It's impossible to think of the heritage of music and dance in the United States without the invaluable contributions of African Americans. Those art forms have been touched by the genius of African American culture and have helped this nation take its important and unique place in the pantheon of world art. Steppin' on the Blues explores not only the meaning of dance in African American life but also the ways in which music, song, and dance are interrelated in African American culture. Dance as it has emanated from the black community is a pervasive, vital, and distinctive form of expression--its movements speak eloquently of African American values and aesthetics. Beyond that it has been, finally, one of the most important means of cultural survival. Former dancer Jacqui Malone throws a fresh spotlight on the cultural history of black dance, the Africanisms that have influenced it, and the significant role that vocal harmony groups, black college and university marching bands, and black sorority and fraternity stepping teams have played in the evolution of dance in African American life. From the cakewalk to the development of jazz dance and jazz music, all Americans can take pride in the vitality, dynamism, drama, joy, and uncommon singularity with which African American dance has gifted 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.

It's a misty night in 1950s New York. A silver Rolls-Royce screeches to a stop at the neon-lit doorway of a 52nd Street jazz club. Behind the wheel is a glamorous brunette, a chinchilla stole draped over her shoulder and a long cigarette holder clinched in her teeth. After taking a pull from a small silver flask, she glides past the bouncer into the murky depths of the Three Deuces. The Jazz Baroness has arrived. Raised in fairy-tale splendor, Kathleen Annie Pannonica Rothschild de Koenigswarter (known as "Nica") piloted her own plane across the English Channel, married a French baron, fought in the French Resistance, and had five children. Then she heard a recording of Thelonious Monk's "Round Midnight." Inspired by the liberating spirit of jazz, Nica left her family, moved to Manhattan, and began haunting the city's nightclubs. The tabloids first splashed her name across the headlines after Charlie Parker died in her hotel suite-a scandal that cast a dark shadow over the rest of her life. She retreated from the public eye, but through her ongoing ministrations to Monk and dozens of other musicians she became a legend. Nearly a score of jazz compositions have been written in her honor, including two of the most beloved classics of the genre: Horace Silver's "Nica's Dream" and Monk's "Pannonica." Nica's Dream traces the story of a fascinating woman across her thirty-year reign as the Jazz Baroness, but it also explores a transformative era in twentieth-century American culture. Based on interviews with musicians, family members, historians, and artists, David Kastin's probing biography unwraps the life of this enigmatic figure and evokes the vibrancy of New York during the birth of bebop, the first stirrings of the Beat Generation, and the advent of abstract expressionism.

The New Yorker recently referred to Pat Metheny as 'possibly the most influential jazz guitarist of the past five decades.' A native of Lee's Summit, Missouri, just southeast of Kansas City, Metheny started playing in pizza parlors at age fourteen. By the time he graduated from high school he was the first-call guitarist for Kansas City jazz clubs, private clubs, and jazz festivals. Now 66, he attributes his early success to the local musical environment he was brought up in and the players and teachers who nurtured his talent and welcomed him into the jazz community. Metheny's twenty Grammys in ten categories speak to his versatility and popularity. Despite five decades of interviews, none have conveyed in detail his stories about his teenage years. Beneath Missouri Skies also reveals important details about jazz in Kansas City during the sixties and early seventies, often overlooked in histories of Kansas City jazz. Yet this time of cultural change was characterized by an outstanding level of musicianship. Author Carolyn Glenn Brewer shows how his keen sense of ensemble had its genesis in his school band under the guidance of a beloved band director. Drawn from news accounts, archival material, interviews, and remembrances, to which the author had unique access, Beneath Missouri Skies portrays a place and time from which Metheny still draws inspiration and strength.

Charles Mingus is among jazz's greatest composers and perhaps its most talented bass player. He was blunt and outspoken about the place of jazz in music history and American culture, about which performers were the real thing (or not), and much more. These in-depth interviews, conducted several years before Mingus died, capture the composer's spirit and voice, revealing how he saw himself as composer and performer, how he viewed his peers and predecessors, how he created his extraordinary music, and how he looked at race. Augmented with interviews and commentary by ten close associates--including Mingus's wife Sue, Teo Macero, George Wein, and Sy Johnson--"Mingus Speaks" provides a wealth of new perspectives on the musician's life and career.
As a writer for "Playboy, " John F. Goodman reviewed Mingus's comeback concert in 1972 and went on to achieve an intimacy with the composer that brings a relaxed and candid tone to the ensuing interviews. Much of what Mingus shares shows him in a new light: his personality, his passions and sense of humor, and his thoughts on music. The conversations are wide-ranging, shedding fresh light on important milestones in Mingus's life such as the publication of his memoir, "Beneath the Underdog," the famous Tijuana episodes, his relationships, and the jazz business.

Discover Pam Wedgwood's exciting world of jazz piano! How to Play Jazz Piano is a fun and simple introduction for young players with a basic knowledge of how to play the piano (about Grade 2 standard). It includes an introduction to improvisation, suggested listening ideas and covers swing, syncopated rhythms, basic chords and chord symbols, scales and modes used in jazz. There are also plenty of great pieces in different styles, online audio and Pam's helpful advice and teaching tips every step of the way!

Stephen Botek apprenticed at the side of some of the greats of the jazz era, learning not only about music, but about life. Growing up in small-town Pennsylvania in the shadow of the Dorseys, Botek decides to follow his muse to a future in jazz. He gets mentored by clarinet great Buddy DeFranco and saxophone legend Joe Allard, meets up with greats such as Artie Shaw and Dizzy Gillespie along the way, and follows in Glenn Miller's footsteps with the Army Air Force Band. A primer on the jazz era, as well as an account of the benefits of apprenticeship, SONG ON MY LIPS not only recounts stories of the greats but takes us backstage, to their studios, and to many of the unique venues of the time. Jazz aficionados and new musicians alike will learn much about the music from this unique life story.

Miles Davis's Bitches Brew is one of the most iconic albums in American music, the preeminent landmark and fertile seedbed of jazz-fusion. Fans have been fortunate in the past few years to gain access to Davis's live recordings from this time, when he was working with an ensemble that has come to be known as the Lost Quintet. In this book, jazz historian and musician Bob Gluck explores the performances of this revolutionary group Davis's first electric band to illuminate the thinking of one of our rarest geniuses and, by extension, the extraordinary transition in American music that he and his fellow players ushered in. Gluck listens deeply to the uneasy tension between this group's driving rhythmic groove and the sonic and structural openness, surprise, and experimentation they were always pushing toward. There he hears and outlines a fascinating web of musical interconnection that brings Davis's funk-inflected sensibilities into conversation with the avant-garde worlds that players like Ornette Coleman and John Coltrane were developing. Going on to analyze the little-known experimental groups Circle and the Revolutionary Ensemble, Gluck traces deep resonances across a commercial gap between the celebrity Miles Davis and his less famous but profoundly innovative peers. The result is a deeply attuned look at a pivotal moment when once-disparate worlds of American music came together in explosively creative combinations.

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

Hearing Luxe Pop explores a deluxe-production aesthetic that has long thrived in American popular music, in which popular-music idioms are merged with lush string orchestrations and big-band instrumentation. John Howland presents an alternative music history that centers on shifts in timbre and sound through innovative uses of orchestration and arranging, traveling from symphonic jazz to the Great American Songbook, the teenage symphonies of Motown to the "countrypolitan" sound of Nashville, the sunshine pop of the Beach Boys to the blending of soul and funk into 1970s disco, and Jay-Z's hip-hop-orchestra events to indie rock bands performing with the Brooklyn Philharmonic. This book attunes readers to hear the discourses gathered around the music and its associated images as it examines pop's relations to aspirational consumer culture, theatricality, sophistication, cosmopolitanism, and glamorous lifestyles.

Following on from "Giant Steps" comes the second installment in Kenny Mathieson's series of jazz histories

"Cookin'" examines the birth and development of two of the key jazz styles of the postwar era, hard bop and its related offshoot, soul jazz. Hard bop was the most exciting jazz style of its day, and remains at the core of the modern jazz mainstream even now. It drew on the twin poles of bebop and the blues for its foundation, spiced up with gospel, Latin, and rhythm and blues influences. The book looks at the founding fathers of the form, Art Blakey and Horace Silver, and goes on to trace the music through its peak decade. The second installment of Kenny Mathieson's series of jazz histories provides a fine overview of one of the most exciting periods in the music's development and features profiles of Cannonball Adderley, Donald Byrd, Lou Donaldson, Grant Green, and J.J. Johnson, among others.

Bud Powell was not only one of the greatest bebop pianists of all time, he stands as one of the twentieth century's most dynamic and fiercely adventurous musical minds. His expansive musicianship, riveting performances, and inventive compositions expanded the bebop idiom and pushed jazz musicians of all stripes to higher standards of performance. Yet Powell remains one of American music's most misunderstood figures, and the story of his exceptional talent is often overshadowed by his history of alcohol abuse, mental instability, and brutalization at the hands of white authorities. In this first extended study of the social significance of Powell's place in the American musical landscape, Guthrie P. Ramsey, Jr. shows how the pianist expanded his own artistic horizons and moved his chosen idiom into new realms. Illuminating and multi-layered, "The Amazing Bud Powell" centralizes Powell's contributions as it details the collision of two vibrant political economies: the discourses of art and the practice of blackness.

'You the funkiest man alive.' Miles Davis' accolade was the perfect expression of John Lee Hooker's apotheosis as blues superstar: recording with the likes of Van Morrison, Keith Richards and Carlos Santana; making TV commercials (Lee Jeans); appearing in films (The Blues Brothers); and even starring in Pete Townshend's musical adaptation of Ted Hughes' story The Iron Man. His was an extraordinary life. Born in the American deep south, he moved to Detroit and then, in a career spanning over fifty years, recorded hypnotic blues classics such as 'Boogie Chillen', rhythm-and-blues anthems such as 'Dimples' and 'Boom Boom' and, in his final, glorious renaissance, the Grammy-winning album The Healer. Charles Shaar Murray's authoritative biography vividly, and often in John Lee Hooker's own words, does magnificent justice to the man and his music.

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.