovation and emotional honesty into a music revered around the world. As the blues evolves, it continues to provide a soundtrack to, and a dynamic commentary on, the African American experience: the legacy of slavery; historic promises and betrayals; opportunity and disenfranchisement; the ongoing struggle for freedom. Through it all, the blues remains steeped in survivorship and triumph, a music that dares to stare down life in all its injustice and iniquity and still laugh--and dance--in its face. David Whiteis delves into how the current and upcoming Chicago blues generations carry on this legacy. Drawing on in-person interviews, Whiteis places the artists within the ongoing social and cultural reality their work reflects and helps create. Beginning with James Cotton, Eddie Shaw, and other bequeathers, he moves through an all-star council of elders like Otis Rush and Buddy Guy and on to inheritors and today's heirs apparent like Ronnie Baker Brooks, Shemekia Copeland, and Nellie "Tiger" Travis. Insightful and wide-ranging, Blues Legacy reveals a constantly adapting art form that, whatever the challenges, maintains its links to a rich musical past.

Joe Cocker is a rock legend. A gas fitter who went from playing Sheffield pubs to the stadiums of the world, he was the man who no one - not even himself - expected to survive the age of 30. Now, approaching his 60s and having recovered his life and career, he has co-operated with the full and frank biography to tell of all the highs and lows of his remarkable journey. Even by the crazy standards of rock'n'roll it is an amazing story. Since his mind-blowing interpretation of the Beatles' "With a Little Help From My Friends" topped the British charts in 1968, Joe Cocker has had hits in every decade and in more countries than he can remember. His appearance in the movie of Woodstock in 1969 catapulted him to worldwide fame and his Mad Dogs and Englishmen tour of America almost killed him. Here he talks to biographer J.P. Bean about his heroin addiction, alcoholism, the arrests that got him thrown in jail, and the demons that haunted him for years. But most of all it is an uplifting story of an ordinary man who lit up America like a beacon in the night, was written off as a shambolic wreck and then - against all the odds - climbed back to become an even bigger star than he was first time around.

Lonnie Johnson is a blues legend. His virtuosity on the blues guitar is second to none, and his influence on artists from T-Bone Walker and B. B. King to Eric Clapton is well established. Yet Johnson mastered multiple instruments. He recorded with jazz icons such as Duke Ellington and Louis Armstrong, and he played vaudeville music, ballads, and popular songs. In this book, Julia Simon takes a closer look at Johnson's musical legacy. Considering the full body of his work, Simon presents detailed analyses of Johnson's music-his lyrics, technique, and styles-with particular attention to its sociohistorical context. Born in 1894 in New Orleans, Johnson's early experiences were shaped by French colonial understandings of race that challenge the Black-white binary. His performances call into question not only conventional understandings of race but also fixed notions of identity. Johnson was able to cross generic, stylistic, and other boundaries almost effortlessly, displaying astonishing adaptability across a corpus of music produced over six decades. Simon introduces us to a musical innovator and a performer keenly aware of his audience and the social categories of race, class, and gender that conditioned the music of his time. Lonnie Johnson's music challenges us to think about not only what we recognize and value in "the blues" but also what we leave unexamined, cannot account for, or choose not to hear. The Inconvenient Lonnie Johnson provides a reassessment of Johnson's musical legacy and complicates basic assumptions about the blues, its production, and its reception.

A major figure in American blues and folk music, Big Bill Broonzy (1903-58) left his Arkansas Delta home after World War I, headed north, and became the leading Chicago bluesman of the 1930s. His success came as he fused traditional rural blues with the electrified sound that was beginning to emerge in Chicago. This, however, was just one step in his remarkable journey: Big Bill was constantly reinventing himself, both in reality and in his retellings of it. Bob Riesman's groundbreaking biography tells the compelling life story of a lost figure from the annals of music history. "I Feel So Good" traces Big Bill's career from his rise as a nationally prominent blues star, including his historic 1938 appearance at Carnegie Hall, to his influential role in the post-World War II folk revival, when he sang about racial injustice alongside Pete Seeger and Studs Terkel. Riesman's account brings the reader into the jazz clubs and concert halls of Europe, as Big Bill's overseas tours in the 1950s ignited the British blues-rock explosion of the 1960s. Interviews with Eric Clapton, Pete Townshend, and Ray Davies reveal Broonzy's profound impact on the British rockers who would follow him and change the course of popular music. Along the way, Riesman details Big Bill's complicated and poignant personal saga: he was married three times and became a father at the very end of his life to a child half a world away. He also brings to light Big Bill's final years, when he lost first his voice, then his life, to cancer, just as his international reputation was reaching its peak. Featuring many rarely seen photos, as well as a foreword by the celebrated music writer and historian Peter Guralnick, "I Feel So Good" will be the definitive account of Big Bill Broonzy's life and music.

For over sixty years, American guitarist John Fahey (1939-2001) has been a storied figure, first within the folk and blues revival of the long 1960s, later for fans of alternative music. Mythologizing himself as Blind Joe Death, Fahey crudely parodied white middle-class fascination with African American blues, including his own. In this book, George Henderson mines Fahey's parallel careers as essayist, notorious liner note stylist, musicologist, and fabulist for the first time. These vocations, inspired originally by Cold War educators' injunction to creatively express rather than suppress feelings, took utterly idiosyncratic and prescient turns. Fahey voraciously consumed ideas: in the classroom, the counterculture, the civil rights struggle, the new left; through his study of philosophy, folklore, African American blues; and through his experience with psychoanalysis and southern paternalism. From these, he produced a profoundly and unexpectedly refracted vision of America. To read Fahey is to vicariously experience devastating critical energies and self-soothing uncertainty, passions emerging from a singular location-the place where lone, white rebel sentiment must regard the rebellion of others. Henderson shows the nuance, contradictions, and sometimes brilliance of Fahey's words that, though they were never sung to a tune, accompanied his music.

Taking its title from a lyric by Mississippi bluesman Charley Patton, "Seems Liks Murder Here" offers a revealing new account of the blues tradition. Far from mere laments about lost loves and "hard times", blues songs and literature emerge in this provocative work as vital responses to the violent realities and traumatic legacies of African American life in the Jim Crow South. Blues recording artist and critic Adam Gussow begins his story in the 1890s, when the spectacle lynching of blacks became an insidious part of Southern life. Although lynchings are seldom referred to directly in blues songs, veiled references to them abound, and Gussow identifies these scattered mentions, tying them to real-life incidents and historical events in the autobiographies of bluesmen and -women. Southern violence, he shows also enters the blues tradition through folklore about "badmen": African Americans who take the lives of white aggressors in self-defence. Blues songs and literature, meanwhile, teem with searing depictions of bloodshed, such as the cutting and shooting that blacks inflicted on one another in juke joints. For Gussow, such expressive acts of violence are the quintessential blues gesture - burning examples of racial and romantic anguish. As Langston Hughes once wrote, "My love might turn into a knife/instead of to a song". With interpretations of classic songs and writings, from the autobiographies of W.C. Handy, David Honeyboy Edwards, and B.B. King to the poetry of Hughes and the novels of Zora Neale Hurston, "Seems Like Murder Here" should reshape our understanding of the blues and its enduring power.

From his emergence in the 1950s - when an uncannily beautiful young man from Oklahoma appeared in the West Coast and became, seemingly overnight, the prince of 'cool' jazz - until his violent, drug-related death in Amsterdam in 1988, Chet Baker lived a life that has become an American myth. At once sexy and forbidding, the so-called 'James Dean of Jazz' struck a note of menace in the staid fifties. In this first major biography, the story of Baker's demise is finally revealed. So is the truth behind his tormented childhood. Behind Baker's icy facade lay something ominous, unspoken. The mystery drove both sexes crazy. But his only real romance, apart from music, was with drugs. Gavin brilliantly recreates the life of a man whose journey from golden promise to eventual destruction mirrored America's fall from post-war innocence - but whose music has never lost the power to enchant and seduce us.

John Mayall is an icon in the world of blues music and the Godfather of British blues. A pioneering musician, blues promoter and talent scout for over 50 years, his uncanny knack of picking young, talented musicians and then nurturing them in his bands is the stuff of legend. Under his guidance as leader and sometimes father figure, his groups developed into a blues school of learning par excellence. Many young members became huge stars later on, among them brilliant musicians such as Eric Clapton, Peter Green, Jack Bruce, Mick Fleetwood, John McVie, Mick Taylor and drummer Jon Hiseman. In Mayalls bands, an incredible 130 musicians have done their apprenticeship and earned their spurs. Top bands like Cream, Fleetwood Mac or Colosseum would never have existed without his inspiration and guidance. Now 80 and showing no signs of slowing down, John Mayall has an amazing back catalogue totalling some 86 albums, and has played over 5000 live concerts all over the world. He is still rated as one of the most influential and respected figures in the international blues and rock scene. This is the first detailed biography of Mayall, illuminating not only his life and career, but also providing deeper, more detailed insights into the development of his many fellow musicians. It follows the young Mayall from the early days of jamming in his tree house as a teenager to the vast tours he undertakes today. Even die-hard blues fans will find a lot of undiscovered anecdotes and stories here, as the book covers all phases of the Mayalls career and not just the 60s.

This fresh look at the neglected rhythm section in jazz ensembles shows that the improvisational interplay among drums, bass, and piano is just as innovative, complex, and spontaneous as the solo. Ingrid Monson juxtaposes musicians' talk and musical examples to ask how musicians go about "saying something" through music in a way that articulates identity, politics, and race. Through interviews with Jaki Byard, Richard Davis, Sir Roland Hanna, Billy Higgins, Cecil McBee, and others, she develops a perspective on jazz improvisation that has "interactiveness" at its core, in the creation of music through improvisational interaction, in the shaping of social communities and networks through music, and in the development of cultural meanings and ideologies that inform the interpretation of jazz in twentieth-century American cultural life.
Replete with original musical transcriptions, this broad view of jazz improvisation and its emotional and cultural power will have a wide audience among jazz fans, ethnomusicologists, and anthropologists.

This stunning book charts the rich history of the blues, through the dazzling array of posters, album covers, and advertisements that have shaped its identity over the past hundred years. The blues have been one of the most ubiquitous but diverse elements of American popular music at large, and the visual art associated with this unique sound has been just as varied and dynamic. There is no better guide to this fascinating graphical world than Bill Dahl a longtime music journalist and historian who has written liner notes for countless reissues of classic blues, soul, R&B, and rock albums. With his deep knowledge and incisive commentary complementing more than three hundred and fifty lavishly reproduced images the history of the blues comes musically and visually to life. What will astonish readers who thumb through these pages is the amazing range of ways that the blues have been represented whether via album covers, posters, flyers, 78 rpm labels, advertising, or other promotional materials. We see the blues as it was first visually captured in the highly colorful sheet music covers of the early twentieth century. We see striking and hard-to-find label designs from labels big (Columbia) and small (Rhumboogie). We see William Alexander's humorous artwork on postwar Miltone Records; the cherished ephemera of concert and movie posters; and Chess Records' iconic early albums designed by Don Bronstein, which would set a new standard for modern album cover design. What these images collectively portray is the evolution of a distinctively American art form. And they do so in the richest way imaginable. The result is a sumptuous book, a visual treasury as alive in spirit as the music it so vibrantly captures.

Women have been at the dawn of the blues since Bessie Smith and Ma Rainey were singing about hard knocks and tough love in smoky bars. This book gives an overview of the early days of the blues and its development from the Mississippi Delta to the hometown of electric blues, Chicago, to becoming the vibrant global musical movement it is today. Features over 30 exclusive interviews with the amazing female musicians leading the Blues to new heights today. Includes selected highlights from Chicago blues photographer Jennifer Noble's extensive colour collection.

Here is the book that distinguished music critic Leonard Feather called a "brilliantly perceptive examination of the forces that shaped Coltrane's brief life." Illustrating the influence of African folklore and spirituality on Coltrane's work and sound, Bill Cole creates an innovative portrait of the legendary tenor saxophonist. With illustrative diagrams, a discography, and more than twenty photographs, this is an essential addition to every jazz fan's library.

In The Heart of Rock & Soul, veteran rock critic Dave Marsh offers a polemical guide to the 1,001 greatest rock and soul singles ever made, encompassing rock, metal, R&B, disco, folk, funk, punk, reggae, rap, soul, country, and any other music that has made a difference over the past fifty years. The illuminating essays,complete with music history, social commentary, and personal appraisals,double as a mini-history of popular music. Here you will find singles by artists as wide-ranging as Aretha Franklin, George Jones, Roy Orbison, the Sex Pistols, Madonna, Run-D.M.C., and Van Halen. Featuring a new preface that covers the hits,and misses,of the'90s, The Heart of Rock & Soul remains as provocative, passionate, and timeless as the music it praises.