**WINNER OF BEST JAZZ PUBLICATION AT THE 2020 PRESTO MUSIC AWARDS** The Faber Music Jazz Piano Anthology is a timeless collection of some of the best Jazz music ever written, beautifully presented in progressive order and specially arranged for the intermediate pianist. Featuring Jazz favourites such as Ev'ry Time We Say Goodbye, My Baby Just Cares For Me, I Got Rhythm, My Funny Valentine and many more.

Leonard Bernstein's gifts for drama and connecting with popular audiences made him a central figure in twentieth century American music. Though a Bernstein work might reference anything from modernism to cartoon ditties, jazz permeated every part of his musical identity as a performer, educator, and intellectual. Katherine Baber investigates how jazz in its many styles served Bernstein as a flexible, indeed protean, musical idea. As she shows, Bernstein used jazz to signify American identity with all its tensions and contradictions and to articulate community and conflict, irony and parody, and timely issues of race and gender. Baber provides a thoughtful look at how Bernstein's use of jazz grew out of his belief in the primacy of tonality, music's value as a unique form of human communication, and the formation of national identity in music. She also offers in-depth analyses of On the Town, West Side Story, 1600 Pennsylvania Avenue, and other works to explore fascinating links between Bernstein's art and issues like eclecticism, music's relationship to social engagement, black-Jewish relations, and his own musical identity.

Many jazz fans and critics -- and even some jazz musicians -- contend that white players have contributed little of substance to the music. Now, with Lost Chords, musician-historian Richard M. Sudhalter challenges this narrow view, with a book that pays definitive tribute to a generation of white jazz players, many unjustly forgotten -- while never scanting the role of the great black pioneers.

Born to a music-loving family, the Neville brothers grew up immersed in the sounds and culture of New Orleans, and the blended rhythms of the city are reflected in their wide range of musical styles. The result, like their native city, is a rich gumbo of flavors: Art, with his keyboard wizardry; Aaron, with his angelic voice; Charles, a spiritual seeker and jazz devotee; and Cyril, whose passion for music matches the intensity of his politics. In "The Brothers," each tells his story candidly, recounting the early hits, the problems with drugs and the law, and the circuitous route to success. Along the way, the brothers tell the story of the New Orleans culture as well--the birth of rhythm and blues, the folklore behind the fabulous Mardi Gras Indians, the painful racial climate, and the family whose legacy is now a part of our musical history.

This book is a critical reflection on the life and career of the late legendary Zimbabwean music icon, Oliver "Tuku" Mtukudzi, and his contribution towards the reconstruction of Zimbabwe, Africa and the globe at large. Mtukudzi was a musician, philosopher, and human rights activist who espoused the agenda of reconstruction in order to bring about a better world, proposing personal, cultural, political, religious and global reconstruction. With twenty original chapters, this vibrant volume examines various themes and dimensions of Mtukudzi's distinguished life and career, notably, how his music has been a powerful vehicle for societal reconstruction and cultural rejuvenation, specifically speaking to issues of culture, human rights, governance, peacebuilding, religion and identity, humanism, gender and politics, among others. The contributors explore the art of performance in Mtukudzi's music and acting career, and how this facilitated his reconstruction agenda, offering fresh and compelling perspectives into the role of performing artists and cultural workers such as Mtukudzi in presenting models for reconstructing the world.

This is a unique reference book on jazz. It brings together 60 essays that cover every aspect of jazz history: pre-history, New Orleans jazz, swing, bebop, more recent jazz. There are also essays on individual jazz figures from Louis Armstrong to John Coltrane, on jazz instruments and singers, jazz outside the United States, and a range of subjects such as jazz criticism, jazz in literature and film and TV, and jazz dance. Each entry was commissioned for this book.

Grammy Award–winning pianist, bandleader, and composer Cedar Walton (1934–2013) is a major figure in jazz, associated with a variety of styles from bebop to funk and famous for composing several standards. Born and raised in Dallas, Walton studied music in Denver, where he jammed with musicians such as Charlie Parker and John Coltrane. In 1955, Walton moved to New York, immediately gaining recognition from notable musicians and nightclub proprietors. When Walton returned to the U.S. after serving abroad in the Army, he joined Benny Golson and Art Farmer’s Jazztet. Later, he became both pianist and arranger for Art Blakey’s Jazz Messengers. Next, he worked as part of Prestige Records’s house rhythm section, recording with numerous greats and releasing his own albums. One hallmark of Walton’s impact is his numerous long-term collaborations with giants such as trombonist Curtis Fuller and drummer Billy Higgins. By the end of his career, Walton’s discography, as both band member and bandleader, included many dozens of vaunted recordings with some of the most notable jazz musicians of the 1960s through the first decade of the twenty-first century. Ben Markley conducted more than seventy-five interviews with friends and family members, musicians who played with or were otherwise influenced by Walton, and industry figures such as club owners. Musicians interviewed include such stars as Jimmy Heath, Benny Golson, and Ron Carter. Walton’s wife Martha shared her extensive archives of photos, ephemera such as fliers and tour itineraries, and letters.

In his eulogy of saxophonist Johnny Hodges (1907-70), Duke Ellington ended with the words, "Never the world's most highly animated showman or greatest stage personality, but a tone so beautiful it sometimes brought tears to the eyesthis was Johnny Hodges. This is Johnny Hodges." Hodges' unforgettable tone resonated throughout the jazz world over the greater part of the twentieth century. Benny Goodman described Hodges as "by far the greatest man on alto sax that I ever heard," and Charlie Parker compared him to Lily Pons, the operatic soprano. As a teenager, Hodges developed his playing style by imitating Sidney Bechet, the New Orleans soprano sax player, then honed it in late-night cutting sessions in New York and a succession of bands lead by Chick Webb, Willie "The Lion" Smith, and Luckey Roberts. In 1928 he joined Duke Ellington, beginning an association that would continue, with one interruption, until Hodges' death. Hodges' celebrated technique and silky tone marked him then, and still today, as one of the most important and influential saxophone players in the history of jazz. As the first ever biography on Johnny Hodges, Rabbit's Blues details his place as one of the premier artists of the alto sax in jazz history, and his role as co-composer with Ellington.

24 stylish pieces in a range of jazz and light-hearted styles, supported by witty illustrations. Great stuff that sounds cool, but is still easy. Piano Time Jazz Book 2 is around the level of Piano Time 3.

Sing 16 of the world's most beloved jazz standards in the style of legendary vocalists like Ella Fitzgerald, Judy Garland, Etta James, Eileen Rodgers, Barbra Streisand, Sarah Vaughan, and more This deluxe package (songbook plus two enhanced CDs) provides everything you need to arrive at auditions and performances completely prepared, whether your accompaniment will be live or pre-recorded. If a pianist is present, hand them the complete piano/vocal sheet music. (Chord fingering grids are also provided for optional guitar accompaniment.) If recorded accompaniment is required, the fully-orchestrated audio tracks will lend a professional touch to your performance. Vocal demonstration tracks are also included for each song. Titles: Anything Goes * At Last * Bewitched, Bothered and Bewildered * Cry Me a River * Don't Rain on My Parade * Dream a Little Dream of Me * Embraceable You * I Get a Kick out of You * Misty * My Funny Valentine * Over the Rainbow * Someone to Watch Over Me * Summertime * They Can't Take That Away From Me * Whatever Lola Wants * When I Fall in Love.
With Vocal Complete, the sheet music matches the original key and form of the backing tracks, so if you practice singing with one, you won't encounter unexpected variations with the other. Upload the tracks to your portable music player for practice, performances, auditions, parties, or even singing for fun in the car There are two versions of every song on the CDs: a full-performance track with sound-alike vocals for listening and learning, and a professional-quality backing track for singing along. When the CDs are played on a Mac or Windows-based computer, the TNT (Tone 'N' Tempo) Changer lets you customize the key and tempo of each track to suit your voice and style. (The key changer modifies audio playback via computer only. The sheet music remains in its original key.)
"If you love performing classic jazz standards, you need to have this book in your music bag. I know I'll be using i

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.

This enthralling book is the first biography in English of Bill Evans, one of the most influential of all jazz pianists. Peter Pettinger, himself a concert pianist, describes Evans's life (the personal tragedies and commercial successes), his musicmaking (technique, compositional methods, and approach to group playing), and his legacy. The book also includes a full discography and dozens of photographs.

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.

This wide-ranging, ambitiously interdisciplinary study traces jazz's influence on African American poetry from the Harlem Renaissance to contemporary spoken word poetry. Examining established poets such as Langston Hughes, Ntozake Shange, and Nathaniel Mackey as well as a generation of up-and-coming contemporary writers and performers, Meta DuEwa Jones highlights the intersections of race, gender, and sexuality within the jazz tradition and its representation in poetry. Applying prosodic analysis to emphasize the musicality of African American poetic performance, she examines the gendered meanings evident in collaborative performances and in the criticism, images, and sounds circulating within jazz cultures.Jones also considers poets who participated in contemporary venues for black writing such as the Dark Room Collective and the Cave Canem Foundation, including Harryette Mullen, Elizabeth Alexander, and Carl Phillips. Incorporating a finely honed discussion of the Black Arts Movement, the poetry-jazz fusion of the late 1950s, and slam and spoken word performance milieus such as Def Poetry Jam, she focuses on jazz and hip hop-influenced performance artists including Tracie Morris, Saul Williams, and Jessica Care Moore. Through attention to cadence, rhythm, and structure, "The Muse is Music" fills a gap in literary scholarship by attending to issues of gender in jazz and poetry and by analyzing recordings of poets both with and without musical accompaniment. Applying the methodology of textual close reading to a critical "close listening" of American poetry's resonant soundscape, Jones's analyses include exploring the formal innovation and queer performance of Langston Hughes's recorded collaboration with jazz musicians, delineating the relationship between punctuation and performance in the post-soul John Coltrane poem, and closely examining jazz improvisation and hip-hop stylization. An elaborate articulation of the connections between jazz, poetry and spoken word, and gender, "The Muse Is Music" offers valuable criticism of specific texts and performances and a convincing argument about the shape of jazz and African-American poetic performance in the contemporary era.

The musical output of jazz pianist and composer Herbie Hancock has toppled genre boundaries and influenced generations of musicians. A child prodigy who worked his way up through classical tradition, found a home for his insatiable creativity in jazz, and went on to influence musicians across numerous genres, Hancock's work continues to be a staple in mainstream music. In addition to his classical training and innovative jazz work, Hancock has explored many forms of music such as rock, funk and world music, always looking ahead rather than rehashing what has already been accomplished. In Experiencing Herbie Hancock, Eric Wendell looks beyond the successes and failures of Hancock's career in an effort to explore Hancock's musical design within the jazz community and within the popular mainstream. Wendell also explores Hancock's dramatic impact on the jazz community and how his efforts have fostered a cross-genre continuity among modern jazz practitioners. Hancock's chameleon attitude towards contemporary music styles has been met with excitement from both peers and fans alike. Experiencing Herbie Hancock is an ideal work for jazz aficionados, music, and anyone who appreciates the efforts of an artist who would rather look ahead to the great unknown then tread backwards on past endeavors.

Compelling from cover to cover, this is the story of one of the most recorded and beloved jazz trumpeters of all time. With unsparing honesty and a superb eye for detail, Clark Terry, born in 1920, takes us from his impoverished childhood in St. Louis, Missouri, where jazz could be heard everywhere, to the smoke-filled small clubs and carnivals across the Jim Crow South where he got his start, and on to worldwide acclaim. Terry takes us behind the scenes of jazz history as he introduces scores of legendary greats--Ella Fitzgerald, Oscar Peterson, Dizzy Gillespie, Dinah Washington, Doc Severinsen, Ray Charles, Thelonious Monk, Billie Holiday, Sarah Vaughan, Coleman Hawkins, Zoot Sims, and Dianne Reeves, among many others. Terry also reveals much about his own personal life, his experiences with racism, how he helped break the color barrier in 1960 when he joined the "Tonight Show" band on NBC, and why--at ninety years old--his students from around the world still call and visit him for lessons.

While the history of the non-violent Civil Rights Movement, from Rosa Parks to Martin Luther King, is one of the great American stories of the twentieth century, the related Black Power movement has taken a more complex path through the nation's history. Formed by a multitude of individuals, the long history of the Black Power movement stretches before and beyond its political manifestations. Beginning with the folk-narratives told on the plantation, Black Power and the American People charts a course through the iconoclasm of the Harlem Renaissance, the battleground of the American campus, the struggle and skill of the Negro Leagues, the drama of the boxing ring, the killing fields of Vietnam and the cold concrete of the penitentiary, right up to the Black Lives Matter movement of the present day. Tracing these connected cultural expressions through time, Black Power and the American People explores the profound legacy of Black Power from its earliest roots to its most futuristic manifestations, its long history in American culture and its profound influence on the American imagination.

Few musicians shaped Iberian jazz more than pianist Vicenc "Tete" Montoliu i Massana (1933-97). Fascinated by the modernist aesthetics of mid-century jazz, Montoliu was known for a carefully crafted mix of lyricism and dissonance, a penchant for discordant crashes, and a development of highly original compositions. Over the course of his career, he boasted some 100 recordings spanning Denmark, Germany, Holland, Spain, and the United States, and performed with the most notable jazz luminaries including Lionel Hampton, Rahsaan Roland Kirk, Dexter Gordon, and Archie Shepp. In drawing from the Black American jazz form, Montoliu fashioned an adjacent critical space shaped by his experiences as a Catalan and a person with congenital visual impairment living under the dictatorship of Francisco Franco. Beyond Sketches of Spain: Tete Montoliu and the Construction of Iberian Jazz explores the artist's life, musical production, and international reception within a cultural studies framework, invoking Fumi Okiji's notion of gathering in difference. In its investigation of this impressive and often overlooked transnational jazz legend, the book moves beyond mere sketches of Spanish nationhood, challenges conventional scholarly narratives, and recovers links between the United States, Barcelona, Catalonia, Spain, and Europe.

The Jazz Standards, a comprehensive guide to the most important jazz compositions, is a unique resource, a browser's companion, and an invaluable introduction to the art form. This essential book for music lovers tells the story of more than 250 key jazz songs, and includes a listening guide to more than 2,000 recordings.
Many books recommend jazz CDs or discuss musicians and styles, but this is the first to tell the story of the songs themselves. The fan who wants to know more about a jazz song heard at the club or on the radio will find this book indispensable. Musicians who play these songs night after night now have a handy guide, outlining their history and significance and telling how they have been performed by different generations of jazz artists. Students learning about jazz standards now have a complete reference work for all of these cornerstones of the repertoire.
Author Ted Gioia, whose body of work includes the award-winning The History of Jazz and Delta Blues, is the perfect guide to lead readers through the classicsof the genre. As a jazz pianist and recording artist, he has performed these songs for decades. As a music historian and critic, he has gained a reputation as a leading expert on jazz. Here he draws on his deep experience with this music in creating the ultimate work on the subject.
An introduction for new fans, a useful handbook for jazz enthusiasts and performers, and an important reference for students and educators, The Jazz Standards belongs on the shelf of every serious jazz lover or musician.

Gene Lees, author of the highly acclaimed Singers and the Song, offers, in Meet Me at Jim and Andy's, another tightly integrated collection of essays about post-War American music. This time he focuses on major jazz instrumentalists and bandleaders.
Jim and Andy's, on 48th Street just west of Sixth Avenue, was one of four New York musicians' haunts in the 1960s--the others being Joe Harbor's Spotlight, Charlie's, and Junior's. "For almost every musician I knew," Lees writes, " it was] a home-away-from-home, restaurant, watering hole, telephone answering service, informal savings (and loan) bank, and storage place for musical instruments."
In a vivid series of portraits, we meet its clientele, an unforgettable gallery of individualists who happen to have been major artists--among them Duke Ellington, Artie Shaw, Woody Herman, Art Farmer, Billy Taylor, Gerry Mulligan, and Paul Desmond. We share their laughter and meet their friends, such as the late actress Judy Holliday, their wives, even their children (as in the tragic story of Frank Rosolino). We learn about their loves, loyalties, infidelities, and struggles with fame and, sometimes alcohol and drug addiction. The magnificent pianist Bill Evans, describing to Lees his heroin addiction, says, "It's like death and transfiguration. Every day you wake in pain like death, and then you go out and score, and that is transfiguration. Each day becomes all of life in microcosm."
Himself a noted songwriter, Lees writes about these musicians with vividness and intimacy. Far from being the inarticulate jazz musicians of legend, they turn out to be eloquent indeed, and the inventors of a colorful slang that has passed into the American language.
And of course there was the music. A perceptive critic with enormous respect for the music he writes about, Lees notes the importance and special appeal of each artist's work, as in this comment about Artie Shaw's clarinet: "A fish, it has been said, is unaware of water, and Shaw's music so permeated the very air that it was only too easy to overlook just how good a player and how inventive and significant an improviser he was."

Set against the drama of the Great Depression, the conflict of American race relations, and the inquisitions of the House Un-American Activities Committee, "Cafe Society" tells the personal history of Barney Josephson, proprietor of the legendary interracial New York City night clubs Cafe Society Downtown and Cafe Society Uptown and their successor, The Cookery. Famously known as "the wrong place for the Right people," Cafe Society featured the cream of jazz and blues performers--among whom were Billie Holiday, boogie-woogie pianists, Big Joe Turner, Lester Young, Buck Clayton, Big Sid Catlett, and Mary Lou Williams--as well as comedy stars Imogene Coca, Zero Mostel, and Jack Gilford, and also gospel and folk singers. A trailblazer in many ways, Josephson welcomed black and white artists alike to perform for mixed audiences in a venue whose walls were festooned with artistic and satiric murals lampooning what was then called "high society."

Featuring scores of photographs that illustrate the vibrant cast of characters in Josephson's life, this exceptional book speaks richly about Cafe Society's revolutionary innovations and creativity, inspired by the vision of one remarkable man.

Introduced in 1922, the Gibson L5 is the precursor of the modern archtop guitar. It was the first archtop to feature f-holes, which allowed it to project through the horn-dominated bands of the day. Its strong, full, warm sound was an immediate and overwhelming success that turned the heads of makers, players and listeners alike. This book takes a look at its history and most famous players, from its creation, through the Norlin years, to its standing today as the world's most popular jazz guitar. With its stunning 16-page full-color photo section, this book is a must for every guitar enthusiast's collection! 8-1/2 inch. x 11 inch..