Standard Lines Book III in the Constructing Walking Jazz Bass Lines series for the Electric Bassist is a comprehensive guide demonstrating the devices used to construct walking jazz bass lines in the jazz standard tradition. Book III covers 24 standard jazz chord progressions with 110 choruses of professional jazz bass lines as an example. Part I outlines the Modes and the chord scale relationships and the fundamental knowledge required to be able to build the diatonic triads and 7th chords in any key. Examples are given in the " 2 " feel and " 4 " feel walking bass style enabling the bassist to develop a strong rhythmic and harmonic foundation. More advanced bass line construction examples including voice leading and mode substitutions and mode applications related to specific jazz chord progressions are also outlined. Part II outlines the Symmetric Scales as well as the Modes of the Melodic Minor Scale related to the Minor II V I progression. Provided are written examples of the Symmetric Scales and the chord scale relationships and how to apply the use of the Symmetric Scales over popular jazz chord progressions. The Minor II V I is outlined and compared to the Major II V I outlining the differences with the suggested scale uses applied to common jazz chord progressions. Part III outlines the use of the BeBop Scales and their use in the jazz walking bass tradition, providing suggested uses of the Be Bop scales related to popular jazz chord progressions. Part IV outlines the previous lesson devices and concepts with examples of professional level bass lines over standard jazz chord progressions. All information builds in a stepwise progression enabling the bassist to apply the techniques in all 12 keys.

A method of learning jazz chords for mandolin players. Starts with swing and goes through modern jazz, showing chords and voicings that work with all.

A practical comprehensive guide to rock, jazz and pop arranged by one of Britain's most gifted and versatile musicians. Written in lively, accessible and entertaining style, this book contains everything the professional arranger or aspiring amateur needs to know, from setting out a lead sheet to scoring a full arrangement. The problems and pitfalls of writing for every group of instrument are discussed, from keyboards, drums and bass to brass strings, woodwind, percussion, guitar and a 'cappella' vocal writing. Packed with vital tips and hints, and presented in easy-to-use reference format, Rock, Jazz and Pop Arranging also includes two valuable appendices - on time saving shortcuts and chord symbols - and indispensable glossary.

A Living Jazz Legend, musician and composer David Baker has made a distinctive mark on the world of music in his nearly 60-year career as player (chiefly on trombone and cello), composer, and educator. In this richly illustrated volume, Monika Herzig explores Baker s artistic legacy, from his days as a jazz musician in Indianapolis to his long-term gig as Distinguished Professor and Chairman of the Jazz Studies department at Indiana University. Baker s credits are striking: in the 1960s he was a member of George Russell s "out there" sextet and orchestra; by the 1980s he was in the jazz educator s hall of fame. His compositions have been recorded by performers as diverse as Dexter Gordon and Janos Starker, the Beaux Arts Trio, the Composer s String Quartet and the Czech Philharmonic. Featuring enlightening interviews with Baker and a CD of unreleased recordings and Baker compositions, this book brings a jazz legend into clear view."

TONY BENNETT: Harold Jones is one of the finest men I know. I have reviewed "The Singer's Drummer" and it is a Knock-Out I am happy that someone is putting together a history of what really happens on the road. This is a very creative work. Best of luck with the book COUNT BASIE: A great drummer can mean everything to a band. Harold Jones has really pulled us together. LOUIS BELLSON: Harold Jones was Count Basie's favorite drummer. BILL COSBY: Harold is a master of mind, hands, feet and touch. His playing is very delicate, like handling the very finest crystal and china and when he is done, there's no damage. NATALIE COLE: Harold is one of the best jazz drummers in the world. NANCY WILSON: When I speak of my "Gentlemen" I am referring to a select group of super-talented musicians with whom I have had the good fortune to work. Harold was a treasured member of my trio in the mid-70's, a class act both as a musician and a man. I commend him as one of my gentlemen. JON HENDRICKS: Harold always pulled the band back of us singers. Harold always swings and he is a beautiful, sensitive cat. GEORGE YOUNG: Playing with Harold is like taking a warm bath. All you have to do is lay back and enjoy the swinging feel of his playing. JOHN BADESSA: Harold won the Downbeat International Award as the "Best New Artist and Big Band Drummer" in 1972. He has not relinquished his title. He is still the best big band drummer in the world.

"A career in music ... is a calling with such a strong pull; you'd think a tide was sucking you under. It becomes an intense obsession of such great intensity that you can almost think of nothing else, it drives you with a fever and fervor."

In the early 70s, an idealistic young man - Brian Torff - arrived in New York to pursue his passion for music. During an excursion to Long Island, Brian found his dream instrument: a 1775 re-built Nicola Galliano bass.

Such was the beginning of a career that led Torff from Cafe Carlyle to Carnegie Hall, Lincoln Center, the Kennedy Center, and the White House. He has toured worldwide with the greatest: from Frank Sinatra, Mel Torme, George Shearing, and Erroll Garner to Stephane Grappelli, Benny Goodman, Mary Lou Williams, and Marian McPartland.

As Brian notes, "bass players do a lot of observing from the back of the bandstand." It is this supportive role that qualifies Torff to share his insight into jazz music, and its many personalities. Torff takes us beyond the music by adding depth with his vision of American music, and paints vivid portraits of the musicians with whom he played.

Torff's memoir is one of creativity, and determination mixed with timing, and plain good luck. His sharp narrative not only brings the legends of jazz to life, but reading about them here will certainly motivate you to add some music to your collection.

"Sonic Resource Guide" is a reference book for the application of set theory principles to jazz improvisation. It is meant for the musician who wants to explore new sounds for improvisation or composition.The aim of "Sonic Resource Guide" is to bridge the gap between highly mathematical pitch class theory books and the often limited scope of jazz improvisation methods by demonstrating various musical relationships that an improviser can use to create fresh sounding musical content.The book reduces note relationships down to two hundred and twenty prime forms. Endless combinations of notes can be derived from these prime forms which are commonly referred to as pitch class sets.The various melodic and harmonic relationships of these pitch class sets are listed to help a musician locate and utilize these relationships within their own playing. Along with each pitch class set is a listing of possible related jazz chords.Where appropriate a listing of all three and four note chords can be found to aid in creating varied and unique harmonic pallettes, as well as three, four, six and eight note subset relationships to help in exploring subset based musical ideas.Jazz musicians will find this book user friendly because all relationships are listed as both pitch names and scale degrees. Set theory students will find each pitch class set is also expressed in its prime form.An index containing a simplified set list is also included to help in locating a prime form's scales from any note combination. There is also a brief theory section exploring some of the uses of the information presented. Further books will explore these theoretical relationships in depth.

Fred Astaire: one of the great jazz artists of the twentieth century. Astaire is best known for his brilliant dancing in the movie musicals of the 1930s, but in "Music Makes Me", Todd Decker argues that Astaire's work as a dancer and choreographer - particularly in the realm of tap dancing - made a significant contribution to the art of jazz. Decker examines the full range of Astaire's work in filmed and recorded media, from a 1926 recording with George Gershwin to his 1970 blues stylings on television, and analyzes Astaire's creative relationships with the greats, including George and Ira Gershwin, Irving Berlin, Jerome Kern, and Johnny Mercer. He also highlights Astaire's collaborations with African American musicians and his work with lesser known professionals - arrangers, musicians, dance directors, and performers.

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.

Constructing Walking Jazz Bass Lines Book I Walking Bass Lines - The Blues in 12 Keys The Blues in 12 Keys is a complete guide demonstrating the devices used to construct walking bass lines in the jazz tradition. The book starts out in Part 1 by demonstrating the various techniques used to provide forward motion into the bass lines, while providing a strong harmonic and rhythmic foundation. The exercises are designed to give the double bassist and electric bassist strong jazz bass lines in the bottom register of the instrument. As an added bonus for the Double Bassist Part 1 provides a complete study of the blues in F whilst in the first position. This is an excellent technique builder in itself. Part 2 expands on the lessons and techniques used in Part 1 providing the bassist with the previous devices used in professional level bass lines in all 12 keys. Included is over 150 choruses of jazz blues lines in all 12 keys using the whole register of the instrument. There are many advanced principles applied in the following bass lines whilst never losing sight of the functioning principle of the bass in the jazz idiom. To provide a strong foundation of rhythm and harmony for the music being played & providing support for the melody and or soloist.

America's most widely used introduction to jazz text aims at capturing the minds of students to jazz, by teaching them the history of the style and showing them how to listen to jazz critically. While its chronological set up serves as a great resource for beginners, Jazz Styles has been adopted by music history afficianados and advanced musicians because of its in-depth analysis of musical elements and its technical appendices that discuss advanced music theory concepts. This new edition incorporates coverage of new celebrated jazz musicians, and features an online supplement MyMusicLab, which will offer quick ways for students to watch related videos and hear highlighted musical examples. This Books a la Carte Edition is an unbound, three-hole punched, loose-leaf version of the textbook and provides students the opportunity to personalize their book by incorporating their own notes and taking only the portion of the book they need to class -- all at a fraction of the bound book price.

Standard Lines, Book III in the Constructing Walking Jazz Bass Lines series for the Double Bassist and Electric Bassist is a comprehensive guide demonstrating the devices used to construct walking jazz bass lines in the jazz standard tradition. Book III covers 24 standard jazz chord progressions with 110 choruses of professional jazz bass lines as an example. Part I outlines the Modes and the chord scale relationships and the fundamental knowledge required to be able to build the diatonic triads and 7th chords in any key. Examples are given in the " 2 " feel and " 4 " feel walking bass style enabling the bassist to develop a strong rhythmic and harmonic foundation. More advanced bass line construction examples including voice leading and mode substitutions and mode applications related to specific jazz chord progressions are also outlined. Part II outlines the Symmetric Scales as well as the Modes of the Melodic Minor Scale related to the Minor II V I progression. Provided are written examples of the Symmetric Scales and the chord scale relationships and how to apply the use of the Symmetric Scales over popular jazz chord progressions. The Minor II V I is outlined and compared to the Major II V I outlining the differences with the suggested scale uses applied to common jazz chord progressions. Part III outlines the use of the BeBop Scales and their use in the jazz walking bass tradition, providing suggested uses of the Be Bop scales related to popular jazz chord progressions. Part IV outlines the previous lesson devices and concepts with examples of professional level bass lines over standard jazz chord progressions. All information builds in a stepwise progression enabling the bassist to apply the techniques in all 12 keys.

Rhythm Changes in 12 Keys is Book II in the " Constructing Walking Jazz Bass Lines " series for the Double Bassist and Electric Jazz Bassist. Rhythm Changes in 12 Keys compliments Book I " The Blues in 12 Keys " by following on with an in depth study of " must know " Jazz chord progressions for the aspiring Jazz Bassist. Rhythm Changes in 12 Keys is a complete guide demonstrating how to construct walking jazz bass lines in the jazz tradition. Part 1 of the book outlines and demonstrates the various techniques used by professional Jazz Bassists to provide forward motion and a strong harmonic and rhythmic foundation into bass lines. Part 2 of the book outlines Rhythm Changes in 12 keys with over 70 choruses of professional jazz bass lines. for Beginner to Advanced students.

Constructing Walking Jazz Bass Lines Book I -The Blues in 12 Keys is a complete guide demonstrating the devices used to construct walking bass lines in the jazz tradition. Part 1 demonstrates the techniques used by professional jazz bassists to provide forward motion into bass lines, while providing a strong harmonic and rhythmic foundation. Part I includes triads, 7th chords, voice leading, playing over the bar line, chord substitutions, pedal points, harmonic anticipation and chromatic approach notes. The exercises are designed to give the Electric Bassist strong jazz bass lines in the bottom register of the instrument. As an added bonus for the Electric Bassist Part 1 provides a complete study of the Blues in F whilst in the first and open positions. This is an excellent technique builder. Part 2 expands on the lessons and techniques used in Part 1 providing the bassist with the previous devices used in professional level bass lines in all 12 keys. Included is over 150 choruses of Jazz Blues lines in all 12 keys using the whole register of the instrument. There are many advanced principles applied in the following bass lines whilst never losing sight of the functioning principle of the bass in the jazz idiom. To provide a strong foundation of rhythm and harmony for the music being played & providing support for the melody and or soloist.

Rhythm Changes like the " Blues " is an essential part of the Jazz musicians vocabulary. Book II in the Constructing Walking Jazz Bass Lines series Rhythm Changes in 12 Keys provides various insights into how the Rhythm Changes song form may be approached by the Jazz Bassist. Part I outlines the Rhythm Changes form and provides examples of how to construct walking jazz bass lines using voice leading, chromatic passing tones, pedal points, tri-tone substitutions, and harmonic anticipation. Part II provides an in-depth look at the Rhythm Changes A sections and shows the common chord substitutions used by the bebop musicians when improvising. Part III provides an in-depth look at the Bridge or B section providing various chord substitutions used when improvising and walking bass lines. Part IV outlines Rhythm Changes in 12 keys using all the previous lesson topics and bass line examples outlined in the book. Included are over 100 choruses of professional jazz bass lines in all 12 keys. Suitable for the beginning to advanced electric bassist.

When it appeared in 1950, this biography of Ferdinand "Jelly Roll" Morton became an instant classic of jazz literature. Now back in print and updated with a new afterword by Lawrence Gushee, "Mister Jelly Roll" will enchant a new generation of readers with the fascinating story of one of the world's most influential composers of jazz. Jelly Roll's voice spins out his life in something close to song, each sentence rich with the sound and atmosphere of the period in which Morton, and jazz, exploded on the American and international scene. This edition includes scores of Jelly Roll's own arrangements, a discography and an updated bibliography, a chronology of his compositions, a new genealogical tree of Jelly Roll's forebears, and Alan Lomax's preface from the hard-to-find 1993 edition of this classic work. Lawrence Gushee's afterword provides new factual information and reasserts the importance of this work of African American biography to the study of jazz and American culture.

Stormy Weather is a biography of Lena Horne, one Hollywood's stars, and one of the first Tony and Grammy winning stars, who opened doors for black female entertainers such as Eartha Kitt, Sarah Vaughn, Diahann Carroll, Aretha Franklin, and Diana Ross, to name a few. She was glamorous, seductive, and dignified. But under her well-crafted look of elegance and grace, lay a tidal wave of rage. By the 90s, as a defence mechanism, she had shut nearly everyone out of her life. James Gavin tells the story of Lena: the legend and the mystery. He has amassed an incredible collection of source material including: 60 hours of recorded conversations with the singer dating back to the early 50s. 40 hours of TV specials, guest appearances and other rare footage spanning her career. He has interviewed among many others: Johnny Mathis, Bobby Short, Abbey Lincoln, Ruby Dee, Carmen Delavallade, Geoffrey Holder, and Ms Horne herself.

All a beginner, comeback player, or serious student of jazz needs to know about jazz theory. The first of 3 parts. More information including free samples at: www.allabouttrumpet.com/BJT/

Arranging for the Small Jazz Ensemble presents an innovative approach to the challenging subject of jazz arranging. The author, Robert Larson, has narrowed down the choices of instrumentation and texture in such a way that anyone from a novice jazz enthusiast to a seasoned professional can learn how to arrange jazz standards and originals in a relatively short period of time. Four original jazz tunes are used throughout the book to demonstrate texture, instrumentation, introductions, endings, interludes, solo backgrounds, solis, and shout choruses. Each chapter contains exercises that give the reader a chance to practice the techniques learned in that chapter. By the end of the study, the reader will be equipped to create a complete jazz arrangement. With everything you need here in one book, why aren't you Arranging for the Small Jazz Ensemble?

... over 2000 jazz pianists listing the title of album or CD
... introducing you to the great and the unknown jazz pianists
... discography of the amazing Bernard Peiffer and Jessica Williams
... information on cdbaby
... great for collectors and musicians searching out new artists
... links to important sites
... if you enjoy piano jazz, this is a must for your library