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Books > Arts & Architecture > Music > Contemporary popular music > Jazz
When Genres Collide is a provocative history that rethinks the
relationship between jazz and rock through the lens of the two
oldest surviving and most influential American popular music
periodicals: Down Beat and Rolling Stone. Writing in 1955, Duke
Ellington argued that the new music called rock 'n' roll "is the
most raucous form of jazz, beyond a doubt." So why did jazz and
rock subsequently become treated as separate genres? The rift
between jazz and rock (and jazz and rock scholarship) is based on a
set of received assumptions about their fundamental differences,
but there are other ways popular music history could have been
written. By offering a fresh examination of key historical moments
when the trajectories and meanings of jazz and rock intersected,
overlapped, or collided, it reveals how music critics constructed
an ideological divide between jazz and rock that would be
replicated in American musical discourse for decades to follow.
Recipient of and Honorable Mention in the PROSE Award, Music &
the Performing Arts 2018.
25 original jazz guitar licks from the Harmonic minor scale and its
modes in tablature and notation.
- 120 bars of music over 25 licks (average lick length 4.8
bars)
- Video at full speed & Audio at full & half speed
(Downloadable)
- Backing tracks at full and slower practise speeds
(Downloadable)
- Scale diagrams with theory and technique tips for each
lick
- Guitar tablature has picking directions & fretting finger
guide numbers
African Roots of the Jazz Evolution discusses how jazz style
evolved from its original source - traditional African music.
Reflecting the continental interaction and cultural development
that took place over centuries, the book explores how melodic,
structural, rhythmic, and other musical elements from Africa are
manifested in African-American spirituals, the blues, and various
jazz forms. The book moves chronologically from the roots of blues
music through the advent of recording technology and into the
incorporation of new musical styles and electronic media. Beginning
with traditional African music, the text examines the sociocultural
context in which African-American music emerged and the ways it was
traditionally expressed. It also discusses the jazz innovators who
emerged in each decade of the 20th Century and their contributions
to jazz genres. Featuring reserve and in-class recording,
discussion questions, and listening exams African Roots of the Jazz
Evolution is an informed exploration of the African-America jazz
evolution within a broad sociopolitical context. It can be used in
a variety of courses in music, humanities, and ethnic studies.
25 original jazz guitar licks from the Major scale and its modes in
tablature and notation.
- 117 bars of music over 25 licks (average lick length 4.68
bars)
- Video at full speed & Audio at full & half speed
(Downloadable)
- Backing tracks at full and slower practise speeds
(Downloadable)
- Scale diagrams with theory and technique tips for each
lick
- Guitar tablature has picking directions & fretting finger
guide numbers
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.
Listen to This stands out as the first book exclusively dedicated
to Davis's watershed 1969 album, Bitches Brew. Victor Svorinich
traces its incarnations and inspirations for ten-plus years before
its release. The album arrived as the jazz scene waned beneath the
rise of rock and roll and as Davis (1926-1991) faced large changes
in social conditions affecting the African-American consciousness.
This new climate served as a catalyst for an experiment that many
considered a major departure. Davis's new music projected rock and
roll sensibilities, the experimental essence of 1960s'
counterculture, yet also harsh dissonances of African-American
reality. Many listeners embraced it, while others misunderstood and
rejected the concoction. Listen to This is not just the story of
Bitches Brew. It reveals much of the legend of Miles Davis--his
attitude and will, his grace under pressure, his bands, his
relationship to the masses, his business and personal etiquette,
and his response to extraordinary social conditions seemingly
aligned to bring him down. Svorinich revisits the mystery and
skepticism surrounding the album, and places it into both a
historical and musical context using new interviews, original
analysis, recently found recordings, unearthed session data sheets,
memoranda, letters, musical transcriptions, scores, and a wealth of
other material. Additionally, Listen to This encompasses a thorough
examination of producer Teo Macero's archives and Bitches Brew's
original session reels in order to provide the only complete
day-to-day account of the sessions.
Once there was a girl, pretty and smart and sexy. By her
mid-twenties, she'd acquired two husbands and two children, and
life wasn't going to plan... Then she met a man. Outrageous,
brilliant, impossible, charismatic and kind, he was irresistible.
Sex, drugs and jazz were a heady combination for the girl from
Essex. Suddenly it was the swinging sixties and she was juggling
babies with one hand and popping pills with the other. When George
Melly wasn't in jazz clubs, he was fishing - and not just for fish.
Brutally honest, hilariously candid, Diana Melly tells the
extraordinary story of a turbulent marriage, of the uncharted
trajectory of a woman's life from the fifties to the new century -
by way of a glitteringly seductive crowd that includes Bruce
Chatwin, Jean Rhys, Sonia Orwell, Kenneth Tynan, Jonathan Miller
and a host of other luminaries. Written with a unique and
clear-eyed self-effacement, here is an addictive, exceptional
memoir, glowing with life and love, that breaks your heart, but
makes you glad to be alive.
Hot Music, Ragmentation, and the Bluing of American Literature is a
multidisciplinary exploration of the ways that African American
"hot" music-minstrelsy, ragtime, jazz, and especially blues-emerged
into the American cultural mainstream in the nineteenth century and
ulti mately dominated American music and literature from 1920 to
1929. Exploring the deep and enduring relationship between music
and literature, Hot Music, Ragmentation, and the Bluing of American
Literature examines the diverse ways in which African American
"hot" music in fluenced American culture-particularly literature-in
early twentieth century America. Steven C. Tracy provides a history
of the fusion of Afri can and European elements that formed African
American "hot" music, and considers how terms like ragtime, jazz,
and blues developed their own particular meanings for American
music and society. He draws from the fields of literature, literary
criticism, cultural anthropology, American studies, and folklore to
demonstrate how blues as a musical and poetic form has been a
critical influence on American literature. Hot Music, Ragmentation,
and the Bluing of American Literature begins by highlighting
instances in which American writers, including Herman Melville,
Stephen Crane, and Gertrude Stein, use African American cul ture
and music in their work, and then characterizes the social context
of the Jazz Age, discussing how African American music reflected
the wild abandon of the time. Tracy focuses on how a variety of
schools of early twentieth century writers, from modernists to
members of the Harlem Renaissance to dramatists and more, used
their connections with "hot" music to give their own work meaning.
Tracy's extensive and detailed understanding of how African
American "hot" music operates has produced a fresh and original
perspective on its influence on mainstream American literature and
culture. An experienced blues musician himself, Tracy draws on his
performance background to offer an added dimension to his analysis.
Where an other blues scholar might only analyse blues language,
Tracy shows how the language is actually performed. Hot Music,
Ragmentation, and the Bluing of American Literature is the first
book to offer such a refreshingly broad interdisciplinary vision of
the influence of African American "hot" music on American
literature. It is an essential addition to the library of serious
scholars of American and African American literature and culture
and blues aficionados alike.
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