Hal Leonard proudly presents new "mini" editions of its best-selling Real Books. These 5.5 x 8.5 little books pack a big jazz punch; they include all 400 fantastic songs found in the 9 x 12 versions: All Blues * Au Privave * Autumn Leaves * Black Orpheus * Bluesette * Body and Soul * Bright Size Life * Con Alma * Dolphin Dance * Don't Get Around Much Anymore * Easy Living * Epistrophy * Falling in Love with Love * Footprints * Four on Six * Giant Steps * Have You Met Miss Jones? * How High the Moon * I'll Remember April * Impressions * Lullaby of Birdland * Misty * My Funny Valentine * Oleo * Red Clay * Satin Doll * Sidewinder * Stella by Starlight * Take Five * There Is No Greater Love * Wave * and hundreds more!

Eleanora "Lady Day" Fagan, better known as Billie Holiday, played a primary role in the development of American jazz culture and in African American history. Devoted to the enduring jazz icon, covering many aspects of her career, image and legacy, these essays range from musical and vocal analyses, to critical assessments of film depictions of the singer, to analysis of the social movements and protests addressed by her signature songs, including her impact on contemporary movements such as #BlackLivesMatter. More than a century after her birth, Billie Holiday's abiding relevance and impact is a testament to the power of musical protest. This collection pays tribute to her creativity, bravery and lasting legacy.

Jazz Diaspora: Music and Globalisation is about the international diaspora of jazz, well underway within a year of the first jazz recordings in 1917. This book studies the processes of the global jazz diaspora and its implications for jazz historiography in general, arguing for its relevance to the fields of sonic studies and cognitive theory. Until the late twentieth century, the historiography and analysis of jazz were centred on the US to the almost complete exclusion of any other region. The driving premise of this book is that jazz was not 'invented' and then exported: it was invented in the process of being disseminated. Jazz Diaspora is a sustained argument for an alternative historiography, based on a shift from a US-centric to a diasporic perspective on the music. The rationale is double-edged. It appears that most of the world's jazz is experienced (performed and consumed) in diasporic sites - that is, outside its agreed geographical point of origin - and to ignore diasporic jazz is thus to ignore most jazz activity. It is also widely felt that the balance has shifted, as jazz in its homeland has become increasingly conservative. There has been an assumption that only the 'authentic' version of the music--as represented in its country of origin--was of aesthetic and historical interest in the jazz narrative; that the forms that emerged in other countries were simply rather pallid and enervated echoes of the 'real thing'. This has been accompanied by challenges to the criterion of place- and race-based authenticity as a way of assessing the value of popular music forms in general. As the prototype for the globalisation of popular music, diasporic jazz provides a richly instructive template for the study of the history of modernity as played out musically.

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.

Jazz Theory Workbook accompanies the second edition of the successful Jazz Theory-From Basic to Advanced Study textbook designed for undergraduate and graduate students studying jazz. The overall pedagogy bridges theory and practice, combining theory, aural skills, keyboard skills, and improvisation into a comprehensive whole. While the Companion Website for the textbook features aural and play-along exercises, along with some written exercises and the answer key, this workbook contains brand-new written exercises, as well as as well as four appendices: (1) Rhythmic Exercises, (2) Common-Practice Harmony at the Keyboard, (3) Jazz Harmony at the Keyboard, and (4) Patterns for Jazz Improvisaton. Jazz Theory Workbook works in tandem with its associated textbook in the same format as the 27-chapter book, yet is also designed to be used on its own, providing students and readers with quick access to all relevant exercises without the need to download or print pages that inevitably must be written out. The workbook is sold both on its own as well as discounted in a package with the textbook. Jazz Theory Workbook particularly serves the ever-increasing population of classical students interested in jazz theory or improvisation. This WORKBOOK is available for individual sale in various formats: Print Paperback: 9781138334250 Print Hardback: 9781138334243 eBook: 9780429445477 The paperback WORKBOOK is also paired with the corresponding paperback TEXTBOOK in a discounted PACKAGE (9780367321963).

Jazz stories have been entwined with cinema since the inception of jazz film genre in the 1920s, giving us origin tales and biopics, spectacles and low-budget quickies, comedies, musicals, and dramas, and stories of improvisers and composers at work. And the jazz film has seen a resurgence in recent years-from biopics like Miles Ahead and HBO's Bessie, to dramas Whiplash and La La Land. In Play the Way You Feel, author and jazz critic Kevin Whitehead offers a comprehensive guide to these films and other media from the perspective of the music itself. Spanning 93 years of film history, the book looks closely at movies, cartoons, and a few TV shows that tell jazz stories, from early talkies to modern times, with an eye to narrative conventions and common story points. Examining the ways historical films have painted a clear picture of the past or overtly distorted history, Play the Way You Feel serves up capsule discussions of sundry topics including Duke Ellington's social life at the Cotton Club, avant-garde musical practices in 1930s vaudeville, and Martin Scorsese's improvisatory method on the set of New York, New York. Throughout the book, Whitehead brings the same analytical bent and concise, witty language listeners know from his jazz segments on NPR's Fresh Air with Terry Gross. He investigates well-known songs, traces the development of the stock jazz film ending, and offers fresh, often revisionist takes on works by such directors as Howard Hawks, John Cassavetes, Shirley Clarke, Francis Ford Coppola, Clint Eastwood, Spike Lee, Robert Altman, Woody Allen and Damien Chazelle. In all, Play the Way You Feel is a feast for film-genre fanatics and movie-watching jazz enthusiasts.

Although in 2000 he became the first sideman inducted into the Rock & Roll Hall of Fame, "King Curtis" Ousley never lived to accept his award. Tragically, he was murdered outside his New York City home in 1971. At that moment, thirty-seven-year-old King Curtis was widely regarded as the greatest R & B saxophone player of all time. He also may have been the most prolific, having recorded with well over two hundred artists during an eighteen-year span. Soul Serenade is the definitive biography of one of the most influential musicians of the 50s, 60s, and early 70s. Timothy R. Hoover chronicles King Curtis's meteoric rise from a humble Texas farm to the recording studios of Memphis, Muscle Shoals, and New York City as well as to some of the world's greatest music stages, including the Apollo Theatre, Fillmore West, and Montreux Jazz Festival. Curtis's "chicken-scratch" solos on the Coasters' Yakety Yak changed the role of the saxophone in rock & roll forever. His band opened for the Beatles at their famous Shea Stadium concert in 1965. He also backed his "little sister" and close friend Aretha Franklin on nearly all of her tours and Atlantic Records productions from 1967 until his death. Soul Serenade is the result of more than twenty years of interviews and research. It is the most comprehensive exploration of Curtis's complex personality: his contagious sense of humor and endearing southern elegance as well as his love for gambling and his sometimes aggressive temperament. Hoover explores Curtis's vibrant relationships and music-making with the likes of Buddy Holly, Sam Cooke, Isaac Hayes, Jimi Hendrix, Aretha Franklin, Otis Redding, Sam Moore, Donny Hathaway, and Duane Allman, among many others.

In a piano factory tucked away in Richmond, Indiana, Gennett Records produced thousands of records featuring obscure musicians from hotel orchestras and backwoods fiddlers to the future icons of jazz, blues, country music, and rock 'n' roll. From 1916 to 1934, the company debuted such future stars as Louis Armstrong, King Oliver, Bix Beiderbecke, and Hoagy Carmichael, while also capturing classic performances by Jelly Roll Morton, Duke Ellington, Blind Lemon Jefferson, Charley Patton, Uncle Dave Macon, and Gene Autry. While Gennett Records was overshadowed by competitors such as Victor and Columbia, few record companies documented the birth of America's grassroots music as thoroughly as this small-town label. In this newly revised and expanded edition of Jelly Roll, Bix, and Hoagy, Rick Kennedy shares anecdotes from musicians, employees, and family members to trace the colorful history of one of America's most innovative record companies.

The Cultural Politics of Jazz Collectives: This Is Our Music documents the emergence of collective movements in jazz and improvised music. Jazz history is most often portrayed as a site for individual expression and revolves around the celebration of iconic figures, while the networks and collaborations that enable the music to maintain and sustain its cultural status are surprisingly under-investigated. This collection explores the history of musician-led collectives and the ways in which they offer a powerful counter-model for rethinking jazz practices in the post-war period. It includes studies of groups including the New York Musicians Organization, Sweden's Ett minne foer livet, Wonderbrass from South Wales, the contemporary Dutch jazz-hip hop scene, and Austria's JazzWerkstatt. With an international list of contributors and examples from Europe and the United States, these twelve essays and case studies examine issues of shared aesthetic vision, socioeconomic and political factors, local education, and cultural values among improvising musicians.

Jazz as an instrument of global diplomacy transformed superpower relations in the Cold War era and reshaped democracy's image worldwide. Lisa E. Davenport tells the story of America's program of jazz diplomacy practiced in the Soviet Union and other regions of the world from 1954 to 1968. Jazz music and jazz musicians seemed an ideal card to play in diminishing the credibility and appeal of Soviet communism in the Eastern bloc and beyond. Government-funded musical junkets by such jazz masters as Louis Armstrong, Dave Brubeck, Duke Ellington, Dizzy Gillespie, and Benny Goodman dramatically influenced perceptions of the U.S. and its capitalist brand of democracy while easing political tensions in the midst of critical Cold War crises. This book shows how, when coping with foreign questions about desegregation, the dispute over the Berlin Wall, the Cuban missile crisis, Vietnam, and the Soviet invasion of Czechoslovakia, jazz players and their handlers wrestled with the inequalities of race and the emergence of class conflict while promoting America in a global context. And, as jazz musicians are wont to do, many of these ambassadors riffed off script when the opportunity arose.

"Jazz Diplomacy" argues that this musical method of winning hearts and minds often transcended economic and strategic priorities. Even so, the goal of containing communism remained paramount, and it prevailed over America's policy of redefining relations with emerging new nations in Africa, Asia, and Latin America.

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.

Pee Wee King's birth on February 18, 1914, into a Milwaukee working-class Polish family named Kuczynski was hardly an indicator that he would grow up to become a pioneer and superstar of country and western music. Certainly no one in the Polish-German community of his youth could have foreseen his influence on the direction of American popular music or his enduring fame on the stage of the Grand Ole Opry. Even Pee Wee King himself is incredulous at the unlikely twists and turns of his life and career. Pee Wee King is best remembered today as the co-writer of the most popular country music song of all time, The Tennessee Waltz. He is just as important, however, for his vital role in expanding the horizons, and the market potential, of country and western music. He took the polka and waltz rhythms of his youth, mixed them with the sounds of the big bands of the thirties and forties, and flavored it all with the balladry and moods of the Western cowboy. He combined this new sound with folk and country traditions rooted in places like Louisville, Knoxville, and Nashville. The result was a smooth, listenable, danceable, up-to-date sound that has become the most popular form of music in the United States. Recipient of numerous awards, including induction into both the Songwriters Hall of Fame and the Country Music Hall of Fame, Pee Wee King has been one of the most important figures in country music for over sixty years. Told in King's own voice and words, this biography, based on many hours of taped conversations, is the first account of King's incredible life and career. Featuring a star-studded cast of characters from the history of music -- Eddy Arnold, Minnie Pearl, Roy Acuff, Hank Williams, Gene Autry, Patti Page, and many others -- this memorable book is a must-read for any fan of country music.

Dave Liebman is one of the leading forces in contemporary jazz. Prominently known for performing with Miles Davis and Elvin Jones, he has exerted considerable influence as a saxophonist, bandleader, composer, author, and educator. In addition to his recent recognition as a National Endowment for the Arts Jazz Master, he has received the Order of Arts and Letters from France and holds an honorary doctorate from the Sibelius Academy in Helsinki, Finland. He has mentored many of today's most notable young jazz musicians worldwide and is a prolific writer on jazz. In What It Is: The Life of a Jazz Artist, friend, pianist, and noted jazz scholar Lewis Porter conducts a series of in-depth interviews with Liebman, who discusses his professional, personal, and musical relationships with Davis and Jones, as well as such notable musicians as Chick Corea, Richie Beirach, Michael and Randy Brecker, and many others. Through the interviews, Liebman discusses such personal matters as contracting polio as a child and the difficulties it caused as an adult during his rise as a jazz musician. He offers insights into the life of jazz performers of his generation, particularly the tumultuous period of the 1960s and 1970s. The book also features rare photos from Liebman's personal collection. A fascinating and witty storyteller, Liebman's stories in What It Is will appeal to jazz fans and scholars by providing a firsthand look into the creative life of one of America's leading jazz musicians.

(Berklee Press). When you think of jazz composers, who comes to mind? Jelly Roll Morton, Charlie Parker, Dizzy Gillespie, Thelonious Monk, Charles Mingus, Bob Brookmeyer. This book is about what they (and many others) do. Jazz composition has evolved into a disciplined art that often evidences great emotional depth and breadth of sophistication. Berklee College of Music legend Ted Pease demystifies the processes involved in writing jazz tunes and in composing episodic and extended jazz works. Jazz Composition: Theory and Practice is a by-product of Pease's 25 years of teaching jazz composition. The accompanying CD helps demonstrate melody, harmony and rhythmic elements of jazz and also includes a variety of music-writing exercises focused on learning these same elements to help you begin producing your own effective jazz compositions.

Ornette Coleman's career encompassed the glory years of jazz and the American avant-garde. Born in segregated Fort Worth, Texas, during the Great Depression, the African American composer and musician was zeitgeist incarnate. Steeped in the Texas blues tradition, Ornette and jazz grew up together, as the brassy blare of big band swing gave way to bebop, a faster music for a faster, post-war world. At the dawn of the Space Age and New York's 1960s counterculture, his music gave voice to the moment. Lauded by some, maligned by many, he forged a breakaway art sometimes called 'the new thing' or 'free jazz'. Featuring previously unpublished photographs of Ornette and his contemporaries, this is the compelling story of one of America's most adventurous musicians and the sound of a changing world.

The fundamentals of jazz are here explained and systemized in 70 lessons based on 60 jazz standards. It covers the styles of musicians from Buddy Bolden to Dizzy Gillespie.

This book of jazz piano scales will develop the technical skills you need to play jazz. It introduces patterns characteristic of the idiom, like the blues scales, the b3 pentatonic and various modes. It also explores these patterns on the roots and key centres commonly found in jazz. Regular and flexible practice of these forms, and using them as the basis for improvisation, will give you fluency and technical control and make your playing sound effortless and relaxed. As an accompaniment to the Board's jazz piano syllabus, this book sets out the scales by grade and gives a table of recommended speeds. It also provides details of what the examiner will be looking for in your playing.

How creative freedom, race, class, and gender shaped the rebellion of two visionary artists Postwar America experienced an unprecedented flourishing of avant-garde and independent art. Across the arts, artists rebelled against traditional conventions, embracing a commitment to creative autonomy and personal vision never before witnessed in the United States. Paul Lopes calls this the Heroic Age of American Art, and identifies two artists-Miles Davis and Martin Scorsese-as two of its leading icons. In this compelling book, Lopes tells the story of how a pair of talented and outspoken art rebels defied prevailing conventions to elevate American jazz and film to unimagined critical heights. During the Heroic Age of American Art-where creative independence and the unrelenting pressures of success were constantly at odds-Davis and Scorsese became influential figures with such modern classics as Kind of Blue and Raging Bull. Their careers also reflected the conflicting ideals of, and contentious debates concerning, avant-garde and independent art during this period. In examining their art and public stories, Lopes also shows how their rebellions as artists were intimately linked to their racial and ethnic identities and how both artists adopted hypermasculine ideologies that exposed the problematic intersection of gender with their racial and ethnic identities as iconic art rebels. Art Rebels is the essential account of a new breed of artists who left an indelible mark on American culture in the second half of the twentieth century. It is an unforgettable portrait of two iconic artists who exemplified the complex interplay of the quest for artistic autonomy and the expression of social identity during the Heroic Age of American Art.

Jazz Diaspora: Music and Globalisation is about the international diaspora of jazz, well underway within a year of the first jazz recordings in 1917. This book studies the processes of the global jazz diaspora and its implications for jazz historiography in general, arguing for its relevance to the fields of sonic studies and cognitive theory. Until the late twentieth century, the historiography and analysis of jazz were centred on the US to the almost complete exclusion of any other region. The driving premise of this book is that jazz was not 'invented' and then exported: it was invented in the process of being disseminated. Jazz Diaspora is a sustained argument for an alternative historiography, based on a shift from a US-centric to a diasporic perspective on the music. The rationale is double-edged. It appears that most of the world's jazz is experienced (performed and consumed) in diasporic sites - that is, outside its agreed geographical point of origin - and to ignore diasporic jazz is thus to ignore most jazz activity. It is also widely felt that the balance has shifted, as jazz in its homeland has become increasingly conservative. There has been an assumption that only the 'authentic' version of the music--as represented in its country of origin--was of aesthetic and historical interest in the jazz narrative; that the forms that emerged in other countries were simply rather pallid and enervated echoes of the 'real thing'. This has been accompanied by challenges to the criterion of place- and race-based authenticity as a way of assessing the value of popular music forms in general. As the prototype for the globalisation of popular music, diasporic jazz provides a richly instructive template for the study of the history of modernity as played out musically.

This title examines in great detail the arrival of jazz in Britain, the influence of American musicians, the big-band era and then the advent of bop, the Musicians' Union ban, the development of jazz journalism and specialist clubs and the fascinating cloak and dagger plots culminating in the defiance of the Musicians' Union ban on the appearance of American musicians in Britain. It features conscientiously researched and related with trenchant and pithy humour.

"Jones has learned--and this has been very rare in jazz criticism--to write about music as an artist."--Nat Hentoff ks
"Black Music" is a book about the brilliant young jazz musicians of the early 1960s: John Coltrane, Thelonious Monk, Miles Davis, Ornette Coleman, Cecil Taylor, Archie Shepp, Sun Ra, and others. It is composed of essays, reviews, interviews, liner notes, musical analyses, and personal impressions from 1959-1967. Also includes Amiri Baraka's reflections in a 2009 interview with Calvin Reid of "Publishers Weekly."
LeRoi Jones (now known as Amiri Baraka) is the author of numerous books of poetry, fiction, and nonfiction. He was named Poet Laureate of New Jersey from 2002 to 2004 by the New Jersey Commission on Humanities. His most recent book, "Tales of the Out & the Gone" (Akashic Books, 2007), was a "New York Times" Editors' Choice and winner of a PEN/Beyond Margins Award. He lives in Newark, New Jersey.