Remixing European Jazz Culture examines a jazz culture that emerged in the 1990s in cosmopolitan cities like Amsterdam, Rotterdam, Berlin, London, and Oslo - energised by the introduction of studio technologies into the live performance space, which has since developed into internationally recognised, eclectic, hybrid jazz styles. This book explores these oft-overlooked musicians and their forms that have nonetheless expanded the plane of jazz's continued prosperity, popularity, and revitalisation in the twenty-first century - one where remix is no longer the sole domain of studio producers. Seeking to update the orthodoxies of the field of jazz studies, Remixing European Jazz Culture: incorporates electronic and digital performance, recording, and distribution practices that have transformed the culture since the 1980s; provides a more diverse and multifaceted cultural representation of European jazz and the contributions of a variety of performers; and offers an encompassing picture of the depth of jazz practice that has erupted through Northern Europe since 1989. With an expansion of international networks and a disintegration of artistic boundaries, the collaborative, performative, and real-time improvisational process of remixing has stimulated a merging of the music's past and present within European jazz culture.

Written by an experienced and diverse lineup of veteran jazz educators, Teaching School Jazz presents a comprehensive approach to teaching beginning through high school-level jazz. Thoroughly grounded in the latest research, chapters are supported by case studies woven into the narrative. The book therefore provides not only a wealth of school jazz teaching strategies but also the perspectives and principles from which they are derived. The book opens with a philosophical foundation to describe the current landscape of school jazz education. Readers are introduced to two expert school jazz educators who offer differing perspectives on the subject. The book concludes with an appendix of recommended audio, visual, digital, and written resources for teaching jazz. Accompanied by a website of playing exercises and audio examples, the book is invaluable resource for pre- and in-service music educators with no prior jazz experience, as well as those who wish to expand their knowledge of jazz performance practice and pedagogy.

Is Jazz Dead? examines the state of jazz in America at the turn of the twenty-first century. Musicians themselves are returning to New Orleans, Swing, and Bebop styles, while the work of the '60s avant-garde and even '70s and '80s jazz-rock is roundly ignored. Meanwhile, global jazz musicians are creating new and exciting music that is just starting to be heard in the United States, offering a viable alternative to the rampant conservatism here. Stuart Nicholson's thought-provoking book offers an analysis of the American scene, how it came to be so stagnant, and what it can do to create a new level of creativity. This book is bound to be controversial among jazz purists and musicians; it will undoubtedly generate discussion about how jazz should grow now that it has become a recognized part of American musical history. Is Jazz Dead? dares to ask the question on all jazz fan's minds: Can jazz survive as a living medium? And, if so, how?

"Jean-Pierre was himself a musician, but his choice of instrument was a camera, which he never put away." - Michel Legrand "I am so happy to see Leloir's work published, because behind each image is a story - one that needs to be told and appreciated. Leloir was not just a photographer; instead he was a preserver of history. As a result, this book holds hundreds of stories that shine a light onto the lives of those who live in these pages. Leloir had a unique ability to preserve an entire atmosphere and its surrounding emotions. between the four corners of a picture, but beyond his talent as a photographers, he presented himself not as paparazzi, but a friend. He and my other brother Herman Leonard were two of a kind; they had the same passion for photography and an endless supply of vision." - Quincy Jones This book gives ample proof of Jean-Pierre Leloir's amazing ability to immortalise performers and to capture candid moments at the airport, backstage, and in the dressing rooms of the most legendary Paris jazz and concert venues: "I loved the people I photographed, so I made myself as available, yet as discreet as possible", he used to say. "I never wanted to be a paparazzi. I wanted them to forget my presence so I could catch those little unexpected moments." The selection of photographs showcased here has been carefully selected from Leloir's immense catalogue. Many of the images have never been previously published before, and can be easily catalogued as 'atypical' shots, as the musicians were captured primarily in spontaneous situations, away from the fanfare of the stage. Text in English with an introduction in English, French and Spanish.

Following the success of the first volume in Nikki Iles's acclaimed jazz series, this collection features sophisticated new jazz arrangements of Christmas classics, including 'Let it snow!', 'Rudolph, the red-nosed reindeer', 'Away in a manger', and 'Past three o'clock'. A wide variety of styles are represented, from swing and stride to boogaloo and calypso, and the expertly recorded CD, by Nikki Iles, helps with interpretation. With fully notated rhythms, grooves, and improvisations, Jazz on a Winter's Night 2 is the perfect collection for pianists looking for that authentic sound.

This volume gathers together and organizes in an easily accessible format all known information relevant to the life and work of the French jazz musician Django Reinhardt. Together with fellow musician, Stephane Grappelli, Reinhardt became one of the twentieth century's most celebrated jazz artists with performances he gave as part of the Quintet of the Hot Club of France. Essentially discographical in format, this book updates the original work compiled by Charles Delauney in 1960, and draws on later work by Gould, Nevers, Royal and Rust, to detail all known recordings by Reinhardt, together with known film, radio and television appearances. For each entry Paul Vernon provides, where known, the location of the recording, the date, the artist credit as it appears on the label of the original issue, the performers and the instruments played by them, the matrix number, the exact timing of the recording and details of 78, LP, EP and CD issues. Interspersed at the appropriate chronological points are biographical details about Reinhardt and the political, social and cultural climate of his time. This is augmented with excerpts from reviews, letters and other documents to provide a vivid context for his recording work.

Jazz in New Orleans provides accurate information about, and an insightful interpretation of, jazz in New Orleans from the end of World War II through 1970. Suhor, relying on his experiences as a listener, a working jazz drummer, and writer in New Orleans during this period, has done a great service to lovers of New Orleans music by filling in some gaping holes in postwar jazz history and cutting through many of the myths and misconceptions that have taken hold over the years. Skillfully combining his personal experiences and historical research, the author writes with both authority and immediacy. The text, rich in previously unpublished anecdotes and New Orleans lore, is divided into three sections, each with an overview essay followed by pertinent articles Suhor wrote for national and local journals including Down Beat and New Orleans Magazine. Section One, "Jazz and the Establishment," focuses on cultural and institutional settings in which jazz was first battered, then nurtured. It deals with the reluctance of power brokers and the custodians of culture in New Orleans to accept jazz as art until the music proved itself elsewhere and was easily recognizable as a marketable commodity. Section Two, "Traditional and Dixieland Jazz," highlights the music and the musicians who were central to early jazz styles in New Orleans between 1947 and 1953. Section Three, "An Invisible Generation," will help dispel the stubborn myth that almost no one was playing be-bop or other modern jazz styles in New Orleans before the current generation of young artists appeared in the 1980s.

1) This is the only book that is written as a coursebook for Improv, and directed to the college classroom. 2) Brings various aspects of the jazz learning process together -- practicing scales, chord arpeggios and melodic motives in 12 keys, along with the assimilation of the rhythmic nature of jazz and its related forms of (primarily African American) music -- in one systematic, organized and easy-to-assimilate manner. 3) Chapters are organized with: - a paragraph or two explaining a particular scale/harmonic basis or a common form used in jazz repertoire - suggested exercises, from basic scales to advanced melodic motives taken directly from recordings - a repertoire list that employs the harmonic, melodic or formal aspects being discussed in each chapter - concludes with a transcription of an improvised solo by a jazz master which illustrates how theory is put into practice. 4) Includes supplementary materials such as recordings of the transcribed solos, relevant Aebersold Play-Along recordings, and fake books

Contents:
Preface Acknowledgements Introduction 1. The Poetics of Jazz: From Symbolic to Semiotic 2. The Rehistoricizing of Jazz: Chicago's "Urban Bushmen" and the Problem of Representation 3. Performing Identity: Jazz Autobiography and the Politics of Literary Improvisation 4. "Space is the Place": Jazz, Voice, and Resistance 5. Nice Work If You Can Get It: Women in Jazz 6. Capitulating to Barbarism: Jazz and/as Popular Culture 7. Up for Grabs: The Ethicopolitical Authority of Jazz Conclusion Works Cited Sound and Video Recordings Consulted

Over the span of his illustrious five-decade career, George Benson has sold millions of records, performed for hundreds of millions of fans, and cut some of the most beloved jazz and soul tunes in music history. But the guitarist/vocalist is much more than "This Masquerade," "On Broadway," "Turn Your Love Around," and "Give Me the Night." Benson is a flat-out inspiration, a multitalented artist who survived an impoverished childhood and moulded himself into the first true- and truly successful- jazz/soul crossover artist. And now, on the heels of receiving the prestigious NEW Jazz Masters award, George has finally decided to tell his story. And what a story it is. Benson: The Autobiography follows George's remarkable rise from the ghettos of Pittsburgh to the stages of South Africa, and everywhere in between. George Benson is an unparalleled storyteller, and his tales of scuffling on the Chitlin Circuit with jazz legend Brother Jack McDuff, navigating his way through the recording studio with Miles Davis, and performing with the likes of Frank Sinatra, Tony Bennett, Stevie Wonder, Aretha Franklin, B.B. King, Quincy Jones, Benny Goodman, Rod Stewart, Chaka Khan, Count Basie, and Lou Rawls will enthrall devotees of both music history and pop culture.A treat for serious listeners, hardcore guitar aficionados, and casual music followers alike, George's long-awaited book allows readers to meet the man who is one of the most beloved, prolific, and bestselling musicians of his or any other era.

Pepperbox Jazz: Book 2, by Australian-based composer, teacher and writer Elissa Milne, further explores the sounds, moods and rhythms of the twenty-first century. These 11 evocative and humorous pieces in a variety of jazz styles are composed especially for the Grade 5-7/Advanced pianist. Elissa Milne is one of the liveliest voices in educational piano music and her Little Peppers series of colourful jazz miniatures has made a huge impact on the UK teaching scene. Pepperbox Jazz Book 1 and Book 2 is the perfect next-step for players who've enjoyed Little Peppers.

Take a walk down memory lane with The Big Band Reader!Benny Goodman, Cab Calloway, Count Basie, The Dorsey Brothers, Duke Ellington, and Glenn Miller were musical masters of their eras, enchanting and romancing audiences with their timeless classics. Relive these wonderful songs and memories through The Big Band Reader: Songs Favored by Swing Era Orchestras and Other Popular Ensembles, a unique and exciting collection of over 140 songs from over 70 bands that are categorized by themes, preferred numbers, and top songs! Paying tribute to better known swing bands, sweet bands (ensembles favoring softer, more sentimental numbers), and some unheralded bands (good ensembles that did not receive much attention or did not have a well-known leader), this book offers music enthusiasts up to four biographical essays relating to specific groups and their popular hits, giving you historical and informative facts about the songs and the people who performed them. Nostalgic and entertaining, The Big Band Reader is a one-of-a-kind book that provides you with specific details and research about your most cherished songs and their composers, such as: The Artie Shaw Orchestra, well-known for their classic hit "Begin the Beguine," by composer and lyricist Cole Porter The Benny Goodman Orchestra and their crowd favorite "And the Angels Sing," written and composed by Johnny Mercer The Billy Eckstine Orchestra's well-loved songs, including "Prisoner of Love," written by Leo Robin and "A Cottage for Sale," written by Larry Conley and composed by Willard Robison "Day in Day Out," with words and music by Johnny Mercer and Rube Bloom, which was a favorite of three big bands orchestras, Tommy Dorsey, Artie Shaw, and Bob Crosby Cab Calloway of the Cab Calloway Orchestra, along with Jack Palmer, and their hit "Jumpin'Jive" Thorough and fascinating, The Big Band Reader includes an appendix of the big bands arranged by themes to help you find a desired song or group. This remarkable reference will enable you to walk down memory lane and reminisce about the unforgettable songs of swing and its composers.

(Book). Through anecdotal biographies and evocative photos, this book by jazz author extraordinaire Scott Yanow portrays every key Afro-Cuban Jazz innovator past and present, plus other jazz artists influenced by this infectious music. Also includes reviews and ratings of recordings that make (or don't make) the cut, and essays packed with historical insight not found in other guides. Musicians covered include: Tito Puente, Cal Tjader, Willie Bobo, Machito, Poncho Sanchez, Chucho Valdes, Arturo Sandoval, Mongo Santamaria, Gato Barbieri, Eddie Palmieri, and many more.

Breaking through pervasive misconceptions, Jazz in the 1970s explores a pivotal decade in jazz history. Many consider the 1970s to be the fusion decade, but Bill Shoemaker pushes back against this stereotype with a bold perspective that examines both the diverse musical innovations and cultural developments that elevated jazz internationally. He traces events that redefined jazz's role in the broadband arts movement as well as the changing social and political landscape. Shoemaker immerses readers in the cultural transformation of jazz through: *official recognition with events like Jimmy Carter's White House Jazz Picnic and the release of The Smithsonian Collection of Classic Jazz; *the market validation of avant-garde musicians by major record labels and the concurrent spike in artist-operated record labels and performance spaces; *the artistic influence and economic impact of jazz festivals internationally; *the emergence of government and foundation grant support for jazz in the United States and Europe; *and the role of media in articulating a fast-changing scene. Shoemaker details the lives and work of well-known innovators (such as Art Ensemble of Chicago, Anthony Braxton and Sam Rivers) as well as barrier-breaking artists based in Europe (such as Derek Bailey, Peter Broetzmann and Chris McGregor) giving both longtime fans and newcomers insights into the moments and personae that shaped a vibrant decade in jazz.

The exercises in this book are designed to help students learn the scales, articulations, technic, and style necessary to play in the jazz idiom, particularly in the Big Band or swing styles.

(Book). By age 16, Pat Martino was already working as a member of R&B star Lloyd Price's touring musical revue. By age 18, Martino moved to Harlem, where he quickly earned a reputation as a hard-bopping six-stringer with formidable chops through a series of apprenticeships with the likes of honking tenor saxophonist Willis "Gaitor Tail" Jackson and Hammond B-3 organ master Jack McDuff. Martino made his auspicious debut as a leader at age 22 with 1967's El Hombre on Prestige and followed with a string of potent recordings for the label that further established him as one of the most distinctive guitar voices on the jazz scene. Then, at the peak of his powers, the bottom fell out. In 1980, he underwent surgery as the result of a nearly fatal brain aneurysm. The surgery left him without any memory of the guitar or his musical career. From that point, Martino undertook the long process of recovery, eventually learning how to play the guitar again; but more important, learning to transcend the instrument itself and live his life completely in the moment. More than just the remarkable story of one of the most original and profoundly influential guitarists in jazz history, this extraordinarily revealing autobiography is also a survival manual, of sorts, in overcoming incredible adversity and learning to live in the here and now.

Jazz Sells: Music, Marketing, and Meaning examines the issues of jazz, consumption, and capitalism through advertising. On television, on the Internet, in radio, and in print, advertising is a critically important medium for the mass dissemination of music and musical meaning. This book is a study of the use of the jazz genre as a musical signifier in promotional efforts, exploring how the relationship between brand, jazz music, and jazz discourses come together to create meaning for the product and the consumer. At the same time, it examines how jazz offers an invaluable lens through which to examine the complex and often contradictory culture of consumption upon which capitalism is predicated.

Birdland was a legendary nightclub in New York City and, from 1949 to 1965, was the scene for the greatest jazz music and musicians in the world. This illustrated book offers a history of this legendary jazz club and presents the greats who played its stage, in capsule biographies, vintage photos, and rare memorabilia. Named after legendary jazz saxophonist Charlie Yardbird Parker, the club showcased memorable double and triple bills lasting until dawn. Many classic live recordings were made at the Jazz Corner of the World, such as A Night at Birdland by the Art Blakey Quintet, Basie at Birdland, and Coltrane, Live at Birdland. Birdland established itself as the one place that every jazz musician had to play. Greats such as Charlie Parker, Dizzy Gillespie, Bud Powell, Miles Davis, Thelonious Monk, Count Basie, John Coltrane, Art Tatum, Art Blakey, Horace Silver, Clifford Brown, Ella Fitzgerald, Stan Getz, Lester Young, Billie Holiday, Oscar Peterson, and Sonny Rollins, to name only a few, graced its stage.

Throughout his life, Louis Armstrong tried to explain how singing with a barbershop quartet on the streets of New Orleans was foundational to his musicianship. Until now, there has been no in-depth inquiry into what he meant when he said, ""I figure singing and playing is the same,"" or, ""Singing was more into my blood than the trumpet."" Creating the Jazz Solo: Louis Armstrong and Barbershop Harmony shows that Armstrong understood exactly the relationship between what he sang and what he played, and that he meant these comments to be taken literally: he was singing through his horn. To describe the relationship between what Armstrong sang and played, author Vic Hobson discusses elements of music theory with a style accessible even to readers with little or no musical background. Jazz is a music that is often performed by people with limited formal musical education. Armstrong did not analyze what he played in theoretical terms. Instead, he thought about it in terms of the voices in a barbershop quartet. Understanding how Armstrong, and other pioneer jazz musicians of his generation, learned to play jazz and how he used his background of singing in a quartet to develop the jazz solo has fundamental implications for the teaching of jazz history and performance today. This assertive book provides an approachable foundation for current musicians to unlock the magic and understand jazz the Louis Armstrong way.

A People's Music presents the first full history of jazz in East Germany, drawing on new and previously unexamined sources and vivid eyewitness accounts. Helma Kaldewey chronicles the experiences of jazz musicians, fans, and advocates, and charts the numerous policies state socialism issued to manage this dynamic art form. Offering a radical revision of scholarly views of jazz as a musical genre of dissent, this vivid and authoritative study marks developments in the production, performance, and reception of jazz decade by decade, from the GDR's beginning in the 1940s to its end in 1990, examining how members of the jazz scene were engaged with (and were sometimes complicit with) state officials and agencies throughout the Cold War. From postwar rebuilding, to Stalinism and partition, to detente, Ostpolitik, and glasnost, and finally to its acceptance as a national art form, Kaldewey reveals just how many lives jazz has lived.

FROM THE PULITZER PRIZE-WINNING CRITIC AND ACCLAIMED AUTHOR OF NEGROLAND Shortlisted for the Gordon Burn Prize 2022 'This is one of the most imaginative - and therefore moving - memoirs I have ever read' - Vivian Gornick, author of Fierce Attachments Margo Jefferson boldly and brilliantly fuses cultural analysis and memoir to probe race, class, family and art. Taking in the jazz and blues icons whom Jefferson idolised as a child in the 1950s, ideas of what the female body could be - as incarnated by trailblazing Black dancers and athletes - Harriet Beecher Stowe's Topsy reimagined in the artworks of Kara Walker, white supremacy in the novels of Willa Cather, and more, this breathtakingly eloquent account is both a critique and a vindication of the constructed self. 'Margo Jefferson's Constructing a Nervous System is as electric as its title suggests. It takes vital risks, tosses away rungs of the ladder as it climbs, and offers an indispensable, rollicking account of the enchantments, pleasures, costs, and complexities of "imagin[ing] and interpret[ing] what had not imagined you' - Maggie Nelson, author of The Argonauts 'If you want to know who we are and where we've been, read Margo Jefferson' - Edmund White, author of A Previous Life 'This is a moving portrait of the life of a brilliant African American woman's mind. Margo Jefferson is so real, her sensibility so literary, her learning such a joy. The gifts of reading her are many' - Darryl Pinckney, author of Sold and Gone

(Keyboard Instruction). This book presents a concise history, or "survey" of jazz piano. In 13 hands-on lessons and 4 bonus performances, Dick Hyman explores the styles, musical vocabulary, and performers who have defined and shaped this elusive American art form over the last century. Starting with the pre-ragtime music of Louis Moreau Gottschalk and ragtime of Scott Joplin, and ending with the advanced scale types of Nicholas Slonimsky and music of McCoy Tyner, Mr. Hyman discusses and demonstrates the astonishing variety of jazz piano improvisation and the people and techniques that have shaped its evolution. The included DVD, showing all 13 lessons and 4 bonus performances, is filled with closeups of Mr. Hyman's hands as he plays and discusses these techniques. This fascinating package also features a preface and autobiography of Hyman. "From the pre-ragtime genesis of Louis Moreau Gottschalk to the modal post-bop of the great McCoy Tyner, this may be the finest lesson book not only in depth of material but in ease of use ... when you combine the publishing genius of Hal Leonard with the artistic brilliance of Dick Hyman then a five star recommendation is easy " Critical Jazz

One of the most popular and memorable American musicians of the 20th century, Nat King Cole (1919-65) is remembered today as both a pianist and a singer, a feat rarely accomplished in the world of popular music. Now, in this complete life and times biography, author Will Friedwald offers a new take on this fascinating musician, framing him first as a bandleader and then as a star. In Cole's early phase, Friedwald explains, his primary task of keeping his trio going was just as much of a focus for him as his own playing and singing, always a collective or group performance. In the second act, Cole's collaborators were more likely to be arranger-conductors like Nelson Riddle and Gordon Jenkins, rather than his sidemen on bass and guitar. In the first act, his sidemen were equals, in the second phase, his collaborators were tasked exclusively with putting the focus on him, making him sound good, while being largely invisible themselves. Friedwald brings his full musical knowledge to bear in putting the man in the work, demonstrating how this duality appears over and over again in Cole's life and career: jazz vs. pop, solo vs. trio, piano vs. voice, wife number one (Nadine) vs. wife number two (Maria), the good songs vs. the less-than-good songs, the rhythm numbers vs. the ballads, the funny songs and novelties vs. the "serious" songs of love and loss, Cole as an advocate for the Great American Songbook vs. Cole the intrepid explorer of other options: world music, rhythm & blues, country & western. Cole was different from his contemporaries in other ways; for roughly ten years after the war, the majority of hitmakers on the pop charts were veterans of the big band experience, from Sinatra on down.