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 Featuring previously unpublished photographs of Ornette and his contemporaries, this is the compelling story of one of America's most adventurous musicians and the sound of a changing world.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 Stooges Brass Band always had big dreams. From playing in the streets of New Orleans in the mid-1990s to playing stages the world over, they have held fast to their goal of raising brass band music and musicians to new heights - professionally and musically. In the intervening years, the band's members have become family, courted controversy, and trained a new generation of musicians, becoming one of the city's top brass bands along the way. Two decades after their founding, they have decided to tell their story. Can't Be Faded: Twenty Years in the New Orleans Brass Band Game is a collaboration between musician and ethnomusicologist Kyle DeCoste and more than a dozen members of the Stooges Brass Band, past and present. It is the culmination of five years of interviews, research, and writing. Told with humor and candor, it's as much a personal account of the Stooges' careers as it is a story of the city's musicians and, even more generally, a coming-of-age tale about black men in the United States at the turn of the twenty-first century. DeCoste and the band members take readers into the barrooms, practice rooms, studios, tour vans, and streets where the music is made and brotherhoods are shaped and strengthened. Comprised of lively firsthand accounts and honest dialogue, Can't Be Faded is a dynamic approach to collaborative research that offers a sensitive portrait of the humans behind the horns.

Free Jazz, Harmolodics, and Ornette Coleman discusses Ornette Coleman's musical philosophy of "Harmolodics," an improvisational system deeply inspired by the Civil Rights Movement. Falling under the guise of "free jazz," Harmolodics can be difficult to understand, even for seasoned musicians and musicologists. Yet this book offers a clear and thorough approach to these complex methods, outlining Coleman's position as the developer of a logical-and historically significant-system of jazz improvisation. Included here are detailed musical analyses of improvisations, accompanied by full transcriptions. Intimate interviews between the author and Coleman explore the deeper issues at work in Harmolodics, issues of race, class, sex, and poverty. The principle of human equality quickly emerges as a central tenet of Coleman's life and music. Harmolodics is best understood when viewed in its essential form, both as a theory of improvisation and as an artistic expression of racial and human equality.

This stylish album for violin and piano takes players on a musical tour of autumn, presenting well-loved songs such as 'September in the Rain', 'Autumn Leaves', 'Danny Boy', and '(Somewhere) Over the Rainbow' and original compositions on other seasonal themes. The nine pieces reflect a wide variety of jazz styles, including swing, blues, calypso, and bossa nova, and draw on artists such as Yehudi Menuhin, Stephane Grappelli, Didier Lockwood, and Regina Carter. With fully notated rhythms, grooves, and improvisations, Violin Jazz in Autumn is the perfect collection for instrumentalists looking for that authentic sound.

(Fake Book). Since the 1970s, The Real Book has been the most popular book for gigging jazz musicians. Hal Leonard is proud to publish completely legal and legitimate editions of the original volumes as well as exciting new volumes to carry on the tradition to new generations of players in all styles of music All the Real Books feature hundreds of time-tested songs in accurate arrangements in the famous easy-to-read, hand-written notation with comb-binding. This all-new 4th volume presents 400 more songs, not previously available in any other volume Includes: Ashes to Ashes * Button up Your Overcoat * Cocktails for Two * Days of Wine and Roses * Down with Love * A Foggy Day (In London Town) * The Good Life * Home * I Got Rhythm * I Hadn't Anyone Till You * If You Could See Me Now * Just Friends * Kansas City * Linus and Lucy * Lonely Girl * Maybe This Time * My Bells * Night and Day * On Broadway * On Green Dolphin Street * Only the Lonely * The Pink Panther * Puttin' on the Ritz * Relaxin' at the Camarillo * Reunion Blues * The Sermon * The Shadow of Your Smile * Side by Side * Smile * Summertime * Sunny * Them There Eyes * and many more. Editions also available in C, B-flat, and E-flat.

This is the first-ever historical study across all musical genres in any American metropolis. Detroit in the 1940s-60s was not just "the capital of the twentieth century" for industry and the war effort, but also for the quantity and extremely high quality of its musicians, from jazz to classical to ethnic. The author, a Detroiter from 1943, begins with a reflection of his early life with his family and others, then weaves through the music traffic of all the sectors of a dynamic and volatile city. Looking first at the crucial role of the public schools in fostering talent, Motor City Music surveys the neighborhoods of older European immigrants and of the later huge waves of black and white southerners who migrated to Detroit to serve the auto and defense industries. Jazz stars, polka band leaders, Jewish violinists, and figures like Lily Tomlin emerge in the spotlight. Shaping institutions, from the Ford Motor Company and the United Auto Workers through radio stations and Motown, all deployed music to bring together a city rent by relentless segregation, policing, and spasms of violence. The voices of Detroit's poets, writers, and artists round out the chorus.

Reveals the importance of the jazz craze in France between the two world wars and the French construction of jazz as a "black music" - an exoticization which had wide-reaching effects on the artistic output of the African diaspora and on contemporary perceptions of black writers, musicians and film makers. What are the cultural implications of Louis Armstrong's 1960 visit to Africa? Why are so many postcolonial novels in French fascinated with jazz? In defining jazz as "black music", France's "jazzophilia" has had wide-reaching effects on contemporary perceptions of the artistic and political efficacy of black writers, musicians, and their aesthetic productions. Scoring Race explores how jazz masters Louis Armstrong, Duke Ellington, Charlie Parker, and John Coltrane became touchstones for claims to African authorship and aesthetic subjectivity across the long twentieth century. The book focuses on how this naturalization of black musicality occurred and its impact on Francophone African writers and filmmakers for whom the idea of their own essential musicality represented an epistemological obstacle. Despite this obstacle, because of jazz's profound importance to diaspora aesthetics, as well as its crucial role in the French imaginary, many African writers have chosen to make it a structuring principle of their literary projects. In Scoring Race Pim Higginson draws on race theory, aesthetics, cultural studies,musicology, and postcolonial studies to examine the convergence of aesthetics and race in Western thought and to explore its impact on Francophone African literature. How and why, Pim Higginson asks, did these writers and filmmakers approach jazz and its participation in and formalization of the "racial score"? To what extent did they reproduce the terms of their own systematic expulsion into music and to what extent, in their impossible demand for writing(or film-making), did they arrive at tactical means of working through, around, or beyond the strictures of their assumed musicality? Pim Higginson is Professor of Global French Studies at the University of New Mexico,Albuquerque.

The 2nd edition now features 16 of Waller's best, including: African Ripples * Ain't Misbehavin' * Alligator Crawl * Clothes Line Ballet * E-Flat Blues * Gladyse * Handful of Keys * Honeysuckle Rose * I've Got a Feeling I'm Falling * Keepin' Out of Mischief Now * My Feelings Are Hurt * Numb Fumblin' * Russian Fantasy * Smashing Thirds * Valentine Stomp * Viper's Drag.

The Routledge Companion to Jazz Studies presents over forty articles from internationally renowned scholars and highlights the strengths of current jazz scholarship in a cross-disciplinary field of enquiry. Each chapter reflects on developments within jazz studies over the last twenty-five years, offering surveys and new insights into the major perspectives and approaches to jazz research. The collection provides an essential research resource for students, scholars, and enthusiasts, and will serve as the definitive survey of current jazz scholarship in the Anglophone world to-date. It extends the critical debates about jazz that were set in motion by formative texts in the 1990s, and sets the agenda for the future scholarship by focusing on key issues and providing a framework for new lines of enquiry. It is organized around six themes: I. Historical Perspectives, II. Methodologies, III. Core Issues and Topics, IV. Individuals, Collectives and Communities, V. Politics, Discourse and Ideology and VI. New Directions and Debates.

This is a stunning overview of more than 20 years of images from noted jazz photographer Esther Cidoncha. Esther Cidoncha's camera has been present in jazz clubs around the world - from New Orleans to Madrid, New York to London - for more than twenty years. Capturing the heart and soul of not only the countless jazz musicians she has seen, but of jazz itself. When Lights are Low (which takes its name from a track by Art Blakey) presents a magnificently illustrated overview of her work in chronological order, from the early 1990s to the present day, with rare photographs of jazz legends such as Art Farmer, Kenny Barron, Benny Carter, Lionel Hampton or Joe Lovano among more than 150 musicians.

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.

Edward ""Kid"" Ory (1886-1973) was a trombonist, composer, recording artist, and early New Orleans jazz band leader. Creole Trombone tells his story from birth on a rural sugar cane plantation in a French-speaking, ethnically mixed family, to his emergence in New Orleans as the city's hottest band leader. The Ory band featured such future jazz stars as Louis Armstrong and King Oliver, and was widely considered New Orleans's top ""hot"" band. Ory's career took him from New Orleans to California, where he and his band created the first African American New Orleans jazz recordings ever made. In 1925 he moved to Chicago where he made records with Oliver, Armstrong, and Jelly Roll Morton that captured the spirit of the jazz age. His most famous composition from that period, ""Muskrat Ramble,"" is a jazz standard. Retired from music during the Depression, he returned in the 1940s and enjoyed a reignited career. Drawing on oral history and Ory's unpublished autobiography, Creole Trombone is a story that is told in large measure by Ory himself. The author reveals Ory's personality to the reader and shares remarkable stories of incredible innovations of the jazz pioneer. The book also features unpublished Ory compositions, photographs, and a selected discography of his most significant recordings.

This second updated edition of Notes from a Jazz Life includes Digby Fairweather's career since the year 2000 as a jazz cornetist, band leader, educator and broadcaster, working with George Melly and leading his band the Half-Dozen. The book has much to offer to people who are even marginally interested in jazz in all its wide variety of forms as well as providing insights for regular jazz readers. The author provides revealing reflections on the personal life and career of a musician and, with a wealth of warm, hilarious anecdotes, he writes honestly about all the challenges, frustrations and rich rewards of being part of the jazz world.

Violin Jazz on a Winter's Night is a Christmas album of stylish, swinging arrangements for violin and piano. Favourite Christmas carols and songs are given the complete jazz treatment, with rhythm, embellishment, grooves, and solos all carefully notated. The expertise of the arranger, a celebrated jazz musician and composer, guarantees an authentic jazz sound, and a range of styles from Nat King Cole to John Coltrane. While paying homage to American Christmas jazz, the collection also reflects a European tradition, in such time-honoured classics as 'In the bleak mid-winter'.

for SATB, piano, and optional bass and drum kit The Nidaros Jazz Mass draws on a variety of jazz styles to present a fun and innovative setting of the Latin Missa brevis. With a gentle Kyrie, funky Gloria, ballad-like Sanctus, laid-back Benedictus, and passionate Agnus Dei, this work breathes new life into familiar words, perfectly combining the contemporary with the ancient. The stylistic piano part can be played as written or serve as a guide, and an optional bass and drum kit part is available separately for jazz trio accompaniment. Ideal for all mixed-voice choirs, the Nidaros Jazz Mass will make a groovy and soulful addition to any concert programme.This work was originally commissioned in a version for upper voices by the Nidaros Cathedral Girls' Choir of Trondheim, Norway.

Adventures of a Jazz Age Lawyer is the lively story of legal giant Nathan Burkan, whose career encapsulated the coming of age of the institutions, archetypes, and attitudes that define American popular culture. With a client list that included Charlie Chaplin, Al Jolson, Frank Costello, Victor Herbert, Mae West, Gloria Morgan Vanderbilt, Arnold Rothstein, and Samuel Goldwyn, Burkan was "New York's Spotlight Lawyer" for more than three decades. He was one of the principal authors of the epochal Copyright Act of 1909 and the guiding spirit behind the American Society of Composers, Authors, and Publishers (Ascap), which provided the first practical means for songwriters to collect royalties for public performances of their works, revolutionizing the music business and the sound of popular music. While the entertainment world adapted to the disruptive technologies of recorded sound, motion pictures, and broadcasting, Burkan's groundbreaking work laid the legal foundation for the Great American Songbook and the Golden Age of Hollywood, and it continues to influence popular culture today. Gary A. Rosen tells stories of dramatic and uproarious courtroom confrontations, scandalous escapades of the rich and famous, and momentous clashes of powerful political, economic, and cultural forces. Out of these conflicts, the United States emerged as the world's leading exporter of creative energy. Adventures of a Jazz Age Lawyer is an engaging look at the life of Nathan Burkan, a captivating history of entertainment and intellectual property law in the early twentieth century, and a rich source of new discoveries for anyone interested in the spirit of the Jazz Age.

Sun Ra (1914-93) was one of the most wildly prolific and unfailingly eccentric figures in the history of music. Renowned for extravagant performances in which his Arkestra appeared in neo-Egyptian garb, the keyboardist and bandleader also espoused an interstellar cosmology that claimed the planet Saturn as his true home. In Sun Ra's Chicago, William Sites brings this visionary musician back to earth--specifically to the city's South Side, where from 1946 to 1961 he lived and launched his career. The postwar South Side was a hotbed of unorthodox religious and cultural activism where Afrocentric philosophies flourished, storefront prophets sold "dream-book bibles," and Elijah Muhammad was building the Nation of Islam. It was also an unruly musical crossroads where styles circulated and mashed together in clubs and community dancehalls. Sun Ra drew from a vast array of locally available intellectual and musical sources--from radical nationalism, revisionist Christianity, and science fiction to jazz, rhythm and blues, Latin dance music and the latest pop exotica--to put together a philosophy and performance style that imagined a new identity and future for African Americans. Sun Ra's Chicago contends that late twentieth-century Afrofuturism emerged from a deep, utopian engagement with the city--and that by excavating postwar black experience from inside Sun Ra's South Side milieu we can come to see the possibilities of urban life in new ways.

In Tropical Riffs Jason Borge traces how jazz helped forge modern identities and national imaginaries in Latin America during the mid-twentieth century. Across Latin America jazz functioned as a conduit through which debates about race, sexuality, nation, technology, and modernity raged in newspapers, magazines, literature, and film. For Latin American audiences, critics, and intellectuals-who often understood jazz to stem from social conditions similar to their own-the profound penetration into the fabric of everyday life of musicians like Duke Ellington, Dizzy Gillespie, and Charlie Parker represented the promises of modernity while simultaneously posing a threat to local and national identities. Brazilian antijazz rhetoric branded jazz as a problematic challenge to samba and emblematic of Americanization. In Argentina jazz catalyzed discussions about musical authenticity, race, and national culture, especially in relation to tango. And in Cuba, the widespread popularity of Chano Pozo and Damaso Perez Prado popularity challenged the United States' monopoly on jazz. Outlining these hemispheric flows of ideas, bodies, and music, Borge elucidates how "America's art form" was, and remains, a transnational project and a collective idea.

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).

The Jazz Life of Dr. Billy Taylor: America's Classical Musician is the autobiography of the legendary jazz ambassador whose work spans more than six decades, from the heyday of 52nd Street in 1940s New York City to CBS Sunday Morning. Beginning with his childhood in segregation-era Washington D.C., Billy Taylor recounts how he came of age as a jazz musician in smoke-filled clubs pulsating with the rhythms of bebop, and later climbed to world acclaim as an internationally recognized music educator and popular media figure. Through his life's work, Taylor fought not only for the recognition of jazz music as "America's classical music" but also for the recognition of black musicians as key contributors to the American music repertoire. Peppered with anecdotes detailing encounters with other jazz legends such as Fats Waller, Jelly Roll Morton, Duke Ellington, Art Tatum, Ben Webster, Count Basie, Billie Holiday, Dinah Washington, and many others, this autobiography is not only the life story of a jazz musician and spokesman, but is also the history of a nation grappling with racism and modernity.

How is the Beatles' "Help " similar to Stravinsky's "Dance of the Adolescents?" How does Radiohead's "Just" relate to the improvisations of Bill Evans? And how do Chopin's works exploit the non-Euclidean geometry of musical chords?
In this groundbreaking work, author Dmitri Tymoczko describes a new framework for thinking about music that emphasizes the commonalities among styles from medieval polyphony to contemporary rock. Tymoczko identifies five basic musical features that jointly contribute to the sense of tonality, and shows how these features recur throughout the history of Western music. In the process he sheds new light on an age-old question: what makes music sound good?
A Geometry of Music provides an accessible introduction to Tymoczko's revolutionary geometrical approach to music theory. The book shows how to construct simple diagrams representing relationships among familiar chords and scales, giving readers the tools to translate between the musical and visual realms and revealing surprising degrees of structure in otherwise hard-to-understand pieces.
Tymoczko uses this theoretical foundation to retell the history of Western music from the eleventh century to the present day. Arguing that traditional histories focus too narrowly on the "common practice" period from 1680-1850, he proposes instead that Western music comprises an extended common practice stretching from the late middle ages to the present. He discusses a host of familiar pieces by a wide range of composers, from Bach to the Beatles, Mozart to Miles Davis, and many in between.
A Geometry of Music is accessible to a range of readers, from undergraduate music majors to scientists and mathematicians with an interest in music. Defining its terms along the way, it presupposes no special mathematical background and only a basic familiarity with Western music theory. The book also contains exercises designed to reinforce and extend readers' understanding, along with a series of appendices that explore the technical details of this exciting new theory.