Eleanora "Lady Day" Fagan, better known as Billie Holiday, played a primary role in the development of American jazz culture and in African American history. Devoted to the enduring jazz icon, covering many aspects of her career, image and legacy, these essays range from musical and vocal analyses, to critical assessments of film depictions of the singer, to analysis of the social movements and protests addressed by her signature songs, including her impact on contemporary movements such as #BlackLivesMatter. More than a century after her birth, Billie Holiday's abiding relevance and impact is a testament to the power of musical protest. This collection pays tribute to her creativity, bravery and lasting legacy.

Django Generations shows how relationships between racial identities, jazz, and national belonging become entangled in France. Jazz manouche-a genre known best for its energetic, guitar-centric swing tunes-is among France's most celebrated musical practices of the twentieth and twenty-first centuries. It centers on the recorded work of famed guitarist Django Reinhardt and is named for the ethnoracial subgroup of Romanies (also known, often pejoratively, as "Gypsies") to which Reinhardt belonged. French Manouches are publicly lauded as bearers of this jazz tradition, and many take pleasure and pride in the practice while at the same time facing pervasive discrimination. Jazz manouche uncovers a contradiction at the heart of France's assimilationist republican ideals: the music is portrayed as quintessentially French even as Manouches themselves endure treatment as racial others. In this book, Siv B. Lie explores how this music is used to construct divergent ethnoracial and national identities in a context where discussions of race are otherwise censured. Weaving together ethnographic and historical analysis, Lie shows that jazz manouche becomes a source of profound ambivalence as it generates ethnoracial difference and socioeconomic exclusion. As the first full-length ethnographic study of French jazz to be published in English, this book enriches anthropological, ethnomusicological, and historical scholarship on global jazz, race and ethnicity, and citizenship while showing how music can be an important but insufficient tool in struggles for racial and economic justice.

Peggy Lee has been entrancing audiences for over half a century, starting with her first big break in Benny Goodman's band in 1941. With hits including 'Fever', 'Manana', 'It's a Good Day' and 'Why Don't You Do Right?' her sultry swing-beat style secured her a place Top Ten in the '40s, '50s and '60s. A true perfectionist, she became a successful songwriter, lyricist, arranger and actress, performing with Louis Armstrong, Frank Sinatra, Bing Crosby and Nat King Cole. But backstage, Lee's gritty ambition was born from hardship; she had endured a desperately unhappy childhood, four turbulent marriages, several million-dollar lawsuits, and frequent battles with illness. Now Peggy Lee reveals her triumphant and touching life story, in a voice as direct and intimate as her songs.

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.

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.

Although in 2000 he became the first sideman inducted into the Rock & Roll Hall of Fame, "King Curtis" Ousley never lived to accept his award. Tragically, he was murdered outside his New York City home in 1971. At that moment, thirty-seven-year-old King Curtis was widely regarded as the greatest R & B saxophone player of all time. He also may have been the most prolific, having recorded with well over two hundred artists during an eighteen-year span. Soul Serenade is the definitive biography of one of the most influential musicians of the 50s, 60s, and early 70s. Timothy R. Hoover chronicles King Curtis's meteoric rise from a humble Texas farm to the recording studios of Memphis, Muscle Shoals, and New York City as well as to some of the world's greatest music stages, including the Apollo Theatre, Fillmore West, and Montreux Jazz Festival. Curtis's "chicken-scratch" solos on the Coasters' Yakety Yak changed the role of the saxophone in rock & roll forever. His band opened for the Beatles at their famous Shea Stadium concert in 1965. He also backed his "little sister" and close friend Aretha Franklin on nearly all of her tours and Atlantic Records productions from 1967 until his death. Soul Serenade is the result of more than twenty years of interviews and research. It is the most comprehensive exploration of Curtis's complex personality: his contagious sense of humor and endearing southern elegance as well as his love for gambling and his sometimes aggressive temperament. Hoover explores Curtis's vibrant relationships and music-making with the likes of Buddy Holly, Sam Cooke, Isaac Hayes, Jimi Hendrix, Aretha Franklin, Otis Redding, Sam Moore, Donny Hathaway, and Duane Allman, among many others.

Berklee GuideThe definitive text used for the time-honored Chord Scales course at Berklee College of Music, this book concentrates on scoring for every possible ensemble combination and teaches performers and arrangers how to add color, character and sophistication to chord voicings. Topics covered include: selecting appropriate harmonic tensions, understanding jazz harmony, overcoming harmonic ambiguity, experimenting with unusual combinations and non-traditional alignments, and many more. The accompanying CD includes performance examples of several different arranging techniques.A no-nonsense, meat and potatoes source of basic and not-so-basic information about everything relating to jazz writing covers several courses worth of information. Kenny WernerPianist, Composer and Author of Effortless Mastery

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.

Jazz stories have been entwined with cinema since the inception of jazz film genre in the 1920s, giving us origin tales and biopics, spectacles and low-budget quickies, comedies, musicals, and dramas, and stories of improvisers and composers at work. And the jazz film has seen a resurgence in recent years-from biopics like Miles Ahead and HBO's Bessie, to dramas Whiplash and La La Land. In Play the Way You Feel, author and jazz critic Kevin Whitehead offers a comprehensive guide to these films and other media from the perspective of the music itself. Spanning 93 years of film history, the book looks closely at movies, cartoons, and a few TV shows that tell jazz stories, from early talkies to modern times, with an eye to narrative conventions and common story points. Examining the ways historical films have painted a clear picture of the past or overtly distorted history, Play the Way You Feel serves up capsule discussions of sundry topics including Duke Ellington's social life at the Cotton Club, avant-garde musical practices in 1930s vaudeville, and Martin Scorsese's improvisatory method on the set of New York, New York. Throughout the book, Whitehead brings the same analytical bent and concise, witty language listeners know from his jazz segments on NPR's Fresh Air with Terry Gross. He investigates well-known songs, traces the development of the stock jazz film ending, and offers fresh, often revisionist takes on works by such directors as Howard Hawks, John Cassavetes, Shirley Clarke, Francis Ford Coppola, Clint Eastwood, Spike Lee, Robert Altman, Woody Allen and Damien Chazelle. In all, Play the Way You Feel is a feast for film-genre fanatics and movie-watching jazz enthusiasts.

(Guitar Educational). Take your playing to the next level with this comprehensive jazz-blues guitar instructional book/CD pack. With 15 hands-on lessons you will be immersed in the realm of jazz blues, learning to both improvise and comp with full-band play-along CD tracks and step-by-step instruction. The well-planned lesson style and organized design of this thorough source will have you jazzin' the blues in no time

Just after World War I, jazz began a journey along America's waterways from its birthplace in New Orleans. For the first time in any organized way, steam-driven boats left town during the summer months to travel up the Mississippi River, bringing this exotic new music to the rest of the nation. In Jazz on the River, William Howland Kenney brings to life the vibrant history of this music and its newfound mainstream popularity among the American people. Here for the first time readers can learn about the lives and music of the levee roustabouts promoting riverboat jazz and their relationships with such great early jazz adventurers as Louis Armstrong, Fate Marable, Warren "Baby" Dodds, and Jess Stacy. Kenney follows the boats from Memphis to St. Louis, where new styles of jazz were soon produced, all the way up the Ohio River, where the music captivated audiences in Cincinnati and Pittsburgh. Jazz on the River concludes with the story of the decline of the old paddle wheelers - and thus riverboat jazz - on the inland waterways after World War II. The enduring silence of our rivers, Kenney argues, reminds us of the loss of such a distinctive musical tradition. But riverboat jazz still lives on in myriad permutations, each one in tune with its own time.

This stylish album for violin and piano takes players on a musical tour of autumn, presenting well-loved songs such as 'September in the Rain', 'Autumn Leaves', 'Danny Boy', and '(Somewhere) Over the Rainbow' and original compositions on other seasonal themes. The nine pieces reflect a wide variety of jazz styles, including swing, blues, calypso, and bossa nova, and draw on artists such as Yehudi Menuhin, Stephane Grappelli, Didier Lockwood, and Regina Carter. With fully notated rhythms, grooves, and improvisations, Violin Jazz in Autumn is the perfect collection for instrumentalists looking for that authentic sound.

Redefining Music Studies in an Age of Change: Creativity, Diversity, Integration takes prevailing discourse about change in music studies to new vistas, as higher education institutions are at a critical moment of determining just what professional musicians and teachers need to survive and thrive in public life. The authors examine how music studies might be redefined through the lenses of creativity, diversity, and integration. which are the three pillars of the recent report of The College Music Society taskforce calling for reform. Focus is on new conceptions for existent areas-such as studio lessons and ensembles, academic history and theory, theory and culture courses, and music education coursework-but also on an exploration of music and human learning, and an understanding of how organizational change happens. Examination of progressive programs will celebrate strides in the direction of the task force vision, as well as extend a critical eye distinguishing between premature proclamations of "mission accomplished" and genuine transformation. The overarching theme is that a foundational, systemic overhaul has the capacity to entirely revitalize the European classical tradition. Practical steps applicable to wide-ranging institutions are considered-from small liberal arts colleges, to conservatory programs, large research universities, and regional state universities.

Jazz and Totalitarianism examines jazz in a range of regimes that in significant ways may be described as totalitarian, historically covering the period from the Franco regime in Spain beginning in the 1930s to present day Iran and China. The book presents an overview of the two central terms and their development since their contemporaneous appearance in cultural and historiographical discourses in the early twentieth century, comprising fifteen essays written by specialists on particular regimes situated in a wide variety of time periods and places. Interdisciplinary in nature, this compelling work will appeal to students from Music and Jazz Studies to Political Science, Sociology, and Cultural Theory.

The musical output of jazz pianist and composer Herbie Hancock has toppled genre boundaries and influenced generations of musicians. A child prodigy who worked his way up through classical tradition, found a home for his insatiable creativity in jazz, and went on to influence musicians across numerous genres, Hancock's work continues to be a staple in mainstream music. In addition to his classical training and innovative jazz work, Hancock has explored many forms of music such as rock, funk and world music, always looking ahead rather than rehashing what has already been accomplished. In Experiencing Herbie Hancock, Eric Wendell looks beyond the successes and failures of Hancock's career in an effort to explore Hancock's musical design within the jazz community and within the popular mainstream. Wendell also explores Hancock's dramatic impact on the jazz community and how his efforts have fostered a cross-genre continuity among modern jazz practitioners. Hancock's chameleon attitude towards contemporary music styles has been met with excitement from both peers and fans alike. Experiencing Herbie Hancock is an ideal work for jazz aficionados, music, and anyone who appreciates the efforts of an artist who would rather look ahead to the great unknown then tread backwards on past endeavors.

The skill of playing unprepared in a lively, accurate, creative and musical way is at the heart of jazz performance. The quick study, requiring the recreation of a previously unseen or unheard short head followed by an improvised response, helps you to practise this crucial skill. It will give you the confidence to learn repertoire more effectively and prepare for the very real demands of busking through all those unrehearsed situations which are a regular feature of the jazz musician's life. This book contains a set of graded practice tests covering a wide range of jazz styles. An invaluable introduction explains the concept behind the quick study, useful ways to extend and develop activities related to it, and details of the exam.

Edward ""Kid"" Ory (1886-1973) was a trombonist, composer, recording artist, and early New Orleans jazz band leader. Creole Trombone tells his story from birth on a rural sugar cane plantation in a French-speaking, ethnically mixed family, to his emergence in New Orleans as the city's hottest band leader. The Ory band featured such future jazz stars as Louis Armstrong and King Oliver, and was widely considered New Orleans's top ""hot"" band. Ory's career took him from New Orleans to California, where he and his band created the first African American New Orleans jazz recordings ever made. In 1925 he moved to Chicago where he made records with Oliver, Armstrong, and Jelly Roll Morton that captured the spirit of the jazz age. His most famous composition from that period, ""Muskrat Ramble,"" is a jazz standard. Retired from music during the Depression, he returned in the 1940s and enjoyed a reignited career. Drawing on oral history and Ory's unpublished autobiography, Creole Trombone is a story that is told in large measure by Ory himself. The author reveals Ory's personality to the reader and shares remarkable stories of incredible innovations of the jazz pioneer. The book also features unpublished Ory compositions, photographs, and a selected discography of his most significant recordings.

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.

Hurricane Katrina threatened to wash away the history of an incomparable, culturally vibrant American city, while the aftermath exposed New Orleans' ugly, deeply rooted racial divisions. "Subversive Sounds," Charles Hersch's study of the role of race in the origins of jazz, probes both sides of the city's heritage, uncovering a web of racial interconnections and animosities that was instrumental to the creation of a vital art form.
Drawing on oral histories, police reports, newspaper accounts, and vintage recordings, Hersch brings to vivid life the neighborhoods and nightspots where jazz was born. He shows how musicians such as Jelly Roll Morton, Nick La Rocca, and Louis Armstrong negotiated New Orleans' complex racial rules to pursue their craft and how, in order to widen their audiences, they became fluent in a variety of musical traditions from diverse ethnic sources. These encounters with other music and other races subverted their own racial identities and changed the way they played--a musical miscegenation that, in the shadow of Jim Crow, undermined the pursuit of racial purity and indelibly transformed American culture.