**FINALIST for the 2022 PROSE Award in Music & the Performing Arts** **Certificate of Merit, Best Historical Research on Recorded Jazz, given by the 2022 Association for Recorded Sounds Collection Awards for Excellence in Historical Sound Research** Explores how jazz helped propel the rise of African American Islam during the era of global Black liberation Amid the social change and liberation of the civil rights and Black Power movements, the tenor saxophonist Archie Shepp recorded a tribute to Malcolm X's emancipatory political consciousness. Shepp saw similarities between his revolutionary hero and John Coltrane, one of the most influential jazz musicians of the era. Later, the esteemed trumpeter Miles Davis echoed Shepp's sentiment, recognizing that Coltrane's music represented the very passion, rage, rebellion, and love that Malcolm X preached. Soundtrack to a Movement examines the link between the revolutionary Black Islam of the post-WWII generation and jazz music. It argues that from the late 1940s and '50s though the 1970s, Islam rose in prominence among African Americans in part because of the embrace of the religion among jazz musicians. The book demonstrates that the values that Islam and jazz shared-Black affirmation, freedom, and self-determination-were key to the growth of African American Islamic communities, and that it was jazz musicians who led the way in shaping encounters with Islam as they developed a Black Atlantic "cool" that shaped both Black religion and jazz styles. Soundtrack to a Movement demonstrates how by expressing their values through the rejection of systemic racism, the construction of Black notions of masculinity and femininity, and the development of an African American religious internationalism, both jazz musicians and Black Muslims engaged with a global Black consciousness and interconnected resistance movements in the African diaspora and Africa.

Nearly 50 years after his death, Louis Armstrong remains one of the 20th century's most iconic figures. Popular fans still appreciate his later hits such as "Hello, Dolly!" and "What a Wonderful World," while in the jazz community, he remains venerated for his groundbreaking innovations in the 1920s. The achievements of Armstrong's middle years, however, possess some of the trumpeter's most scintillating and career-defining stories. But the story of this crucial time has never been told in depth - until now. Between 1929 and 1947, Armstrong transformed himself from a little-known trumpeter in Chicago to an internationally renowned pop star, setting in motion the innovations of the Swing Era and Bebop. He had a similar effect on the art of American pop singing, waxing some of his most identifiable hits such as "Jeepers Creepers" and "When You're Smiling." However as author Ricky Riccardi shows, this transformative era wasn't without its problems, from racist performance reviews and being held up at gunpoint by gangsters to struggling with an overworked embouchure and getting arrested for marijuana possession. Utilizing a prodigious amount of new research, Riccardi traces Armstrong's mid-career fall from grace and dramatic resurgence. Featuring never-before-published photographs and stories culled from Armstrong's personal archives, Heart Full of Rhythm tells the story of how the man called "Pops" became the first "King of Pop."

London-based musician and journalist Gordon Jack's method is to let the musicians tell their own stories with minimum intervention, in the manner of Ira Gitler's classic Swing to Bop. Famous or obscure, these more than 30 musicians who came to prominence in the 1950s each has a story to tell, and Jack captures the style and tone of his interviewees in this oral retrospective of what may have been jazz's last golden age. The musicians are: Gene Allen, Mose Allison, Dave Bailey, Chuck Berghofer, Eddie Bert, Bob Brookmeyer, Pete Christlieb, Bill Crow, Joe Dodge, Bob Enevoldsen, Don Ferrara, Herb Geller, Corky Hale, Peter Ind, Frank Isola, Lee Konitz, Stan Levey, Jack Montrose, Gerry Mulligan, the Gerry Mulligan Quartet (with Larry Bunker, Chico Hamilton, Carson Smith, Bob Whitlock), Lennie Niehaus, Jack Nimitz, Hod O'Brien, Bill Perkins, Bud Shank, Phil Urso, and Phil Woods. Jack's introductions and notes unobtrusively sketch out the life and achievements of each musician, and there are photographs of each one, many of them taken by Jack himself.

The Ukulele Jazz Playlist: Purple Book presents over 30 of the greatest jazz songs ever, specially arranged for ukulele. Includes full lyrics, strumming patterns and ukulele chord diagrams.

The drum kit has provided the pulse of popular music from before the dawn of jazz up to the present day pop charts. Kick It, a provocative social history of the instrument, looks closely at key innovators in the development of the drum kit: inventors and manufacturers like the Ludwig and Zildjian dynasties, jazz icons like Gene Krupa and Max Roach, rock stars from Ringo Starr to Keith Moon, and popular artists who haven't always got their dues as drummers, such as Karen Carpenter and J Dilla. Tackling the history of race relations, global migration, and the changing tension between high and low culture, author Matt Brennan makes the case for the drum kit's role as one of the most transformative musical inventions of the modern era. Kick It shows how the drum kit and drummers helped change modern music-and society as a whole-from the bottom up.

(Faber Piano Adventures ). BigTime Piano Jazz & Blues is a great collection of jazz and blues pieces. Standards such as "Take the 'A' Train" and "Desafinado" provide an introduction to basic jazz styles such as swing and bossa nova. Other moods and styles are featured in classics such as "Autumn Leaves," "Misty," and "Night Train," and in original compositions such as "Equinox" and "Big City Blues." The book is arranged for the intermediate-level pianist and is especially written to create a "big" sound while remaining within the level.

(Bass Builders). This book/CD pack features over 50 examples covering walking bass, the two feel, 3/4 time, Latin, and ballads. It covers soloing, performance protocol, and includes seven complete tunes.

Antipodean Riffs is a collection of essays on Australian jazz and jazz in Australia. Chronologically they range from what could be called the 'prehistory' of the music - the tradition of US-sourced African-American music that predated the arrival of music billed as 'jazz' - to the present. Thematically they include studies of framing infrastructural mechanisms including the media. The volume also incorporates case studies of particular musicians or groups that reflect distinctive aspects of the Australian jazz tradition.

Laura Nyro (1947-1997) was one of the most significant figures to emerge from the singer-songwriter boom of the 1960s. She first came to attention when her songs were hits for Barbra Streisand, The Fifth Dimension, Peter, Paul and Mary, and others. But it was on her own recordings that she imprinted her vibrant personality. With albums like Eli and the Thirteenth Confession and New York Tendaberry she mixed the sounds of soul, pop, jazz and Broadway to fashion autobiographical songs that earned her a fanatical following and influenced a generation of music-makers. In later life her preoccupations shifted from the self to embrace public causes such as feminism, animal rights and ecology - the music grew mellower, but her genius was undimmed. This book examines her entire studio career from 1967's More than a New Discovery to the posthumous Angel in the Dark release of 2001. Also surveyed are the many live albums that preserve her charismatic stage presence. With analysis of her teasing, poetic lyrics and unique vocal and harmonic style, this is the first-ever study to concentrate on Laura Nyro's music and how she created it. Elton John idolised her; Joni Mitchell declared her 'a true original'. Here's why.

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.

Art Tatum was the greatest virtuoso performer in the history of jazz piano; his technique overwhelmed almost every jazz player who heard him and caused classical virtuosos to take notice.

Through extensive interviews with Tatum's friends and fellow musicians, James Lester captures the complexities of this remarkable talent and the vibrant jazz world of the 1930s and 1940s in which he played.

The Jazz Piano Songbook features twenty of the best jazz songs arranged for piano, voice and guitar, accurately transcribed to reflect the performances of leading jazz singers, from the traditional, such as Nat King Cole and Ella Fitzgerald to contemporary, such as Diana Krall and Jamie Cullum. Songs include Everytime We Say Goodbye, Fly Me To The Moon, I Get A Kick Out Of You and My Funny Valentine.

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.

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.

Graham Collier's career in jazz lasted over five decades. He was a bassist, a band-leader, a composer, an educator and an author, who wrote extensively about the music. His working life was littered with `firsts'. Amongst his many achievements, he was the first British jazz musician to study at the Berklee School of music in Boston and the first to receive an Arts Council grant. In 1985, Collier began teaching at the Royal Academy of Music, where he later established the first full-time jazz degree course in the UK in 1987. Mosaics draws extensively on Collier's personal archive, as well as on interviews with fellow musicians, ex-students and colleagues from the Royal Academy of Music. It locates Collier and his work within the social and cultural changes which occurred during his life and, particularly, in relation to developments in British and European jazz of the 1960s and 70s. Collier's work as a composer-bandleader represented an attempt to resolve the paradoxes inherent in jazz between composition and improvisation, familiarity and spontaneity and change and tradition. In this regard, Mosaics compares Collier's work with other composers such as Duke Ellington, Charles Mingus, Gil Evans, Mike Westbrook, Stan Tracey, Barry Guy and Butch Morris. Throughout, Collier emerges as a contradictory figure falling between several different camps. He was never an out-and-out musical, cultural or political radical but rather an individualist continually forced to confront the contradictions in his own position - a musical outsider working within a marginalised area of cultural activity; a gay man operating in a very male area of the music business and within heterosexist culture in general; a man of working class origins stepping outside traditionally prescribed class boundaries; and a musician-composer seeking individual solutions to collective problems of aesthetic and ethical value.

Charles Mingus is one of the most important-and most mythologized-composers and performers in jazz history. Classically trained and of mixed race, he was an outspoken innovator as well as a bandleader, composer, producer, and record-label owner. His vivid autobiography, Beneath the Underdog, has done much to shape the image of Mingus as something of a wild man: idiosyncratic musical genius with a penchant for skirt-chasing and violent outbursts. But, as the autobiography reveals, he was also a hopeless romantic. After exploring the most important events in Mingus's life, Krin Gabbard takes a careful look at Mingus as a writer as well as a composer and musician. He digs into how and why Mingus chose to do so much self-analysis, how he worked to craft his racial identity in a world that saw him simply as "black," and how his mental and physical health problems shaped his career. Gabbard sets aside the myth-making and convincingly argues that Charles Mingus created a unique language of emotions-and not just in music. Capturing many essential moments in jazz history anew, Better Git It in Your Soul will fascinate anyone who cares about jazz, African American history, and the artist's life.

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.

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