I went to Africa to find the roots of the blues. So Samuel Charters begins the extraordinary story of his research. But what began as a study of how the blues was handed down from African slaves to musicians of today via the slave ships, became something much more complex. For in Africa Samuel Charters discovered a music which was not just a part of the past but a very vital living part of African culture. The Roots of the Blues not only reveals Charters's remarkable talent in discussing African folk music and its relationship with American blues it demonstrates his power as a descriptive and narrative writer. Using extensive quotations of song lyrics and some remarkable photographs of the musicians, Charters has created a unique contribution to our understanding of both African and American cultures and their music.

These are just a few of Willie Dixon's contributions to blues, R&B, and rock'n'roll,songs performed by artists as varied as the Rolling Stones, Howlin' Wolf, Muddy Waters, ZZ Top, the Doors, Sonny Boy Williamson, the Grateful Dead, Van Morrison, Megadeth, Eric Clapton, Let Zepplin, Tesla, Elvis Presley, Chuck Berry, Stevie Ray Vaughan, and Jeff Healey. I Am the Blues captures Willie Dixon's inimitable voice and character as he tells his life story: the segregation of Visksburg Mississippi, where Dixon grew up the prison farm from which he escaped and then hoboed his way north as a teenager his equal-rights-based draft refusal in 1942 his work,as songwriter bassist, producer, and arranger,with Muddy Waters, Howlin' Wolf, Little Walter, Bo Diddley, and Chuck Berry which shaped the definitive Chicago blues sound of Chess Records and his legal battles to recapture the rights to his historic catalogue of songs.

Tony Bolden presents an innovative history of funk music focused on the performers, regarding them as intellectuals who fashioned a new aesthetic. Utilizing musicology, literary studies, performance studies, and African American intellectual history, Bolden explores what it means for music, or any cultural artifact, to be funky. Multitudes of African American musicians and dancers created aesthetic frameworks with artistic principles and cultural politics that proved transformative. Bolden approaches the study of funk and black musicians by examining aesthetics, poetics, cultural history, and intellectual history. The study traces the concept of funk from early blues culture to a metamorphosis into a full-fledged artistic framework and a named musical genre in the 1970s, and thereby Bolden presents an alternative reading of the blues tradition. In part one of this two-part book, Bolden undertakes a theoretical examination of the development of funk and the historical conditions in which black artists reimagined their music. In part two, he provides historical and biographical studies of key funk artists, all of whom transfigured elements of blues tradition into new styles and visions. Funk artists, like their blues relatives, tended to contest and contextualize racialized notions of blackness, sexualized notions of gender, and bourgeois notions of artistic value. Funk artists displayed contempt for the status quo and conveyed alternative stylistic concepts and social perspectives through multimedia expression. Bolden argues that on this road to cultural recognition, funk accentuated many of the qualities of black expression that had been stigmatized throughout much of American history.

Improvising Jazz gives the beginning performer and the curious listener alike insights into the art of jazz improvisation. Jerry Coker, teacher and noted jazz saxophonist, explains the major concepts of jazz, including blues, harmony, swing, and the characteristic chord progressions. An easy-to-follow self-teaching guide, Improvising Jazz contains practical exercises and musical examples. Its step-by-step presentation shows the aspiring jazz improviser how to employ fundamental musical and theoretical tools, such as melody, rhythm, and superimposed chords, to develop an individual melodic style.

Keith Jarrett is probably the most influential jazz pianist living today: his concerts have made him world famous. He was a child prodigy who had his first solo performance at the age of seven. In the sixties he played with the Jazz Messengers and then with the Charles Lloyd Quartet, touring Europe, Asia, and Russia. He played electric keyboards with Miles Davis at the beginning of the seventies, and went on to lead two different jazz groups,one American and one European. He straddles practically every form of twentieth century music,he has produced totally composed music, and has performed classical music as well as jazz. Jarrett has revolutionized the whole concept of what a solo pianist can do. And his albums such as Solo Concerts (at Lausanne and Bremen), Belonging, The Koln Concert , and My Song have gained him a worldwide following.Now, with Keith Jarrett: The Man and His Music, Ian Carr has written the definitive story of Jarrett's musical development and his personal journey. This is a revealing, fascinating, and enlightening account of one of the outstanding musicians of our age.

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.

This is the only jazz history written by a musician that is not strictly autobiographical. Rex Stewart, who played trumpet and cornet with Fletcher Henderson and Duke Ellington, knew personally all the giants of jazz in the 1930s and thus his judgments on their achievements come with unique authority and understanding. As a good friend, he never minimizes their foibles; yet he writes of them with affection and generosity. Chapters on Fletcher Henderson, Coleman Hawkins, Red Norvo, Art Tatum, Big Sid Catlett, Benny Carter, and Louis Armstrong mix personal anecdotes with critical comments that only a fellow jazz musician could relate. A section on Ellington and the Ellington orchestra profiles Ben Webster, Harry Carney, Tricky Sam Nanton, Barney Bigard, and Duke himself, with whom Rex Stewart was a barber, chef, poker opponent, and third trumpet. Finally, he recounts the stories of legendary jam sessions between Jelly Roll Morton, Willie the Lion Smith, and James P. Johnson, all vying for the unofficial title of king of Harlem stride piano. It was the decade of swing and no one saw it, heard it, or wrote about it better than Rex Stewart.

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.

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.

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.

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.

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.

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.

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.

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.

'You the funkiest man alive.' Miles Davis' accolade was the perfect expression of John Lee Hooker's apotheosis as blues superstar: recording with the likes of Van Morrison, Keith Richards and Carlos Santana; making TV commercials (Lee Jeans); appearing in films (The Blues Brothers); and even starring in Pete Townshend's musical adaptation of Ted Hughes' story The Iron Man. His was an extraordinary life. Born in the American deep south, he moved to Detroit and then, in a career spanning over fifty years, recorded hypnotic blues classics such as 'Boogie Chillen', rhythm-and-blues anthems such as 'Dimples' and 'Boom Boom' and, in his final, glorious renaissance, the Grammy-winning album The Healer. Charles Shaar Murray's authoritative biography vividly, and often in John Lee Hooker's own words, does magnificent justice to the man and his music.

When Mississippi John Hurt (1892-1966) was "rediscovered" by blues revivalists in 1963, his musicianship and recordings transformed popular notions of prewar country blues. At seventy-one he moved to Washington, D.C., from Avalon, Mississippi, and became a live-wire connection to a powerful, authentic past. His intricate and lively style made him the most sought after musician among the many talents the revival brought to light.

"Mississippi John Hurt" provides this legendary creator's life story for the first time. Biographer Philip Ratcliffe traces Hurt's roots to the moment his mother Mary Jane McCain and his father Isom Hurt were freed from slavery. Anecdotes from Hurt's childhood and teenage years include the destiny-making moment when his mother purchased his first guitar for $1.50 when he was only nine years old. Stories from his neighbors and friends, from both of his wives, and from his extended family round out the community picture of Avalon. U.S. census records, Hurt's first marriage record in 1916, images of his first autographed LP record, and excerpts from personal letters written in his own hand provide treasures for fans. Ratcliffe details Hurt's musical influences and the origins of his style and repertoire. The author also relates numerous stories from the time of his success, drawing on published sources and many hours of interviews with people who knew Hurt well, including the late Jerry Ricks, Pat Sky, Stefan Grossman and Max Ochs, Dick Spottswood, and the late Mike Stewart. In addition, some of the last photographs taken of the legendary musician are featured for the first time in "Mississippi John Hurt."

This unique collection of essays examines the flow of African American music and musicians across the Atlantic to Europe from the time of slavery to the twentieth century. In a sweeping examination of different musical forms--spirituals, blues, jazz, skiffle, and orchestral music--the contributors consider the reception and influence of black music on a number of different European audiences, particularly in Britain, but also France, Germany, and the Netherlands.

The essayists approach the subject through diverse historical, musicological, and philosophical perspectives. A number of essays document little-known performances and recordings of African American musicians in Europe. Several pieces, including one by Paul Oliver, focus on the appeal of the blues to British listeners. At the same time, these considerations often reveal the ambiguous nature of European responses to black music and in so doing add to our knowledge of transatlantic race relations.

Contributions from Christopher G. Bakriges, Sean Creighton, Jeffrey Green, Leighton Grist, Bob Groom, Rainer E. Lotz, Paul Oliver, Catherine Parsonage, Iris Schmeisser, Roberta Freund Schwartz, Robert Springer, Rupert Till, Guido van Rijn, David Webster, Jen Wilson, and Neil A. Wynn

Neil A. Wynn is professor of twentieth-century American history at the University of Gloucestershire. He is the author of "Historical Dictionary from Great War to Great Depression," "From Progressivism to Prosperity: American Society and the First World War," and "The Afro-American and the Second World War."

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.

Traditional jazz studies have tended to see jazz in purely musical terms, as a series of changes in rhythm, tonality, and harmony, or as a parade of great players. But jazz has also entered the cultural mix through its significant impact on novelists, filmmakers, dancers, painters, biographers, and photographers. Representing Jazz explores the "other" history of jazz created by these artists, a history that tells us as much about the meaning of the music as do the many books that narrate the lives of musicians or describe their recordings. Krin Gabbard has gathered essays by distinguished writers from a variety of fields. They provide engaging analyses of films such as Round Midnight, Bird, Mo' Better Blues, Cabin in the Sky, and Jammin' the Blues; the writings of Eudora Welty and Dorothy Baker; the careers of the great lindy hoppers of the 1930s and 1940s; Mura Dehn's extraordinary documentary on jazz dance; the jazz photography of William Claxton; painters of the New York School; the traditions of jazz autobiography; and the art of "vocalese." The contributors to this volume assess the influence of extramusical sources on our knowledge of jazz and suggest that the living contexts of the music must be considered if a more sophisticated jazz scholarship is ever to evolve. Transcending the familiar patterns of jazz history and criticism, Representing Jazz looks at how the music actually has been heard and felt at different levels of American culture. With its companion anthology, Jazz Among the Discourses, this volume will enrich and transform the literature of jazz studies. Its provocative essays will interest both aficionados and potential jazz fans.Contributors. Karen Backstein, Leland H. Chambers, Robert P. Crease, Krin Gabbard, Frederick Garber, Barry K. Grant, Mona Hadler, Christopher Harlos, Michael Jarrett, Adam Knee, Arthur Knight, James Naremore

There he is, drumming on "Tutti Frutti," "You've Lost That Lovin' Feelin'," and thousands of other songs. As a studio player in New Orleans and Los Angeles from the 1940s through the 1970s, Earl Palmer co-created hundreds of hits and transformed the lope of rhythm and blues into full-tilt rock and roll. He was, as a result, one of the first session men to be inducted into the Rock and Roll Hall of Fame. Palmer's distinctive voice alternates with the insights of music journalist and historian Tony Scherman in an unforgettable trip through the social and musical cultures of mid-century New Orleans and the feverish world of early rock.

Focusing on blues, jazz, gospel, rhythm and blues, and soul music, this text explores the rich musical heritage of African-Americans in California. The contributors describe in detail the individual artists, locales, groups, musical styles and regional qualities, and the result is a book which seeks to lay the groundwork for a whole new field of study. The essays draw from oral histories, music recordings, newspaper articles and advertisements, as well as population statistics to provide insightful discussions of topics such as the Californian urban milieu's influence on gospel music, the development of the West Coast blues style, and the significance of Los Angeles's Central Avenue in the early days of jazz. Other esays offer perspectives on how individual musicians have been shaped by their African-American heritage and on the role of the record industry and radio in the making of music. In addition to the diverse range of essays, the book includes a bibliography of African-American music and culture in California.

Founded in 1917, Paramount Records incongruously was one of several homegrown record labels of a Wisconsin chair-making company. The company pinned no outsized hopes on Paramount. Its founders knew nothing of the music business, and they had arrived at the scheme of producing records only to drive sales of the expensive phonograph cabinets they had recently begun manufacturing. Lacking the resources and the interest to compete for top talent, Paramount's earliest recordings gained little foothold with the listening public. On the threshold of bankruptcy, the label embarked on a new business plan: selling the music of Black artists to Black audiences. It was a wildly successful move, with Paramount eventually garnering many of the biggest-selling titles in the "race records" era. Inadvertently, the label accomplished what others could not, making blues, jazz, and folk music performed by Black artists a popular and profitable genre. Paramount featured a deep roster of legendary performers, including Louis Armstrong, Charley Patton, Ethel Waters, Son House, Fletcher Henderson, Skip James, Alberta Hunter, Blind Blake, King Oliver, Blind Lemon Jefferson, Ma Rainey, Johnny Dodds, Papa Charlie Jackson, and Jelly Roll Morton. Scott Blackwood's The Rise and Fall of Paramount Records is the story of happenstance. But it is also a tale about the sheer force of the Great Migration and the legacy of the music etched into the shellacked grooves of a 78 rpm record. With Paramount Records, Black America found its voice. Through creative nonfiction, Blackwood brings to life the gifted artists and record producers who used Paramount to revolutionize American music. Felled by the Great Depression, the label stopped recording in 1932, leaving a legacy of sound pressed into cheap 78s that is among the most treasured and influential in American history.