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

This is the first biography of the jazz trumpeter Lee Morgan (1938-72). He was a prodigy: recruited to Dizzy Gillespie's big band while still a teenager, joining Art Blakey's Jazz Messengers not much after, by his early-20s Morgan had played on four continents and dozens of albums. The trumpeter would go on to cultivate a personal and highly influential style, and to make records - most notably "The Sidewinder" - which would sell amounts almost unheard of in jazz. While what should have been Morgan's most successful years were hampered by a heroin addiction, the ascendant black liberation movement of the late-60s gave the musician a new, political impulse, and he returned to the jazz scene to become a vociferous campaigner for black musicians' rights and representation. But Morgan's personal life remained troubled, and during a fight with his girlfriend at a New York club, he was shot and killed, aged 33.

for bass
This exciting new collection by Bob Chilcott gives a jazzy twist to nine favourite folk songs from around the world. The bass part, which forms part of the jazz-trio accompaniment, is notated with chord symbols and can be played as written or used as a guide from which the player may improvise freely.

Taking to heart Ralph Ellison's remark that much in American life is "jazz-shaped," "The Jazz Cadence of American Culture" offers a wide range of eloquent statements about the influence of this art form. Robert G. O'Meally has gathered a comprehensive collection of important essays, speeches, and interviews on the impact of jazz on other arts, on politics, and on the rhythm of everyday life. Focusing mainly on American artistic expression from 1920 to 1970, O'Meally confronts a long era of political and artistic turbulence and change in which American art forms influenced one another in unexpected ways.

Organized thematically, these provocative pieces include an essay considering poet and novelist James Weldon Johnson as a cultural critic, an interview with Wynton Marsalis, a speech on the heroic image in jazz, and a newspaper review of a recent melding of jazz music and dance, "Bring in 'Da Noise, Bring in 'Da Funk." From Stanley Crouch to August Wilson to Jacqui Malone, the plurality of voices gathered here reflects the variety of expression within jazz.

The book's opening section sketches the overall place of jazz in America. Alan P. Merriam and Fradley H. Garner unpack the word "jazz" and its register, Albert Murray considers improvisation in music and life, Amiri Baraka argues that white critics misunderstand jazz, and Stanley Crouch cogently dissects the intersections of jazz and mainstream American democratic institutions. After this, the book takes an interdisciplinary approach, exploring jazz and the visual arts, dance, sports, history, memory, and literature. Ann Douglas writes on jazz's influence on the design and construction of skyscrapers in the 1920s and '30s, Zora Neale Hurston considers the significance of African-American dance, Michael Eric Dyson looks at the jazz of Michael Jordan's basketball game, and Hazel Carby takes on the sexual politics of Ma Rainey and Bessie Smith's blues.

"The Jazz Cadence" offers a wealth of insight and information for scholars, students, jazz aficionados, and any reader wishing to know more about this music form that has put its stamp on American culture more profoundly than any other in the twentieth century.

Jazz Improvisation Using Simple Melodic Embellishment teaches fundamental concepts of jazz improvisation, highlighting the development of performance skills through embellishment techniques. Written with the college-level course in mind, this introductory textbook is both practical and comprehensive, ideal for the aspiring improviser, focused not on scales and chords but melodic embellishment. It assumes some basic theoretical knowledge and level of musicianship while introducing multiple techniques, mindful that improvisation is a learned skill as dependent on hard work and organized practice as it is on innate talent. This jargon-free textbook can be used in both self-guided study and as a course book, fortified by an array of interactive exercises and activities: musical examples performance exercises written assignments practice grids resources for advanced study and more! Nearly all musical exercises-presented throughout the text in concert pitch and transposed in the appendices for E-flat, B-flat, and bass clef instruments-are accompanied by backing audio tracks, available for download via the Routledge catalog page along with supplemental instructor resources such as a sample syllabus, PDFs of common transpositions, and tutorials for gear set-ups. With music-making at its core, Jazz Improvisation Using Simple Melodic Embellishment implores readers to grab their instruments and play, providing musicians with the simple melodic tools they need to "jazz it up."

Few British jazz musicians have been at the cutting edge of as many movements as Ian Carr. A pioneer bebop player in his youth, a colleague of Eric Burdon and John McLaughlin in the R'n'B explosion of the 60s, co-leader of one of Britain's most innovative jazz groups - the Rendell-Carr Quintet, a free-jazz colleague of John Stevens and Trevor Watts, and the founding father of jazz rock in the UK, with his band Nucleus, Carr's musical career alone is truly remarkable, and a one-man history of British jazz in the 60s and 70s. Add to that his work as a member of the United Jazz and Rock Ensemble, and with such distinguished leaders as George Russell, Stan Tracey and Mike Gibbs, and his work as a player seems even more remarkable. Yet Ian Carr is also one of the most perceptive critical writers and broadcasters about jazz, being not only the co-author of the "Rough Guide", but also the celebrated biographer of Keith Jarrett and Miles Davis. In recent years, he has transformed his writing talents into making innovative and prizewinning films on the music he loves, for which he has always been a fearless and outspoken advocate, from the time of his 1973 book, "Music Outside". As a teacher, his pupils have included such stellar British talents as Julian Joseph, the Mondesir brothers and Nikki Yeoh. He has been a professor of jazz at London's Guildhall School of Music since the 1980s and was founder of the jazz workshop at the Interchange arts scheme. In this full length biography, Alyn Shipton examines the fascinating mix of ingredients that comprise the man and his music, and in the process draws a vivid picture of Carr's home region, the North-East of England, of National Service, of such literary influences as W. Somerset Maughan, of post-war continental Europe and its Bohemian arts scene, and of the London jazz world from the 1960s onwards. The book shows that jazz does not have to have an American accent to be original and innovative, and to inspire audiences all around the world.

The acclaimed, definitive biography of the first jazz composer, based on newly discovered archival material. Jelly's Blues recounts the tumultuous life of Jelly Roll Morton (ca., 18851941). A virtuoso pianist with a larger-than-life personality, he composed such influential early jazz pieces as King Porter Stomp and New Orleans Blues. However, by the late 1930s, he was nearly forgotten. In 1992, the death of an eccentric memorabilia collector led to the unearthing of a startling archive, revealing Morton to be a much more complex and passionate man than many realized. An especially immediate and visceral look into the jazz worlds of New Orleans and Chicago, Jelly's Blues is a definitive biography, a long overdue look at one of the twentieth century's most important composers.

Jazz Composition and Arranging In the Digital Age is a comprehensive and practical instructional book and reference guide on the art and craft of jazz composition and arranging for small and large ensembles. In this book, veteran composers and arrangers Richard Sussman and Michael Abene combine their extensive years of experience as musicians and instructors to demonstrate how advances in music technology and software may be integrated with traditional compositional concepts to form a new and more efficient paradigm for the creative process.
This book builds on material and issues treated in traditional jazz composition and arranging courses, including all the fundamental musical techniques and information associated with jazz arranging and composition instruction. In addition, each chapter of the book also contains specific examples demonstrating the effective utilization of music software as applied to the realization of these techniques. Software is employed both as both a learning tool in the form of examples and exercises, and as a practical tool illustrating how many modern day composer/arrangers are utilizing these techniques successfully in the real world. The book also offers several chapters devoted exclusively to the creative use of music technology and software. The extensive companion website provides listening examples for each chapter as well as enhanced software tips, expanded and additional music examples, and appendices of, basic principles and an expanded recommended listening list for further study.

There are over a million jazz recordings, but only a few hundred tunes have been recorded repeatedly. Why did a minority of songs become jazz standards? Why do some songs--and not others--get rerecorded by many musicians? "Shaping Jazz" answers this question and more, exploring the underappreciated yet crucial roles played by initial production and markets--in particular, organizations and geography--in the development of early twentieth-century jazz.

Damon Phillips considers why places like New York played more important roles as engines of diffusion than as the sources of standards. He demonstrates why and when certain geographical references in tune and group titles were considered more desirable. He also explains why a place like Berlin, which produced jazz abundantly from the 1920s to early 1930s, is now on jazz's historical sidelines. Phillips shows the key influences of firms in the recording industry, including how record companies and their executives affected what music was recorded, and why major companies would rerelease recordings under artistic pseudonyms. He indicates how a recording's appeal was related to the narrative around its creation, and how the identities of its firm and musicians influenced the tune's long-run popularity.

Applying fascinating ideas about market emergence to a music's commercialization, "Shaping Jazz" offers a unique look at the origins of a groundbreaking art form.

Mission Impossible: My Life in Music is the engaging autobiography of Lalo Schifrin, the musician, conductor, and composer of more than 60 jazz and classical works and over 100 film and television scores, including Bullitt, the Rush Hour series, Cool Hand Luke, The Dead Pool, Tango, The Fox, Voyage of the Damned, The Amityville Horror, The Sting II, and Mission Impossible. Edited by Richard Palmer, this autobiography is a journey from Schifrin's formative years in Argentina to the classical and jazz atmospheres in Paris in the 1950s; and from his jazz career in the United States with Dizzy Gillespie from 1958-1963 to his development as a film and television composer from 1963 to the present. Organized in eight parts, the book reflects on Schifrin's cosmopolitan experience and provides impressions and vignettes of the extraordinary people with whom he worked. As a composer whose works bridge three main musical styles-jazz, classical, and film and television-his autobiography offers invaluable insights on all three genres, as well as politics, literature, and travel. This significant volume includes over 30 photos, appendixes listing Schifrin's works, and a discography, as well as an audio CD featuring some of Schifrin's greatest compositions.

Your guitar becomes the ultimate jazz solo instrument when you master the techniques and concepts in this book. Picking up where the harmony lessons in Intermediate Jazz Guitar leave off, topics include melody and harmony integration, bass line development, chord enhancement, quartal harmonies, and how to arrange a guitar solo. Learn to simultaneously play the harmony, melody, rhythm, and bass parts of any song! Concepts are illustrated with lots of examples to practice, including arrangements of some traditional melodies. All music is shown in standard notation and TAB, and the CD demonstrates the examples in the book. 64 pages.

The Beatles and Duke Ellington's Orchestra stand as the two greatest examples of collaboration in music history. Thomas Brothers delivers a portrait of the creative process at work, demonstrating that the cooperative method at the foundation of these two artist-groups was the primary reason for their unmatched musical success. While clarifying the historical record of who wrote what, with whom and how, Brothers brings the past to life with photos, anecdotes and more than thirty years of musical knowledge, and analysis of songs from "Strawberry Fields Forever" to "Chelsea Bridge". Help! describes in rich detail the music and mastery of two cultural leaders whose popularity has never dimmed, and the process of collaboration that allowed them to achieve an artistic vision greater than the sum of their parts.

The New York loft jazz scene of the 1970s was a pivotal period for uncompromising, artist-produced work. Faced with a flagging jazz economy, a group of young avant-garde improvisers chose to eschew the commercial sphere and develop alternative venues in the abandoned factories and warehouses of Lower Manhattan. Loft Jazz provides the first book-length study of this period, tracing its history amid a series of overlapping discourses surrounding collectivism, urban renewal, experimentalist aesthetics, underground archives, and the radical politics of self-determination.

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

A practical comprehensive guide to rock, jazz and pop arranged by one of Britain's most gifted and versatile musicians. Written in lively, accessible and entertaining style, this book contains everything the professional arranger or aspiring amateur needs to know, from setting out a lead sheet to scoring a full arrangement. The problems and pitfalls of writing for every group of instrument are discussed, from keyboards, drums and bass to brass strings, woodwind, percussion, guitar and a 'cappella' vocal writing. Packed with vital tips and hints, and presented in easy-to-use reference format, Rock, Jazz and Pop Arranging also includes two valuable appendices - on time saving shortcuts and chord symbols - and indispensable glossary.

There were but four major galaxies in the early jazz universe, and three of them-New Orleans, Chicago, and New York-have been well documented in print. But there has never been a serious history of the fourth, Kansas City, until now. In this colorful history, Frank Driggs and Chuck Haddix range from ragtime to bebop and from Bennie Moten to Charlie Parker to capture the golden age of Kansas City jazz. Readers will find a colorful portrait of old Kaycee itself, back then a neon riot of bars, gambling dens and taxi dance halls, all ruled over by Boss Tom Pendergast, who had transformed a dusty cowtown into the Paris of the Plains. We see how this wide-open, gin-soaked town gave birth to a music that was more basic and more viscerally exciting than other styles of jazz, its singers belting out a rough-and-tumble urban style of blues, its piano players pounding out a style later known as "boogie-woogie." We visit the great landmarks, like the Reno Club, the "Biggest Little Club in the World," where Lester Young and Count Basie made jazz history, and Charlie Parker began his musical education in the alley out back. And of course the authors illuminate the lives of the great musicians who made Kansas City swing, with colorful profiles of jazz figures such as Mary Lou Williams, Big Joe Turner, Jimmy Rushing, and Andy Kirk and his "Clouds of Joy." Here is the definitive account of the raw, hard-driving style that put Kansas City on the musical map. It is a must read for everyone who loves jazz or American music history.

The first autobiography of a jazz musician, Louis Armstrong's Swing That Music is a milestone in jazz literature. Armstrong wrote most of the biographical material, which is of a different nature and scope than that of his other, later autobiography, Satchmo: My Life in New Orleans (also published by Da Capo/Perseus Books Group). Satchmo covers in intimate detail Armstrong's life until his 1922 move to Chicago but Swing That Music also covers his days on Chicago's South Side with "King" Oliver, his courtship and marriage to Lil Hardin, his 1929 move to New York, the formation of his own band, his European tours, and his international success. One of the most earnest justifications ever written for the new style of music then called "swing" but more broadly referred to as "Jazz," Swing That Music is a biography, a history, and an entertainment that really "swings."

The vibrant world of jazz may be viewed from many angles, from social and cultural history to music analysis, from economics to ethnography. It is challenging and exciting territory. This volume of nineteen specially commissioned essays offers informed and accessible guidance to the challenge, taking the reader through a series of five basic subject areas--locating jazz historically and geographically; defining jazz as musical and cultural practice; jazz in performance; the uses of jazz for audiences, markets, education and for other art forms; and the study of jazz.

The Jazz Sax Collection (Alto/Baritone Saxophone) is an unmissable selection of authentic jazz, written and arranged by professional jazz saxophonist Ned Bennett for Intermediate to Advanced-level players (approximately Grade 4 to 7). It includes accompanied and unaccompanied pieces, featuring well-known jazz standards, with opportunities for improvisation within selected pieces, together with performance notes and listening suggestions. Audio demo and backing tracks of all the pieces will be available online at fabermusicstore.com/jazzsaxcollection.

This book is part player's manual, part historical profile, and part musical portrait. It explores in-depth all facets of jazz bass playing - from the development of "walking" and other techniques, to the human and musical interaction inside a rhythm section, to the bassists who made their instrument an integral part of America's greatest art form. Citing examples from key recordings in the jazz canon, the book defines the essence of the musical contributions made by every important jazz bassist. These achievements are explained both conceptually and technically, helping musicians and fans alike understand the art and craft of jazz bass playing. Bassists get expert guidance on mastering proper technique, practice methods, and improvisation, plus new insight into the theoretical and conceptual aspects of jazz. The companion CD featuring bass plus rhythm section allows readers to hear technical examples from the book, presented in slow and fast versions. It also offers play-along tracks of typical chord progressions.