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.

(Book). The prolific Scott Yanow has outdone even himself with this book, the most comprehensive guide to jazz guitarists ever published. With hundreds of dossiers and discographies on every major (and not so major) jazz guitar player of note, arranged in encyclopedia fashion, this is the final stop on anyone's tour of six-string wizards working the swinging side of the street. From Django Reinhardt and Charlie Christian to Pat Metheny, John McLaughlin and even Les Paul to Jeff Beck and beyond (not to mention Wes and Barney and everyone in between), The Great Jazz Guitarist hits every note, never sharp or flat, and always with the combination of edge, sensitivity and awe-inspiring depth of knowledge that has made author Yanow one of the most widely read and respected critics and historians in jazz history.

The BBC's Jazz Book of the Year for 2008. Few jazz musicians have had the lasting influence or attracted as much scholarly study as John Coltrane. Yet, despite dozens of books, hundreds of articles, and his own recorded legacy, the "facts" about Coltrane's life and work have never been definitely established. Well-known Coltrane biographer and jazz educator Lewis Porter has assembled an international team of scholars to write The John Coltrane Reference, an indispensable guide to the life and music of John Coltrane. The John Coltrane Reference features a a day-by-day chronology, which extends from 1926-1967, detailing Coltrane's early years and every live performance given by Coltrane as either a sideman or leader, and a discography offering full session information from the first year of recordings, 1946, to the last, 1967. The appendices list every film and television appearance, as well as every recorded interview. Richly illustrated with over 250 album covers and photos from the collection of Yasuhiro Fujioka, The John Coltrane Reference will find a place in every major library supporting a jazz studies program, as well as John Coltrane enthusiasts.

In this wise, stimulating, and deeply personal book, an eminent jazz chronicler writes of his encounters with four great black musicians: Dizzy Gillespie, Clark Terry, Milt Hinton, and Nat "King" Cole. Equal parts memoir, oral history, and commentary, each of the main chapters is a minibiography, weaving together conversations Gene Lees had with the musicians and their families, friends, and associates over a period of several decades.
Lees begins the book with an essay that tells of his introduction to the world of jazz and his reaction to racism in the United States when he emigrated from Canada in 1955. The underlying theme in his book is the impact racism had on the four musicians' lives and careers and their determination to overcome it. As Lees writes, "No white person can even begin to understand the black experience in the United States. . . . All of the four jazz makers] are men who had every reason to embrace bitterness--and didn't."

Jazz in New Orleans provides accurate information about, and an insightful interpretation of, jazz in New Orleans from the end of World War II through 1970. Suhor, relying on his experiences as a listener, a working jazz drummer, and writer in New Orleans during this period, has done a great service to lovers of New Orleans music by filling in some gaping holes in postwar jazz history and cutting through many of the myths and misconceptions that have taken hold over the years. Skillfully combining his personal experiences and historical research, the author writes with both authority and immediacy. The text, rich in previously unpublished anecdotes and New Orleans lore, is divided into three sections, each with an overview essay followed by pertinent articles Suhor wrote for national and local journals including Down Beat and New Orleans Magazine. Section One, "Jazz and the Establishment," focuses on cultural and institutional settings in which jazz was first battered, then nurtured. It deals with the reluctance of power brokers and the custodians of culture in New Orleans to accept jazz as art until the music proved itself elsewhere and was easily recognizable as a marketable commodity. Section Two, "Traditional and Dixieland Jazz," highlights the music and the musicians who were central to early jazz styles in New Orleans between 1947 and 1953. Section Three, "An Invisible Generation," will help dispel the stubborn myth that almost no one was playing be-bop or other modern jazz styles in New Orleans before the current generation of young artists appeared in the 1980s.

This is the hardest working team in the NBA -- the Utah Jazz. Led by iron men Karl Malone, John Stockton and coach Jerry Sloan. Go behind the scenes to reveal the unparalleled competitiveness of a collection of over-achieving players and their demanding coach, whose never-say-die efforts have captured the hearts of the entire state of Utah and basketball fans throughout North America.

Jazz is a music formed from a combination of influences. In its infancy, jazz was a melting pot of military brass bands, work songs and field hollers of the United States slaves during the 19th century, European harmonies and forms, and the rhythms of Africa and the Caribbean. Later, the blues and the influence of Spanish and French Creoles with European classical training nudged jazz further along in its development. Jazz has always been a world-music in the sense that music from around the globe has been embraced and incorporated. The Historical Dictionary of Jazz covers the history of Jazz through a chronology, an introductory essay, and an extensive bibliography. The dictionary section has over 1,500 cross-referenced entries on significant jazz performers, band leaders, bands, venues, record labels, recordings, and the different styles of jazz. This book is an excellent access point for students, researchers, and anyone seeking a broader understanding of the history of jazz and the connections within the genre.

Jazz Improvisation Using Simple Melodic Embellishment teaches fundamental concepts of jazz improvisation, highlighting the development of performance skills through embellishment techniques. Written with the college-level course in mind, this introductory textbook is both practical and comprehensive, ideal for the aspiring improviser, focused not on scales and chords but melodic embellishment. It assumes some basic theoretical knowledge and level of musicianship while introducing multiple techniques, mindful that improvisation is a learned skill as dependent on hard work and organized practice as it is on innate talent. This jargon-free textbook can be used in both self-guided study and as a course book, fortified by an array of interactive exercises and activities: musical examples performance exercises written assignments practice grids resources for advanced study and more! Nearly all musical exercises-presented throughout the text in concert pitch and transposed in the appendices for E-flat, B-flat, and bass clef instruments-are accompanied by backing audio tracks, available for download via the Routledge catalog page along with supplemental instructor resources such as a sample syllabus, PDFs of common transpositions, and tutorials for gear set-ups. With music-making at its core, Jazz Improvisation Using Simple Melodic Embellishment implores readers to grab their instruments and play, providing musicians with the simple melodic tools they need to "jazz it up."

Early Jazz is one of the seminal books on American jazz, ranging from the beginnings of jazz as a distinct musical style at the turn of the century to its first great flowering in the 1930s. Schuller explores the music of the great jazz soloists of the twenties--Jelly Roll Morton, Bix Beiderbecke, Bessie Smith, Louis Armstrong, and others--and the big bands and arrangers--Fletcher Henderson, Bennie Moten, and especially Duke Ellington--placing their music in the context of the other musical cultures of the twentieth century and offering analyses of many great jazz recordings.
Early Jazz provides a musical tour of the early American jazz world. A classic study, it is both a splendid introduction for students and an insightful guide for scholars, musicians, and jazz aficionados.

In 1971, French jazz critics Philippe Carles and Jean-Louis Comolli co-wrote "Free Jazz/Black Power," a treatise on the racial and political implications of jazz and jazz criticism. It remains a testimony to the long ignored encounter of radical African American music and French left-wing criticism. Carles and Comolli set out to defend a genre vilified by jazz critics on both sides of the Atlantic by exposing the new sound's ties to African American culture, history, and the political struggle that was raging in the early 1970s. The two offered a political and cultural history of black presence in the United States to shed more light on the dubious role played by jazz criticism in racial oppression.

This analysis of jazz criticism and its production is astutely self-aware. It critiques the critics, building a work of cultural studies in a time and place where the practice was virtually unknown. The authors reached radical conclusions--free jazz was a revolutionary reaction against white domination, was the musical counterpart to the Black Power movement, and was a music that demanded a similar political commitment. The impact of this book is difficult to overstate, as it made readers reconsider their response to African American music. In some cases it changed the way musicians thought about and played jazz. "Free Jazz / Black Power" remains indispensable to the study of the relation of American free jazz to European audiences, critics, and artists. This monumental critique caught the spirit of its time and also realigned that zeitgeist.

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.

Betty Bennett evokes a bygone era when "territory" and "name" bands each with its own "girl singer" criscrossed the country in Ladies Who Sing With the Band. The author's career intersected with many of the icons of jazz and popular music, among them Nat King Cole, Dizzy Gillespie, Georgie Auld, Claude Thornhill, Charlie Ventura, Benny Goodman, and Charlie Barnet. Bennett's anecdotes about these personalities enlighten and entertain, as does her entirely unselfconscious discussion of her marriage to Andre Previn and her relationship with her husband, guitar great Mundell Lowe. The book deals with several issues that transcend music. The entertainment industry particularly the jazz world was an early era of black/white professional and personal interaction. Moreover, the traveling big band represented a unique instance of women in an all-male workplace. Bennett confronts these issues of race and gender in a refreshingly forthright manner.

Sidney Bechet ranks among the greatest of the early masters of jazz, up there with Louis Armstrong, Duke Ellington and Dizzy Gillespie. Born of a Creole family in New Orleans, and very conscious of the evils of slavery, his genius flowered at an early age. He is acknowledged as the greatest ever player of the soprano saxophone and he also played the clarinet. He toured widely in the US and Europe. During his short stay in England in 1919 he played before King George V and Queen Mary. A plaque in his memory is planned for the place where her lived in London. From 1949 until his death in 1959 he lived in France where is still revered. Some of his compositions such as Petite Fleur are jazz classics. Daniel-Sidney Bechet was only five when his father died but his whole life has been spent promoting his father's memory and he became an accomplished jazz musician himself. This book describes his father's life as well ashis own. It provides fascinating glimpses of the world of jazz in the US and in France and of the personalities he encounters: Lena Horne, Edith Piaf, Yves Montand, Kenny Clarke, Moustache and many more. Included with the book a free CD of Bechet's music, "Homage"played by Daniel's own Jazz Quintet with a contribution from the internationally known African Jazz musician and saxophonist, Manu Dibango..

Serge Chaloff (1923-1957) is most widely remembered as the flamboyant baritone saxophone star with Woody Herman's 2nd Herd whose problems with drugs extended to erratic personal behavior. Nevertheless, there were many brilliant sessions featuring his work before and after his stint with Herman. This work attempts to bring them the recognition they deserve. Simosko details the life and music of Serge Chaloff in an engaging style, from his childhood in Boston, Massachusetts, through his untimely death in 1957. He also provides a discography of Chaloff's recorded output, much of which has been made available by the 1993 Mosaic Records release of The Complete Serge Chaloff Sessions.

The life of jazz trumpeter Roland Bernard "Bunny" Berigan (1908-1942) resembles nothing less than an ancient Greek tragedy: a heroic figure who rises from obscurity to dizzying heights, touches greatness, becomes ensnared by circumstances, and comes to a disastrous early end. Berigan was intimately involved in the commercial music business of the 1930s and 1940s in New York City. Berigan was a charismatic performer, one of the few musicians in the history of jazz to advance the art. His trumpet artistry made a deep and lasting impression on almost everyone who heard him play, while the body of recorded work he left continues to evoke a wide range of emotions in those who hear it. Too often writings about the Swing Era skip over the interrelationship between the music business and the music that the giants of jazz created. In Mr. Trumpet: The Trials, Tribulations, and Triumph of Bunny Berigan, Michael Zirpolo takes on this difficult task, exploring connections between the business of music and contemporary music makers and the culture of social dancing that drove it all. Through detailed research and insightful analysis, Zirpolo rectifies many heretofore misunderstood events in Berigan's life and in the Swing Era more generally. In this panoramic examination of Berigan's personal and professional lives, Mr. Trumpet maps the great musician's role in what was a truly golden age of American popular music and jazz, offering close looks at some of his greatest performances and film work, comprehensive listings of all known broadcast recordings made by Berigan and his bands, as well as numerous previously unpublished photos of the great jazz artist.

The featured articles in this volume provide an overview of jazz studies writings from the 1990s to the present day, and each text engages with issues that are central to the changing discourse of jazz in popular culture. The volume includes studies of specific scenes, artists and periods from jazz history, and also comments on broader aspects of musical discourse, from ontological considerations to the politics of canon formation, from issues of representation to international perspectives. The collection encourages readers to engage in comparative thinking and analysis, and contributions touch on a range of themes that will be of interest to scholars who situate jazz at the heart of popular music studies. It is a highly valuable resource for researchers, enthusiasts, teachers and students.

Within one of the most complex musical categories yet to surface, Cal Tjader quietly pioneered the genre as a jazz vibraphonist, composer, arranger and bandleader from the 1950s through the 1980s. Reid tells the life story of a humble musician, written in a familiar, conversational tone that reveals Tjader's complex charisma. Tjader left behind a legacy and a labyrinth of influence, attested by his large audience and innovation that would change the course of jazz. Expanded and revised, this intimate biography now includes additional interviews and anecdotes from Tjader's family, bandmates, and community, print research, and rare photographs, presenting a full history of an undervalued musician, as well as a detailed account of the progression of Latin Jazz.

New York City Jazz explores many of the haunts and hideaways that have played host to iconic jazz musicians and singers like Charlie Parker, Miles Davis, John Coltrane, Bill Evans, Billie Holiday, Dizzy Gillespie, and Lester Young. Considered the jazz capital of the world, New York City is known for its flashy venues. The stages of the Latin Quarter, Apollo Theater, Minton's Playhouse, Onyx, Stork Club, Downbeat Club, Birdland, Roseland, and Copacabana came to life with the sounds of pianos, drums, horns, and gypsy guitars. This collection of images presents why Fifty-second Street was nicknamed "Swing Street" and how musicians made timeless names for themselves in the Empire City.

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.

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.

Someone Out There is Listening tells the story of Eddie Hazell, a jazz guitar player and vocalist with a unique style unmatched in the last half century. Hazell had a combination of good looks, skills, and style. He was a '50s guy - heady, hopeful, and a believer in the system even though it didn't always work for him. As a rising star, Hazell had great bookings across the country and Canada. He was compared to some of the top stars in the music business, columnists and critics gave him solid reviews and high praise for his performances, and disc jockeys played his recordings and were eager for more. People who knew him had no doubt that he would make the big time - it was only a matter of when. Eddie Hazell's story is about the times and the vicissitudes of the music business, and what it took to accomplish one's goals. Eddie strove not only for success, but to persevere during bad times and personal hardships, while still maintaining artistic integrity and enjoyment of life. Eddie Hazell went the full mile; he didn't leave anything out. The celebrated music producer George Martin once said: "The music business is littered with shooting stars that burned out. So pace yourselves; it's not a sprint. It is more like a marathon. Remember you have to keep running." Eddie Hazell's life is a musical marathon - reading about it is like running with him and the many other runners in his field.

The Music and Life of Theodore "Fats" Navarro: Infatuation is the first comprehensive study of the jazz trumpeter Theodore "Fats" Navarro. It provides biographical and discographical information on this talented musician, whose premature death from tuberculosis at 26 robbed the jazz world of his brilliance. Through an analysis of his recorded legacy, this book offers new perspectives on Navarro's role in the history and emergence of Bebop. Through years of study and collecting ephemera, some of which is reprinted here, Leif Bo Petersen and Theo Rehak depict an inclusive history of Navarro and his music. Their information is based on interviews with musicians and people in the music business, contemporary newspaper and magazine articles, and the music itself, which has not been commonly known or described until now. The book features images, musical examples, and depictions of Navarro's recordings, and it provides several appendixes, including explanations of contemporary recording techniques and discographical terms, lists of Navarro's recordings and compositions, and a chronological overview of Navarro's performances, recording sessions, and engagements. Complete with a comprehensive list of sources and a full index, this volume presents a host of new and useful information for anyone interested in jazz and its history.

"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 Annual Review of Jazz Studies (ARJS) is a journal providing a forum for the ever expanding range and depth of jazz scholarship, from technical analyses to oral history to cultural interpretation. Addressed to specialists and fans alike, all volumes include feature articles, book reviews, and unpublished photographs. This 14th issue contains four intriguing articles that to some degree contravene accepted precepts of jazz orthodoxy. John Howland traces the connection between Duke Ellington's extended works and the 'symphonic jazz' model of the 1920s as exemplified by Paul Whiteman and his chief arranger, Ferde GrofZ. Horace J. Maxile Jr. takes an unfashionably broad perspective of Charles Mingus's 'Ecclusiastics, ' applying recent developments in cultural theory as well as the formal tools of traditional music theory. Brian Priestley's exploration of the ties between Charlie Parker and popular music challenges the canonical depiction of Parker as a lone revolutionary genius, instead underscoring the saxophonist's ties to the popular music of his time. Finally, John Wriggle presents an extensive examination of the life and work of arranger Chappie Willet, an unsung hero of the Swing Era. The book reviews cover a cross-section of the burgeoning jazz literature, and Vincent Pelote has again compiled a list of books received at the Institute of Jazz Studies.

"What a life it was, and what a career...I wouldn't have dreamed that I could get lost in the pages of a bio-discography, but that's exactly what happened when I started to thumb this volume." -from the foreword by Leonard Maltin Who could forget Rock-a-bye Your Baby with a Dixie Melody or The Jazz Singer? Al Jolson (1886-1950) was billed as "The World's Greatest Entertainer" and to this day is still considered the standard by which entertainers' goals are measured. He achieved the top spot in virtually every medium in which he performed: stage, film, records, and radio. This is a comprehensive study of Jolson's career and touring data, providing extensive information on each of the performances. Bibliography and indexes.