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Books > Arts & Architecture > Music > Contemporary popular music > Jazz
Dancer, award-winning choreographer, show producer, stand-up
comedienne, TV/Film actress and author, Norma Miller shares her
touching historical memoir of Harlem's legendary Savoy Ballroom and
the phenomenal music and dance craze that \u0022spread the power of
swing across the world like Wildfire.\u0022 A dance contest winner
by 14, Norma Miller became a member of Herbert White's Lindy
Hoppers and a celebrated Savoy Ballroom Lindy Hop champion.
Swingin' at the Savoy chronicles a significant period in American
cultural history and race relations, as it glorifies the home of
the Lindy Hop and he birthplace of memorable dance hall fads.
Miller shares fascinating anecdotes about her youthful encounters
with many of the greatest jazz legends in music history, including
Ella Fitzgerald, Count Basie, Benny Goodman, Billie Holiday, Artie
Shaw, Duke Ellington, Ethel Waters, and even boxer Joe Louis.
Readers will experience the legend of the celebrated Harlem
ballroom and the phenomenal Swing generation that changed music and
dance history forever.
This text, the first of its kind, deals with some of the problems
to be faced. It discusses the new trend of musical thought that
jazz has brought about--the new combinations of instruments, a
different harmonic and melodic language, a new and an intriguing
approach to ensemble writing.
Now you can become the featured session saxophonist on six classic
Charlie Parker tracks, transcribed and arranged exclusively for
alto saxophone. The book contains note-for-note topline
transcriptions, chord symbols, a breakdown and analysis of each
solo - containing essential hints and tips, biographical notes on
Charlie Parker and a discography. The CD contains complete
performances of each piece as well as a slowed-down version to
practise with.
The social connotation of jazz in American popular culture has
shifted dramatically since its emergence in the early twentieth
century. Once considered youthful and even rebellious, jazz music
is now a firmly established American artistic tradition. As jazz in
American life has shifted, so too has the kind of venue in which it
is performed. In Jazz Places, Kimberly Hannon Teal traces the
history of jazz performance from private jazz clubs to public,
high-art venues often associated with charitable institutions. As
live jazz performance has become more closely tied to nonprofit
institutions, the music's heritage has become increasingly
important, serving as a means of defining jazz as a social good
worthy of charitable support. Though different jazz spaces present
jazz and its heritage in various and sometimes conflicting terms,
ties between the music and the past play an important role in
defining the value of present-day music in a diverse range of jazz
venues, from the Village Vanguard in New York to SFJazz on the West
Coast to Preservation Hall in New Orleans.
Nat Hentoff, renowned jazz critic, civil liberties activist, and
fearless contrarian - 'I'm a Jewish atheist civil-libertarian
pro-lifer' - has lived through much of jazz's history and has known
many of jazz's most important figures, often as friend and
confidant. Hentoff has been a tireless advocate for the neglected
parts of jazz history, including forgotten sidemen and women. This
volume includes his best recent work - short essays, long
interviews, and personal recollections. From Duke Ellington and
Louis Armstrong to Ornette Coleman and Quincy Jones, Hentoff brings
the jazz greats to life and traces their art to gospel, blues, and
many other forms of American music. "At the Jazz Band Ball" also
includes Hentoff's keen, cosmopolitan observations on a wide range
of issues. The book shows how jazz and education are a vital
partnership, how free expression is the essence of liberty, and how
social justice issues like health care and strong civil rights and
liberties keep all the arts - and all members of society - strong.
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.
During the 1930s, swing bands combined jazz and popular music to
create large-scale dreams for the Depression generation, capturing
the imagination of America's young people, music critics, and the
music business. "Swingin' the Dream" explores that world, looking
at the racial mixing-up and musical swinging-out that shook the
nation and has kept people dancing ever since.
""Swingin' the Dream" is an intelligent, provocative study of the
big band era, chiefly during its golden hours in the 1930s; not
merely does Lewis A. Erenberg give the music its full due, but he
places it in a larger context and makes, for the most part, a
plausible case for its importance."--Jonathan Yardley, "Washington
Post Book World"
"An absorbing read for fans and an insightful view of the impact of
an important homegrown art form."--"Publishers Weekly"
" A] fascinating celebration of the decade or so in which American
popular music basked in the sunlight of a seemingly endless high
noon."--Tony Russell, "Times Literary Supplement"
Jazz is born of collaboration, improvisation, and listening. In
much the same way, the American democratic experience is rooted in
the interaction of individuals. It is these two seemingly
disparate, but ultimately thoroughly American, conceits that
Gregory Clark examines in Civic Jazz. Melding Kenneth Burke's
concept of rhetorical communication and jazz music's aesthetic
encounters with a rigorous sort of democracy, this book weaves an
innovative argument about how individuals can preserve and improve
civic life in a democratic culture. Jazz music, Clark argues,
demonstrates how this aesthetic rhetoric of identification can bind
people together through their shared experience in a common
project. While such shared experience does not demand
agreement-indeed, it often has an air of competition-it does align
people in practical effort and purpose. Similarly, Clark shows,
Burke considered Americans inhabitants of a persistently rhetorical
situation, in which each must choose constantly to identify with
some and separate from others. Thought-provoking and path-breaking,
Clark's harmonic mashup of music and rhetoric will appeal to
scholars across disciplines as diverse as political science,
performance studies, musicology, and literary criticism.
Sun Ra (1914-93) was one of the most wildly prolific and
unfailingly eccentric figures in the history of music. Renowned for
extravagant performances in which his Arkestra appeared in
neo-Egyptian garb, the keyboardist and bandleader also espoused an
interstellar cosmology that claimed the planet Saturn as his true
home. In Sun Ra's Chicago, William Sites brings this visionary
musician back to earth--specifically to the city's South Side,
where from 1946 to 1961 he lived and launched his career. The
postwar South Side was a hotbed of unorthodox religious and
cultural activism where Afrocentric philosophies flourished,
storefront prophets sold "dream-book bibles," and Elijah Muhammad
was building the Nation of Islam. It was also an unruly musical
crossroads where styles circulated and mashed together in clubs and
community dancehalls. Sun Ra drew from a vast array of locally
available intellectual and musical sources--from radical
nationalism, revisionist Christianity, and science fiction to jazz,
rhythm and blues, Latin dance music and the latest pop exotica--to
put together a philosophy and performance style that imagined a new
identity and future for African Americans. Sun Ra's Chicago
contends that late twentieth-century Afrofuturism emerged from a
deep, utopian engagement with the city--and that by excavating
postwar black experience from inside Sun Ra's South Side milieu we
can come to see the possibilities of urban life in new ways.
Compelling from cover to cover, this is the story of one of the
most recorded and beloved jazz trumpeters of all time. With
unsparing honesty and a superb eye for detail, Clark Terry, born in
1920, takes us from his impoverished childhood in St. Louis,
Missouri, where jazz could be heard everywhere, to the smoke-filled
small clubs and carnivals across the Jim Crow South where he got
his start, and on to worldwide acclaim. Terry takes us behind the
scenes of jazz history as he introduces scores of legendary
greats--Ella Fitzgerald, Oscar Peterson, Dizzy Gillespie, Dinah
Washington, Doc Severinsen, Ray Charles, Thelonious Monk, Billie
Holiday, Sarah Vaughan, Coleman Hawkins, Zoot Sims, and Dianne
Reeves, among many others. Terry also reveals much about his own
personal life, his experiences with racism, how he helped break the
color barrier in 1960 when he joined the "Tonight Show" band on
NBC, and why--at ninety years old--his students from around the
world still call and visit him for lessons.
Many regard jazz as the soundtrack of America, born and raised in
its cities and echoing throughout its tumultuous century of
progress. So when Ernest Hemingway wrote about seeing jazz in 1920s
Paris, and when British colonial officials danced to jazz in the
clubs of Calcutta in the waning years of the Raj, how, exactly, had
it gotten there? Jazz Worlds/World Jazz aims to answer these
questions and more, bringing together voices from countries as far
flung as Azerbaijan, Armenia, and India to show that the story of
jazz is not trapped in American history books but alive in global
modernity. Monumental in scope, this book explores the relationship
between jazz and culture and how they influence each other across a
range of themes and settings. Contributors offer an analysis of the
social meaning of jazz in Iran, a look at the genesis of Ethiopian
jazz and at Indian fusion, and chapters on jazz diplomacy, Balkan
swing, and that French export par excellence: Django Reinhardt.
Altogether the contributors approach jazz--in these global
iterations--through the themes that have always characterized it at
home: place, history, mobility, media, and race. The result is a
first-of-its-kind map of jazz around the globe that pays tribute to
the players who have given the form its seemingly infinite
possibilities.
Five superb albums of graded pieces provide a wealth of jazz
repertoire for you to play. Throughout, there is a huge range of
styles, from bebop blues to calypsos, boogie-woogie to ballads,
jazz waltzes to free jazz. There are classic tunes by the jazz
greats, including Duke Ellington, Miles Davis and Thelonious Monk.
And there are brand-new pieces specially commissioned from
professional British jazz musicians and educators. Each album
presents 15 pieces in three lists: blues, standards and
contemporary jazz. The head of each piece is set out with all the
characteristic voicings, phrasing and rhythmic patterns you need
for a stylish performance. The improvised section gives guideline
pitches and left-hand voicings as a practical starting-point.
Accessible, student-centred and of the highest musical standards,
these pieces will get you playing jazz confidently and creatively.
Contains all the pieces for ABRSM's new jazz piano exam.
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.
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.
(Jazz Instruction). A one-of-a-kind book encompassing a wide scope
of jazz topics, for beginners and pros of any instrument. A
three-pronged approach was envisioned with the creation of this
comprehensive resource: as an encyclopedia for ready reference, as
a thorough methodology for the student, and as a workbook for the
classroom, complete with ample exercises and conceptual discussion.
Includes the basics of intervals, jazz harmony, scales and modes,
ii-V-I cadences. For harmony, it covers: harmonic analysis, piano
voicings and voice leading; modulations and modal interchange, and
reharmonization. For performance, it takes players through: jazz
piano comping, jazz tune forms, arranging techniques,
improvisation, traditional jazz fundamentals, practice techniques,
and much more Customer reviews on amazon.com for Jazzology average
a glowing 5 stars Here is a typical reader comment: "The book's
approach is so intuitive, it almost leads you by the hand into the
world of jazz. Certainly jazz is freedom of expression, but you
have to know what you're doing and this book is the tool for that
... (it) should be standard in every high school with a jazz
program and every college lab band."
Helps musicians know what to do with specific chords in specific
contexts. Lays out clear and objective guidelines on how to turn
scales and chords into real music. Perfect for a college or high
school improvisation class!
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