When originally published in 1974, Ekkehard Jost's Free Jazz was the first examination of the new music of such innovators as Sun Ra, Ornette Coleman, and the Art Ensemble of Chicago. Jost studied the music (not the lives) of a selection of musicians,black jazz artists who pioneered a new form of African American music,to arrive at the most in-depth look so far at the phenomenon of free jazz. Free jazz is not absolutely free, as Jost is at pains to point out. As each convention of the old music was abrogated, new conventions arose, whether they were rhythmic, melodic, tonal, or compositional, Coltrane's move into modal music was governed by different principles than Coleman's melodic excursions Sun Ra's attention to texture and rhythm created an entirely different big bang sound then had Mingus's attention to form.In Free Jazz, Jost paints a group of ten "style portraits",musical images of the styles and techniques of John Coltrane, Charles Mingus, Ornette Coleman, Cecil Taylor, Archie Shepp, Albert Ayler, Don Cherry, the Chicago-based AACM (which included Richard Abrams, Joseph Jarman, Roscoe Mitchell, Lester Bowie, Anthony Braxton, and the Art Ensemble of Chicago), and Sun Ra and his Arkestra. As a composite picture of some of the most compelling music of the 1960s and'70s, Free Jazz is unequalled for the depth and clarity of its analysis and its even handed approach.

(Evans Piano Education). Features 11 jazzy Christmas tunes arranged at the intermediate level in Lee Evans' inimitable style. Includes: Caroling, Caroling * The Christmas Song * The Christmas Waltz * Feliz Navidad * Frosty the Snow Man * (There's No Place Like) Home for the Holidays * I'll Be Home for Christmas * Let It Snow Let It Snow Let It Snow * A Marshmallow World * My Favorite Things * Silver Bells.

Eric Clapton's position as the world's greatest rock guitarist is unlikely to change in our lifetime. His career over the past four decades has been closely followed by millions of fans, as a member of the influential Yardbirds, John Mayall's Bluesbreakers, Cream, Blind Faith, Derek and the Dominoes, and for many years as a highly successful solo artist. He has a vast catalogue behind him. His rise to guitar hero in the 60s led to a much documented involvement with drugs. The historic Rainbow concert marked the beginning of his return. His turbulent marriage to Patti Boyd was another media favorite. Ultimately it is Clapton's music and complete mastery of the electric guitar which is his most important attribute. Unavailable for several years, Shapiro's earlier study, "Slowhand," established itself as one of the classics of rock biography. Here the life is fully reappraised and brought up-to-date to cover the tragic death of Clapton's son, Conor, in 1991 and includes a complete discography and many previously unpublished photographs.

Visions of Jazz: The First Century contains 79 chapters that illuminate the lives of virtually all major figures in jazz history. Poised to become a classic, this volume is an evocative journey through the first one hundred years of jazz music.

The second edition of this comprehensive history of the influence of Latin American Music on the United States will include important aspects of the relationship over the last 20 years. Roberts will discuss the major events in Latin jazz. he will update the careers of Tito Puente, Ruben Blades and Willie Colon and other legendary musicians, as well as the emrgence of newer bands. Roberts will add the merengue wave of the 1980s, latino rap and house music, the salsa romantica wave and the revival of the tango. He will discuss the Latin impact on mainstream popular music such as the rise of Selena. The new edition includes a new introduction, new chapter, updated bibliography, discography and glossary of terms.

Valerie Wilmer's 1970 classic, Jazz People, has long been considered one of the three or four finest books ever written on jazz. Featuring extensive interviews with fourteen jazz geniuses, including Art Farmer, Cecil Taylor, Eddie Lockjaw Davis, Thelonious Monk, Jimmy Heath, Clark Terry, Big Joe Turner, and Archie Shepp, Wilmer captures the essential qualities of each artist in her interviews, providing deeply moving portraits--in words and in photographs--of the often troubling lives of the musicians who changed the shape of jazz in the fifties and sixties.

Jews and Jazz: Improvising Ethnicity explores the meaning of Jewish involvement in the world of American jazz. It focuses on the ways prominent jazz musicians like Stan Getz, Benny Goodman, Artie Shaw, Lee Konitz, Dave Liebman, Michael Brecker, and Red Rodney have engaged with jazz in order to explore and construct ethnic identities. The author looks at Jewish identity through jazz in the context of the surrounding American culture, believing that American Jews have used jazz to construct three kinds of identities: to become more American, to emphasize their minority outsider status, and to become more Jewish. From the beginning, Jewish musicians have used jazz for all three of these purposes, but the emphasis has shifted over time. In the 1920s and 1930s, when Jews were seen as foreign, Jews used jazz to make a more inclusive America, for themselves and for blacks, establishing their American identity. Beginning in the 1940s, as Jews became more accepted into the mainstream, they used jazz to "re-minoritize" and avoid over-assimilation through identification with African Americans. Finally, starting in the 1960s as ethnic assertion became more predominant in America, Jews have used jazz to explore and advance their identities as Jews in a multicultural society.

Woody Herman was a central figure in the development of jazz - a musical giant whose career spanned the big band and bebop eras. Gene Lees has spent close to a decade interviewing Herman's friends and fellow musicians, to produce a vivid portrayal of the triumph and tragedy of a life in jazz.

Praised by the Washington Post as a "tough, unblinkered critic," James Lincoln Collier is probably the most controversial writer on jazz today. His acclaimed biographies of Louis Armstrong, Duke Ellington, and Benny Goodman continue to spark debate in jazz circles, and his iconoclastic articles on jazz over the past 30 years have attracted even more attention. With the publication of Jazz: The American Theme Song, Collier does nothing to soften his reputation for hard-hitting, incisive commentary. Questioning everything we think we know about jazz--its origins, its innovative geniuses, the importance of improvisation and spontaneous inspiration in a performance--and the jazz world, these ten provocative essays on the music and its place in American culture overturn tired assumptions and will alternately enrage, enlighten, and entertain.

Jazz: The American Theme Song offers music lovers razor-sharp analysis of musical trends and styles, and fearless explorations of the most potentially explosive issues in jazz today. In "Black, White, and Blue," Collier traces African and European influences on the evolution of jazz in a free-ranging discussion that takes him from the French colony of Saint Domingue (now Haiti) to the orderly classrooms where most music students study jazz today. He argues that although jazz was originally devised by blacks from black folk music, jazz has long been a part of the cultural heritage of musicians and audiences of all races and classes, and is not black music per se. In another essay, Collier provides a penetrating analysis of the evolution of jazz criticism, and casts a skeptical eye on the credibility of the emerging "jazz canon" of critical writing and popular history. "The problem is that even the best jazz scholars keep reverting to the fan mentality, suddenly bursting out of the confines of rigorous analysis into sentimental encomiums in which Hot Lips Smithers is presented as some combination of Santa Claus and the Virgin Mary," he maintains. "It is a simple truth that there are thousands of high school music students around the country who know more music theory than our leading jazz critics." Other, less inflammatory but no less intriguing, essays include explorations of jazz as an intrinsic and fundamental source of inspiration for American dance music, rock, and pop; the influence of show business on jazz, and vice versa; and the link between the rise of the jazz soloist and the new emphasis on individuality in the 1920s.

Impeccably researched and informed by Collier's wide-ranging intellect, Jazz: The American Theme Song is an important look at jazz's past, its present, and its uncertain future. It is a book everyone who cares about the music will want to read.

THE DEFINITIVE, INVESTIGATIVE BIOGRAPHY OFJAZZ LEGENDDAVE BRUBECK(TAKE FIVE) In 2003, music journalist Philip Clark was granted unparalleled access to jazz legend Dave Brubeck. Over the course of ten days, he shadowed the Dave Brubeck Quartet during their extended British tour, recording an epic interview with the bandleader. Brubeck opened up as never before, disclosing his unique approach to jazz; the heady days of his classic quartet in the 1950s-60s; hanging out with Duke Ellington, Charlie Parker, Louis Armstrong, and Miles Davis; and the many controversies that had dogged his 66-yearlong career. Alongside beloved figures like Ella Fitzgerald and Frank Sinatra, Brubeck has achieved name recognition beyond jazz. But finding a convincing fit for Brubeck's legacy, one that reconciles his mass popularity with his advanced musical technique, has proved largely elusive. In Dave Brubeck: A Life inTime, Clark provides us with a thoughtful, thorough, and long-overdue biography of an extraordinary man whose influence continues to inform and inspire musicians today. Structured around Clark's extended interview and intensive new research, this book recounts one of the last untold stories of jazz, unearthing the secret history of Take Five and many hitherto unknown aspects of Brubeck's early career-and sharing details about his creative relationship with his star saxophonist, Paul Desmond. Woven throughout are cameo appearances from a host of unlikely figures, from Sting, Ray Manzarek of The Doors, and Keith Emerson to John Cage, Leonard Bernstein, Harry Partch, and Edgard Varese. Each chapter explores a different theme or aspect of Brubeck's life and music, illuminating the core of his artistry and genius. To quote President Obama, as he awarded the musician with a Kennedy Center Honor: You can't understand America without understanding jazz, and you can't understand jazz without understanding Dave Brubeck.

When Twin Peaks debuted on the ABC network on the night of April 8, 1990, thirty-five million viewers tuned in to some of the most unusual television of their lives. Centered on an eccentric, coffee-loving FBI agent's investigation into the murder of a small town teen queen, Twin Peaks brought the aesthetic of arthouse cinema to a prime time television audience and became a cult sensation in the process. Part of Twin Peaks' charm was its unforgettable soundtrack by Angelo Badalamenti, a longtime musical collaborator of film director and Twin Peaks co-creator David Lynch. Badalamenti's evocative music, with its haunting themes and jazzy moodscapes, served as a constant in a narrative that was often unhinged and went on to become one of the most popular and influential television soundtracks of all time. How did a unique collaborative process between a director and composer result in a perfectly postmodern soundtrack that ran the gamut of musical styles from jazz to dreamy pop to synthesizer doom and beyond? And how did Badalamenti's musical cues work with Twin Peaks' visuals, constantly evolving and playing off viewers' expectations and associations? Under the guidance of Angelo Badalamenti's beautifully dark sonic palette, Clare Nina Norelli delves deep into the world of Twin Peaks to answer all this and more.

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.

New Jazz Conceptions: History, Theory, Practice is an edited collection that captures the cutting edge of British jazz studies in the early twenty-first century, highlighting the developing methodologies and growing interdisciplinary nature of the field. In particular, the collection breaks down barriers previously maintained between jazz historians, theorists and practitioners with an emphasis on interrogating binaries of national/local and professional/amateur. Each of these essays questions popular narratives of jazz, casting fresh light on the cultural processes and economic circumstances which create the music. Subjects covered include Duke Ellington's relationship with the BBC, the impact of social media on jazz, a new view of the ban on visiting jazz musicians in interwar Britain, a study of Dave Brubeck as a transitional figure in the pages of Melody Maker and BBC2's Jazz 625, the issue of 'liveness' in Columbia's Ellington at Newport album, a musician and promoter's views of the relationship with audiences, a reflection on Philip Larkin, Kingsley Amis and Eric Hobsbawm as jazz critics, a musician's perspective on the oral and generational tradition of jazz in a British context, and a meditation on Alan Lomax's Mr. Jelly Roll, and what it tells us about cultural memory and historical narratives of jazz.

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.

Born of poor Jewish immigrant parents in Chicago in 1909, Beny Goodman joined the local synagogue band at the age of ten with two of his brothers. As he was the smallest of the three he was given a clarinet. Within a decade he was a musical legend, constantly in demand for radio shows and guest appearances with America's leading jazz orchestras. In 1934 he formed his own band, and by the mid-1930s, Benny Goodman was hailed as the undisputed `King of Swing'. James Lincoln Collier brilliantly recreates the colourful popular music world of the 1920s and 1930s, when the music industry was just expanding, radio was the great source of musical entertainment, and swing bands were first finding national audiences. He also offers perceptive insights into the character and music of a man whose magic transformed the Depression years into the Swing Era.

The definitive biography of guitar icon and Grammy Award-winning artist Bill Frisell. FEATURING EXCLUSIVE LISTENING SESSIONS WITH: Paul Simon; Justin Vernon of Bon Iver; Gus Van Sant; Rhiannon Giddens; The Bad Plus; Gavin Bryars; Van Dyke Parks; Sam Amidon; Hal Willner; Jim Woodring; Martin Hayes & Dennis Cahill 'A beautiful and long overdue portrait of one of America's true living cultural treasures.' JOHN ZORN 'The perfect companion-piece to the music of its subject.' MOJO 'Outlines the subject's life in a series of scrupulous strokes and intimate interviews that are rare in such undertakings . . . a cool, casual victory.' IRISH TIMES Over a period of forty-five years, Bill Frisell has established himself as one of the most innovative and influential musicians at work today. Growing up playing clarinet in orchestras and marching bands, Frisell has progressed through a remarkable range of musical personas - from devotee of jazz master Jim Hall to 'house guitarist' of estimable German label ECM, from edgy New York downtown experimentalist to plaintive country and bluegrass picker. He has been a pioneering bandleader and collaborator, a prolific composer and arranger and a celebrated Grammy Award winner. A quietly revolutionary guitar hero who has synthesised many disparate musical elements into one compellingly singular sound, Frisell connects to a diverse range of artists and admirers, including Paul Simon, Elvis Costello, Lucinda Williams, Gus Van Sant, Marianne Faithfull and Justin Vernon, many of whom feature in this book. Through unprecedented access to the guitarist and interviews with his close family, friends and associates, Philip Watson tells Frisell's story for the first time. 'Stuffed with musical encounters, so many that every couple of pages there's an unheard Frisell recording for the reader to chase down.' NEW YORKER 'Bill Frisell, Beautiful Dreamer is the definitive biography.' BILL MILKOWSKI, DOWNBEAT 'Superb . . . the book races along like Sonny Rollins in full sail. Like subject, like writer: this is super-articulate, adventurous prose.' PERSPECTIVE '[Watson's] writing balances unbridled passion and dispassionate research nearly as deftly as Mr. Frisell's playing does sound and silence . . . compelling.' WALL STREET JOURNAL

Jazz Theory: From Basic to Advanced Study, Second Edition, is a comprehensive textbook for those with no previous study in jazz, as well as those in advanced theory courses. Written with the goal to bridge theory and practice, it provides a strong theoretical foundation from music fundamentals to post-tonal theory, while integrating ear training, keyboard skills, and improvisation. It hosts "play-along" audio tracks on a Companion Website, including a workbook, ear-training exercises, and an audio compilation of the musical examples featured in the book. Jazz Theory is organized into three parts: Basics, Intermediate, and Advanced. This approach allows for success in a one-semester curriculum or with subsequent terms. If students sense that theory can facilitate their improvisational skills or can help them develop their ears, they become more engaged in the learning process. The overall pedagogical structure accomplishes precisely that in an original, creative-and above all, musical-manner. KEY FEATURES include 390 musical examples, ranging from original lead sheets of standard tunes, jazz instrumentals, transcriptions, and original compositions, to fully realized harmonic progressions, sample solos, and re-harmonized tunes. The completely revamped Companion Website hosts: 46 "Play Along Sessions" audio tracks, offering experiences close to real-time performance scenarios. Over 1,000 (audio and written) exercises covering ear training, rhythm, notation, analysis, improvisation, composition, functional keyboard, and others. Recordings of all 390 musical examples from the textbook. Links: Guide to Making Transcriptions, List of Solos to Transcribe, Selected Discography, Classification of Standard Tunes, and more. Lists of well-known standard tunes, including a comprehensive list of 999 Standard Tunes - Composers and Lyricists. NEW TO THE SECOND EDITION are instructors' tools with answer keys to written and ear-training exercises, 380 rhythmic calisthenics featuring exercises from the swing, bebop, and Latin rhythmic traditions, a new improvisation section, a set of 140 Comprehensive Keyboard exercises, plus an expanded ear-training section with 125 melodic, 50 rhythmic dictations, and 170 harmonic dictations, plus 240 written exercises, 25 composition assignments, and 110 singing exercises. The paperback TEXTBOOK is also paired with the corresponding paperback WORKBOOK in a discounted PACKAGE (9780367321963).

Jazz Heritage brings together twenty years' of reviews, musicians' profiles, and critical essays by the renowned critic Martin Williams. This companion volume to the prize-winning The Jazz Tradition includes profiles of great performers at work in studios and clubs, "liner notes" for many classic recordings, and Williams's acclaimed critical essays on the artistry of Charlie Parker, Cecil Taylor, Thelonious Monk, Ella Fitzgerald, and others. Consistently eye-opening and original, these pieces are essential reading for jazz musicians, students, scholars, and fans.

Considered by some to be Budd Schulberg's masterpiece, "The Disenchanted" tells the tragic story of Manley Halliday, a fabulously successful writer during the 1920s--a golden figure in a golden age--who by the late 1930s is forgotten by the literary establishment, living in Hollywood and writing for the film industry. Halliday is hired to work on a screenplay with a young writer in his twenties named Shep, who is desperate for success and idolizes Halliday. The two are sent to New York City, where a few drinks on the plane begin an epic disintegration on the part of Halliday due to the forces of alcoholism he is heroically fighting against and the powerful draw of memory and happier times. Based in part on a real-life and ill-fated writing assignment between the author and F. Scott Fitzgerald in 1939, Schulberg's novel is at its heart a masterful depiction of Manley Halliday--at times bitter, at others sympathetic and utterly sorrowful--and "The Disenchanted" stands as one of the most compelling and emotional evocations of generational disillusionment and fallen American stardom.

A galvanizing history of how jazz and jazz musicians flourished despite rampant cultural exploitation The music we call "jazz" arose in late nineteenth century North America--most likely in New Orleans--based on the musical traditions of Africans, newly freed from slavery. Grounded in the music known as the "blues," which expressed the pain, sufferings, and hopes of Black folk then pulverized by Jim Crow, this new music entered the world via the instruments that had been abandoned by departing military bands after the Civil War. Jazz and Justice examines the economic, social, and political forces that shaped this music into a phenomenal US--and Black American--contribution to global arts and culture. Horne assembles a galvanic story depicting what may have been the era's most virulent economic--and racist--exploitation, as jazz musicians battled organized crime, the Ku Klux Klan, and other variously malignant forces dominating the nightclub scene where jazz became known. Horne pays particular attention to women artists, such as pianist Mary Lou Williams and trombonist Melba Liston, and limns the contributions of musicians with Native American roots. This is the story of a beautiful lotus, growing from the filth of the crassest form of human immiseration.

Jazz: The Basics gives a brief introduction to a century of jazz, ideal for students and interested listeners who want to learn more about this important musical style. The heart of the book traces jazz's growth from its folk origins through early recordings and New Orleans stars; the big-band and swing era; bebop; cool jazz and third stream; avant-garde; jazz-rock; and the neo-conservative movement of the 1980s and 1990s.

Key figures from each era including: Louis Armstrong, Benny Goodman, Charlie Parker, Miles Davis, and Wynton Marsalis are highlighted along with classic works. The book concludes with a list of the 100 essential recordings to own, along with a timeline and glossary. Jazz: The Basics serves as an excellent introduction to the players, the music, and the styles that make jazz 'America's classical music.'

Table of Contents

Chapter 1 Fundamentals; Chapter 2 Pre-Jazz; Chapter 3 Early Jazz Recordings; Chapter 4 Louis Armstrong; Chapter 5 The 1920S; Chapter 6 The Swing Era, Part I; Chapter 7 The Swing Era, Part II; Chapter 8 Bebop and the Moldy Figs; Chapter 9 Charlie Parker; Chapter 10 Thelonious Monk; Chapter 11 The 1950S; Chapter 12 Miles Davis; Chapter 13 Avant-Garde Jazz of The 1950s and Early 1960s; Chapter 14 John Coltrane; Chapter 15 The 1960s, Part I; Chapter 16 The 1960s, Part II; Chapter 17 The 1960s, Part III; Chapter 18 Postbop Pianists; Chapter 19 Fusion; Chapter 20 The 1980s and New Conservatism; Chapter 21 The Genre Busters; Chapter 22 Lately;

Louis Armstrong. "Satchmo." To millions of fans, he was just a great entertainer. But to jazz aficionados, he was one of the most important musicians of our times--not only a key figure in the history of jazz but a formative influence on all of 20th-century popular music. Set against the backdrop of New Orleans, Chicago, and New York during the "jazz age", Collier re-creates the saga of an old-fashioned black man making it in a white world. He chronicles Armstrong's rise as a musician, his scrapes with the law, his relationships with four wives, and his frequent feuds with fellow musicians Earl Hines and Zutty Singleton. He also sheds new light on Armstrong's endless need for approval, his streak of jealousy, and perhaps most important, what some consider his betrayal of his gift as he opted for commercial success and stardom. A unique biography, knowledgeable, insightful, and packed with information, it ends with Armstrong's death in 1971 as one of the best-known figures in American entertainment.

Saxophonist and composer Wayne Shorter has not only left his footprints on our musical terrain, he has created a body of work that is a monument to artistic imagination. Throughout Shorter's extraordinary fifty-year career, his compositions have helped define the sounds of each distinct era in the history of jazz.
Filled with musical analysis by Mercer, enlivened by Shorter's vivid recollections, and enriched by more than seventy-five original interviews with his friends and associates, this book is at once an invaluable history of music from bebop to pop, an intimate and moving biography, and a story of a man's struggle toward the full realization of his gifts and of himself.