TONY BENNETT: Harold Jones is one of the finest men I know. I have reviewed "The Singer's Drummer" and it is a Knock-Out I am happy that someone is putting together a history of what really happens on the road. This is a very creative work. Best of luck with the book COUNT BASIE: A great drummer can mean everything to a band. Harold Jones has really pulled us together. LOUIS BELLSON: Harold Jones was Count Basie's favorite drummer. BILL COSBY: Harold is a master of mind, hands, feet and touch. His playing is very delicate, like handling the very finest crystal and china and when he is done, there's no damage. NATALIE COLE: Harold is one of the best jazz drummers in the world. NANCY WILSON: When I speak of my "Gentlemen" I am referring to a select group of super-talented musicians with whom I have had the good fortune to work. Harold was a treasured member of my trio in the mid-70's, a class act both as a musician and a man. I commend him as one of my gentlemen. JON HENDRICKS: Harold always pulled the band back of us singers. Harold always swings and he is a beautiful, sensitive cat. GEORGE YOUNG: Playing with Harold is like taking a warm bath. All you have to do is lay back and enjoy the swinging feel of his playing. JOHN BADESSA: Harold won the Downbeat International Award as the "Best New Artist and Big Band Drummer" in 1972. He has not relinquished his title. He is still the best big band drummer in the world.

Following the second World War, Olivier Messiaen, previously known primarily for his religious music, composed three works inspired by the medieval love story of Tristan and Iseult: "Harawi," "Turangal DEGREESD"la-symphonie," and "Cinq rechants." Though the song cycle, symphony, and choral work each consider their source story in a different way, the three compositions are tied closely together by theme and musical technique. This new study is the only full-length consideration of this most significant work, applying literary techniques of stylistic analysis and source study as well as musical analysis of Messiaen's aesthetics and form.

As Audrey Ekdahl Davidson shows, Messiaen's work was informed by more than just the mythic tale at its center. The twelve songs in "Harawi" are indebted to Peruvian melodies, and rhythmically they reveal the influence of the Hindu musical theory that the composer encountered at the Paris Conservatory. "Turangal DEGREESD"la-symphonie" continues and expands the use of these complex rhythmic structures to create a form that expresses elements of the Tristan story as filtered through Wagner's famous operatic depiction. And in "Cinq rechants," Messiaen produced a set of choral pieces that use surrealistic texts joined to music that is related structurally to the "rechants" of the sixteenth-century composer Claude le Jeune. Davidson's examination of these works reveals both their interrelatedness and their many layers of musical and textual meaning.

This work puts together in one volume all the book and scholarly materials related to jazz lives and organizes them in such a way that the reader, at a glance, can see the entire sweep of writings on a given artist and grasp the nature of their contents. The bibliography includes many different kinds of biographical source material published in all languages from 1921 to the present, such as biographies, autobiographies, interview collections, musical treatises, bio-discographies, anthologies of newspaper articles, Master theses, and Ph.D. dissertations. With few exceptions, a work of at least 50 pages in length merits inclusion, providing it has a substantive biographical component or aids jazz research. The main section of the work is an alphabetical listing of sources on individual jazz artists and ensembles. Jazz artists, as defined by Carner, are those who have made their mark as jazz performers and who have led the "jazz life," playing the clubs and "joints," not the "legitimate" concert stage, Broadway, Las Vegas, or the like. Thus, musicians such as Ray Charles or Frank Sinatra, who have recorded and performed with jazz ensembles, do not qualify for inclusion. Each bonafide jazz musician is given a separate section with birth, death, and primary instrumentation provided. Biographical sources about the artist or ensemble follow. Each entry is annotated to differentiate it from another and to present basic data on the source's content, such as the inclusion of a discography, bibliography, music examples and transcriptions, footnotes, indexes, illustrations, filmographies, and glossaries. An invaluable tool for jazz researchers and historians, Jazz Performers will also appeal tojazz enthusiasts in general.

The full, tragic story of Puccini's great rival, now available in English for the first time. Born in Lucca four years before Puccini, Alfredo Catalani (1854-93) was the main hope of Italian opera in the 1880s. Alarming conservative critics with the sophisticated modernism of his music, he nonetheless won steadily increasing popularity with the opera-going public. But Catalani's entire adult life was a grim and increasingly hopeless battle with tuberculosis; the year after his greatest triumph with La Wally (1892), he died at just 39, leaving the future of Italian opera to other men, all of whom had been influenced by his innovations. This is the story of the man and his music, as told by friends and contemporaries. Revised 2nd edition.

In the past five decades, Ulysses Kay has produced more than 135 compositions, representing divergent musical forms. His works include five operas, over 20 large orchestral works, more than 30 choral compositions, over 15 chamber works, a ballet suite, and numerous other compositions for voice, solo instruments, film, and television. His compositions, part of the mainstream concert repertory, have received extensive performances by major orchestras and ensembles throughout the world and have earned for him a prodigious number of awards, fellowships, grants, and commissions. This volume includes his biography, a chronological listing of his works, a complete discography to Spring 1994--each with selected performance notes--and an annotated bibliography, all of which will be of interest to music students and scholars, as well as the general reading public.

Ulysses Kay, one of America's well-published and frequently performed composers, has worked closely with most of the renowned conductors of this century. In addition, he is probably the most published and most frequently commissioned composer living today: As Oliver Daniel descriptively stated, Kay has been heard from Kiev to Kennebunkport. The composer acknowledges that almost all of his compositions have been performed, more than half published, and a large number recorded. His quiet, soft-spoken demeanor reflects a deep reverence and humility which belies the intensity and drive he brings to his craft. Kay is a product of American institutions--a graduate of the University of Arizona and the Eastman School of Music, among others--and his long tenure at the Herbert H. Lehman College of the City University of New York was honorably recognized when he was named Distinguished Professor. This volume includes excerpts from a personal interview with Kay, which provides insight into the composer's musical views and memorable experiences.

This book (published in German by Bärenreiter in 1988 and now available in English translation for the first time) is a comprehensive guide to the genesis, transmission, structure, meaning, and performance considerations of Bach's St John Passion. One of Bach's most fascinating works, its text demonstrates a profound understanding of St John's Gospel. The musical design of the choruses with their numerous interrelationships is quite unique and demands some explanation. The fact that the Passion exists in four different versions leads Dürr to ask which changes were intentional and which were the result of practical constraints or of orders issued by church authorities.

Originally written in Danish in 1980, Pink Moon was the first biography of Nick Drake, and remains the only one to include exclusive interviews with the singer's parents, Rodney and Molly Drake. In this new, significantly updated edition, available in English for the first time, author and poet Gorm Henrik Rasmussen reveals more from his visits to the Drakes in their home Far Leys - the first, just five years after the death of their troubled son. Rasmussen includes new interviews with Nick's friends and collaborators plus extracts taken from his eight-year correspondence with the Drakes, and from telephone conversations he had with Rodney every month over four years. Full of intimate detail about the last three years of Nick's life spent at his childhood home, Pink Moon - A Story about Nick Drake is a personal, original, and moving retelling of the life, death, and posthumous rise of a poet and guitarist who was strangely unsuited for his own time, and is more popular now than he ever was in life. -- .

Chris Sheridan presents a major discographical study of an American jazz giant, Cannonball Adderley, whose career had a significant impact on jazz's development. At the same time, Sheridan stretches the boundaries of discography in two important ways: In scope and in presentation.

In scope, the session listings not only include every known commercially recorded issue--a factor neglected by growing numbers of discographers covering a single artist--but also all known recorded sessions, particularly from film, and broadcasts on radio and television. The latter are providing a quickly growing market for issues on independent record labels, especially by artists no longer alive. The main discographical text also includes a narrative aiming to place the recorded music in context, both in Adderley's own career and in the development of jazz. Sheridan also continues a unique section, pioneered in his earlier "Count Basie: A Bio-Discography"--the day-by-day diary of the musician's musical activities. This is not only significant in its own right, it also serves to authenticate the chronology of the sessions listed in the main discography. In terms of presentation, Sheridan aims to present a more stylish face by using a variety of related fonts to enhance clarity and by a radical rearrangement of the information given in each session listing. A definitive work essential for all researchers of jazz.

Hans von Bulow is a key figure in 19th century music whose career path was as broad as it was successful. Music history's first virtuoso orchestral conductor, Bulow created the model for the profession-both in musical brilliance and in domineering personality-which still holds forth today. He was an eminent and renowned concert pianist, a respected (and often feared) teacher and music critic, an influential editor of works by Bach, Mendelssohn, Chopin, and Beethoven, and a composer in a variety of musical genres. As a student and son-in-law of Franz Liszt, and estranged friend of Richard Wagner (for whom his wife Cosima famously left him), Bulow is intricately connected with the canonical greats of the period. Yet despite his critical and lasting importance for orchestral music, Bulow's life and significant achievements have yet to be heralded in biographical form.
In Hans von Bulow: A Life and Times, Alan Walker, the acclaimed author of numerous award-winning books on the era's iconic composers, provides the first full-length English biography of this remarkable musical figure. Walker traces Bulow's life in illuminating and engaging detail, from the first piano lessons of his boyhood days, to his first American tour, to his last days as conductor of the Berlin Philharmonic. Unearthing Bulow's extensive and previously unavailable correspondence and writings, Walker conveys amusing and informative anecdotes about this unique musical legend- from his sardonic and clever personality to his meticulous devotion to his work-and reveals enlightening insights on the still-contested sensibilities of musical-compositional style and "idea" at play in the vibrant musical world of which Bulowwas a part."

For Bob Dylan enthusiasts and anyone with an interest in the history of music. This, the third book in the Troubadour Tales series takes us back to Minnesota and Dylan's hometown of Duluth. Bob Dylan born in Duluth in Minnesota, grew up in Hibbing, Minnesota and cut his musical teeth in the folk scene of Dinkytown, Minnesota. This guide brings together wonderful stories from each of these key locations and provides detailed information about the roots and the early life of Bob Dylan. We travel back in time to hear stories from his early teacher, tales of the mysterious wandering rabbi, eye-witness accounts from early Dinkytown musical collaborators, as well as being privy to secrets from behind the scenes of the classic Blood On The Tracks album. Fascinating insights into the history and life of one of the most important songwriters in music history and told with Minnesota voices, each with their own personal stories to tell.

Originally published in 1943, Models for Beginners in Composition represents one of Arnold Schoenberg's earliest attempts at reaching a broad American audience through his pedagogical ideas. The novelty of this book was its streamlined approach, basing all aspects of composition including motivic design, harmony, and the construction of themes on the two-measure phrase. This newly revised edition by Gordon Root incorporates many of Schoenberg's corrections to the original manuscript. It also includes a significant commentary elucidating the evolution of Schoenberg's pedagogical approach. In its function as a practical manual for the American classroom, Models for Beginners in Composition is unique among Schoenberg's texts. The current Commentary explores Schoenberg's experience as a teacher at UCLA while tracing the development of the two-measure phrase as the main component of his pedagogical method. It demonstrates the way in which Schoenberg simultaneously preserved and adapted European ideas about tonal theory and pedagogy when he came to America, a give and take that allowed for increased theoretical originality and scope. Models for Beginners in Composition established the two-measure phrase as one of the most significant of Schoenberg's contributions to American music education. This new edition, with Schoenberg's corrections and newly added commentary, allows readers to utilize and explore the text in greater depth. Students of composition, Schoenberg scholars, music theorists, and historians of music theory alike will no doubt welcome this new edition.

The global icon, award-winning singer, songwriter, producer, actress, mother, daughter, sister, storyteller and artist finally tells the unfiltered story of her life in The Meaning of Mariah Carey. It took me a lifetime to have the courage and the clarity to write my memoir. I want to tell the story of the moments - the ups and downs, the triumphs and traumas, the debacles and the dreams - that contributed to the person I am today. Though there have been countless stories about me throughout my career and very public personal life, it's been impossible to communicate the complexities and depths of my experience in any single magazine article or a ten-minute television interview. And even then, my words were filtered through someone else's lens, largely satisfying someone else's assignment to define me. This book is composed of my memories, my mishaps, my struggles, my survival and my songs. Unfiltered. I went deep into my childhood and gave the scared little girl inside of me a big voice. I let the abandoned and ambitious adolescent have her say, and the betrayed and triumphant woman I became tell her side. Writing this memoir was incredibly hard, humbling and healing. My sincere hope is that you are moved to a new understanding, not only about me, but also about the resilience of the human spirit. Love, Mariah

(Amadeus). This collection of brief essays covers such performers as Bjorling, Callas, Domingo, Pavarotti, Tibbett, Terfel, and te Kanawa.

Libraries, musicologists, and Deadheads alike will want a copy of this comprehensive annotated bibliography that contains most of what has been written over the past 30 years about this legendary American musical institution and its fans, the Deadheads. The approximately 4,000 annotations serve as a chronolgical history, an aid to researchers, and a guide for fans and collectors. The Grateful Dead appeared on the San Francisco music scene in 1965, and over the course of their career inspired a wide array of writing. This work includes the entire spectrum. The work includes every book published about the band, every article that appeared in a major magazine or journal, chapters and entries in books, and articles from The San Francisco Chronicle and The San Francisco Examiner newspapers. Several magazines in their entirety were devoted (and remain devoted) to following the band, and this bibliography chronicles the material that appeared in those fan magazines. In addition to author, subject, and title indexes, an index to artists and photographers is included, since the Grateful Dead inspired a large body of artistic and photographic work.

Gian Carlo Menotti is a composer known chiefly for his popular operas, including Amahl and the Night Visitors, The Medium, and The Consul. He also wrote a considerable amount of choral, instrumental and chamber music. This addition to the Greenwood Press series Bio-Bibliographies in Music serves as a reference guide to Menotti's career. A brief biographical sketch precedes a chronologically arranged bibliography of general writings by and about Menotti followed by a detailed list of works, alphabetically arranged. A bibliography of writings about specific compositions, complete with selected contemporary critical reviews, includes data on premiers and other significant performances and discographies of recordings.

Opera music scholars, along with Menotti fans, will appreciate this detailed guide to available research materials. Intended as a scholarly resource, this volume also includes two appendices, a chronological list of works and a genre list of works. An author index and a separate performer index are provided.

Howard Hanson details the career and works of a composer called by several critics "the most important figure in American music in the second quarter of the 20th century." Hanson's compositions elicited the broadest possible range of critical reaction. While early works from the 1920s were viewed as dissonant, avant-garde experimentations, within a decade his compositions in a similar style were viewed as solid, conservative works. Within this range, it was generally agreed that Hanson represented the best in solid compositional and orchestrational technique, and audiences greeted his new compositions with unquestioned approval throughout his 60-plus year career. As an important proponent of American music during his forty year tenure as Director of the Eastman School of Music, he conducted premieres of literally thousands of works by American composers and always encouraged young American composers.

Contents Include: Childhood and Youth In Search of a Career The Teaching of Experience Marriage and Artistic Progress Growing Mastery Gradual Recognition and Fame Full Maturity Continued Creative Activity Fame at Home and Abroad The Elgar Festival and Knighthood Honours Continue Violin Concerto and Second Symphony 'Falstaff' and the War Music Chamber Music and Cello Concerto Music of the Last Phase Last Days and Unfinished Works Conclusion.'It is difficult to imagine that any one could draw a more intimate and helpful picture of a great man than Mr. Reed has done of Elgar. Even to those who knew Elgar's works well this book will be instructive and helpful' Manchester Evening NewsKeywords: Cello Music Music Chamber Chamber Music War Music Cello Concerto Violin Concerto Elgar Manchester Evening News Mr Reed Creative Activity Artistic Progress Knighthood Falstaff Great Man Mastery Maturity

Following a run of New Year's concerts at San Francisco's legendary Fillmore, Patti Smith finds herself tramping the coast of Santa Cruz, about to embark on a year of solitary wandering. Unfettered by logic or time, she draws us into her private wonderland, with no design yet heeding signs, including a talking sign that looms above her, prodding and sparring like the Cheshire Cat. In February, a surreal lunar year begins, bringing with it unexpected turns, heightened mischief, and inescapable sorrow. In a stranger's words, "Anything is possible: after all, it's the year of the monkey." For Patti Smith - inveterately curious, always exploring, tracking thoughts, writing the year evolves as one of reckoning with the changes in life's gyre: with loss, aging, and a dramatic shift in the political landscape of America.

Smith melds the Western landscape with her own dreamscape. Taking us from Southern California to the Arizona desert; to a Kentucky farm as the amanuensis of a friend in crisis; to the hospital room of a valued mentor; and by turns to remembered and imagined places - this haunting memoir blends fact and fiction with poetic mastery. The unexpected happens; grief and disillusionment. But as Patti Smith heads toward a new decade in her own life, she offers this balm to the reader: her wisdom, wit, gimlet eye, and above all, a rugged hope of a better world.

Riveting, elegant, often humorous, illustrated by Smith's signature Polaroids, Year of the Monkey is a moving and original work, a touchstone for our turbulent times.