This year marks the golden anniversary of the Art Ensemble of Chicago, the flagship band of the Association for the Advancement of Creative Musicians. Formed in 1966 and flourishing until 2010, the Art Ensemble distinguished itself by its unique performance practices members played hundreds of instruments on stage, recited poetry, performed theatrical sketches, and wore face paint, masks, lab coats, and traditional African and Asian dress. The group, which built a global audience and toured across six continents, presented their work as experimental performance art, in opposition to the jazz industry's traditionalist aesthetics. In Message to Our Folks, Paul Steinbeck combines musical analysis and historical inquiry to give us the definitive study of the Art Ensemble. In the book, he proposes a new theory of group improvisation that explains how the band members were able to improvise together in so many different styles while also drawing on an extensive repertoire of notated compositions. Steinbeck examines the multimedia dimensions of the Art Ensemble's performances and the ways in which their distinctive model of social relations kept the group performing together for four decades. Message to Our Folks is a striking and valuable contribution to our understanding of one of the world's premier musical groups.

This brilliant biography of the cult guitar player will likely cause you to abandon everything you thought you knew about jazz improvisation, post-punk and the avant-garde. Derek Bailey was at the top of his profession as a dance band and record-session guitarist when, in the early 1960s, he began playing an uncompromisingly abstract form of music. Today his anti-idiom of "Free Improvisation" has become the lingua franca of the "avant" scene, with Pat Metheny, John Zorn, David Sylvian and Sonic Youth's Thurston Moore among his admirers.

New Orleans is a kind of Mecca for jazz pilgrims, as Whitney Balliett once wrote. This memoir tells the story of one aspiring pilgrim, Clive Wilson, who fell in love with New Orleans jazz in his early teens while in boarding school in his native England. It is also his story of gradually becoming disenchanted with his family and English environment and, ultimately, finding acceptance and a new home in New Orleans. The timing of his arrival, at age twenty-two, just a few weeks after the signing of the 1964 Civil Rights Act and the end of legal segregation, placed him in a unique position with the mostly African American musicians in New Orleans. They showed him around, brought him into their lives, gave him music lessons, and even hired him to play trumpet in brass bands. In short, Wilson became more than a pilgrim; he became an apprentice, and for the first time, legally, in New Orleans, he could make that leap. Time of My Life: A Jazz Journey from London to New Orleans tells the story of Wilson's journey as he discovers the contrast between his imagined New Orleans and its reality. Throughout, he delivers his impressions and interactions with such local musicians as "Fat Man" Williams, Manuel Manetta, Punch Miller, and Billie and DeDe Pierce. As his playing improves, invitations to play in local bands increase. Eventually, he joins in the jam and, by doing so, integrates the Original Tuxedo Jazz Band, which had been in continuous existence since 1911. Except for a brief epilogue, this memoir ends in 1979, when Wilson assembles his own band for the first time, the Original Camellia Jazz Band, with musicians who had been among his heroes when he first arrived in New Orleans.

This biography tells the story of one of the most notorious figures in the history of popular music, Morris Levy (1927-1990). At age nineteen, he cofounded the nightclub Birdland in Hell's Kitchen, which became the home for a new musical style, bebop. Levy operated one of the first integrated clubs on Broadway and helped build the careers of Dizzy Gillespie and Bud Powell and most notably aided the reemergence of Count Basie. In 1957, he founded a record label, Roulette Records. Roulette featured many of the significant jazz artists who played Birdland but also scored top pop hits with acts like Buddy Knox, Frankie Lymon and the Teenagers, Joey Dee and the Starliters, and, in the mid-1960s, Tommy James. Stories abound of Levy threatening artists, songwriters, and producers, sometimes just for the sport, other times so he could continue to build his empire. Along the way, Levy attracted "investors" with ties to the Mafia, including Dominic Ciaffone (a.k.a. "Swats" Mulligan), Tommy Eboli, and the most notorious of them all, Vincent Gigante. Gigante allegedly owned large pieces of Levy's recording and retail businesses. Starting in the late 1950s, the FBI and IRS investigated Levy but could not make anything stick until the early 1980s, when Levy foolishly got involved in a deal to sell remaindered records to a small-time reseller, John LaMonte. With partners in the mob, Levy tried to force LaMonte to pay for four million remaindered records. When the FBI secretly wiretapped LaMonte in an unrelated investigation and agents learned about the deal, investigators successfully prosecuted Levy in the extortion scheme. Convicted in 1988, Levy did not live to serve prison time. Stricken with cancer, he died just as his last appeals were exhausted. However, even if he had lived, Levy's brand of storied high life was effectively bust. Corporate ownership of record labels doomed most independents in the business, ending the days when a savvy if ruthless hustler could blaze a path to the top.

Graham Collier's radical new analysis of the place of the composer in jazz is nothing less than a complete reassessment of the direction in which the music is developing and a powerful argument for fresh thinking. He takes a detailed look at the music of Duke Ellington, Charles Mingus and Gil Evans. His views about jazz composition - jazz happens in real time, once - and about contemporary composers are clearly and strongly expressed, controversial and provocative. This book will appeal to lay readers, especially those who enjoy an argument, as well as professional musicians and teachers. Musical examples in the book are linked to the author's website. 'I find "The Jazz Composer" to be an insightful, intelligent, creative and artful view to the understanding of jazz composition. It is written and developed for all interested listeners, the novice as well as the performer, and shows the way to the deepest artistic level' - Justin DiCioccio, jazz educator. 'Composers - take heed! ...If you're confident in your compositional devices - take the challenge to have your foundations soundly rattled If you're searching for a methodology to follow or guide you, it could well lie here...Not for the squeamish . ..prepare to be provoked' - Mike Gibbs, jazz composer. 'Collier ...makes music that speaks directly ...strongly personal but in no way self-dramatising ...It's reassuring to learn that when he turns to prose, the same qualities are in place' - Brian Morton, jazz critic.

This book provides a timely analysis of the relationship between jazz and recording and broadcast technologies in the early twentieth century. Jazz histories have traditionally privileged qualities such as authenticity, naturalness and spontaneity, but to do so overlooks jazz's status as a modernist, mechanised art form that evolved alongside the moving image and visual cultures. Jazz as Visual Language shows that the moving image is crucial to our understanding of what the materiality of jazz really is. Focusing on Len Lye's direct animation, Gjon Mili's experimental footage of musicians performing and the BBC's Jazz 625 series, this book places emphasis on film and television that conveys the 'sound of surprise' through formal innovation, rather than narrative structure. Nicolas Pillai seeks to refine a critical vocabulary of jazz and visual culture whilst arguing that jazz was never just a new sound; it was also a new way of seeing the world.

Bop Apocalypse, a narrative history from master storyteller Martin Torgoff, details the rise of early drug culture in America by weaving together the disparate elements that formed this new segment of the American fabric. Channeling his decades of writing experience, Torgoff connects the birth of jazz in New Orleans, the first drug laws, Louis Armstrong, Mezz Mezzrow, the Federal Bureau of Narcotics, swing, Lester Young, Billie Holliday, the Savoy Ballroom, Reefer Madness, Charlie Parker, the birth of bebop, the rise of the Beat Generation, and the coming of heroin to Harlem. Having spent a lifetime immersed in the world where music and drugs overlap, Torgoff reveals material that is completely new and has never been disclosed before, not even in his own litany of work. Bop Apocalypse is truly a new and fresh contribution to the understanding of jazz, race, and drug culture.

"She made you think that she knew who you were, that she was singing only to you..." Miss Peggy Lee cast a spell when she sang. She purred so intimately in nightclubs that couples clasped hands and huddled closer. She hypnotized, even on television. Lee epitomized cool, but her trademark song, "Fever"-covered by Beyonce and Madonna-is the essence of sizzling sexual heat. Her jazz sense dazzled Ray Charles, Duke Ellington, and Louis Armstrong. She was the voice of swing, the voice of blues, and she provided four of the voices for Walt Disney's Lady and the Tramp, whose score she co-wrote. But who was the woman behind the Mona Lisa smile? With elegant writing and impeccable research, including interviews with hundreds who knew Lee, acclaimed music journalist James Gavin offers the most revealing look yet at an artist of infinite contradictions and layers. Lee was a North Dakota prairie girl who became a temptress of enduring mystique. She was a singer-songwriter before the term existed. Lee "had incredible confidence onstage," observed the Godfather of Punk, Iggy Pop; yet inner turmoil wracked her. She spun a romantic nirvana in her songs, but couldn't sustain one in reality. As she passed middle age, Lee dwelled increasingly in a bizarre dreamland. She died in 2002 at the age of eighty-one, but Lee's fascination has only grown since. This masterful account of Peggy Lee's strange and enchanting life is a long overdue portrait of an artist who redefined popular singing.

How do we speak about jazz? In this provocative study based on the author's deep immersion in the New York City jazz scene, Tom Greenland turns from the usual emphasis on artists and their music to focus on non-performing participants, describing them as active performers in their own right who witness and thus collaborate in a happening made one-of-a-kind by improvisation, mood, and moment. Jazzing shines a spotlight on the constituency of proprietors, booking agents, photographers, critics, publicists, painters, amateur musicians, fans, friends, and tourists that makes up New York City's contemporary jazz scene. Drawn from deep ethnographic research, interviews, and long term participant observation, Jazzing charts the ways New York's distinctive physical and social-cultural environment affects and is affected by jazz. Throughout, Greenland offers a passionate argument in favor of a radically inclusive conception of music-making, one in which individuals collectively improvise across social contexts to co-create community and musical meaning. An odyssey through the clubs and other performance spaces on and off the beaten track, Jazzing is an insider's view of a vibrant urban art world.

What is jazz? What is gained - and what is lost - when various communities close ranks around a particular definition of this quintessentially American music? "Jazz/Not Jazz" explores some of the musicians, concepts, places, and practices which, while deeply connected to established jazz institutions and aesthetics, have rarely appeared in traditional histories of the form. David Ake, Charles Hiroshi Garrett, and Daniel Goldmark have assembled a stellar group of writers to look beyond the canon of acknowledged jazz greats and address some of the big questions facing jazz today. More than just a history of jazz and its performers, this collections seeks out those people and pieces missing from the established narratives to explore what they can tell us about the way jazz has been defined and its history has been told.

Saxophone virtuoso Charlie "Bird" Parker began playing professionally in his early teens, became a heroin addict at 16, changed the course of music, and then died when only 34 years old. His friend Robert Reisner observed, "Parker, in the brief span of his life, crowded more living into it than any other human being." Like Louis Armstrong, Duke Ellington, Miles Davis, and John Coltrane, he was a transitional composer and improviser who ushered in a new era of jazz by pioneering bebop and influenced subsequent generations of musicians. Meticulously researched and written, Bird: The Life and Music of Charlie Parker tells the story of his life, music, and career. This new biography artfully weaves together firsthand accounts from those who knew him with new information about his life and career to create a compelling narrative portrait of a tragic genius. While other books about Parker have focused primarily on his music and recordings, this portrait reveals the troubled man behind the music, illustrating how his addictions and struggles with mental health affected his life and career. He was alternatively generous and miserly; a loving husband and father at home but an incorrigible philanderer on the road; and a chronic addict who lectured younger musicians about the dangers of drugs. Above all he was a musician, who overcame humiliation, disappointment, and a life-threatening car wreck to take wing as Bird, a brilliant improviser and composer. With in-depth research into previously overlooked sources and illustrated with several never-before-seen images, Bird: The Life and Music of Charlie Parker corrects much of the misinformation and myth about one of the most influential musicians of the twentieth century.

Sidney Bechet ranks among the greatest of the early masters of jazz, up there with Louis Armstrong, Duke Ellington and Dizzy Gillespie. Born of a Creole family in New Orleans, and very conscious of the evils of slavery, his genius flowered at an early age. He is acknowledged as the greatest ever player of the soprano saxophone and he also played the clarinet. He toured widely in the US and Europe. During his short stay in England in 1919 he played before King George V and Queen Mary. A plaque in his memory is planned for the place where her lived in London. From 1949 until his death in 1959 he lived in France where is still revered. Some of his compositions such as Petite Fleur are jazz classics. Daniel-Sidney Bechet was only five when his father died but his whole life has been spent promoting his father's memory and he became an accomplished jazz musician himself. This book describes his father's life as well ashis own. It provides fascinating glimpses of the world of jazz in the US and in France and of the personalities he encounters: Lena Horne, Edith Piaf, Yves Montand, Kenny Clarke, Moustache and many more. Included with the book a free CD of Bechet's music, "Homage"played by Daniel's own Jazz Quintet with a contribution from the internationally known African Jazz musician and saxophonist, Manu Dibango..