This comprehensive book documents the nearly half-century-long story of The Rolling Stones-the group many regard as the most eminent rock band ever. By 1964 the United States had been "invaded" by a number of British bands, led by the Beatles. The Rolling Stones were seen as more rebellious and rowdy than The Beatles-they were the "bad boys" as opposed to the "good boys"-and this reputation only served to enhance their popularity with their teenage fans. The Stones far outlasted the Beatles and all the other 60s-era British bands, however The Rolling Stones not only continued, but flourished, their tours drawing enormous crowds for decades. The Rolling Stones: A Musical Biography chronicles the fascinating adventures of these Rock and Roll Hall of Fame inductees and sheds light on what has allowed these music legends to enjoy such lifelong popularity and success. A clear timeline of key events in the life of the band that encompasses over 40 years Images of the band members and their performances across time Print and nonprint resources for student research Appendices of albums, awards, film appearances, and more

Classical Guitarists fills a void in the special world of the classical guitar. Although this realm is inhabited by world-class musicians, much of what they think and feel has never been captured in print. The interviewees, including Julian Bream, John Williams, Sharon Isbin, Eliot Fisk, David Starobin and David Tanenbaum are a select group at the peak of their prowess who speak openly and thoughtfully about their opportunities, accomplishments, and lessons learned. Each has made important contributions from establishing significant academic programs to broadening the audience for the classical guitar. The author shares his reviews of their most important recordings and New York City concerts during the 1990s, as well as discographies of their recordings. There are also interviews with Harold Shaw, the most prominent artist manager in the history of the classical guitar and several of today's most important composers for the guitar, including Pulitzer Prize winners George Crumb and Aaron Jay Kernis. An introductory chapter provides an historical perspective on classical guitar and a postscript explains how to create a basic repertoire of recordings.

An engaging biography of a living musical legend, Oscar Peterson. A man Duke Ellington once called the " maharajah of the piano." Gene Lees carefully builds up the portrait of Peterson, his childhood and what it meant to be be black and talented in Montreal in the 1940s, hist three marriages and six children, his musical partners (Ray Brown, Herb Ellis and Ed Thigpen), his musical friends and colleagues (Ella Fitzgerald, Dizzy Gillespie, Art Tatum and Lester Young, amongst others) and the critical controversy and mythology that have long surrounded Peterson. This updated version has a new chapter that covers Peterson's appointment as Chancellor of York University; his receipt of ten honorary doctorates and the Order of Canada; his stroke and partial recovery; the origins and fallout of his cancelled North American tour and much more.

This book celebrates Madvillainy as a representation of two genius musical minds melding to form one revered supervillain. A product of circumstance, the album came together soon after MF DOOM's resurgence and Madlib's reluctant return from avant-garde jazz to hip-hop. Written from the alternating perspectives of three fake music journalist superheroes-featuring interviews with Wildchild, M.E.D., Walasia, Daedalus, Stones Throw execs, and many other real individuals involved with the album's creation-this book blends fiction and non-fiction to celebrate Madvillainy not just as an album, but as a folkloric artifact. It is one specific retelling of a story which, like Madvillain's music, continues to spawn infinite legends.

Chronicles the work of Norberto Tavares, a Cabo Verdean musician and humanitarian who served as the conscience of his island nation during the transition from Portuguese colony to democratic republic. Based on twenty years of collaborative fieldwork, Songs for Cabo Verde: Norberto Tavares's Musical Visions for a New Republic focuses on the musician Norberto Tavares but also tells a larger story about postcolonial nation building, musical activism, and diaspora life within the Lusophone sphere. It follows the parallel trajectories of Cabo Verdean independence and Tavares's musical career over four decades (1975-2010). Tavares lived and worked in Cabo Verde, Portugal, and the United States, where he died in New Bedford, Massachusetts at age fifty-four. Tavares's music serves as a lens through which we can view Cabo Verde's transition from a Portuguese colony to an independent, democratic nation, one that was shaped in part through the musician's persistent humanitarian messages.

'WHICH IS THE BEST BAND I'VE BEEN IN? THE SMALL FACES WERE THE MOST CREATIVE, THE FACES WERE THE MOST FUN,THE WHO WERE THE MOST EXCITING. THESE WERE ELECTRIFYING DAYS IN MUSIC. WE WERE ALL UNTRIED, UNTESTED. WHAT WAS STOPPING US? NOTHING.' As drummer with the Small Faces, Faces and later The Who, Kenney Jones' unique sense of rhythm was the heartbeat that powered three of the most influential rock bands of all time. Beginning in London's post-war East End, Kenney's story takes us through the birth of the Mod revolution, the mind-bending days of the late-1960s and the raucous excesses of the '70s and '80s. In a career spanning six decades, Kenney was at the epicentre of many of the most exciting moments in music history and has experienced everything the industry has to offer. He jointly created some of the world's most-loved records, hung out with the Stones, Beatles, David Bowie, Keith Moon and Rod Stewart, and suffered the loss of close friends to rock 'n' roll excess and success. The legacy created by Kenney and his band mates has influenced acts as diverse as Led Zeppelin, the Sex Pistols and Oasis. Now, for the very first time, Kenney tells the full story of how a young Cockney Herbert played his part in the biggest social transformation in living memory - the people, the parties, the friendships, the fall-outs, the laughter, the sadness, the sex, drugs, and a lot of rock 'n' roll, while also opening up about his own deeply personal battles and passions, too. This is a vivid and breath-taking immersion into the most exciting era of music history and beyond.

Profiles thirteen musicians who achieved high honors and fame before the age of twenty-five, representing many different time periods and musical styles.

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.

It is not an exaggeration that Matsutoya Yumi—better known by her stage name Yuming—is one of the most influential figures in Japanese popular music history. A singer-songwriter recognized globally for her songs used in Miyazaki Hayao’s beloved animations, Yuming has captured the hearts of listeners of different generations since her debut in the early 1970s. Her fourth album, The 14th Moon, released in 1976, was a milestone in establishing her signature style: the posh, “city” sound that later paved the way to the 1980s City Pop and 1990s J-pop. In addition to examining the album’s astonishing stylistic versatility, this book explores how Yuming revolutionized the position of women in Japanese popular music and how her work can help us understand social changes in Japan of the 1970s.

This book is a backstage pass to the ups, downs, and all-out craziness of arena rock-deep discussions with Rod Stewart, jamming with legends like Mick Jagger and Justin Timberlake, gaining groupies, and striking out solo. Stevie Salas was one of many boys coming of age in the 1980s-when the American dream was rock superstardom. As lead guitarist for a San Diego band, Salas played backyard parties and school dances and even scored the music for the cult classic Bill & Ted's Excellent Adventure. When he auditioned for Rod Stewart-where he was the youngest band member by a decade-Salas's life truly hit a turning point. Salas pulls no punches to describe the initial skepticism and hazing he faced as the youngest member of Stewart's band, the night he stood up for himself on the tour plane, and the emotional late-night talk with Rod Stewart that restored the frontman's faith in his young, untested guitar player and his new group that was struggling to find its groove. Yet they became a band of brothers and formed a camaraderie they share to this day. When We Were the Boys revolves around the year Salas began as an inexperienced musical prodigy and finished as a seasoned rock 'n' roll veteran-more mature as a man and musician.

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.

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.

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.

In Search of Alberto Guerrero is the first full biography of the influential Chilean-Canadian pianist and teacher (1886-1959), describing Guerrero's long career as virtuoso recitalist, chamber music collaborator, concerto soloist, and teacher. Written by composer John Beckwith, who was a student of Guerrero, the book blends research and memoir to piece together the life of a man who once insisted he had no story. Guerrero was part of the intellectual scene that introduced Chileans to Debussy, Ravel, Cyril Scott, Scriabin, and Schoenberg. He and his brother played an active role in founding the Sociedad Bach in Santiago. In 1918 Guerrero moved to Toronto, making the Hambourg Conservatory, and later the Toronto (now Royal) Conservatory, his new base. He soon became one of Canada's most active pianists. In what was then a novel activity, he played regular radio recitals from the mid-1920s to the early 1950s. He was also deeply engaged with issues in piano pedagogy, and worked with young talents including Canada's much-acclaimed Glenn Gould. But unlike the shadowy role Guerrero is assigned in Gould biographies, here he is given proper credit for his technical and aesthetic influence on the young Gould and on other notable musicians and composers. Guerrero left few written records, and documentation of his work by others is incomplete and often erroneous. Aiming for a fuller and more accurate account of this remarkably influential and well-loved man, Beckwith's In Search of Alberto Guerrero gives an insider's story of the Canadian classical music scene in mid-twentieth-century Toronto, and pays homage to the influential musician William Aide has called an "unsung progenitor."

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.

In October, 1975, the International Haydn Conference was held in Washington, D.C., during the last eight days of the Haydn Festival at Kennedy Center. Scholars and musicians from all over the world were brought together for the conference, participating in panel discussions, round tables, and workshops. This collection of Haydn studies is the meticulously edited result of those activities.

The Beatles are not only a rock n' roll group, but a social and cultural phenomenon that have captivated music fans for decades. For many, John Lennon, Paul McCartney, George Harrison and Ringo Starr changed everything. This guide distils their amazing story into 101 informative and entertaining chapters, taking you from their rough and ready early Liverpool days through their world-shattering success in sound, stage and screen, to an afterlife that could never have been predicted when they first started out. Here, you'll find facts and figures about their chartbusting songs, albums and films, meet the people that helped them along the way, and visit milestones and controversies such as their first appearance on the Ed Sullivan show, meeting Elvis Presley, John Lennon's 'Bigger than Jesus' comments, experimenting with drugs and the avant-garde, and starting up Apple. The Beatles 101 is a perfect introduction for new fans, a refresher for superfans, and ideal reading for quizmasters everywhere.

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."