Over the course of his long career, legendary bluesman William ""Big Bill"" Broonzy (1893@-1958) helped shape the trajectory of the genre, from its roots in the rural Mississippi River Delta, through its rise as a popular genre in the north, to its eventual international acclaim. Along the way, Broonzy adopted an evolving personal and professional identity, tailoring his self-presentation to the demands of the place and time. His remarkable professional fluidity mirrored the range of expectations from his audiences, whose ideas about race, national belonging, identity, and the blues were refracted through Broonzy as if through a prism. Kevin D. Greene argues that Broonzy's popular success testifies to his ability to navigate the cultural expectations of his different audiences. However, this constant reinvention came at a personal and professional cost. Using Broonzy's multifaceted career, Greene situates blues performance at the center of understanding African American self-presentation and racial identity in the first half of the twentieth century. Through Broonzy's life and times, Greene assesses major themes and events in African American history, including the Great Migration, urbanization, and black expatriate encounters with European culture consumers. Drawing on a range of historical source materials as well as oral histories and personal archives held by Broonzy's son, Greene perceptively interrogates how notions of race, gender, and audience reception continue to shape concepts of folk culture and musical authenticity.

(Guitar Play-Along). The Guitar Play-Along Series will help you play your favorite songs quickly and easily Just follow the tab, listen to the CD to hear how the guitar should sound, and then play along using the separate backing tracks. The melody and lyrics are also included in the book in case you want to sing, or to simply help you follow along. The audio CD is playable on any CD player. For PC and Mac computer users, the CD is enhanced so you can adjust the recording to any tempo without changing pitch Songs: Couldn't Stand the Weather * Empty Arms * Lenny * Little Wing * Look at Little Sister * Love Struck Baby * The Sky Is Crying * Tightrope.

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.

(Instrumental Folio). 14 songs for clarinet, complete with a play-along CD. Includes: Bernie's Tune * Cry Me a River * Fever * Fly Me to the Moon * God Bless' the Child * Harlem Nocturne * Moonglow * A Night in Tunisia * One Note Samba * Opus One * Satin Doll * Slightly Out of Tune (Desafinado) * Take the "A" Train * Yardbird Suite.

At the height of the blues revival, Marina Bokelman and David Evans, young graduate students from California, made two trips to Louisiana and Mississippi and short trips in their home state to do fieldwork for their studies at UCLA. While there, they made recordings and interviews and took extensive field notes and photographs of blues musicians and their families. Going Up the Country: Adventures in Blues Fieldwork in the 1960s presents their experiences in vivid detail through the field notes, the photographs, and the retrospective views of these two passionate researchers. The book includes historical material as well as contemporary reflections by Bokelman and Evans on the times and the people they met during their southern journeys. Their notes and photographs take the reader into the midst of memorable encounters with many obscure but no less important musicians, as well as blues legends, including Robert Pete Williams, Mississippi Fred McDowell, Al Wilson (cofounder of Canned Heat), Babe Stovall, Reverend Ruben Lacy, and Jack Owens. This volume is not only an adventure story, but also a scholarly discussion of fieldwork in folklore and ethnomusicology. Including retrospective context and commentary, the field note chapters describe searches for musicians, recording situations, social and family dynamics of musicians, and race relations and the racial environment, as well as the practical, ethical, and logistical problems of doing fieldwork. The book features over one hundred documentary photographs that depict the field recording sessions and the activities, lives, and living conditions of the artists and their families. These photographs serve as a visual counterpart equivalent to the field notes. The remaining chapters explain the authors' methodology, planning, and motivations, as well as their personal backgrounds prior to going into the field, their careers afterwards, and their thoughts about fieldwork and folklore research in general. In this enlightening book, Bokelman and Evans provide an exciting and honest portrayal of blues field research in the 1960s.

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

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.

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.

While many think of Elvis Presley as rock 'n' roll's driving force, the truth is that Fats Domino, whose records have sold more than 100 million copies, was the first to put it on the map with such hits as "Ain't That a Shame" and "Blueberry Hill." In "Blue Monday," acclaimed R&B scholar Rick Coleman draws on a multitude of new interviews with Fats Domino and many other early musical legends to create a definitive biography of not just an extraordinary man but also a unique time and place: New Orleans at the birth of rock 'n' roll. Coleman's groundbreaking research makes for an immense cultural biography, and is the first to convey the full scope of Fats Domino's impact on the popular music of the twentieth century.

Taking to heart Ralph Ellison's remark that much in American life is "jazz-shaped," "The Jazz Cadence of American Culture" offers a wide range of eloquent statements about the influence of this art form. Robert G. O'Meally has gathered a comprehensive collection of important essays, speeches, and interviews on the impact of jazz on other arts, on politics, and on the rhythm of everyday life. Focusing mainly on American artistic expression from 1920 to 1970, O'Meally confronts a long era of political and artistic turbulence and change in which American art forms influenced one another in unexpected ways.

Organized thematically, these provocative pieces include an essay considering poet and novelist James Weldon Johnson as a cultural critic, an interview with Wynton Marsalis, a speech on the heroic image in jazz, and a newspaper review of a recent melding of jazz music and dance, "Bring in 'Da Noise, Bring in 'Da Funk." From Stanley Crouch to August Wilson to Jacqui Malone, the plurality of voices gathered here reflects the variety of expression within jazz.

The book's opening section sketches the overall place of jazz in America. Alan P. Merriam and Fradley H. Garner unpack the word "jazz" and its register, Albert Murray considers improvisation in music and life, Amiri Baraka argues that white critics misunderstand jazz, and Stanley Crouch cogently dissects the intersections of jazz and mainstream American democratic institutions. After this, the book takes an interdisciplinary approach, exploring jazz and the visual arts, dance, sports, history, memory, and literature. Ann Douglas writes on jazz's influence on the design and construction of skyscrapers in the 1920s and '30s, Zora Neale Hurston considers the significance of African-American dance, Michael Eric Dyson looks at the jazz of Michael Jordan's basketball game, and Hazel Carby takes on the sexual politics of Ma Rainey and Bessie Smith's blues.

"The Jazz Cadence" offers a wealth of insight and information for scholars, students, jazz aficionados, and any reader wishing to know more about this music form that has put its stamp on American culture more profoundly than any other in the twentieth century.

This latest entry in Backbeat's bestselling handbook series starts by exploring the humble beginnings of blues guitar through the early decades of the 20th century, including profiles of such players as Robert Johnson, Charley Patton, and Son House. As the story moves into the '40s and '50s, and blues players migrate to major urban centers, author Adam St. James follows the evolution of the music at the hands of such electric blues kingpins as Muddy Waters, Howlin' Wolf, and B. B. King. Then it's the blues-rockers of the '60s, '70s, and '80s (including Eric Clapton, Jimmy Page, Jeff Beck, and Stevie Ray Vaughan) before the story comes up to date, with blues flame-keepers such as Keb Mo' or Duke Robillard, and some not-quite-traditionalists, such as Robben Ford or Derek Trucks. A comprehensive section for mastering electric and acoustic blues follows this historic overview. Starting from the very basics, it leads you into more advanced rhythm and lead techniques before examining four key styles: acoustic blues, classic electric blues, blues rock, and jazz blues. The many exercises in the book are supported by specially recorded audio tracks accessed online using the unique code inside each book. The audio files include PLAYBACK+, a multi-functional audio player that allows you to slow down audio without changing pitch, set loop points, change keys, and pan left or right.

This acclaimed travel guide, hailed as the bible of blues travelers throughout the world, will shepherd the faithful to such shrines as the intersection where Robert Johnson might have made his deal with the devil and the railroad tracks that inspired Howlin' Wolf to moan ""Smokestack Lightnin'."" Blues Traveling was the first and is the indisputably essential guidebook to Mississippi's musical places and its blues history. For this new fourth edition, Steve Cheseborough returned once again to the Delta, revisited all of the locales featured in previous editions of the book, and uncovered fresh destinations. He includes updated material on new festivals, state blues markers, club openings and closings, and many other transformations in the Delta's ever-lively blues scene. The fourth edition also features new information on the Mississippi Blues Trail, updated information on the many blues sites throughout the Delta, and twenty new photographs. With photographs, maps, easy-to-follow directions, and an informative, entertaining text, this book will lead the reader in and out of Clarksdale, Greenwood, Helena (Arkansas), Rolling Fork, Jackson, Memphis, Natchez, Bentonia, Rosedale, Itta Bena, and dozens of other locales where generations of blues musicians have lived, traveled, and performed.

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.

The first autobiography of a jazz musician, Louis Armstrong's Swing That Music is a milestone in jazz literature. Armstrong wrote most of the biographical material, which is of a different nature and scope than that of his other, later autobiography, Satchmo: My Life in New Orleans (also published by Da Capo/Perseus Books Group). Satchmo covers in intimate detail Armstrong's life until his 1922 move to Chicago but Swing That Music also covers his days on Chicago's South Side with "King" Oliver, his courtship and marriage to Lil Hardin, his 1929 move to New York, the formation of his own band, his European tours, and his international success. One of the most earnest justifications ever written for the new style of music then called "swing" but more broadly referred to as "Jazz," Swing That Music is a biography, a history, and an entertainment that really "swings."

From Robert Johnson to Aretha Franklin, Mahalia Jackson to John Lee Hooker, blues and gospel artists play significant roles in twentieth-century culture. This overview of these genres provides an expression of the twentieth-century black American experience. Histories are questioned; songs and lyrical imagery are analyzed; perspectives are presented from the standpoint of voice, guitar, piano, and working musician. A concluding chapter discusses the impact that the genres have had on mainstream musical culture.

The late Count Basie is one of the jazz immortals. The master of swing, whose beat was the subtlest and supplest of all the bandleaders, Basie featured some of the great soloists in jazz history while he sat unobtrusively at the piano, keeping time with his unmatched rhythm section, showing off the surging power of his brass players, and commenting wittily with a single chord or phrase. A man and musician of reserve and modesty, Basie nonetheless will always be a landmark for his won achievements and for the jazz musicians who passed through his band. In this sociable and pioneering oral history of Basie and his band, Stanley Dance talks with the Count himself, Jimmy Rushing, Buddy Tate, Buck Clayton, Joe Williams, Jay McShann, Jo Jones, Dicky Wells, Lester Young, and a dozen others, who reminisce about each other, Kansas City jazz, and their legendary peers Billie Holiday and Charlie Parker. With a rich flow of anecdote, opinion, and biographical information,and with striking photographs,this history both documents and assesses the legacy of Basie for American music.

This book combines three influential and much-quoted books Savannah Syncopators; Blacks, Whites and Blues and Recording the Blues, updated with additional new essays, which collectively confront the problem of how, when and from where the blues emerged and developed. It emphasizes the significance of the African heritage, the mutuality of much white and black music and the role of recording in consolidating the blues. Redressing some of the misconceptions that persist in writing on African-American music, it will be essential reading for all enthusiasts of blues, jazz and country music.

What was the first jazz record? Are jazz solos really improvised? How did jazz lay the groundwork for rock and country music? In Why Jazz?, author and NPR jazz critic Kevin Whitehead provides lively, insightful answers to these and many other fascinating questions, offering an entertaining guide for both novice listeners and long-time fans.
Organized chronologically in a convenient question and answer format, this terrific resource makes jazz accessible to a broad audience, and especially to readers who've found the music bewildering or best left to the experts. Yet Why Jazz? is much more than an informative Q&A; it concisely traces the century-old history of this American and global art form, from its beginnings in New Orleans up through the current postmodern period. Whitehead provides brief profiles of the archetypal figures of jazz--from Louis Armstrong and Duke Ellington to Wynton Marsalis and John Zorn--and illuminates their contributions as musicians, performers, and composers. Also highlighted are the building blocks of the jazz sound--call and response, rhythmic contrasts, personalized performance techniques and improvisation--and discussion of how visionary musicians have reinterpreted these elements to continually redefine jazz, ushering in the swing era, bebop, cool jazz, hard bop, and the avant-garde. Along the way, Why Jazz? provides helpful plain-English descriptions of musical terminology and techniques, from "blue notes" to "conducted improvising." And unlike other histories which haphazardly cover the stylistic branches of jazz that emerged after the 1960s, Why Jazz? groups latter-day musical trends by decade, the better to place them in historical context.
Whether read in self-contained sections or as a continuous narrative, this compact reference presents a trove of essential information that belongs on the shelf of anyone who's ever been interested in jazz.

This book documents a great American story, that of B.B. King, the King of the Blues, and one of Americas most important popular musicians. With fascinating images and historymost published for the first timeit traces his migration from the Chitlin Circuit (the national network of Black theaters and roadhouses), to Club Ebony in his hometown of Indianola, Mississippi, and eventually to Carnegie Hall. What was it about Riley B. King that enabled him to become the worldwide King of the Blues? The authors quest to answer that question is chronicled here and tells the story of the once-impossible friendship between someone who grew up poor and Black in Mississippi and the white middle-class New Englander who fell in love with the blues and was determined to tell the story of his musical hero. King thrilled his audiences not only with his musical prowess, but with his capacity to establish intimacy, regardless of crowd size; he gave an estimated 18,000 concerts in 90 countries. B.B. King: From Indianola to Icon tells the story of Kings journey from sharecropper to musical icon, one who brought the music of Americathe bluesto the world. It is a book for blues fans and others who want to know how and why this transformation occurred.

According to Eric Clapton, John Mayer, and the late Stevie Ray Vaughn, Buddy Guy is the greatest blues guitarist of all time. An enormous influence on these musicians as well as Jimi Hendrix, Jimmy Page, and Jeff Beck, he is the living embodiment of Chicago blues. Guy's epic story stands at the absolute nexus of modern blues. He came to Chicago from rural Louisiana in the fifties,the very moment when urban blues were electrifying our culture. He was a regular session player at Chess Records. Willie Dixon was his mentor. He was a sideman in the bands of Muddy Waters and Howlin' Wolf. He and Junior Wells formed a band of their own. In the sixties, he became a recording star in his own right. When I Left Home tells Guy's picaresque story in his own unique voice, that of a storyteller who remembers everything, including blues masters in their prime and the exploding, evolving culture of music that happened all around him.

The 1920s were not called the Jazz Age for nothing. Celebrated by writers from Langston Hughes to Gertrude Stein, jazz was the dominant influence on American popular music, despite resistance from whites who distrusted its vibrant expression of black culture and by those opposed to the overt sexuality and raw emotion of the `devil's music'. As Kathy Ogren shows, the breathless pace and syncopated rhythms were as much a part of twenties America as Prohibition and the economic boom, which enabled millions throughout the states to enjoy the latest sounds on radios and phonographs.

This is a new, thoroughly revised edition of Paul Oliver's classic study of the blues. First published in 1960, this remarkable book has not been superseded and its reappearance will be welcomed by all who wish to understand the complexity of meaning in the blues and the experiences which they expressed. The book examines the functions of the blues as black American folk music recorded during the 78 rpm era, from the 1920s to the 1950s. The lyrics are quoted extensively throughout the book, revealing their significance as a means of communication within black society. The author shows how the themes of labour and unemployment, migration and the Depression years, love, sex, and marriage, crime, violence and imprisonment, disasters, sickness, war and death are expressed in black idioms and he discusses their meaning on many levels.

Early Jazz is one of the seminal books on American jazz, ranging from the beginnings of jazz as a distinct musical style at the turn of the century to its first great flowering in the 1930s. Schuller explores the music of the great jazz soloists of the twenties--Jelly Roll Morton, Bix Beiderbecke, Bessie Smith, Louis Armstrong, and others--and the big bands and arrangers--Fletcher Henderson, Bennie Moten, and especially Duke Ellington--placing their music in the context of the other musical cultures of the twentieth century and offering analyses of many great jazz recordings.
Early Jazz provides a musical tour of the early American jazz world. A classic study, it is both a splendid introduction for students and an insightful guide for scholars, musicians, and jazz aficionados.

With roots in Appalachia, the Mississippi Delta, New Orleans, the Piedmont, Memphis, and the prairies of Texas and the American West, the musical genre called Americana can prove difficult to define. Nevertheless, this burgeoning trend in American popular music continues to expand and develop, winning new audiences and engendering fresh, innovative artists at an exponential rate. As Lee Zimmerman illustrates in Americana Music: Voices, Visionaries, and Pioneers of an Honest Sound, "Americana" covers a gamut of sounds and styles. In its strictest sense, it is a blanket term for bluegrass, country, mountain music, rockabilly, and the blues. By a broader definition, it can encompass roots rock, country rock, singer/songwriters, R&B, and their various combinations. Bob Dylan, Hank Williams, Carl Perkins, and Tom Petty can all lay valid claims as purveyors of Americana, but so can Elvis Costello, Solomon Burke, and Jason Isbell. Americana is new and old, classic and contemporary, trendy and traditional. Mining the firsthand insights of those whose stories help shape the sound-people such as Ralph Stanley, John McEuen (Nitty Gritty Dirt Band), Chris Hillman (Byrds, Flying Burrito Brothers), Paul Cotton and Rusty Young (Poco), Shawn Colvin, Kinky Friedman, David Bromberg, the Avett Brothers, Amanda Shires, Ruthie Foster, and many more-Americana Music provides a history of how Americana originated, how it reached a broader audience in the '60s and '70s with the merging of rock and country, and how it evolved its overwhelmingly populist appeal as it entered the new millennium.