Skollie, saint, scholar, hippest of hippies, imperfect musician with a perfect imagination, Syd Kitchen was, like all great artists, born to enrich his art and not himself.

Plagued by drugs, alcohol and depression, too much of an outlaw to be embraced by record companies, he frequently sold his furniture to cover production costs of his albums, seduced fans at concerts and music festivals worldwide with his dazzling ‘Afro-Saxon’ mix of folk, jazz, blues and rock interspersed with marvellously irreverent banter, and finally became the subject of several compelling documentaries, one of which - Fool in a Bubble - premiered in New York in 2010.

Musical Echoes tells the life story of the South African jazz vocalist Sathima Bea Benjamin.

Born in Cape Town in the 1930s, Benjamin came to know American jazz and popular music through the radio, movies, records, and live stage and dance band performances. She was especially moved by the voice of Billie Holiday. In 1962 she and Dollar Brand (Abdullah Ibrahim) left South Africa together for Europe, where they met and recorded with Duke Ellington. Benjamin and Ibrahim spent their lives on the move between Europe, the United States, and South Africa until 1977, when they left Africa for New York City and declared their support for the African National Congress.

In New York, Benjamin established her own record company and recorded her music independently from Ibrahim. Musical Echoes reflects twenty years of archival research and conversation between this extraordinary jazz singer and the South African musicologist Carol Ann Muller.

The narrative of Benjamin's life and times is interspersed with Muller's reflections on the vocalist's story and its implications for jazz history.

Get into the music with David Leander Williams as he charts the rise and fall of Indiana Avenue, the Majestic Entertainment Boulevard of Indianapolis, which produced some of the nation's most influential jazz artists. The performance venues that once lined the vibrant thoroughfare were an important stop on the Chitlin' Circuit and provided platforms for greats like Freddie Hubbard and Jimmy Coe. Through this biography of the bustling street, meet scores of the other musicians who came to prominence in the avenue's heyday, including trombonist J.J. Johnson and guitarist Wes Montgomery, as well as songwriters like Noble Sissle and Leroy Carr.

In the 1920s and 30s, musicians from Latin America and the Caribbean were flocking to New York, lured by the burgeoning recording studios and lucrative entertainment venues. In the late 1940s and 50s, the big-band mambo dance scene at the famed Palladium Ballroom was the stuff of legend, while modern-day music history was being made as the masters of Afro-Cuban and jazz idiom conspired to create Cubop, the first incarnation of Latin jazz. Then, in the 1960s, as the Latino population came to exceed a million strong, a new generation of New York Latinos, mostly Puerto Ricans born and raised in the city, went on to create the music that came to be called salsa, which continues to enjoy avid popularity around the world. And now, the children of the mambo and salsa generation are contributing to the making of hip hop and reviving ancestral Afro-Caribbean forms like Cuban rumba, Puerto Rican bomba, and Dominican palo. Salsa Rising provides the first full-length historical account of Latin Music in this city guided by close critical attention to issues of tradition and experimentation, authenticity and dilution, and the often clashing roles of cultural communities and the commercial recording industry in the shaping of musical practices and tastes. It is a history not only of the music, the changing styles and practices, the innovators, venues and songs, but also of the music as part of the larger social history, ranging from immigration and urban history, to the formation of communities, to issues of colonialism, race and class as they bear on and are revealed by the trajectory of the music. Author Juan Flores brings a wide range of people in the New York Latin music field into his work, including musicians, producers, arrangers, collectors, journalists, and lay and academic scholars, enriching Salsa Rising with a unique level of engagement with and interest in Latin American communities and musicians themselves.

The guitarist and composer Pat Metheny ranks among the most popular and innovative jazz musicians of all time. In Pat Metheny: The ECM Years, 1975-1984, Mervyn Cooke offers the first in-depth account of Metheny's early creative period, during which he recorded eleven stunningly varied albums for the pioneering European record label ECM (Edition of Contemporary Music). This impressive body of recordings encompasses both straight-ahead jazz playing with virtuosic small ensembles and the increasingly complex textures and structures of the Pat Metheny Group, a hugely successful band also notable for its creative exploration of advanced music technologies which were state-of-the-art at the time. Metheny's music in all its shapes and forms broke major new ground in its refusal to subscribe to either of the stylistic poles of bebop and jazz-rock fusion which prevailed in the late 1970s. Through a series of detailed analyses based on a substantial body of new transcriptions from the recordings, this study reveals the close interrelationship of improvisation and pre-composition which lies at the very heart of the music. Furthermore, these analyses vividly demonstrate how Metheny's music is often conditioned by a strongly linear narrative model: both its story-telling characteristics and atmospheric suggestiveness have sometimes been compared to those of film music, a genre in which the guitarist also became active during this early period. The melodic memorability for which Metheny's compositions and improvisations have long been world-renowned is shown to be just one important element in an unusually rich and flexible musical language that embraces influences as diverse as bebop, free jazz, rock, pop, country & western, Brazilian music, classical music, minimalism, and the avant-garde. These elements are melded into a uniquely distinctive soundworld which, above all, directly reflects Metheny's passionate belief in the need to refashion jazz in ways which can allow it to speak powerfully to each new generation of youthful listeners.

Watching Jazz: Encounters with Jazz Performance on Screen is the first systematic study of jazz on screen media. Where earlier studies have focused almost entirely on the role and portrayal of jazz in Hollywood film, the present book engages with a plethora of technologies and media from early film and soundies through television to recent developments in digital technologies and online media. Likewise, the authors discuss jazz in the widest sense, ranging from Duke Ellington and Jimmy Dorsey through the likes of Dizzy Gillespie, Art Blakey, Oscar Peterson, Miles Davis, John Coltrane and Charles Mingus to Pat Metheny. Much of this rich and fascinating material has never been studied in depth before, and what emerges most clearly are the manifold connections between the music and the media on which it was and is being recorded. Its long association with film and television has left its trace in jazz, just as online and social media are subtly shaping it now. Vice versa, visual media have always benefited from focusing on music and this significantly affected their development. The book follows these interrelations, showing how jazz was presented and represented on screen and what this tells us about the music, the people who made it and their audiences. The result is a new approach to jazz and the media, which will be required reading for students of both fields.

At its most intimate, music heals our emotional wounds and inspires us; at its most public, it unites people across cultural boundaries. But can it rebuild a city? Renowned music writer John Swenson asks that question with New Atlantis: Musicians Battle for the Survival of New Orleans, a story about America's most colorful and troubled city and its indominable will to survive. Under sea level, repeatedly harangued by fires, crime, and most devastatingly, by Hurricane Katrina, New Orleans has the potential to one day become a "New Atlantis," a lost metropolis under the waves. But this threat has failed to prevent its stalwart musicians and artists from living within its limits, singing its praises and attracting the economic growth needed for its recovery. New Atlantis records how the city's jazz, Cajun, R&B, Bourbon Street, second line, brass band, rock and hip hop musicians are reconfiguring the city's unique artistic culture, building on its historic content while reflecting contemporary life in New Orleans. New Atlantis is a city's tale made up of citizen's tales. It's the story of Davis Rogan, a songwriter, bandleader and schoolteacher who has become an integral part of David Simon's new HBO series Treme (as compelling a story about New Orleans as The Wire was about Baltimore). It's the story of trumpeter Irvin Mayfield, who lost his father in the storm and has since become an important political and musical force shaping the future of New Orleans. It's the story of Bo Dollis Jr., chief of the Wild Magnolias Mardi Gras Indians, as he tries to fill the shoes of his ailing father Bo Dollis, one of the most charismatic figures in Mardi Gras Indian history. It is also the author's own story; each musician profiled will be contextualized by Swenson's three-decades-long coverage of the New Orleans music scene.

In Arranging Gershwin, author Ryan Banagale approaches George Gershwin's iconic piece Rhapsody in Blue not as a composition but as an arrangement -- a status it has in many ways held since its inception in 1924, yet one unconsidered until now. Shifting emphasis away from the notion of the Rhapsody as a static work by a single composer, Banagale posits a broad vision of the piece that acknowledges the efforts of a variety of collaborators who shaped the Rhapsody as we know it today. Arranging Gershwin sheds new light on familiar musicians such as Leonard Bernstein and Duke Ellington, introduces lesser-known figures such as Ferde Grofe and Larry Adler, and remaps the terrain of this emblematic piece of American music. At the same time, it expands on existing approaches to the study of arrangements -- an emerging and insightful realm of American music studies -- as well as challenges existing and entrenched definitions of composer and composition.
Based on a host of newly discovered manuscripts, the book significantly alters existing historical and cultural conceptions of the Rhapsody. With additional forays into visual media, including the commercial advertising of United Airlines and Woody Allen's Manhattan, it moreover exemplifies how arrangements have contributed not only to the iconicity of Gershwin and Rhapsody in Blue, but also to music-making in America -- its people, their pursuits, and their processes."

For jazz historians, Louis Armstrong's Hot Five and Hot Seven recordings mark the first revolution in the history of a music riven by upheaval. Yet few traces of this revolution can be found in the historical record of the late 1920s, when the records were made. Even black newspapers covered Armstrong as just one name among many, and descriptions of his playing, while laudatory, bear little resemblance to those of today. For this reason, the perspective of Armstrong's first listeners is usually regarded as inadequate, as if they had missed the true significance of his music. This attitude overlooks the possibility that those early listeners might have heard something valuable on its own terms, something we ourselves have lost. If we could somehow recapture their perspective-without abandoning our own-how might it change our understanding of these seminal recordings? In Louis Armstrong's Hot Five and Hot Seven Recordings, Harker selects seven exceptional records to study at length: "Cornet Chop Suey," "Big Butter and Egg Man," "Potato Head Blues," "S.O.L. Blues"/"Gully Low Blues," "Savoy Blues," and "West End Blues." The world of vaudeville and show business provide crucial context, revealing how the demands of making a living in a competitive environment could catalyze Armstrong's unique artistic gifts. Technical achievements such as virtuosity, structural coherence, harmonic improvisation, and high-register playing are all shown to have a basis in the workaday requirements of Armstrong's profession. Invoking a breadth of influences ranging from New Orleans clarinet style to Guy Lombardo, and from tap dancing to classical music, this book offers bold insights, fresh anecdotes, and, ultimately, a new interpretation of Louis Armstrong and his most influential body of recordings.

On January 16, 1938 Benny Goodman brought his swing orchestra to America's venerated home of European classical music, Carnegie Hall. The resulting concert - widely considered one of the most significant events in American music history - helped to usher jazz and swing music into the American cultural mainstream. This reputation has been perpetuated by Columbia Records' 1950 release of the concert on LP. Now, in Benny Goodman's Famous 1938 Carnegie Hall Jazz Concert, jazz scholar and musician Catherine Tackley provides the first in depth, scholarly study of this seminal concert and recording. Combining rigorous documentary and archival research with close analysis of the recording, Tackley strips back the accumulated layers of interpretation and meaning to assess the performance in its original context, and explore what the material has come to represent in its recorded form. Taking a complete view of the concert, she examines the rich cultural setting in which it took place, and analyzes the compositions, arrangements and performances themselves, before discussing the immediate reception, and lasting legacy and impact of this storied event and album. As the definitive study of one of the most important recordings of the twentieth-century, Benny Goodman's Famous 1938 Carnegie Hall Jazz Concert is a must-read for all serious jazz fans, musicians and scholars.

Keith Jarrett ranks among the most accomplished and influential pianists in jazz history. His TheKoln Concert stands among the most important jazz recordings of the past four decades, not only because of the music on the record, but also because of the remarkable reception it has received from musicians and lay-listeners alike. Since the album's 1975 release, it has sold over three million copies: a remarkable achievement for any jazz record, but an unprecedented feat for a two-disc set of solo piano performances featuring no well-known songs.
In Keith Jarrett's The Koln Concert, author Peter Elsdon seeks to uncover what it is about this recording, about Keith Jarrett's performance, that elicits such success. Recognizing The Koln Concert as a multi-faceted text, Elsdon engages with it musically, culturally, aesthetically, and historically in order to understand the concert and album as a means through which Jarrett articulated his own cultural and musical outlook, and establish himself as a serious artist. Through these explorations of the concert as text, of the recording and of the live performance, Keith Jarrett's The Koln Concert fills a major hole in jazz scholarship, and is essential reading for jazz scholars and musicians alike, as well as Keith Jarrett's many fans."

An insightful examination of the impact of the Civil Rights Movement and African Independence on jazz in the 1950s and 60s, Freedom Sounds traces the complex relationships among music, politics, aesthetics, and activism through the lens of the hot button racial and economic issues of the time. Ingrid Monson illustrates how the contentious and soul-searching debates in the Civil Rights, African Independence, and Black Power movements shaped aesthetic debates and exerted a moral pressure on musicians to take action. Throughout, her arguments show how jazz musicians' quest for self-determination as artists and human beings also led to fascinating and far reaching musical explorations and a lasting ethos of social critique and transcendence.
Across a broad body of issues of cultural and political relevance, Freedom Sounds considers the discursive, structural, and practical aspects of life in the jazz world in the 1950s and 1960s. In domestic politics, Monson explores the desegregation of the American Federation of Musicians, the politics of playing to segregated performance venues in the 1950s, the participation of jazz musicians in benefit concerts, and strategies of economic empowerment. Issues of transatlantic importance such as the effects of anti-colonialism and African nationalism on the politics and aesthetics of the music are also examined, from Paul Robeson's interest in Africa, to the State Department jazz tours, to the interaction of jazz musicians such Art Blakey and Randy Weston with African and African diasporic aesthetics.
Monson deftly explores musicians' aesthetic agency in synthesizing influential forms of musical expression from a multiplicity of stylistic andcultural influences--African American music, popular song, classical music, African diasporic aesthetics, and other world musics--through examples from cool jazz, hard bop, modal jazz, and the avant-garde. By considering the differences between aesthetic and socio-economic mobility, she presents a fresh interpretation of debates over cultural ownership, racism, reverse racism, and authenticity.
Freedom Sounds will be avidly read by students and academics in musicology, ethnomusicology, anthropology, popular music, African American Studies, and African diasporic studies, as well as fans of jazz, hip hop, and African American music.

This book is primarily concerned with the story of traditional jazz in Edinburgh since the mid-nineteen forties; that is, traditional jazz played in and around Edinburgh by local jazz musicians and bands. It is not much concerned with jazz played in and around Edinburgh by visiting bands, professional or otherwise, except in passing and when such bands have had a marked effect on local jazz, this being especially the case in the early years. Similarly, the significant number of local jazz musicians who went on to become distinguished or even famous professional players at a UK or international level, will primarily be discussed in respect of their careers when playing in Edinburgh in local bands, rather than their contributions in a wider and better known context. In some cases, the wider reputations will be covered more than adequately in more resounding publications than this.

To serve the British nation in World War II, the BBC charged itself with mobilizing popular music in support of Britain's war effort. Radio music, British broadcasters and administrators argued, could maintain civilian and military morale, increase industrial production, and even promote a sense of Anglo-American cooperation. Because of their widespread popularity, dance music and popular song were seen as ideal for these tasks; along with jazz, with its American associations and small but youthful audience, these genres suddenly gained new legitimacy at the traditionally more conservative BBC.
In Victory through Harmony, author Christina Baade both tells the fascinating story of the BBC's musical participation in wartime events and explores how popular music and jazz broadcasting helped redefine notions of war, gender, race, class, and nationality in wartime Britain. Baade looks in particular at the BBC's pioneering Listener Research Department, which tracked the tastes of select demographic groups including servicemen stationed overseas and young female factory workers in order to further the goal of entertaining, cheering, and even calming the public during wartime. The book also tells how the wartime BBC programmed popular music to an unprecedented degree with the goal of building national unity and morale, promoting new roles for women, virile representations of masculinity, Anglo-American friendship, and pride in a common British culture. In the process, though, the BBC came into uneasy contact with threats of Americanization, sentimentality, and the creativity of non-white "others," which prompted it to regulate and even censor popular music and performers.
Rather than provide the soundtrack for a unified "People's War," Baade argues, the BBC's broadcasting efforts exposed the divergent ideologies, tastes, and perspectives of the nation. This illuminating book will interest all readers in popular music, jazz, and radio, as well as British cultural history and gender studies.

The revised edition of Sync or Swarm promotes an ecological view of musicking, moving us from a subject-centered to a system-centered view of improvisation. It explores cycles of organismic self-regulation, cycles of sensorimotor coupling between organism and environment, and cycles of intersubjective interaction mediated via socio-technological networks. Chapters funnel outward, from the solo improviser (Evan Parker), to nonlinear group dynamics (Sam Rivers trio), to networks that comprise improvisational communities, to pedagogical dynamics that affect how individuals learn, completing the hermeneutic circle. Winner of the Society for Ethnomusicology's Alan Merriam prize in its first edition, the revised edition features new sections that highlight electro-acoustic and transcultural improvisation, and concomitant issues of human-machine interaction and postcolonial studies.

Keith Hatschek tells the story of three determined artists: Louis Armstrong, Dave Brubeck, and Iola Brubeck and the stand they took against segregation by writing and performing a jazz musical titled The Real Ambassadors. First conceived by the Brubecks in 1956, the musical's journey to the stage for its 1962 premiere tracks extraordinary twists and turns across the backdrop of the civil rights movement. A variety of colorful characters, from Broadway impresarios to gang-connected managers, surface in the compelling storyline. During the Cold War, the US State Department enlisted some of America's greatest musicians to serve as jazz ambassadors, touring the world to trumpet a so-called "free society." Honored as celebrities abroad, the jazz ambassadors, who were overwhelmingly African Americans, returned home to racial discrimination and deferred dreams. The Brubecks used this double standard as the central message for the musical, deploying humor and pathos to share perspectives on American values. On September 23, 1962, The Real Ambassadors's stunning debut moved a packed arena at the Monterey Jazz Festival to laughter, joy, and tears. Although critics unanimously hailed the performance, it sadly became a footnote in cast members' bios. The enormous cost of reassembling the star-studded cast made the creation impossible to stage and tour. However, The Real Ambassadors: Dave and Iola Brubeck and Louis Armstrong Challenge Segregation caps this jazz story by detailing how the show was triumphantly revived in 2014 by Jazz at Lincoln Center. This reaffirmed the musical's place as an integral part of America's jazz history and served as an important reminder of how artists' voices are a powerful force for social change.

On December 4, 1957, Miles Davis revolutionized film soundtrack production, improvising the score for Louis Malle's Ascenseur pour l'echafaud. A cinematic harbinger of the French New Wave, Ascenseur challenged mainstream filmmaking conventions, emphasizing experimentation and creative collaboration. It was in this environment during the late 1950s to 1960s, a brief "golden age" for jazz in film, that many independent filmmakers valued improvisational techniques, featuring soundtracks from such seminal figures as John Lewis, Thelonious Monk, and Duke Ellington. But what of jazz in film today? Improvising the Score: Rethinking Modern Film Music through Jazz provides an original, vivid investigation of innovative collaborations between renowned contemporary jazz artists and prominent independent filmmakers. The book explores how these integrative jazz-film productions challenge us to rethink the possibilities of cinematic music production. In-depth case studies include collaborations between Terence Blanchard and Spike Lee (Malcolm X, When the Levees Broke), Dick Hyman and Woody Allen (Hannah and Her Sisters), Antonio Sanchez and Alejandro Gonzalez Inarritu (Birdman), and Mark Isham and Alan Rudolph (Afterglow). The first book of its kind, this study examines jazz artists' work in film from a sociological perspective, offering rich, behind-the-scenes analyses of their unique collaborative relationships with filmmakers. It investigates how jazz artists negotiate their own "creative labor," examining the tensions between improvisation and the conventionally highly regulated structures, hierarchies, and expectations of filmmaking. Grounded in personal interviews and detailed film production analysis, Improvising the Score illustrates the dynamic possibilities of integrative artistic collaborations between jazz, film, and other contemporary media, exemplifying its ripeness for shaping and invigorating twenty-first-century arts, media, and culture.

This second updated edition of Notes from a Jazz Life includes Digby Fairweather's career since the year 2000 as a jazz cornetist, band leader, educator and broadcaster, working with George Melly and leading his band the Half-Dozen. The book has much to offer to people who are even marginally interested in jazz in all its wide variety of forms as well as providing insights for regular jazz readers. The author provides revealing reflections on the personal life and career of a musician and, with a wealth of warm, hilarious anecdotes, he writes honestly about all the challenges, frustrations and rich rewards of being part of the jazz world.

Most die-hard Brazilian music fans would argue that Getz/Gilberto, the iconic 1964 album featuring "The Girl from Ipanema," is not the best bossa nova record. Yet we've all heard "The Girl from Ipanema" as background music in a thousand anodyne settings, from cocktail parties to telephone hold music. So how did Getz/Gilberto become the Brazilian album known around the world, crossing generational and demographic divides? Bryan McCann traces the history and making of Getz/Gilberto as a musical collaboration between leading figure of bossa nova Joao Gilberto and Philadelphia-born and New York-raised cool jazz artist Stan Getz. McCann also reveals the contributions of the less-understood participants (Astrud Gilberto's unrehearsed, English-language vocals; Creed Taylor's immaculate production; Olga Albizu's arresting, abstract-expressionist cover art) to show how a perfect balance of talents led to not just a great album, but a global pop sensation. And he explains how Getz/Gilberto emerged from the context of Bossa Nova Rio de Janeiro, the brief period when the subtle harmonies and aching melodies of bossa nova seemed to distill the spirit of a modernizing, sensuous city. 33 1/3 Global, a series related to but independent from 33 1/3, takes the format of the original series of short, music-based books and brings the focus to music throughout the world. With initial volumes focusing on Japanese and Brazilian music, the series will also include volumes on the popular music of Australia/Oceania, Europe, Africa, the Middle East, and more.