On January 16, 1938 Benny Goodman brought his swing orchestra to America's venerated home of European classical music, Carnegie Hall. The resulting concert - widely considered one of the most significant events in American music history - helped to usher jazz and swing music into the American cultural mainstream. This reputation has been perpetuated by Columbia Records' 1950 release of the concert on LP. Now, in Benny Goodman's Famous 1938 Carnegie Hall Jazz Concert, jazz scholar and musician Catherine Tackley provides the first in depth, scholarly study of this seminal concert and recording. Combining rigorous documentary and archival research with close analysis of the recording, Tackley strips back the accumulated layers of interpretation and meaning to assess the performance in its original context, and explore what the material has come to represent in its recorded form. Taking a complete view of the concert, she examines the rich cultural setting in which it took place, and analyzes the compositions, arrangements and performances themselves, before discussing the immediate reception, and lasting legacy and impact of this storied event and album. As the definitive study of one of the most important recordings of the twentieth-century, Benny Goodman's Famous 1938 Carnegie Hall Jazz Concert is a must-read for all serious jazz fans, musicians and scholars.

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.

This is the first book about the life of jazz pianist and composer Stan Tracey CBE (1926-2013). Drawn largely from his personal diaries and some of his many interviews, his son Clark Tracey pieces together what made the late Stan Tracey a unique character in jazz music. Stan's wit and wisdom also come shining through in abundance in this long overdue account of one of the UK's most important jazz musicians.In a career that spanned 70 years, Stan Tracey recalls his earliest memories in war torn London and his first experiences of hearing jazz. As a teenager, he joined ENSA and the RAF Gang Show and for the next three years played at more venues than many musicians do in a lifetime. Once demobbed, Stan befriends pianist Eddie Thomson, vibist and drummer Victor Feldman and clarinettist Vic Ash and begins his career in music. He toured with Kenny Baker's band and the Kirchin Band before joining the Ted Heath Orchestra, then began recording under his own name. He was asked by Ronnie Scott to be the house pianist at Scott's new club, where Stan's legendary status grew for the next six years.He accompanied giants of American jazz such as Stan Getz, Sonny Rollins, Roland Kirk, Dexter Gordon, Freddie Hubbard and many others. During this period he wrote and recorded the seminal album Under Milk Wood, which to this day remains his best selling work. Stan left Ronnie's club following a drug addiction and in the 1970s found himself penniless. His wife Jackie employed her skill in the music business as an A&R from previous years and began presenting concerts to keep Stan afloat, as he formed new musical friendships in the free/improvised idiom at that time, such as Mike Osborne and Keith Tippett. Commissions for suites emerged and Stan's writing skills found an outlet again through the formation of his various groups that were to last for nearly 30 years. Stan's achievements and awards are ample and in many cases unique. Recipient of an OBE and a CBE, Stan also received several lifetime achievement awards and in his last year became the first recipient of the Ivor Novello Jazz Award.

Presents a selection of 150 jazz standards arranged for piano, voice, and guitar. This work includes the songs: Ain't Misbehavin', Don't Get Around Much Anymore, Fly Me To The Moon, God Bless' The Child, I'm Beginning To See The Light, My Funny Valentine, Satin Doll, Stella By Starlight, Witchcraft, Unforgettable, and more.

Timme Rosenkrantz (1911-1969) was a Danish journalist, author, concert and record producer, radio show host, and entrepreneur with a consuming passion for jazz and little head for business. Known in Denmark and New York as the "Jazz Baron" because of his noble lineage, he was the first European journalist to cover the jazz scene in Harlem. Harlem Jazz Adventures: A European Baron's Memoir, 1934-1969 recounts Rosenkrantz's happy years in New York City, where he would produce jazz concerts, record top musicians and bands in his midtown apartment, organize a "dream band" for Timme Rosenkrantz and His Barrelhouse Barons, a 1938 RCA Victor recording, (DL) live in Harlem and run a record shop with his life companion, journalist and singer Inez Cavanaugh. A good friend of jazz impresario John Hammond, Rosenkrantz would become the James Boswell of the Harlem jazz scene. Duke Ellington, Art Tatum, Coleman Hawkins, Billie Holiday-there wasn't a New York jazz musician unknown to "Honeysuckle Rosenkrantz," as christened by Fats Waller. Drawing on the published Danish-language original Dus med Jazzen, and an unpublished English free translation (DL) by Rosenkrantz and Cavanaugh, translator-adapter Fradley Hamilton Garner gives polish and context to Rosenkrantz's stories of meetings with Cecile and Louis Armstrong, Benny Carter, Willie "The Lion" Smith, Eddie Condon, Erroll Garner-whom Rosenkrantz discovered and was first to record-and many others. This book is a must-have for jazz lovers. Social historians interested in the intersection of race and the music business will find in Rosenkrantz's memoir an invaluable primary source on Harlem's social scene and its musical legacy.

In 1960, photographer William Claxton and noted musicologist Joachim Berendt traveled the United States hot on the trail of jazz. Through music halls and marching bands, side streets and subways, they sought to document this living, breathing, beating musical phenomenon that enraptured America across social, economic, and racial lines. The result of Claxton and Berendt's collaboration was Jazzlife, much sought after by collectors and now revived in this fresh TASCHEN volume. From coast to coast, from unknown street performers to legends of the genre, this defining jazz journey explores just what made up this most original of American art forms. In New Orleans and New York, in St. Louis, Biloxi, Jackson, and beyond, Claxton's rapturous yet tender images and accompanying texts examine jazz's regional diversity as much as its pervasive vitality and soul. They show the music makers and the many spaces and people this music touched, from funeral parades to concert stages, from an elderly trumpet player to kids who hung from windows to catch a glimpse of a passing band. With images of Charlie Parker, Count Basie, Duke Ellington, Muddy Waters, Gabor Szabo, Dave Brubeck, Stan Getz, Billie Holiday, Ella Fitzgerald, Miles Davis, Charles Mingus, Thelonious Monk, John Coltrane, and many more, this is as much a compelling slice of history as it is a loving personal tribute.

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.

A deeply researched and beautifully illustrated study of saxophone legend John Coltrane's signature album. Written with the full co-operation of the Coltrane family and featuring the voices of musicians, producers and writers of the 1960s, Kahn has also unearthed rare, unpublished interviews with Coltrane and bassist Jimmy Garrison. The book also features commentary from contemporary music stars including Carlos Santana, Bono, Phil Lesh, Patti Smith, Ravi Shankar and Steve Reich.

Charles Mingus is one of the most important-and most mythologized-composers and performers in jazz history. Classically trained and of mixed race, he was an outspoken innovator as well as a bandleader, composer, producer, and record-label owner. His vivid autobiography, Beneath the Underdog, has done much to shape the image of Mingus as something of a wild man: idiosyncratic musical genius with a penchant for skirt-chasing and violent outbursts. But, as the autobiography reveals, he was also a hopeless romantic. After exploring the most important events in Mingus's life, Krin Gabbard takes a careful look at Mingus as a writer as well as a composer and musician. He digs into how and why Mingus chose to do so much self-analysis, how he worked to craft his racial identity in a world that saw him simply as "black," and how his mental and physical health problems shaped his career. Gabbard sets aside the myth-making and convincingly argues that Charles Mingus created a unique language of emotions-and not just in music. Capturing many essential moments in jazz history anew, Better Git It in Your Soul will fascinate anyone who cares about jazz, African American history, and the artist's life.

Though often thought of as rivals, Ralph Ellison, James Baldwin, and Amiri Baraka shared a range of interests, especially a passion for music. Jazz, in particular, was a decisive influence on their thinking, and, as "The Shadow and the Act" reveals, they drew on their insights into the creative process of improvisation to analyze race and politics in the civil rights era. In this inspired study, Walton M. Muyumba situates them as a jazz trio, demonstrating how Ellison, Baraka, and Baldwin's individual works form a series of calls and responses with each other.

Muyumba connects their writings on jazz to the philosophical tradition of pragmatism, particularly its support for more freedom for individuals and more democratic societies. He examines the way they responded to and elaborated on that lineage, showing how they significantly broadened it by addressing the African American experience, especially its aesthetics. Ultimately, Muyumba contends, the trio enacted pragmatist principles by effectively communicating the social and political benefits of African Americans fully entering society, thereby compelling America to move closer to its democratic ideals.

The influence of Miles Davis's "second great quintet," consisting of Davis (trumpet), Wayne Shorter (tenor saxophone), Herbie Hancock (piano), Ron Carter (bass), and Tony Williams (drums) continues to resonate. Jazz musicians, historians, and critics have celebrated the group for its improvisational communication, openness, and its transitional status between hard bop and the emerging free jazz of the 1960s, creating a synthesis described by one quintet member as "controlled freedom." The book provides a critical analytical study of the Davis quintet studio recordings released between 1965-68, including E.S.P., Miles Smiles, Sorcerer, Nefertiti, Miles in the Sky, and Filles de Kilimanjaro. In contrast to the quintet's live recordings, which included performances of older jazz standards, the studio recordings offered an astonishing breadth of original compositions. Many of these compositions have since become jazz standards, and all of them played a central role in the development of contemporary jazz composition. Using transcription and analysis, author Keith Waters illuminates the compositional, improvisational, and collective achievements of the group. With additional sources, such as rehearsal takes, alternate takes, session reels, and copyright deposits of lead sheets, he shows how the group in the studio shaped and altered features of the compositions. Despite the earlier hard bop orientation of the players, the Davis quintet compositions offered different responses to questions of form, melody, and harmonic structure, and they often invited other improvisational paths, ones that relied on an uncanny degree of collective rapport. And given the spontaneity of the recorded performances-often undertaken with a minimum of rehearsal-the players responded with any number of techniques to address formal, harmonic, or metrical discrepancies that arose while the tape was rolling. The book provides an invaluable resource for those interested in Davis and his sidemen, as well as in jazz of the 1960s. It serves as a reference for jazz musicians and educators, with detailed transcriptions and commentary on compositions and improvisations heard on the studio recordings.

John Coltrane's unique and powerful saxophonic sound is commonly recognized among jazz scholars and fans alike as having a "spiritual" nature, imbued with the perfomer's soul, which deeply touches musicians and listeners worldwide. This revered and respected musician created new standards, linked tradition with innovation, challenged common assumptions, and relentlessly pursued spiritual goals in his music, which he aimed openly to use as a means to help listeners see the beauty of life. More than four decades after Coltrane's death, it is this spiritual nature of the music that has kept his sound alive - and thriving - on the contemporary jazz scene. Edited by prominent jazz musician and scholar Leonard Brown, John Coltrane and Black America's Quest for Freedom is a timely exploration of Coltrane's sound and its spiritual qualities as they relate to Black American music culture and aspirations for freedom. A wide-ranging collection of essays and interviews featuring many of the most eminent figures in jazz studies and performance-Tommy Lee Lott, Anthony Brown, Herman Gray, Emmett G. Price III, Dwight Andrews, Tammy Kernodle, Salim Washington, Eric Jackson, and TJ Anderson (foreword)-the book examines the full spectrum of Coltrane's legacy. Each essay approaches this theme from a different angle, in both historical and contemporary contexts, focusing on how Coltrane became a quintessential example of the universal and enduring qualities of Black American culture. The contributors address Coltrane as the Black intellectual, the visionary master of musical syntax, the man and the media icon, and ultimately the symbol of the spiritual core of Black American music.

Thanks to the pioneering tours of the Creole Band, jazz began to be heard nationwide on the vaudeville stages of America from 1914 to 1918. This seven-piece band toured the country, exporting for the first time the authentic jazz strains that had developed in New Orleans at the start of the 20th century. The band's vaudeville routines were deeply rooted in the minstrel shows and plantation cliches of American show business in the late 19th century, but its instrumental music was central to its performance and distinctive and entrancing to audiences and reviewers.
Pioneers of Jazz reveals at long last the link between New Orleans music and the jazz phenomenon that swept America in the 1920s. While they were the first important band from New Orleans to attain national exposure, The Creole Band has not heretofore been recognized for its unique importance. But in his monumental, careful research, jazz scholar Lawrence Gushee firmly establishes the group's central role in jazz history.
Gushee traces the troupe's activities and quotes the reaction of critics and audiences to their first encounters with this new musical phenomenon. While audiences, who often expected (and got) a kind of minstrel show, the group transcended expectations, taking pride in their music and facing down the theatrical establishment with courage. Although they played the West Coast and Canada, most of their touring centered in the heartland. Most towns of any size in Iowa, Illinois, and Indiana heard them, often repeatedly, and virtually all of their appearances were received with wild enthusiasm. After four years of nearly incessant traveling, members of the band founded or joined groups in Chicago South Side cabaret scene, igniting the craze for hot New Orleans music for which the Windy City was renowned in the early 1920s. The best-known musicians in the group--cornetist Freddie Keppard, clarinetist Jimmy Noone and string bassist Bill Johnson--would play a significant role in jazz, becoming famous for recordings in the 1920s. Gushee effectively brings to life each member of the band and discusses their individual contributions, while analyzing the music with precision, skillful and exacting documentation. Including many never before published photos and interviews, the book also provides an invaluable and colorful look at show business, especially vaudeville, in the 1910s.
While some of the first jazz historians were aware of the band's importance, attempts to locate and interview surviving members (three died before 1935) were sporadic and did little or nothing to correct the mostly erroneous accounts of the band's career. The jazz world has long known about Gushee's original work on this previously neglected subject, and the book represents an important event in jazz scholarship. Pioneers of Jazz brilliantly places this group's unique importance into a broad cultural and historical context, and provides the crucial link between jazz's origins in New Orleans and the beginning of its dissemination across the country.

A jazz writer for three decades, W. Royal Stokes has a special talent for capturing the initial spark that launches a musician's career. In Growing Up With Jazz, he has interviewed twenty-four instrumentalists and singers who talk candidly about the early influences that started them on the road to jazz and where that road has taken them.
Stokes offers a kaleidoscopic look at the jazz scene, featuring musicians from a dazzling array of backgrounds. Ray Gelato recalls the life of a working class youth in London, Patrizia Scascitelli recounts being a child prodigy in Rome who became the first woman of Italian jazz, and Billy Taylor tells about his childhood in Washington, DC, where his grandfather was a Baptist minister and his father a dentist--and everyone in the family seemed well trained in music. Perhaps most exotic is Luluk Purwanto, an Indonesian violinist who as a child listened to gamelan music in the morning and took violin lessons in the afternoon (on an instrument so expensive she didn't dare quit). For some, the flame burned bright at an early age. Jane Monheit sang before she could speak and was set on a musical career by age eight. Lisa Sokolov played classical piano, sang opera and choral music, and was in a jazz band--all by high school. But Carol Sudhalter, though born into a very musical family ("a Bix Beiderbecke family"), was a botany major at Smith, and only became a serious musician after college, quitting a government job to study the flute and saxophone in Italy.
From Art Blakey to Claire Daly to Don Byron, here are the compelling stories of two dozen top musicians finding their way in the world of jazz.

When the Nicholas Brothers danced, uptown at the Cotton Club, downtown at the Roxy, in segregated movie theatres in the South, and dance halls across the country, audiences cheered, clapped, stomped their feet, and shouted out uncontrollably. Their exuberant style of American theatrical dance-a melding of jazz, tap, acrobatics, black vernacular dance, and witty repartee-was dazzling. Though daredevil flips, slides, and hair-raising splits made them show-stoppers, the Nicholas Brothers were also highly sophisticated dancers who refined a centuries-old tradition of percussive dance into the rhythmic brilliance of jazz tap. In Brotherhood in Rhythm, author Constance Valis Hill interweaves an intimate portrait of these great performers with a richly detailed history of jazz music and jazz dance, both bringing their act to life and explaining their significance through a colourful analysis of their eloquent footwork, their full-bodied expressiveness, and their changing style. Hill vividly captures their soaring careers, from the Cotton Club appearances with Duke Ellington, Cab Calloway, and Jimmy Lunceford, to film-stealing big-screen performances with Chick Webb, Tommy Dorsey, and Glenn Miller. Drawing on a deep well of research and endless hours of interviews with the Nicholas brothers themselves, she also documents their struggles against the nets of racism and segregation that constantly enmeshed their careers and denied them the recognition they deserved. More than a biography of two immensely talented but underappreciated performers, Brotherhood in Rhythm offers a profound understanding of this distinctively American art and its intricate links to the history of jazz.

The social connotation of jazz in American popular culture has shifted dramatically since its emergence in the early twentieth century. Once considered youthful and even rebellious, jazz music is now a firmly established American artistic tradition. As jazz in American life has shifted, so too has the kind of venue in which it is performed. In Jazz Places, Kimberly Hannon Teal traces the history of jazz performance from private jazz clubs to public, high-art venues often associated with charitable institutions. As live jazz performance has become more closely tied to nonprofit institutions, the music's heritage has become increasingly important, serving as a means of defining jazz as a social good worthy of charitable support. Though different jazz spaces present jazz and its heritage in various and sometimes conflicting terms, ties between the music and the past play an important role in defining the value of present-day music in a diverse range of jazz venues, from the Village Vanguard in New York to SFJazz on the West Coast to Preservation Hall in New Orleans.

Adrian Rollini (1903-1956), an American jazz multi-instrumentalist, played the bass saxophone, piano, vibraphone, and an array of other instruments. He even introduced some, such as the harmonica-like cuesnophone, called Goofus, never before wielded in jazz. Adrian Rollini: The Life and Music of a Jazz Rambler draws on oral history, countless vintage articles, and family archives to trace Rollini's life, from his family's arrival in the US to his development and career as a musician and to his retirement and death. A child prodigy, Rollini was playing the piano in public at the age of five. At sixteen in New York he was recording pianola rolls when his peers recognized his talent and asked him to play xylophone and piano in a new band, the California Ramblers. When he decided to play a relatively new instrument, the bass saxophone, the Ramblers made their mark on jazz forever. Rollini became the man who gave this instrument its place. Yet he did not limit himself to playing bass parts-he became the California Ramblers' major soloist and created the studio and public sound of the band. In 1927 Rollini led a new band that included such jazz greats as Bix Beiderbecke and Frank Trumbauer. During the Depression years, he was back in New York playing with several bands including his own New California Ramblers. In the 1940s, Rollini purchased a property on Key Largo. He rarely performed again for the public but hosted rollicking jam sessions at his fishing lodge with some of the best nationally known and local players. After a car wreck and an unfortunate hospitalization, Rollini passed away at age fifty-three.

An black Iraq war veteran and an Iraqi-American Muslim teenager form an unlikely friendship through their shared love of John Coltrane. A supreme coming-of-age story of friendship, forgiveness - and jazz. Tariq is is a young Iraqi-American Muslim man, beset by danger on the streets and conflict at home. Music is his only consolation. When he forms a friendship with the volatile but intriguing record-store owner and Iraq war veteran, Jamal, Tariq discovers the world of jazz - and the man he could become. Jamal is exciting, eloquent, and troubled. He suffers from PTSD, is always on edge. Tariq wants to learn from Jamal's knowledge of music, but can he afford to get close to this volatile veteran? When violence that has long threatened finally erupts, things suddenly clarify for Tariq. He takes the ultimate risk - not on behalf of his friend but his enemy - and the disparate worlds of modern America and traditional Islam come together in an unexpected and gripping resolution.

The saxophone, today an emblem of "cool" and the instrument most associated with jazz, was largely ignored in the U.S. for well over a half-century after its invention in France in 1838. Bringing this new sound to the American public was the Six Brown Brothers, one of the most famous musical acts on the stage in the early twentieth century. The group's quarter-century of ups and downs mirror the rise and fall of minstrelsy and vaudeville. With treks across the country and Europe, years in Broadway musical and comedy revues, and even time at the circus, the Six Brown Brothers embodied early American music.
Rather than a note-by-note analysis of the music (the author is not a musicologist, but rather a cornet player, ragtime aficionado, and former philosophy professor), the book works with the music in its context, offering a cultural interpretation of blackface and minstrelsy, a history of the invention and evolution of the saxophone, and insight into the burgeoning American music/entertainment business and forgotten music traditions. While known among fans of early ragtime and saxophone players, Vermazen's rigorous archival research with primary sources repositions the Brothers in their rightful place as key players in the development of American music and popularizers of the saxophone. Through their live performances and groundbreaking recordings--the first of a saxophone ensemble--the Six Brown Brothers made this new and often derided instrument (once referred to as the "Siren of Satan") familiar to and loved by a wide audience, laying the groundwork for the saxophone soloists that have become the crowning symbol of jazz.