Standard Lines, Book III in the Constructing Walking Jazz Bass Lines series for the Double Bassist and Electric Bassist is a comprehensive guide demonstrating the devices used to construct walking jazz bass lines in the jazz standard tradition. Book III covers 24 standard jazz chord progressions with 110 choruses of professional jazz bass lines as an example. Part I outlines the Modes and the chord scale relationships and the fundamental knowledge required to be able to build the diatonic triads and 7th chords in any key. Examples are given in the " 2 " feel and " 4 " feel walking bass style enabling the bassist to develop a strong rhythmic and harmonic foundation. More advanced bass line construction examples including voice leading and mode substitutions and mode applications related to specific jazz chord progressions are also outlined. Part II outlines the Symmetric Scales as well as the Modes of the Melodic Minor Scale related to the Minor II V I progression. Provided are written examples of the Symmetric Scales and the chord scale relationships and how to apply the use of the Symmetric Scales over popular jazz chord progressions. The Minor II V I is outlined and compared to the Major II V I outlining the differences with the suggested scale uses applied to common jazz chord progressions. Part III outlines the use of the BeBop Scales and their use in the jazz walking bass tradition, providing suggested uses of the Be Bop scales related to popular jazz chord progressions. Part IV outlines the previous lesson devices and concepts with examples of professional level bass lines over standard jazz chord progressions. All information builds in a stepwise progression enabling the bassist to apply the techniques in all 12 keys.

Rhythm Changes in 12 Keys is Book II in the " Constructing Walking Jazz Bass Lines " series for the Double Bassist and Electric Jazz Bassist. Rhythm Changes in 12 Keys compliments Book I " The Blues in 12 Keys " by following on with an in depth study of " must know " Jazz chord progressions for the aspiring Jazz Bassist. Rhythm Changes in 12 Keys is a complete guide demonstrating how to construct walking jazz bass lines in the jazz tradition. Part 1 of the book outlines and demonstrates the various techniques used by professional Jazz Bassists to provide forward motion and a strong harmonic and rhythmic foundation into bass lines. Part 2 of the book outlines Rhythm Changes in 12 keys with over 70 choruses of professional jazz bass lines. for Beginner to Advanced students.

Constructing Walking Jazz Bass Lines Book I -The Blues in 12 Keys is a complete guide demonstrating the devices used to construct walking bass lines in the jazz tradition. Part 1 demonstrates the techniques used by professional jazz bassists to provide forward motion into bass lines, while providing a strong harmonic and rhythmic foundation. Part I includes triads, 7th chords, voice leading, playing over the bar line, chord substitutions, pedal points, harmonic anticipation and chromatic approach notes. The exercises are designed to give the Electric Bassist strong jazz bass lines in the bottom register of the instrument. As an added bonus for the Electric Bassist Part 1 provides a complete study of the Blues in F whilst in the first and open positions. This is an excellent technique builder. Part 2 expands on the lessons and techniques used in Part 1 providing the bassist with the previous devices used in professional level bass lines in all 12 keys. Included is over 150 choruses of Jazz Blues lines in all 12 keys using the whole register of the instrument. There are many advanced principles applied in the following bass lines whilst never losing sight of the functioning principle of the bass in the jazz idiom. To provide a strong foundation of rhythm and harmony for the music being played & providing support for the melody and or soloist.

Rhythm Changes like the " Blues " is an essential part of the Jazz musicians vocabulary. Book II in the Constructing Walking Jazz Bass Lines series Rhythm Changes in 12 Keys provides various insights into how the Rhythm Changes song form may be approached by the Jazz Bassist. Part I outlines the Rhythm Changes form and provides examples of how to construct walking jazz bass lines using voice leading, chromatic passing tones, pedal points, tri-tone substitutions, and harmonic anticipation. Part II provides an in-depth look at the Rhythm Changes A sections and shows the common chord substitutions used by the bebop musicians when improvising. Part III provides an in-depth look at the Bridge or B section providing various chord substitutions used when improvising and walking bass lines. Part IV outlines Rhythm Changes in 12 keys using all the previous lesson topics and bass line examples outlined in the book. Included are over 100 choruses of professional jazz bass lines in all 12 keys. Suitable for the beginning to advanced electric bassist.

Stormy Weather is a biography of Lena Horne, one Hollywood's stars, and one of the first Tony and Grammy winning stars, who opened doors for black female entertainers such as Eartha Kitt, Sarah Vaughn, Diahann Carroll, Aretha Franklin, and Diana Ross, to name a few. She was glamorous, seductive, and dignified. But under her well-crafted look of elegance and grace, lay a tidal wave of rage. By the 90s, as a defence mechanism, she had shut nearly everyone out of her life. James Gavin tells the story of Lena: the legend and the mystery. He has amassed an incredible collection of source material including: 60 hours of recorded conversations with the singer dating back to the early 50s. 40 hours of TV specials, guest appearances and other rare footage spanning her career. He has interviewed among many others: Johnny Mathis, Bobby Short, Abbey Lincoln, Ruby Dee, Carmen Delavallade, Geoffrey Holder, and Ms Horne herself.

All a beginner, comeback player, or serious student of jazz needs to know about jazz theory. The first of 3 parts. More information including free samples at: www.allabouttrumpet.com/BJT/

Arranging for the Small Jazz Ensemble presents an innovative approach to the challenging subject of jazz arranging. The author, Robert Larson, has narrowed down the choices of instrumentation and texture in such a way that anyone from a novice jazz enthusiast to a seasoned professional can learn how to arrange jazz standards and originals in a relatively short period of time. Four original jazz tunes are used throughout the book to demonstrate texture, instrumentation, introductions, endings, interludes, solo backgrounds, solis, and shout choruses. Each chapter contains exercises that give the reader a chance to practice the techniques learned in that chapter. By the end of the study, the reader will be equipped to create a complete jazz arrangement. With everything you need here in one book, why aren't you Arranging for the Small Jazz Ensemble?

... over 2000 jazz pianists listing the title of album or CD
... introducing you to the great and the unknown jazz pianists
... discography of the amazing Bernard Peiffer and Jessica Williams
... information on cdbaby
... great for collectors and musicians searching out new artists
... links to important sites
... if you enjoy piano jazz, this is a must for your library

The amount of theoretical knowledge required to become a fluent improvisor on the piano can be overwhelming to the aspiring jazz pianist. Jazz Piano Vocabulary is a series of workbooks designed to help students of jazz piano learn and apply jazz scales by mastering each scale and its use in improvisation. Each book focuses on a different scale, and features: . the scale in all twelve keys - two octaves up and down with complete fingerings . chords and left hand voicings that can be used with the scale . ideas for applying the material . transcriptions and/or etudes using the scale . ideas for further study and listening . detailed instructions and suggestions on how to practice the material . opportunity to contact the author online if questions arise This book explores the Aeolian mode and its use in jazz improvisation. It provides an entry point for the student who is exploring modes for the first time. Beginning improvisors will find that the approach in this book allows them quickly to begin applying the Aeolian mode to simple chord progressions. Volume 6 also offers an introduction to "shell" voicings.Like the other books in this series, this book offers melodic examples that you can practice as well as listen to on the Muse Eek website. The goal is to provide you with enough guidance to work confidently on your own so that you become comfortable integrating the use of the scales into your improvisation. This book is based on Roberta Piket's twenty-plus years of educational experience. In addition to her private students and her experience coaching jazz ensembles at Long Island University, Roberta has given clinics or masterclasses at the Eastman school of Music, Rutgers University, California Institute of the Arts, Macalester College, Duke University, and countless middle and high schools throughout the U.S., Europe and Japan. An unusual feature of this book is the author's availability to answer questions on the material at the Muse Eek Publishing website, creating an interactive learning experience for the student.

Born in Paris in 1908, Stephane Grappelli experienced every decade of the jazz century and his story spans an astonishing 77 years, during which time he performed with the great names of jazz: Duke Ellington, Dizzy Gillespie and Oscar Peterson. But it's his performances with Django Reinhardt, for which he is perhaps best remembered. Contains exclusive interviews with Stephane as well as contributions from his family and friends, much newly discovered evidence on both Stephane and Django and many previously unpublished photos. This is a slice of music history, a testament to a man who invented his own style of jazz.

John Coltrane left an indelible mark on the world, but what was the essence of his achievement that makes him so prized forty years after his death? What were the factors that helped Coltrane become who he was? And what would a John Coltrane look like now--or are we looking for the wrong signs?
In this deftly written, riveting study, "New York Times "jazz critic Ben Ratliff answers these questions and examines the life of Coltrane, the acclaimed band leader and deeply spiritual man who changed the face of jazz music. Ratliff places jazz among other art forms and within the turbulence of American social history, and he places Coltrane not just among jazz musicians but among the greatest American artists. Ben Ratliff has been a jazz critic at "The New York Times "since 1996. The author of "The Jazz Ear" and "The New York Times Essential Library: Jazz," he lives in Manhattan with his wife and two sons. Finalist for the National Book Critics Circle AwardAn "Artforum" Best Book of the Year What was the essence of John Coltrane's achievement that makes him so prized forty years after his death? What was it about his improvising, his bands, his compositions, his place within his era of jazz that drew so many musicians and listeners to his music? Jazz writer and "New York Times "music critic" "Ben Ratliff addresses these questions in "Coltrane." First Ratliff tells the story of Coltrane's development, from his first recordings as a navy bandsman to his last recordings as a near-saint, paying special attention to the last ten years of his life, which contained a remarkable series of breakthroughs in a nearly religious search for deeper expression. In the book's second half, Ratliff traces another history: that of Coltrane's influence and legacy. This story begins in the mid-'50s and considers the reactions of musicians, critics, and others who paid attention, asking: Why does Coltrane signify so heavily in the basic identity of jazz? Placing jazz among other art forms and American social history, and placing Coltrane not just among jazz musicians but among the greatest American artists, Ratliff tries to look for the sources of power in Coltrane's music--not just in matters of technique, composition, and musical concepts, but in the deeper frequencies of Coltrane's sound. "Ratliff suggests, intelligently and persuasively, that Coltrane had, among other attributes, a 'mystic's sensitivity for the sublime, which runs like a secret river under American culture.' Ratliff patiently explicates Coltrane's legend, writing in short, aphoristic bursts, often as elliptically as his subject played tenor saxophone, but never less than lucidly."--Pankaj Mishra, "The New York Times Book Review" "Engaging . . . clear-sighted . . . Ratliff suggests, intelligently and persuasively, that Coltrane had, among other attributes, a 'mystic's sensitivity for the sublime, which runs like a secret river under American culture.' Ratliff patiently explicates Coltrane's legend, writing in short, aphoristic bursts, often as elliptically as his subject played tenor saxophone, but never less than lucidly."--Pankaj Mishra, "The New York Times Book Review
"""Coltrane: The Story of a Sound" is not a biography but an extended, deeply informed analysis of the qualities that make Coltrane and his music so meaningful to people today, four decades after his death."--Matt Schudel, "The Washington Post Book World
""Ratliff, a "New York Times" jazz critic, has written a book that's neither a biography nor a critical study, although it has elements of both. It is, rather, a kind of cultural history . . . Ratliff writes extremely well, with terse, assured brio, as when he refers to Coltrane's 'serene intensity' or the 'incantational tumult' of his vast, cathedral solos."--Mark Feeney, "The Boston Globe
""Ratliff has turned me on to more music over the last few years than any other writer . . . The listening skills of a great critic and the ability to convey what he hears are what he brings here."--R. J. Smith, "Los Angeles Times
""Brilliant, economical . . . sharp . . . [Ratliff] skillfully and convincingly places Coltrane as something of a man apart from most other musicians--a cultural comet, as much as a musical one."--Henry C. Jackson, "San Francisco Chronicle
""In his astute and unorthodox biography, "Coltrane: The Story of a Sound," "New York Times" critic Ben Ratliff pays as much attention to Coltrane's haunting absence over the last forty years as he does to his brief decade of renown . . . As attentive a reader as he is a listener, Ratliff charts the rapid expansion of the mythology in various, often contradictory tropes: the humble music student and theorist who never stopped practicing and learning, the Christian into Eastern religious for whom pride was a far graver sin than wrong notes, the wordless spokesman for black civil rights and revolution, the unbound thinker who tripped across inner and outer space."--Richard B. Woodward, "Bookforum
""Ratliff condenses the biography proper into the first part of the book in order to devote himself in part two to a lengthy consideration of the saxophonist's influence since his death. Even more important, the book is less about music than it is about sound--as jazz musicians understand it . . . Ratliff's book is intelligent and compelling. The text and its sources reveal how seriously he took his task. In addition to working with biographies and interviews, some of which must have been difficult to locate, Ratliff also draws on obscure radio programs, various unpublished materials, thirty-nine interviews he conducted with musicians and countless conversations with people knowledgeable about jazz, American culture and New York City. Throughout he tackles topics that might seem the province of academics--such as the merits of Theodor Adorno's and Edward Said's ideas about 'late style'--with considerable skill and clarity . . . While Ratliff avers in his introduction that he is a writer rather than a musician, his discussions of the sound of Coltrane and Coltrane's compatriots in performance are informative and compelling, especially when his own writing captures the spirit and feel of a recording in ways that a transcription never could . . . Most important, Ratliff focuses his observational eye again and again on the power and perils of repetition, both for Coltrane and the jazz musicians who have emerged since his death . . . Indeed, Ratliff's reconsideration of a musician who has already been the subject of countless books, poems, and documentaries is perhaps a subtle reminder of how much joy there is in repetition. Like the best writing on music, his book not only provides food for thought but also creates an insatiable desire to go back to the recordings, in hopes that we too might discover some elusive truth."--Travis A. Jackson, "The Nation
""Were it not for the power and breadth of saxophonist John Coltrane's legacy and the lithe prose of "New York Times" critic Ben Ratliff, "Coltrane" would be a scholarly

for SATB choir and piano This exciting collection gives a jazzy twist to nine favourite folk songs from around the world, including 'Scarborough Fair', 'A la claire fontaine', and 'Waltzing Matilda' as you've never heard them before! Each song is presented in its original language, and an English singing translation is provided where applicable. The accompanied songs can be peformed with piano solo or with jazz-trio accompaniment; a separate part is available for the bassist, and the drummer should play along ad lib. This fantastic, varied collection will revitalise the repertoire of any choir and is guaranteed to give audiences a fresh perspective on these traditional songs.

The New York loft jazz scene of the 1970s was a pivotal period for uncompromising, artist-produced work. Faced with a flagging jazz economy, a group of young avant-garde improvisers chose to eschew the commercial sphere and develop alternative venues in the abandoned factories and warehouses of Lower Manhattan. Loft Jazz provides the first book-length study of this period, tracing its history amid a series of overlapping discourses surrounding collectivism, urban renewal, experimentalist aesthetics, underground archives, and the radical politics of self-determination.

for bass
This exciting new collection by Bob Chilcott gives a jazzy twist to nine favourite folk songs from around the world. The bass part, which forms part of the jazz-trio accompaniment, is notated with chord symbols and can be played as written or used as a guide from which the player may improvise freely.

Art Blakey and the Jazz Messengers was one of the most enduring, popular, reliable and vital small bands in modern jazz history. Blakey was not only a distinguished, inventive and powerful drummer, but along with Duke Ellington and Miles Davis, he was one of jazz's foremost talent scouts. The musicians who flowed seamlessly in and out of this constantly evolving collective during its 36-year run were among the most important artists not just of their eras, but of any era. Though their respective innovations were vital to the evolution of bebop, hard bop and neo bop, the recorded work of the Messengers sidemen has never been properly analyzed. Until now. Hard Bop Academy: The Sidemen of Art Blakey's Jazz Messengers critically examines the multitude of gifted artists who populated the many editions of the Jazz Messengers. In addition to dissecting the sidemen's most consequential work with Blakey's band, jazz musician and acclaimed novelist Alan Goldsher offers up engaging profiles of everyone from Wynton Marsalis to Terence Blanchard to Hank Mobley to Wayne Shorter to Horace Silver to Keith Jarrett to Curtis Fuller to Steve Davis. And that's only the beginning. Goldsher conducted over 30 interviews with surviving graduates of Blakey's Hard Bop Academy, many of whom spoke at length of their tenure with the legendary "Buhaina" for the first time. Alan Goldsher is a bassist who has recorded with Janet Jackson, Digable Planets, Cypress Hill and Naughty By Nature. His writing has been published in Bass Player, Tower Pulse, Sport and BasketBull: Chicago Bulls Magazine. Goldsher's debut novel, Jam, was published in 2002 by Permanent Press. He lives in Chicago. Hardcover.

"Jazz Writings" made Larkin's jazz criticism widely available - Palmer now offers the first extensive revaluation of Larkin's writing on jazz as well as covering his poetry and early work."Such Deliberate Disguises: The Art of Philip Larkin" argues that a true understanding of Philip Larkin as man and poet lies beyond his enduring public appeal and the variety of criticism that has recently been applied to his work.Richard Palmer suggests that the ostensible simplicity of Larkin's writing, which continues to attract so many readers to him, is deceptive, masking as it does one of the richest and most resonant of oeuvres in twentieth-century poetry. Penetrating the many masks of Larkin, the book sheds new and considerable light on the hitherto largely ignored spiritual significance of his work. Based upon close and scrupulous reading of the poems themselves, it draws upon insights gained from the history of art and the study of religion and myth as much as literary criticism and personal biography.It also brings long-overdue attention to what is seen to be perhaps the chief love, and operative aesthetic force, of Larkin's life: jazz. "Such Deliberate Disguises" is thus a major contribution, not just to Larkin studies, but to the wider cultural history of our times.

Noted jazz author Ashley Kahn brings to life the behind-the-scenes story of Impulse Records, one of the most significant record labels in the history of popular music. "Kahn mingles engaging stories of corporate politics with insider accounts of music-making and anecdotal takes on particular albums. His history of Impulse is also the story of the genesis of an American art form and the evolution of the record industry through the tumultuous 1960s-and will compel readers to seek out this label's masterful albums," says Publishers Weekly in a starred review. Kirkus Reviews calls the book "a swinging read," adding that "Kahn covers all the aesthetic, business, social, and historical bases with crisp economy." Don't miss the exciting inside scoop behind some of the most enduring masterpieces of jazz!

This unique book is especially designed for traditionally trained classical pianists who are interested in learning the rudiments of jazz piano. It uses a systematic, a step-by-step approach to learning to read jazz lead sheets, and provides simple techniques for beginning jazz and blues improvisation. The book is based on many years of successfully teaching classical pianists and piano teachers to overcome their notation dependency and conquer their fear of improvisation. A special feature is the inclusion of complete lead sheets for several popular jazz tunes (Satin Doll, Lover Man, Summertime, Autumn Leaves, Birth of the Blues).

"I learned courage from Buddha, Jesus, Lincoln, and Mr. Cary Grant." So said Miss Peggy Lee. Albert Einstein adored her; Duke Ellington dubbed her "the Queen." With her platinum cool and inimitable whisper, Peggy Lee sold twenty million records, made more money than Mickey Mantle, and presided over music's greatest generation alongside pals Frank Sinatra and Bing Crosby. Drawing on exclusive interviews and never-before-seen information, Peter Richmond delivers a complex, compelling portrait of an artist that begins with a girl plagued by loss, her father's alcoholism, and her stepmother's abuse. One day she boards a train, following her muse and hoping her music will lead her someplace better. And it does: to the pantheon of great American singers.

Here is quite simply one of the most original books about a jazz musician ever published--a biography-cum-discography that focuses in turn on fourteen major albums recorded by Miles Davis, using them as a jumping off point for an illuminating discussion of the turbulent life and work of the "Evil Genius of Jazz." Richard Cook, a veteran writer respected throughout the jazz world, looks at such landmark recordings as Birth of the Cool, Miles Ahead, Kind of Blue, The Complete Live at The Plugged Nickel, In a Silent Way, Bitches Brew, and Live at Montreux. Each of these recordings is considered in detail, illuminating their contribution to Davis's development as instrumentalist, group leader, and composer. But Cook goes well beyond these fourteen albums, evaluating all the trumpeter's recordings (official and bootleg), and relating them to events in Miles's life as well as to wider currents in contemporary music. Cook helps us disentangle Miles the legendary figure from the music itself, to re-hear and reconsider this marvelous body of work ranging over four exhilarating decades. The author also highlights the indispensable contributions of sidemen such as John Coltrane, Cannonball Adderley, Herbie Hancock, John McLaughlin, John Scofield, and many others, as well as calling for a reassessment of the importance of such "satellite" figures as Gil Evans, Bill Evans, Wayne Shorter, Tony Williams and Chick Corea in the development of Miles's music. A comprehensive and rigorous guide to the music and life of Miles Davis, It's About That Time is a stunning book that burns away the fog of myth that surrounds its complex and contrary subject.