Nikki Iles & Friends Easy to Intermediate is a collection of 22 original compositions and new arrangements for piano written by Nikki Iles and her friends from the world of jazz. Expertly curated and commissioned by Nikki herself, this book contains piano pieces at Initial Grade to Grade 3 level written by some of the best-known figures on the jazz scene. Also including audio downloads of every piece,this book provides a wealth of new and original jazz piano music for those seeking to explore accessible jazz and world music repertoire, build a recital or a programme for ABRSM Performance Grades, or simply play for pleasure. Award-winning jazz pianist and composer, Nikki Iles has worked and performed with a plethora of notable jazz musicians throughout her career. With over 30 CDs, she has been described as the 'heroine of British jazz'. She has received composition commissions from the London Sinfonietta, National Youth Jazz Orchestra (featured at the BBC Proms) and UMO Jazz Orchestra in Helsinki, Finland, among others. Nikki has been awarded the British Empire Medal (BEM) for services to music, and has also won the Ivor Composer Award for jazz composition. She is professor of jazz piano at the Royal Academy of Music and Guildhall School, London and also gives masterclasses around the world. She has worked closely with ABRSM over a number of years, both as a composer and arranger, and in syllabus development.

This text reveals how musicians, both individually and collectively, learn to improvise. It aims to illuminate the distinctive creative processes that comprise improvisation. Chronicling leading musicians from their first encounters with jazz to the development of a unique improvisatory voice, Paul Berliner demonstrates that a lifetime of preparation lies behind the skilled improviser's every note. Berliner's integration of data concerning musical development, the rigorous practice and thought artists devote to jazz outside performance, and the complexities of composing in the moment leads to a new understanding of jazz improvisation as a language, an aesthetic and a tradition. The product of more than 15 years of immersion in the jazz world, "Thinking in Jazz" combines participant observation with detailed musicological analysis, the author's own experience as a jazz trumpeter, interpretations of published material by scholars and performers, and, above all, original data from interviews with more than 50 professional musicians. Together, the interviews provide insight into the production of jazz by great artists like Betty Carter, Miles Davis, Dizzy Gillespie, Coleman Hawkins and Charlie Parker. "Thinking in Jazz" features musical examples from the 1920s to the present, including transcriptions (keyed to commercial recordings) of collective improvisations by Miles Davis's and John Coltrane's groups.

Get your mojo working as you take a musical trip from the Mississippi Delta to Chicago's gritty South Side and points beyond with Blues For Dummies, an insightful, toe-tappin', music lovers' guide to the blues. Popular blues guitarist Lonnie Brooks serves as your tour guide through the life and times of the blues, from the acoustic mystique of Robert Johnson and Son House to the urban blues men and women of today: John Lee Hooker, Robert Cray, B.B. King, Etta James, Koko Taylor, Stevie Ray Vaughan, and, of course, Brooks himself.

Blues For Dummies travels from sad to glad, with stops along the way at heartache and despair, hope and joy, on the road to great music. Get hip to the different styles and eras of the blues; discover what makes the blues so blue; find out "Who's Who" among four generations of blues musicians; and make tracks to the best blues clubs on the planet with this great, easygoing reference. Plus, take a listen to some of the greatest blues recordings of all time (from Muddy Waters and Little Walter to Bobby "Blue" Bland, Buddy Guy, and Clarence "Gatemouth" Brown) on the exclusive audio CD that comes with Blues For Dummies.

For over three decades R. Crumb has shocked, entertained, titillated and challenged the imaginations (and the inhibitions) of comics fans the world over. The acknowledged father of "underground comix," Crumb is the single greatest influence on the alternative comics of today. The three companion sets of trading cards - Heroes of the Blues, Early Jazz Greats, and Pioneers of Country Music - have all been sought by collectors. Although, they were rereleased in print as individual card sets, this is the first time they are being published together in book form. A biography of each musician is provided, along with a full colour original illustration by underground cartoonist and music historian R. Crumb.

THE DEFINITIVE, INVESTIGATIVE BIOGRAPHY OFJAZZ LEGENDDAVE BRUBECK(TAKE FIVE) In 2003, music journalist Philip Clark was granted unparalleled access to jazz legend Dave Brubeck. Over the course of ten days, he shadowed the Dave Brubeck Quartet during their extended British tour, recording an epic interview with the bandleader. Brubeck opened up as never before, disclosing his unique approach to jazz; the heady days of his classic quartet in the 1950s-60s; hanging out with Duke Ellington, Charlie Parker, Louis Armstrong, and Miles Davis; and the many controversies that had dogged his 66-yearlong career. Alongside beloved figures like Ella Fitzgerald and Frank Sinatra, Brubeck has achieved name recognition beyond jazz. But finding a convincing fit for Brubeck's legacy, one that reconciles his mass popularity with his advanced musical technique, has proved largely elusive. In Dave Brubeck: A Life inTime, Clark provides us with a thoughtful, thorough, and long-overdue biography of an extraordinary man whose influence continues to inform and inspire musicians today. Structured around Clark's extended interview and intensive new research, this book recounts one of the last untold stories of jazz, unearthing the secret history of Take Five and many hitherto unknown aspects of Brubeck's early career-and sharing details about his creative relationship with his star saxophonist, Paul Desmond. Woven throughout are cameo appearances from a host of unlikely figures, from Sting, Ray Manzarek of The Doors, and Keith Emerson to John Cage, Leonard Bernstein, Harry Partch, and Edgard Varese. Each chapter explores a different theme or aspect of Brubeck's life and music, illuminating the core of his artistry and genius. To quote President Obama, as he awarded the musician with a Kennedy Center Honor: You can't understand America without understanding jazz, and you can't understand jazz without understanding Dave Brubeck.

Giant Steps examines the most important figures in the creation of modern jazz, detailing the emergence of bebop through the likes of Dizzy Gillespie, Charlie Parker, Fats Navarro, Bud Powell and Thelonious Monk. Using this as its starting point, Giant Steps subsequently delves into the developments of jazz composition, modal jazz and free jazz. The music of each of these great masters is examined in detail and will provide both a fine introduction for the large audience newly attracted to the music but unsure of their direction through it, as well as an entertaining and informative read for those with a more substantial background.

Nearly 100 years after bursting onto Chicago s music scene under the tutelage of Joe "King" Oliver, Louis Armstrong is recognized as one of the most influential artists of the twentieth century. A trumpet virtuoso, seductive crooner, and consummate entertainer, Armstrong laid the foundation for the future of jazz with his stylistic innovations, but his story would be incomplete without examining how he struggled in a society seething with brutally racist ideologies, laws, and practices.

Thomas Brothers picks up where he left off with the acclaimed Louis Armstrong's New Orleans, following the story of the great jazz musician into his most creatively fertile years in the 1920s and early 1930s, when Armstrong created not one but two modern musical styles. Brothers wields his own tremendous skill in making the connections between history and music accessible to everyone as Armstrong shucks and jives across the page. Through Brothers's expert ears and eyes we meet an Armstrong whose quickness and sureness, so evident in his performances, served him well in his encounters with racism while his music soared across the airwaves into homes all over America.

Louis Armstrong, Master of Modernism blends cultural history, musical scholarship, and personal accounts from Armstrong's contemporaries to reveal his enduring contributions to jazz and popular music at a time when he and his bandmates couldn t count on food or even a friendly face on their travels across the country. Thomas Brothers combines an intimate knowledge of Armstrong's life with the boldness to examine his place in such a racially charged landscape. In vivid prose and with vibrant photographs, Brothers illuminates the life and work of the man many consider to be the greatest American musician of the twentieth century."

Reveals the importance of the jazz craze in France between the two world wars and the French construction of jazz as a "black music" - an exoticization which had wide-reaching effects on the artistic output of the African diaspora and on contemporary perceptions of black writers, musicians and film makers. What are the cultural implications of Louis Armstrong's 1960 visit to Africa? Why are so many postcolonial novels in French fascinated with jazz? In defining jazz as "black music", France's "jazzophilia" has had wide-reaching effects on contemporary perceptions of the artistic and political efficacy of black writers, musicians, and their aesthetic productions. Scoring Race explores how jazz masters Louis Armstrong, Duke Ellington, Charlie Parker, and John Coltrane became touchstones for claims to African authorship and aesthetic subjectivity across the long twentieth century. The book focuses on how this naturalization of black musicality occurred and its impact on Francophone African writers and filmmakers for whom the idea of their own essential musicality represented an epistemological obstacle. Despite this obstacle, because of jazz's profound importance to diaspora aesthetics, as well as its crucial role in the French imaginary, many African writers have chosen to make it a structuring principle of their literary projects. In Scoring Race Pim Higginson draws on race theory, aesthetics, cultural studies,musicology, and postcolonial studies to examine the convergence of aesthetics and race in Western thought and to explore its impact on Francophone African literature. How and why, Pim Higginson asks, did these writers and filmmakers approach jazz and its participation in and formalization of the "racial score"? To what extent did they reproduce the terms of their own systematic expulsion into music and to what extent, in their impossible demand for writing(or film-making), did they arrive at tactical means of working through, around, or beyond the strictures of their assumed musicality? Pim Higginson is Professor of Global French Studies at the University of New Mexico,Albuquerque.

How is the Beatles' "Help " similar to Stravinsky's "Dance of the Adolescents?" How does Radiohead's "Just" relate to the improvisations of Bill Evans? And how do Chopin's works exploit the non-Euclidean geometry of musical chords?
In this groundbreaking work, author Dmitri Tymoczko describes a new framework for thinking about music that emphasizes the commonalities among styles from medieval polyphony to contemporary rock. Tymoczko identifies five basic musical features that jointly contribute to the sense of tonality, and shows how these features recur throughout the history of Western music. In the process he sheds new light on an age-old question: what makes music sound good?
A Geometry of Music provides an accessible introduction to Tymoczko's revolutionary geometrical approach to music theory. The book shows how to construct simple diagrams representing relationships among familiar chords and scales, giving readers the tools to translate between the musical and visual realms and revealing surprising degrees of structure in otherwise hard-to-understand pieces.
Tymoczko uses this theoretical foundation to retell the history of Western music from the eleventh century to the present day. Arguing that traditional histories focus too narrowly on the "common practice" period from 1680-1850, he proposes instead that Western music comprises an extended common practice stretching from the late middle ages to the present. He discusses a host of familiar pieces by a wide range of composers, from Bach to the Beatles, Mozart to Miles Davis, and many in between.
A Geometry of Music is accessible to a range of readers, from undergraduate music majors to scientists and mathematicians with an interest in music. Defining its terms along the way, it presupposes no special mathematical background and only a basic familiarity with Western music theory. The book also contains exercises designed to reinforce and extend readers' understanding, along with a series of appendices that explore the technical details of this exciting new theory.

One of the most popular and memorable American musicians of the 20th century, Nat King Cole (1919-65) is remembered today as both a pianist and a singer, a feat rarely accomplished in the world of popular music. Now, in this complete life and times biography, author Will Friedwald offers a new take on this fascinating musician, framing him first as a bandleader and then as a star. In Cole's early phase, Friedwald explains, his primary task of keeping his trio going was just as much of a focus for him as his own playing and singing, always a collective or group performance. In the second act, Cole's collaborators were more likely to be arranger-conductors like Nelson Riddle and Gordon Jenkins, rather than his sidemen on bass and guitar. In the first act, his sidemen were equals, in the second phase, his collaborators were tasked exclusively with putting the focus on him, making him sound good, while being largely invisible themselves. Friedwald brings his full musical knowledge to bear in putting the man in the work, demonstrating how this duality appears over and over again in Cole's life and career: jazz vs. pop, solo vs. trio, piano vs. voice, wife number one (Nadine) vs. wife number two (Maria), the good songs vs. the less-than-good songs, the rhythm numbers vs. the ballads, the funny songs and novelties vs. the "serious" songs of love and loss, Cole as an advocate for the Great American Songbook vs. Cole the intrepid explorer of other options: world music, rhythm & blues, country & western. Cole was different from his contemporaries in other ways; for roughly ten years after the war, the majority of hitmakers on the pop charts were veterans of the big band experience, from Sinatra on down.

The Routledge Companion to Jazz Studies presents over forty articles from internationally renowned scholars and highlights the strengths of current jazz scholarship in a cross-disciplinary field of enquiry. Each chapter reflects on developments within jazz studies over the last twenty-five years, offering surveys and new insights into the major perspectives and approaches to jazz research. The collection provides an essential research resource for students, scholars, and enthusiasts, and will serve as the definitive survey of current jazz scholarship in the Anglophone world to-date. It extends the critical debates about jazz that were set in motion by formative texts in the 1990s, and sets the agenda for the future scholarship by focusing on key issues and providing a framework for new lines of enquiry. It is organized around six themes: I. Historical Perspectives, II. Methodologies, III. Core Issues and Topics, IV. Individuals, Collectives and Communities, V. Politics, Discourse and Ideology and VI. New Directions and Debates.

When Twin Peaks debuted on the ABC network on the night of April 8, 1990, thirty-five million viewers tuned in to some of the most unusual television of their lives. Centered on an eccentric, coffee-loving FBI agent's investigation into the murder of a small town teen queen, Twin Peaks brought the aesthetic of arthouse cinema to a prime time television audience and became a cult sensation in the process. Part of Twin Peaks' charm was its unforgettable soundtrack by Angelo Badalamenti, a longtime musical collaborator of film director and Twin Peaks co-creator David Lynch. Badalamenti's evocative music, with its haunting themes and jazzy moodscapes, served as a constant in a narrative that was often unhinged and went on to become one of the most popular and influential television soundtracks of all time. How did a unique collaborative process between a director and composer result in a perfectly postmodern soundtrack that ran the gamut of musical styles from jazz to dreamy pop to synthesizer doom and beyond? And how did Badalamenti's musical cues work with Twin Peaks' visuals, constantly evolving and playing off viewers' expectations and associations? Under the guidance of Angelo Badalamenti's beautifully dark sonic palette, Clare Nina Norelli delves deep into the world of Twin Peaks to answer all this and more.

In a piano factory tucked away in Richmond, Indiana, Gennett Records produced thousands of records featuring obscure musicians from hotel orchestras and backwoods fiddlers to the future icons of jazz, blues, country music, and rock 'n' roll. From 1916 to 1934, the company debuted such future stars as Louis Armstrong, King Oliver, Bix Beiderbecke, and Hoagy Carmichael, while also capturing classic performances by Jelly Roll Morton, Duke Ellington, Blind Lemon Jefferson, Charley Patton, Uncle Dave Macon, and Gene Autry. While Gennett Records was overshadowed by competitors such as Victor and Columbia, few record companies documented the birth of America's grassroots music as thoroughly as this small-town label. In this newly revised and expanded edition of Jelly Roll, Bix, and Hoagy, Rick Kennedy shares anecdotes from musicians, employees, and family members to trace the colorful history of one of America's most innovative record companies.

Improvisation rattles some listeners. Maybe they're even suspicious of it. John Coltrane's saxophonic flights of fancy, Jimi Hendrix's feedback drenched guitar solos, Ravi Shankar's sitar extrapolations--all these sounds seem like so much noodling or jamming, indulgent self-expression. "Just" improvising, as is sometimes said. For these music fans, it seems natural that music is meant to be composed. In the first book of its kind, John Corbett's A Listener's Guide to Free Improvisation provides a how-to manual for the most extreme example of spontaneous improvising: music with no pre-planned material at all. Drawing on over three decades of writing about, presenting, playing, teaching, and studying freely improvised music, Corbett offers an enriching set of tools that show any curious listener how to really listen, and he encourages them to enjoy the human impulse-- found all around the world-- to make up music on the spot. Corbett equips his reader for a journey into a difficult musical landscape, where there is no steady beat, no pre-ordained format, no overarching melodic or harmonic framework, and where tones can ring with the sharpest of burrs. In "Fundamentals," he explores key areas of interest, such as how the musicians interact, the malleability of time, overcoming impatience, and watching out for changes and transitions; he grounds these observations in concrete listening exercises, a veritable training regime for musical attentiveness. Then he takes readers deeper in "Advanced Techniques," plumbing the philosophical conundrums at the heart of free improvisation, including topics such as the influence of the audience and the counterintuitive challenge of listening while asleep. Scattered throughout are helpful and accessible lists of essential resources--recordings, books, videos-- and a registry of major practicing free improvisors from Noel Akchote to John Zorn, particularly essential because this music is best experienced live. The result is a concise, humorous, and inspiring guide, a unique book that will help transform one of the world's most notoriously unapproachable artforms into a rewarding and enjoyable experience.

Jazz Theory: From Basic to Advanced Study, Second Edition, is a comprehensive textbook for those with no previous study in jazz, as well as those in advanced theory courses. Written with the goal to bridge theory and practice, it provides a strong theoretical foundation from music fundamentals to post-tonal theory, while integrating ear training, keyboard skills, and improvisation. It hosts "play-along" audio tracks on a Companion Website, including a workbook, ear-training exercises, and an audio compilation of the musical examples featured in the book. Jazz Theory is organized into three parts: Basics, Intermediate, and Advanced. This approach allows for success in a one-semester curriculum or with subsequent terms. If students sense that theory can facilitate their improvisational skills or can help them develop their ears, they become more engaged in the learning process. The overall pedagogical structure accomplishes precisely that in an original, creative-and above all, musical-manner. KEY FEATURES include 390 musical examples, ranging from original lead sheets of standard tunes, jazz instrumentals, transcriptions, and original compositions, to fully realized harmonic progressions, sample solos, and re-harmonized tunes. The completely revamped Companion Website hosts: 46 "Play Along Sessions" audio tracks, offering experiences close to real-time performance scenarios. Over 1,000 (audio and written) exercises covering ear training, rhythm, notation, analysis, improvisation, composition, functional keyboard, and others. Recordings of all 390 musical examples from the textbook. Links: Guide to Making Transcriptions, List of Solos to Transcribe, Selected Discography, Classification of Standard Tunes, and more. Lists of well-known standard tunes, including a comprehensive list of 999 Standard Tunes - Composers and Lyricists. NEW TO THE SECOND EDITION are instructors' tools with answer keys to written and ear-training exercises, 380 rhythmic calisthenics featuring exercises from the swing, bebop, and Latin rhythmic traditions, a new improvisation section, a set of 140 Comprehensive Keyboard exercises, plus an expanded ear-training section with 125 melodic, 50 rhythmic dictations, and 170 harmonic dictations, plus 240 written exercises, 25 composition assignments, and 110 singing exercises. The paperback TEXTBOOK is also paired with the corresponding paperback WORKBOOK in a discounted PACKAGE (9780367321963).

Komeda: A Private Life in Jazz is the biography of Krzysztof (Trzcinski) Komeda (1931-1969), composer of no fewer than 40 soundtracks, including film scores to all of Roman Polanski's early films such as Knife in the Water and Rosemary's Baby; and revered figure in the world of jazz, which regards his album, Astigmatic (released in 1966), as a key album in the history of European jazz. This biography of Komeda, originally published in Polish by Znak in 2018, the first to be published in the English language, not only traces Komeda's life, but also the development of Polish jazz during this period, showing how this arose in large part out of a need for self-expression and personal freedom during a repressive period of Soviet communist dominance. The book is full of interviews between the biographer and people who worked with and knew Krzysztof Komeda personally, and, while thoroughly-grounded in primary sources, it is written in a playful, questioning, engaging style.

The Jazz Standards, a comprehensive guide to the most important jazz compositions, is a unique resource, a browser's companion, and an invaluable introduction to the art form. This essential book for music lovers tells the story of more than 250 key jazz songs, and includes a listening guide to more than 2,000 recordings.
Many books recommend jazz CDs or discuss musicians and styles, but this is the first to tell the story of the songs themselves. The fan who wants to know more about a jazz song heard at the club or on the radio will find this book indispensable. Musicians who play these songs night after night now have a handy guide, outlining their history and significance and telling how they have been performed by different generations of jazz artists. Students learning about jazz standards now have a complete reference work for all of these cornerstones of the repertoire.
Author Ted Gioia, whose body of work includes the award-winning The History of Jazz and Delta Blues, is the perfect guide to lead readers through the classicsof the genre. As a jazz pianist and recording artist, he has performed these songs for decades. As a music historian and critic, he has gained a reputation as a leading expert on jazz. Here he draws on his deep experience with this music in creating the ultimate work on the subject.
An introduction for new fans, a useful handbook for jazz enthusiasts and performers, and an important reference for students and educators, The Jazz Standards belongs on the shelf of every serious jazz lover or musician.

There has always been more to music in Boston than the Boston Symphony Orchestra. Jazz, for example, dates to the early 1900s, but it was in the 1940s and 1950s that it truly sparkled. The Boston Jazz Chronicles: Faces, Places, and Nightlife 1937-1962 is the first book to document that city's active jazz scene at mid-century.

Boston jazz came into its own during the World War II years, when the big bands supplied America with its popular music, and Boston's Charlie and Cy Shribman were among the kingmakers of the big-band era. The city produced such talents as pianist and bandleader Sabby Lewis, the multi-instrumentalist Ray Perry, and bassist Lloyd Trotman. The scene benefited from the extended wartime presence of established stars, including trumpeter Frankie Newton and trombonist Vic Dickenson, and from the start of a Sunday afternoon jam session tradition that brought the nation's best jazzmen into regular contact with local players. There were opportunities for musicians, particularly young musicians, to gain valuable experience by filling in for the older men serving in the military.

The end of the war introduced new jazz sounds to Boston, and reintroduced a few older ones as well. Alongside those musicians like Lewis still playing swing, there were others looking to the past for inspiration, sparking a Dixieland revival, and still others looking forward, spreading the new sound of bebop. There were big-band survivors in downsized groups playing jump blues, and others organizing new big bands along modern lines.

The end of the war also brought a surge of talented musicians, many of them veterans and beneficiaries of the GI Bill. They were attracted by the city's music conservatories and the new Schillinger House, soon to be renamed the Berklee School of Music. Boston became a destination for musicians seeking new musical direction. Here they joined with Boston's own contingent of formidable musicians to form a new, more modern scene, led by such luminaries as Jaki Byard, Joe Gordon, Nat Pierce, Charlie Mariano, Herb Pomeroy, Sam Rivers, Alan Dawson, and Dick Twardzik. They would carry Boston jazz to a creative peak in the mid-to-late 1950s that still remains unequaled.

The music was splendid, but there was more. Boston was home to influential jazz journalists George Frazier and Nat Hentoff; Berklee College of Music founder Lawrence Berk; Father Norman O'Connor, the Jazz Priest; record company executive and producer Tom Wilson; and Storyville nightclub proprietor George Wein, organizer of the Newport Jazz Festival. And through it all was the music, at the Ken Club, the Savoy Cafe, the Hi-Hat, the Stable, and other rooms both rowdy and refined.

The Boston Jazz Chronicles relates this story in reportage and personal anecdotes, and through dozens of photographs, advertisements, and period maps. This complete study also includes extensive notes, a bibliography, discography, and comprehensive index.

Author Richard Vacca is a Boston-based technical writer and editor with a lifelong interest in cultural history, and a regular presenter on the topic of Boston jazz and nightlife. He spent seven years researching and assembling these chronicles.

The emergence of jazz out of New Orleans is part of the American story, but the creation of this music was more than a regional phenomenon: it also crossed geographical, cultural, and technological lines. Court Carney takes a new look at the spread and acceptance of jazz in America, going beyond the familiar accounts of music historians and documentarians to show how jazz paralleled and propelled the broader changes taking place in America's economy, society, politics, and culture.

"Cuttin' Up" takes readers back to the 1920s and early 1930s to describe how jazz musicians navigated the rocky racial terrain of the music business-and how new media like the phonograph, radio, and film accelerated its diffusion and contributed to variations in its styles. The first history of jazz to emphasize the connections between these disseminating technologies and specific locales, it describes the distinctive styles that developed in four cities and tells how the opportunities of each influenced both musicians' choices and the marketing of their music.

Carney begins his journey in New Orleans, where pioneers like Jelly Roll Morton and Buddy Bolden set the tone for the new music, then takes readers up the river to Chicago, where Joe Oliver's Creole Jazz Band, featuring a young Louis Armstrong, first put jazz on record. The genre received a major boost in New York through radio's live broadcasts from venues like the Cotton Club, then came to a national audience when Los Angeles put it in the movies, starting with the appearance of Duke Ellington's orchestra in Check and Double Check.

As Carney shows, the journey of jazz had its racial component as well, ranging from New Orleans' melting pot to Chicago's segregated music culture, from Harlem clubs catering to white clienteles to Hollywood's reinforcement of stereotypes. And by pinpointing specific cultural turns in the process of bringing jazz to a national audience, he shows how jazz opens a window on the creation of a modernist spirit in America.

A 1930 tune called "Cuttin' Up" captured the freewheeling spirit of this new music-an expression that also reflects the impact jazz and its diffusion had on the nation as it crossed geographic and social boundaries and integrated an array of styles into an exciting new hybrid. Deftly blending music history, urban history, and race studies, Cuttin' Up recaptures the essence of jazz in its earliest days.

(Fake Book). Since the 1970s, The Real Book has been the most popular book for gigging jazz musicians. Hal Leonard is proud to publish completely legal and legitimate editions of the original volumes as well as exciting new volumes to carry on the tradition to new generations of players in all styles of music All the Real Books feature hundreds of time-tested songs in accurate arrangements in the famous easy-to-read, hand-written notation with comb-binding. This all-new 4th volume presents 400 more songs, not previously available in any other volume Includes: Ashes to Ashes * Button up Your Overcoat * Cocktails for Two * Days of Wine and Roses * Down with Love * A Foggy Day (In London Town) * The Good Life * Home * I Got Rhythm * I Hadn't Anyone Till You * If You Could See Me Now * Just Friends * Kansas City * Linus and Lucy * Lonely Girl * Maybe This Time * My Bells * Night and Day * On Broadway * On Green Dolphin Street * Only the Lonely * The Pink Panther * Puttin' on the Ritz * Relaxin' at the Camarillo * Reunion Blues * The Sermon * The Shadow of Your Smile * Side by Side * Smile * Summertime * Sunny * Them There Eyes * and many more. Editions also available in B-flat, E-flat, and Bass Clef.

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.

How creative freedom, race, class, and gender shaped the rebellion of two visionary artists Postwar America experienced an unprecedented flourishing of avant-garde and independent art. Across the arts, artists rebelled against traditional conventions, embracing a commitment to creative autonomy and personal vision never before witnessed in the United States. Paul Lopes calls this the Heroic Age of American Art, and identifies two artists-Miles Davis and Martin Scorsese-as two of its leading icons. In this compelling book, Lopes tells the story of how a pair of talented and outspoken art rebels defied prevailing conventions to elevate American jazz and film to unimagined critical heights. During the Heroic Age of American Art-where creative independence and the unrelenting pressures of success were constantly at odds-Davis and Scorsese became influential figures with such modern classics as Kind of Blue and Raging Bull. Their careers also reflected the conflicting ideals of, and contentious debates concerning, avant-garde and independent art during this period. In examining their art and public stories, Lopes also shows how their rebellions as artists were intimately linked to their racial and ethnic identities and how both artists adopted hypermasculine ideologies that exposed the problematic intersection of gender with their racial and ethnic identities as iconic art rebels. Art Rebels is the essential account of a new breed of artists who left an indelible mark on American culture in the second half of the twentieth century. It is an unforgettable portrait of two iconic artists who exemplified the complex interplay of the quest for artistic autonomy and the expression of social identity during the Heroic Age of American Art.

A galvanizing history of how jazz and jazz musicians flourished despite rampant cultural exploitation The music we call "jazz" arose in late nineteenth century North America--most likely in New Orleans--based on the musical traditions of Africans, newly freed from slavery. Grounded in the music known as the "blues," which expressed the pain, sufferings, and hopes of Black folk then pulverized by Jim Crow, this new music entered the world via the instruments that had been abandoned by departing military bands after the Civil War. Jazz and Justice examines the economic, social, and political forces that shaped this music into a phenomenal US--and Black American--contribution to global arts and culture. Horne assembles a galvanic story depicting what may have been the era's most virulent economic--and racist--exploitation, as jazz musicians battled organized crime, the Ku Klux Klan, and other variously malignant forces dominating the nightclub scene where jazz became known. Horne pays particular attention to women artists, such as pianist Mary Lou Williams and trombonist Melba Liston, and limns the contributions of musicians with Native American roots. This is the story of a beautiful lotus, growing from the filth of the crassest form of human immiseration.