(Guitar Educational). Expand your guitar knowledge with the Guitar Lesson Goldmine series Featuring 100 individual modules covering a giant array of topics, each lesson in this Jazz volume includes detailed instruction with playing examples presented in standard notation and tablature. You'll also get extremely useful tips, scale diagrams, chord grids, photos and more to reinforce your learning experience, plus 2 full audio CDs featuring performance demos of all the examples in the book A huge variety of jazz guitar styles and techniques are covered, including: modes, arpeggios, basic comping, blues comping, turnaround improvisation, chord tones, tritone substitution, scale sequences, pentatonics, sus chords, polyphonic harmony, and much more

In this volume author John Corcelli reveals Zappa's roots as a musician from his diverse influences to his personal life. We also learn more about his former band members and the enormous musical legacy inherited by his son Dweezil. The book features a juried examination of Zappa's recordings and his videos. It also features a complete discography and a recommended reading list. Each chapter has a special focus on Zappa's life with sections covering his family his home studio a known as the Utility Muffin Research Kitchen a his keen interest in the Synclavier (a device he first used in 1980) his guitars and more. Special attention is paid to the Mothers of Invention.THEFrank Zappa FAQE is a must-have for fans new and old looking to delve into some of the best music ever made by one of the most innovative artists the world has known.

What was the first jazz record? Are jazz solos really improvised? How did jazz lay the groundwork for rock and country music? In Why Jazz?, author and NPR jazz critic Kevin Whitehead provides lively, insightful answers to these and many other fascinating questions, offering an entertaining guide for both novice listeners and long-time fans.
Organized chronologically in a convenient question and answer format, this terrific resource makes jazz accessible to a broad audience, and especially to readers who've found the music bewildering or best left to the experts. Yet Why Jazz? is much more than an informative Q&A; it concisely traces the century-old history of this American and global art form, from its beginnings in New Orleans up through the current postmodern period. Whitehead provides brief profiles of the archetypal figures of jazz--from Louis Armstrong and Duke Ellington to Wynton Marsalis and John Zorn--and illuminates their contributions as musicians, performers, and composers. Also highlighted are the building blocks of the jazz sound--call and response, rhythmic contrasts, personalized performance techniques and improvisation--and discussion of how visionary musicians have reinterpreted these elements to continually redefine jazz, ushering in the swing era, bebop, cool jazz, hard bop, and the avant-garde. Along the way, Why Jazz? provides helpful plain-English descriptions of musical terminology and techniques, from "blue notes" to "conducted improvising." And unlike other histories which haphazardly cover the stylistic branches of jazz that emerged after the 1960s, Why Jazz? groups latter-day musical trends by decade, the better to place them in historical context.
Whether read in self-contained sections or as a continuous narrative, this compact reference presents a trove of essential information that belongs on the shelf of anyone who's ever been interested in jazz.

During World War II, jazz embodied everything that was appealing about a democratic society as envisioned by the Western Allied powers. Labelled 'degenerate' by Hitler's cultural apparatus, jazz was adopted by the Allies to win the hearts and minds of the German public. It was also used by the Nazi Minister for Propaganda, Joseph Goebbels, to deliver a message of Nazi cultural and military superiority. When Goebbels co-opted young German and foreign musicians into 'Charlie and his Orchestra' and broadcast their anti-Allied lyrics across the English Channel, jazz took centre stage in the propaganda war that accompanied World War II on the ground. The Jazz War is based on the largely unheard oral testimony of the personalities behind the German and British wartime radio broadcasts, and chronicles the evolving relationship between jazz music and the Axis and Allied war efforts. Studdert shows how jazz both helped and hindered the Allied cause as Nazi soldiers secretly tuned in to British radio shows while London party-goers danced the night away in demimonde `bottle parties', leading them to be branded a `menace' in Parliament. This book will appeal to students of the history of jazz, broadcasting, cultural studies, and the history of World War II.

Laura Nyro (1947-1997) was one of the most significant figures to emerge from the singer-songwriter boom of the 1960s. She first came to attention when her songs were hits for Barbra Streisand, The Fifth Dimension, Peter, Paul and Mary, and others. But it was on her own recordings that she imprinted her vibrant personality. With albums like Eli and the Thirteenth Confession and New York Tendaberry she mixed the sounds of soul, pop, jazz and Broadway to fashion autobiographical songs that earned her a fanatical following and influenced a generation of music-makers. In later life her preoccupations shifted from the self to embrace public causes such as feminism, animal rights and ecology - the music grew mellower, but her genius was undimmed. This book examines her entire studio career from 1967's More than a New Discovery to the posthumous Angel in the Dark release of 2001. Also surveyed are the many live albums that preserve her charismatic stage presence. With analysis of her teasing, poetic lyrics and unique vocal and harmonic style, this is the first-ever study to concentrate on Laura Nyro's music and how she created it. Elton John idolised her; Joni Mitchell declared her 'a true original'. Here's why.

A rare collection of more than 200 full-color and black-and-white souvenir photographs and memorabilia that bring to life the renowned jazz nightclubs of the 1940s and 1950s, compiled by Grammy Award-winning record executive and music historian Jeff Gold and featuring exclusive interviews with Quincy Jones, Sonny Rollins, Robin Givhan, Jason Moran, and Dan Morgenstern. In the two decades before the Civil Rights movement, jazz nightclubs were among the first places that opened their doors to both Black and white performers and club goers in Jim Crow America. In this extraordinary collection, Jeff Gold looks back at this explosive moment in the history of Jazz and American culture, and the spaces at the center of artistic and social change. Sittin' In is a visual history of jazz clubs during these crucial decades when some of the greatest names in in the genre-Billie Holiday, Charlie Parker, Ella Fitzgerald, Dizzy Gillespie, Miles Davis, Louis Armstrong, Oscar Peterson, and many others-were headlining acts across the country. In many of the clubs, Black and white musicians played together and more significantly, people of all races gathered together to enjoy an evening's entertainment. House photographers roamed the floor and for a dollar, took picture of patrons that were developed on site and could be taken home in a keepsake folder with the club's name and logo. Sittin' In tells the story of the most popular club in these cities through striking images, first-hand anecdotes, true tales about the musicians who performed their unforgettable shows, notes on important music recorded live there, and more. All of this is supplemented by colorful club memorabilia, including posters, handbills, menus, branded matchbooks, and more. Inside you'll also find exclusive, in-depth interviews conducted specifically for this book with the legendary Quincy Jones; jazz great tenor saxophonist Sonny Rollins; Pulitzer Prize-winning fashion critic Robin Givhan; jazz musician and creative director of the Kennedy Center, Jason Moran; and jazz critic Dan Morgenstern. Gold surveys America's jazz scene and its intersection with racism during segregation, focusing on three crucial regions: the East Coast (New York, Atlantic City, Boston, Washington, D.C.); the Midwest (Chicago, Cleveland, Detroit, St. Louis, Kansas City); and the West Coast (Los Angeles, San Francisco). This collection of ephemeral snapshots tells the story of an era that helped transform American life, beginning the move from traditional Dixieland jazz to bebop, from conservatism to the push for personal freedom.

The 1920s were not called the Jazz Age for nothing. Celebrated by writers from Langston Hughes to Gertrude Stein, jazz was the dominant influence on American popular music, despite resistance from whites who distrusted its vibrant expression of black culture and by those opposed to the overt sexuality and raw emotion of the `devil's music'. As Kathy Ogren shows, the breathless pace and syncopated rhythms were as much a part of twenties America as Prohibition and the economic boom, which enabled millions throughout the states to enjoy the latest sounds on radios and phonographs.

Johnny Griffin, the Little Giant from the South Side of Chicago, has remained a top jazz saxophonist throughout his 62-year playing career. He has spent 42 years in Europe and is recognized internationally as a major jazz star with a readily identifiable style, an immense improvisational flair and an unfailing capacity to swing. As jazz writer Brian Priestley has observed: Griffin is one of the fastest and most accurate ever on his instrument. Griffin is an articulate, witty and entertaining conversationalist with an unending flow of anecdotal reminiscences about his days with Lionel Hampton, Art Blakey, Thelonious Monk, Eddie Lockjaw Davis, the Clarke Boland Big Band and the variety of small groups he has fronted over the years. The Little Giant is a light-hearted, irreverent and uninhibited look at the life of one of the most consummate musicians in jazz. Author Mike Hennessey is a jazz critic, producer, broadcaster and pianist. Other books by him include a biography of the late drummer, Kenny Clarke, Klook, and a history of Ronnie Scott's Club, Some of My Best Friends Are Blues. He has covered the international music scene for Billboard magazine for 27 years and he has written more than 500 album notes and hundreds of articles for a wide range of jazz magazines in North America and Europe."

This second edition of the highly successful Popular Singing serves as a practical guide to exploring the singing voice while helping to enhance vocal confidence in a range of popular styles. The book provides effective alternatives to traditional voice training methods, and demonstrates how these methods can be used to create a flexible and unique sound. This updated and thoroughly revised edition will feature a new chapter on training for popular singing, which incorporates recent movements in teaching the discipline across the globe, taking into account recent developments in the area. The book also features a new section on 'bridging' - ie. using all the technical elements outlined in the book to help the singer find their own particular expressive style to inspire more playfulness and creativity, both for the individual singer and for the teacher in practice and performance.

Early Jazz is one of the seminal books on American jazz, ranging from the beginnings of jazz as a distinct musical style at the turn of the century to its first great flowering in the 1930s. Schuller explores the music of the great jazz soloists of the twenties--Jelly Roll Morton, Bix Beiderbecke, Bessie Smith, Louis Armstrong, and others--and the big bands and arrangers--Fletcher Henderson, Bennie Moten, and especially Duke Ellington--placing their music in the context of the other musical cultures of the twentieth century and offering analyses of many great jazz recordings.
Early Jazz provides a musical tour of the early American jazz world. A classic study, it is both a splendid introduction for students and an insightful guide for scholars, musicians, and jazz aficionados.

Horace Silver is one of the last giants remaining from the incredible flowering and creative extension of bebop music that became known as hard bop in the 1950s. This freewheeling autobiography of the great composer, pianist, and bandleader takes us from his childhood in Norwalk, Connecticut, through his rise to fame as a musician in New York, to his comfortable life after the road in California. During that time, Silver composed an impressive repertoire of tunes that have become standards and recorded a number of classic albums. Well-seasoned with anecdotes about the music, the musicians, and the milieu in which he worked and prospered, SilverOCOs narrativeOColike his musicOCois earthy, vernacular, and intimate. His stories resonate with lessons learned from hearing and playing alongside such legends as Art Blakey, Charlie Parker, and Lester Young. His irrepressible sense of humor combined with his distinctive spirituality make his account both entertaining and inspiring. Most importantly, SilverOCOs unique take on the music and the people who play it opens a window onto the creative process of jazz and the social and cultural worlds in which it flourishes."LetOCOs Get to the Nitty Gritty "also describes SilverOCOs spiritual awakening in the late 1970s. This transformation found its expression in the electronic and vocal music of the three-part work called The United States of Mind and eventually led the musician to start his own record label, Silveto. Silver details the economic forces that eventually persuaded him to put Silveto to rest and to return to the studios of major jazz recording labels like Columbia, Impulse, and Verve, where he continued expanding his catalogue of new compositions and recordings that are at least as impressive as his earlier work."

(Fake Book). The Real Books are the best-selling jazz books of all time. Since the 1970s, musicians have trusted these volumes to get them through every gig, night after night. The problem is that the books were illegally produced and distributed, without any regard to copyright law, or royalties paid to the composers who created these musical masterpieces. Hal Leonard is very proud to present the first legitimate and legal editions of these books ever produced. You won't even notice the difference, other than all the notorious errors being fixed: the covers and typeface look the same, the song list is nearly identical, and the price for our edition is even cheaper than the original Every conscientious musician will appreciate that these books are now produced accurately and ethically, benefitting the songwriters that we owe for some of the greatest tunes of all time This Bb mini edition includes 400 songs: All Blues * Au Privave * Autumn Leaves * Black Orpheus * Bluesette * Body and Soul * Bright Size Life * Con Alma * Dolphin Dance * Don't Get Around Much Anymore * Easy Living * Epistrophy * Falling in Love with Love * Footprints * Four on Six * Giant Steps * Have You Met Miss Jones? * How High the Moon * I'll Remember April * Impressions * Lullaby of Birdland * Misty * My Funny Valentine * Oleo * Red Clay * Satin Doll * Sidewinder * Stella by Starlight * Take Five * There Is No Greater Love * Wave * and hundreds more C Edition also available.

This ground-breaking biography is as much about Sun Ra's music as it is about his passionate, often wildly unorthodox views on the galaxy, black people and spiritual matters. With the various incarnations of his inimitable Arkestra, his repertoire ranged from boogie-woogie to swing to be-bop to fusion to New Age, and his influence extended throughout the jazz and rock worlds. While Sun Ra made a lifelong effort to obscure many of the facts of his early years, he did acknowledge that he was born on the planet Saturn. John Szwed has succeeded brilliantly in delving into and evoking the life and work of this extraordinary artist.

"From Buddy Collette's brilliant ruminations on Paul Robeson to Horace Tapscott's extraordinary insights about artistic production and community life . . . this collection of oral testimony presents a unique and memorable portrait of the 'Avenue' and of the artists whose creativity nurtured and sustained its golden age."--George Lipsitz, author of "Dangerous Crossroads

"If ever the West Coast enjoyed its own equivalent of the Harlem Renaissance, it was here on Central Avenue. This too-often forgotten setting was nothing less than a center of cultural ferment and a showplace for artistic achievement. Finally its story has been told, with a richness of detail and vitality of expression, by those who helped make it happen."--Ted Gioia, author of "West Coast Jazz: Modern Jazz in California

"What a wonderful, comprehensive volume, full of knowledge and insight about an important time and place in jazz history. This book is a needed and welcomed addition on the rich African-American musical heritage of Los Angeles. It is well written and edited by people who were actually involved in the creation of the music, along with others who have a deep concern for preserving that legacy. This work gives the reader a truly in-depth look at the musicians, the music, and the social and political climate during that important development in American culture."--Kenny Burrell, jazz guitarist and Director of the Jazz Studies Program and Professor of Music and Ethnomusicology at the University of California, Los Angeles