A three volume series that includes the scales, chords and modes necessary to play bebop music. A great introduction to a style that is most influential in today's music. The first volume includes scales, chords and modes most commonly used in bebop and other musical styles. The second volume covers the bebop language, patterns, formulas and other linking exercises necessary to play bebop music. A great introduction to a style that is most influential in today's music.

From the mid-1950s to the late 1970s, jazz was harnessed as America's "sonic weapon" to promote an image to the world of a free and democratic America. Dizzy Gillespie, Dave Brubeck, Duke Ellington and other well-known jazz musicians were sent around the world - including to an array of Communist countries - as "jazz ambassadors" in order to mitigate the negative image associated with domestic racial problems. While many non-Americans embraced the Americanism behind this jazz diplomacy without question, others criticized American domestic and foreign policies while still appreciating jazz - thus jazz, despite its popularity, also became a medium for expressing anti-Americanism. This book examines the development of jazz outside America, including across diverse historical periods and geographies - shedding light on the effectiveness of jazz as an instrument of state power within a global political context. Saito examines jazz across a wide range of regions, including America, Europe, Japan and Communist countries. His research also draws heavily upon a variety of sources, primary as well as secondary, which are accessible in these diverse countries: all had their unique and culturally specific domestic jazz scenes, but also interacted with each other in an interesting dimension of early globalization. This comparative analysis on the range of unique jazz scenes and cultures offers a detailed understanding as to how jazz has been interpreted in various ways, according to the changing contexts of politics and society around it, often providing a basis for criticizing America itself. Furthering our appreciation of the organic relationship between jazz and global politics, Saito reconsiders the uniqueness of jazz as an exclusively "American music." This book will be of interest to students and scholars of international relations, the history of popular music, and global politics.

Revisit favorite arrangements, discover new ones, and inspire your jazz ensemble with sound and adventurous music to play. This new book recommends and analyzes sixty-seven quality jazz arrangements recommended by eighteen of the foremost jazz experts in the field today, including directors and professors from high schools and colleges across the country, including the Houston High School for the Performing and Visual Arts, Bloomington High School, Fiorello La Guardia Performing Arts High School, Juilliard School, Berklee College of Music, and Harvard University. Listed alphabetically, each analysis includes information on instrumentation, ranges, playability, and requirements for rendering the score. This book includes eight indexes of musical features to help instructors select repertoire and teaching topics, five indexes for quick navigation and reference, three appendices on survey data results, a glossary, a bibliography, a list of jazz ensemble music publishers, and a general index.

Over 480 chords illustrated in standard notation, plus keyboard diagrams for instant note recognition. All the chords you need to play today's jazz music. You don't need to read music to use this chord finder!

Comprehensive chronological survey and analysis of every recording on which Louis Armstrong played during the period 1923 to 1928. Armstrong's immense impact on the evolution of jazz is found primarily in these early recordings, and Brooks's close examination of this period is important, as much of this influence becomes obscured by later recordings. Glossary, bibliography, and title index.

"Both as a person and as a musician, he was number one in my book." -Benny Carter Bassist George Duvivier (1920-1985) was one of the most universally respected musicians in jazz. His impeccable musicianship graced the big bands in the 1940s and led to musical associations with virtually every important jazz and popular artist. His prolific recording career spanned all styles of music, from Eubie Blake to Eric Dolphy, Billie Holiday to Barry Manilow. Duvivier was a most astute and articulate observer of the musical scene. A large part of this book is devoted to his own reflections on growing up in Harlem in the 1920s and 1930s, the evolution of the bass, life in the commercial studios, and his memories of close associates-Coleman Hawkins, Jimmie Lunceford, Bud Powell, Lena Horne, and many others. In addition, twenty of Duvivier's colleagues, including Louie Bellson, Ron Carter, Milt Hinton, Ed Shaughnessy, Arthur Taylor, and Joe Wilder, have contributed, covering a variety of musical and social issues, as well as providing a loving portrait of an extraordinary artist. Duvivier's musical style is discussed by David Chevan, who has included transcriptions of several solos. An extensive discography/solography traces Duvivier's incredibly diverse recording career. With dozens of previously unpublished photos.

The coal fields of West Virginia would seem an unlikely market for big band jazz during the Great Depression. That a prosperous African American audience dominated by those involved with the coal industry was there for jazz tours would seem equally improbable. "Big Band Jazz in Black West Virginia, 1930-1942" shows that, contrary to expectations, black Mountaineers flocked to dances by the hundreds, in many instances traveling considerable distances to hear bands led by Count Basie, Duke Ellington, Andy Kirk, Jimmie Lunceford, and Chick Webb, among numerous others. Indeed, as one musician who toured the state would recall, "All the bands were goin' to West Virginia."

The comparative prosperity of the coal miners, thanks to New Deal industrial policies, was what attracted the bands to the state. This study discusses that prosperity as well as the larger political environment that provided black Mountaineers with a degree of autonomy not experienced further south. Author Christopher Wilkinson demonstrates the importance of radio and the black press both in introducing this music and in keeping black West Virginians up to date with its latest developments. The book explores connections between local entrepreneurs who staged the dances and the national management of the bands that played those engagements. In analyzing black audiences' aesthetic preferences, the author reveals that many black West Virginians preferred dancing to a variety of music, not just jazz. Finally, the book shows bands now associated almost exclusively with jazz were more than willing to satisfy those audience preferences with arrangements in other styles of dance music.

The Unsung Songwriters is dedicated to a period in the history of American music that author Warren Vache calls the "Golden Age of Songwriting," and to the men and women who made it great. Contrary to the widely held opinion that most of our hit and standard songs were composed by a handful of top writers Berlin, Gershwin, Kern, Porter, and Rodgers the fact is that the vast majority of them were written by relatively unknown composers. In this definitive reference work to the "unsung songwriters," you will find Al Neiberg, the author of "It's the Talk of the Town," Maceo Pinkard, the mind behind "Sweet Georgia Brown" and "Sugar," Harry Woods for "Try a Little Tenderness," J. Fred Coots for "You Go to My Head," and many more.

What do Louis Armstrong, Ray Charles, Bob Dylan, Willie Nelson, Tom Waits, Cassandra Wilson, and Ani DiFranco have in common? In Highway 61 Revisited, acclaimed music critic Gene Santoro says the answer is jazz--not just the musical style, but jazz's distinctive ambiance and attitudes.
As legendary bebop rebel Charlie Parker once put it, "If you don't live it, it won't come out of your horn." Unwinding that Zen-like statement, Santoro traces how jazz's existential art has infused outstanding musicians in nearly every wing of American popular music--blues, folk, gospel, psychedelic rock, country, bluegrass, soul, funk, hiphop--with its parallel process of self-discovery and artistic creation through musical improvisation. Taking less-traveled paths through the last century of American pop, Highway 61 Revisited maps unexpected musical and cultural links between such apparently disparate figures as Louis Armstrong, Willie Nelson, Bob Dylan and Herbie Hancock; Miles Davis, Lenny Bruce, The Grateful Dead, Bruce Springsteen, and many others. Focusing on jazz's power to connect, Santoro shows how the jazz milieu created a fertile space "where whites and blacks could meet in America on something like equal grounds," and indeed where art and entertainment, politics and poetry, mainstream culture and its subversive offshoots were drawn together in a heady mix whose influence has proved both far-reaching and seemingly inexhaustible.
Combining interviews and original research, and marked throughout by Santoro's wide ranging grasp of cultural history, Highway 61 Revisited offers readers a new look at--and a new way of listening to--the many ways jazz has colored the entire range of American popular music in all its dazzling profusion.

'An utterly original and brilliant story' Reese Witherspoon Longlisted for the 2023 Joyce Carol Oates Prize A Most Anticipated Book according to The Millions, Ms. Magazine and Good Housekeeping Ruth, Esther and Chloe have been singing in harmony since before they could speak. Together they are The Salvations. Driven to success by their formidably ambitious mother, Vivian, they're soon the hottest jazz band in San Francisco. When the girls receive a once-in-a-lifetime offer from a renowned talent manager, Vivian knows this is the big break she has been praying for. She can see a different future for her girls, one that is a far cry from her childhood in racially segregated Louisiana. But somewhere between the grind of endless rehearsals on the rooftop and the glamour of weekly gigs at the Champagne Supper Club, the girls grow up and start to imagine a life beyond their mother's reach. As Vivian's hold on her family begins to weaken, she must confront changes in The Salvations, in the San Francisco neighbourhood she has made her home, and even in her own family.

How the claim to jazz knowledge forges community and forms an understanding of canon Ken Prouty argues that knowledge of jazz, or more to the point, claims to knowledge of jazz, are the prime movers in forming jazz's identity, its canon, and its community. Every jazz artist, critic, or fan understands jazz differently, based on each individual's unique experiences and insights. Through playing, listening, reading, and talking about jazz, both as a form of musical expression and as a marker of identity, each aficionado develops a personalized relationship to the larger jazz world. Through the increasingly important role of media, listeners also engage in the formation of different communities that not only transcend traditional boundaries of geography, but increasingly exist only in the virtual world. The relationships of "jazz people" within and between these communities is at the center of Knowing Jazz. Some groups, such as those in academia, reflect a clash of sensibilities between historical traditions. Others, particularly online communities, represent new and exciting avenues for everyday fans, whose involvement in jazz has often been ignored. Other communities seek to define themselves as expressions of national or global sensibility, pointing to the ever-changing nature of jazz's identity as an American art form in an international setting. What all these communities share, however, is an intimate, visceral link to the music and the artists who make it, brought to life through the medium of recording. Informed by an interdisciplinary approach and approaching the topic from a number of perspectives, Knowing Jazz charts a philosophical course in which many disparate perspectives and varied opinions on jazz can find common ground.

Dark Magus is a warts-and-all look at the real Miles Davis. As told by his son, this book strips away the public perception of Davis and gets down to the realities of his personality, his relationships, and his many quirks. Dark Magus details this enigmatic superstar's Jekyll and Hyde behavior: his swings between sobriety and prodigious drug use; his tender family moments and his destructive selfishness; his search for marital stability and his obsession with young women; his exalted musical talent and his ever-present personal demons. The author also delves into Davis' relationships with artists such as Charlie Parker, Dizzy Gillespie and John Coltrane, as well as his role as a mentor to young musicians, his obsession with sports, the ups and downs of his career, and the family's turmoil over his final will. "This book is a brilliant and engaging revelation of Miles' character through the recollections of his oldest son. It's a book about a legendary musician who was one of my closest friends, and a book that's second to none." - Clark Terry

New Jazz Conceptions: History, Theory, Practice is an edited collection that captures the cutting edge of British jazz studies in the early twenty-first century, highlighting the developing methodologies and growing interdisciplinary nature of the field. In particular, the collection breaks down barriers previously maintained between jazz historians, theorists and practitioners with an emphasis on interrogating binaries of national/local and professional/amateur. Each of these essays questions popular narratives of jazz, casting fresh light on the cultural processes and economic circumstances which create the music. Subjects covered include Duke Ellington's relationship with the BBC, the impact of social media on jazz, a new view of the ban on visiting jazz musicians in interwar Britain, a study of Dave Brubeck as a transitional figure in the pages of Melody Maker and BBC2's Jazz 625, the issue of 'liveness' in Columbia's Ellington at Newport album, a musician and promoter's views of the relationship with audiences, a reflection on Philip Larkin, Kingsley Amis and Eric Hobsbawm as jazz critics, a musician's perspective on the oral and generational tradition of jazz in a British context, and a meditation on Alan Lomax's Mr. Jelly Roll, and what it tells us about cultural memory and historical narratives of jazz.

This research and information guide provides a wide range of scholarship on the life, career, and musical legacy of Miles Davis, and is compiled for an interdisciplinary audience of scholars in jazz and popular music, musicology, and cultural studies. It serves as an excellent tool for librarians, researchers, and scholars sorting through the massive amount of material in the field.

Technology and the Stylistic Evolution of the Jazz Bass traces the stylistic evolution of jazz from the bass player's perspective. Historical works to date have tended to pursue a 'top down' reading, one that emphasizes the influence of the treble instruments on the melodic and harmonic trajectory of jazz. This book augments that reading by examining the music's development from the bottom up. It re-contextualizes the bass and its role in the evolution of jazz (and by extension popular music in general) by situating it alongside emerging music technologies. The bass and its technological mediation are shown to have driven changes in jazz language and musical style, and even transformed creative hierarchies in ways that have been largely overlooked. The book's narrative is also informed by investigations into more commercial musical styles such as blues and rock, in order to assess how, and the degree to which, technological advances first deployed in these areas gradually became incorporated into general jazz praxis. Technology and the Jazz Bass reconciles technology more thoroughly into jazz historiography by detailing and evaluating those that are intrinsic to the instrument (including its eventual electrification) and those extrinsic to it (most notably evolving recording and digital technologies). The author illustrates how the implementation of these technologies has transformed the role of the bass in jazz, and with that, jazz music as an art form.

Jazz has had a peculiar and fascinating history in Germany. The influential but controversial German writer, broadcaster, and record producer, Joachim-Ernst Berendt (1922-2000), author of the world's best-selling jazz book, labored to legitimize jazz in West Germany after its ideological renunciation during the Nazi era. German musicians began, in a highly productive way, to question their all-too-eager adoption of American culture and how they sought to make valid artistic statements reflecting their identity as Europeans. This book explores the significance of some of Berendt's most important writings and record productions. Particular attention is given to the "Jazz Meets the World" encounters that he engineered with musicians from Japan, Tunisia, Brazil, Indonesia, and India. This proto-"world music" demonstrates how some West Germans went about creating a post-nationalist identity after the Third Reich. Berendt's powerful role as the West German "Jazz Pope" is explored, as is the groundswell of criticism directed at him in the wake of 1968.

Hal Leonard proudly presents new "mini" editions of its best-selling Real Books. These 5.5 x 8.5 little books pack a big jazz punch; they include all 400 fantastic songs found in the 9 x 12 versions: All Blues * Au Privave * Autumn Leaves * Black Orpheus * Bluesette * Body and Soul * Bright Size Life * Con Alma * Dolphin Dance * Don't Get Around Much Anymore * Easy Living * Epistrophy * Falling in Love with Love * Footprints * Four on Six * Giant Steps * Have You Met Miss Jones? * How High the Moon * I'll Remember April * Impressions * Lullaby of Birdland * Misty * My Funny Valentine * Oleo * Red Clay * Satin Doll * Sidewinder * Stella by Starlight * Take Five * There Is No Greater Love * Wave * and hundreds more!

Explores the role of jazz celebrities like Ella Fitzgerald, Cab Calloway, Duke Ellington, and Mary Lou Williams as representatives of African American religion in the twentieth century Beginning in the 1920s, the Jazz Age propelled Black swing artists into national celebrity. Many took on the role of race representatives, and were able to leverage their popularity toward achieving social progress for other African Americans. In Lift Every Voice and Swing, Vaughn A. Booker argues that with the emergence of these popular jazz figures, who came from a culture shaped by Black Protestantism, religious authority for African Americans found a place and spokespeople outside of traditional Afro-Protestant institutions and religious life. Popular Black jazz professionals-such as Ella Fitzgerald, Cab Calloway, Duke Ellington, and Mary Lou Williams-inherited religious authority though they were not official religious leaders. Some of these artists put forward a religious culture in the mid-twentieth century by releasing religious recordings and putting on religious concerts, and their work came to be seen as integral to the Black religious ethos. Booker documents this transformative era in religious expression, in which jazz musicians embodied religious beliefs and practices that echoed and diverged from the predominant African American religious culture. He draws on the heretofore unexamined private religious writings of Duke Ellington and Mary Lou Williams, and showcases the careers of female jazz artists alongside those of men, expanding our understanding of African American religious expression and decentering the Black church as the sole concept for understanding Black Protestant religiosity. Featuring gorgeous prose and insightful research, Lift Every Voice and Swing will change the way we understand the connections between jazz music and faith.

The Annual Review of Jazz Studies is dedicated to scholarly research on jazz and its related musical forms. It recognizes the growing awareness of jazz as a cultural phenomenon. All volumes include numerous musical examples, a book review section, a portfolio of jazz photographs, and bibliographic surveys. This volume contains a particularly broad range of articles, both technical and non-technical, which should appeal to both the jazz fan and the scholar. ARJS 10 introduces a new feature: "Jazz Fiction: A Bibliography from Nonjazz Journals," which identifies many important jazz publications that might otherwise elude researchers. Researchers will find "Using e-commerce Music Sites for Discographical Research" a useful survey of Internet resources. The Louis Armstrong Centennial is heralded by a warm reminiscence by Dan Morgenstern and a gallery of rare photos from the files of the Institute of Jazz Studies. Musicological treatments include articles on McCoy Tyner, Bill Evans, Charlie Parker, and Jimmy Smith. Several articles examine Thelonious Monk's unique body of work from different perspectives. In addition, there are reviews of three recent works about this singular figure. Other book reviews cover such important contributions as Scott DeVeaux's The Birth of Bebop and Ingrid Monson's Saying Something: Jazz Improvisation and Interaction. " The 'Stardust' File" traces the evolution of one of the music's most enduring standards. Finally, "Busted" tells the full story of Gene Krupa's arrest in 1943.

Jazz, Rags & Blues, Books 1 through 4, contain original solos for late elementary to late intermediate-level pianists that reflect the various styles of the jazz idiom. An excellent way to introduce your students to this distinctive American contribution to 20th century music. The CD includes dynamic recordings of each song.

Sounding American: Hollywood, Opera, and Jazz tells the story of the interaction between musical form, film technology, and ideas about race, ethnicity, and the nation during the American cinema's conversion to sound. Contrary to most accepted narratives about the conversion, which tend to explain the competition between the Hollywood studios' film sound technologies in qualitative and economic terms, this book argues that the battle between disc and film sound was waged primarily in an aesthetic realm. Opera and jazz in particular, though long neglected in studies of the film score, were extremely important in defining the scope of the American soundtrack, not only during the conversion, but also once sound had been standardized. Examining studio advertisements, screenplays, scores, and the films themselves, the book concentrates on the interactions between musical form and film technology, arguing that each of the major studios appropriated opera and jazz in a unique way in order to construct its own version of an ideal American voice. The book's central question asks what the synthesis of opera and jazz during the conversion reveals about the stylistic and ideological norms of classical Hollywood cinema and the racial, ethnic, gendered, and socially stratified spaces of American musical production. Unlike much of the scholarship on film music, which gravitates toward feature film scores, Sounding American concentrates on the musical shorts of the late 1920s, showing how their representations of the stage, conservatory, ballroom, and nightclub reflected what opera and jazz meant for particular groups of Americans and demonstrating how the cinema helped to shape the racial, ethnic, and national identities attached to this music. Traditional histories of Hollywood film music have tended to concentrate on the unity of the score, a model that assumes a passive spectator. Sounding American claims that the classical Hollywood film is essentially an illustrated jazz-opera with a musical structure that encourages an active form of listening and viewing in order to make sense of what is ultimately a fragmentary text.

Dr. Herb Wong (1926-2014) was an internationally recognised jazz industry leader and the author of more than 400 liner notes from the 1940s through to the early 2000s. He reviewed not only the tracks on those albums but the artists and their eras as well. This book features the best of Wong's liner notes, articles and album selections, his personal stories about the artists, and his illuminating one-on-one conversations with many jazz greats, providing an insightful jazz primer and invaluable discography.

In Rhythm Is My Beat: Jazz Guitar Great Freddie Green and the Count Basie Sound, Alfred Green tells the story of his father, rhythm guitarist Freddie Green, whose guitar work served as the pulse of the Count Basie Band. A quiet but key figure in big band jazz, Freddie Green took a distinct pride in his role as Basie's rhythm guitarist, redefining the outer limits of acoustic rhythm guitar and morphing it into an art form. So distinct was Green's style that it would eventually give birth to notations on guitar charts that read: "Play in the style of Freddie Green." This American jazz icon, much like his inimitable sound, achieved stardom as a sideman, both in and out of Basie's band. Green's signature sound provided lift to soloists like Lester Young and vocalist Lil' Jimmy Rushing, a reflection of Green's sophisticated technique, that produced, in Green's words, his "rhythm wave." Billie Holiday, Ruby Braff, Benny Goodman, Gerry Mulligan, Teddy Wilson, Ray Charles, Judy Carmichael, Joe Williams and other recording artists all benefited from the relentless fours of the man who came to be known as Mr. Rhythm. The mystique surrounding Freddie Green's technique is illuminated through generous commentary by insightful interviews with other musicians, guitar professionals and scholars, all of whom offer their ideas on Freddie Green's sound. Alfred Green throughout demystifies the man behind the legend. This work will interest jazz fans, students, and scholars; guitar enthusiasts and professionals; music historians and anyone interested not only in the history of jazz but of the African American experience in jazz.