A new biography of the beloved but mysterious Blind Lemon Jefferson, famous blues musician. Born in 1897, Jefferson was a blind street musician who played his guitar at the corner of Elm Street and Central Avenue in the Deep Ellum area of Dallas, Texas, until a Paramount Records scout discovered him. Between 1926 and his untimely death in 1929, Jefferson made more than 80 records and became the biggest-selling blues singer in America. Although his recordings are extensive, details about his life are relatively few. Through Govenar and Lornell's extensive interviews and research, See That My Grave is Kept Clean gathers the scattered facts behind Blind Lemon Jefferson's mythic representations.

For one semester courses in African American Music. From Jubilee to Hip Hop includes 36 reading selections that underscore the breath and variety of African American musical culture. Each of these selections relates something notable and interesting about African American musical culture since the Emancipation, whether it is Marian Anderson's recollection of the legendary 1939 DAR Constitution Hall debacle, or John Chilton's story of the impact of Louis Jordan's song, "Caldonia." Review this title! Pearson's Reading Hour Program for Instructors Interested in reviewing new texts in Music? Click on the below link to choose an electronic chapter to preview! Settle back, read, and receive a Penguin paperback for your time! http://www.pearsonhighered.com/readinghour/music

From Jubilee to Hip Hop includes 36 reading selections that underscore the breadth and variety of African American musical culture. Each of these selections relates something notable and interesting about African American musical culture since the Emancipation, whether it is Marian Anderson's recollection of the legendary 1939 DAR Constitution Hall debacle, or John Chilton's story of the impact of Louis Jordan's song, "Caldonia."

With its rich but underappreciated musical heritage, Washington, D.C. is often overlooked as a cradle for punk, the birthplace of go go, and as the urban center for bluegrass in the Untied States. Capital Bluegrass: Hillbilly Music Meets Washington, D.C. richly documents the history and development of bluegrass in and around the nation's capital since it emerged in the 1950s. In his seventeenth book, American vernacular music scholar Kip Lornell discusses both well-known progressive bluegrass bands including the Country Gentlemen and the Seldom Scene, and lesser known groups like the Happy Melody Boys, Benny and Vallie Cain and the Country Clan, and Foggy Bottom. Lornell focuses on colorful figures such as the brilliant and eccentric mandolin player, Buzz Busby, and Connie B. Gay, who helped found the Country Music Association in Nashville. Moving beyond the musicians to the institutions that were central to the development of the genre, Lornell brings the reader into the nationally recognized Birchmere Music Hall, and tunes in to NPR powerhouse WAMU-FM, which for five decades broadcast as much as 40 hours a week of bluegrass programming. Dozens of images illuminate the story of bluegrass in the D.C. area, photographs and flyers that will be new to even the most veteran bluegrass enthusiast. Bringing to life a music and musical community integral to the history of the city itself, Capital Bluegrass tells an essential tale of bluegrass in the United States.

The Music of Multicultural America explores the intersection of performance, identity, and community in a wide range of musical expressions. Fifteen essays explore traditions that range from the Klezmer revival in New York, to Arab music in Detroit, to West Indian steelbands in Brooklyn, to Kathak music and dance in California, to Irish music in Boston, to powwows in the midwestern plains, to Hispanic and native musics of the Southwest borderlands. Many chapters demonstrate the processes involved in supporting, promoting, and reviving community music. Others highlight the ways in which such American institutions as city festivals or state and national folklife agencies come into play. Thirteen themes and processes outlined in the introduction unify the collection's fifteen case studies and suggest organizing frameworks for student projects. Due to the diversity of music profiled in the book--Mexican mariachi, African American gospel, Asian West Coast jazz, women's punk, French-American Cajun, and Anglo-American sacred harp--and to the methodology of fieldwork, ethnography, and academic activism described by the authors, the book is perfect for courses in ethnomusicology, world music, anthropology, folklore, and American studies.

Joe Davis, the focus of "The Melody Man" enjoyed a 50-year career in the music industry, which covered nearly every aspect of the business. He hustled sheet music in the 1920s, copyrighted compositions by artists as diverse as Fats Waller, Carson Robison, Otis Blackwell, and Rudy Vallee, oversaw hundreds of recording session, and operated several record companies beginning in the 1940s. Davis also worked fearlessly to help insure that black recording artists and song writers gained equal treatment for their work.

Much more than a biography, this book is an investigation of the role played by music publishers during much of the twentieth century. Joe Davis was not a music "great" but he was one of those individuals who enabled "greats" to emerge. A musician, manager, and publisher, his long career reveals much about the nature of the music industry and offers insight into how the industry changed from the 1920s to the 1970s. By the summer of 1924, when Davis was handling the "Race talent" for Ajax records, he had already worked in the music business for most of a decade and there was more than five decades of musical career ahead of him. The fact that his fascinating life has gone so long under-appreciated is remedied by the publication of Never Sell A Copyright.

Originally published in England, in 1990, Never Sell a Copyright: Joe Davis and His Role in the New York Music Scene, 1916-1978 was never released in the United States and available in a very limited print run in England. The author, noted blues scholar and folklorist Bruce Bastin, has worked with fellow music scholar Kip Lornell to completely update, condense, and improve the book for this first-ever American edition.

Exploring American Folk Music: Ethnic, Grassroots, and Regional Traditions in the United States reflects the fascinating diversity of regional and grassroots music in the United States. The book covers the diverse strains of American folk music--Latin, Native American, African, French-Canadian, British, and Cajun--and offers a chronology of the development of folk music in the United States. The book is divided into discrete chapters covering topics as seemingly disparate as sacred harp singing, conjunto music, the folk revival, blues, and ballad singing. It is among the few textbooks in American music that recognizes the importance and contributions of Native Americans as well as those who live, sing, and perform music along our borderlands, from the French speaking citizens in northern Vermont to the extensive Hispanic population living north of the Rio Grande River, recognizing and reflecting the increasing importance of the varied Latino traditions that have informed our folk music since the founding of the United States. Another chapter includes detailed information about the roots of hip hop and this new edition features a new chapter on urban folk music, exploring traditions in our cities, with a case study focusing on Washington, D.C. Exploring American Folk Music also introduces you to such important figures in American music as Bob Wills, Lydia Mendoza, Bob Dylan, and Muddy Waters, who helped shape what America sounds like in the twenty-first century. It also features new sections at the end of each chapter with up-to-date recommendations for ""Suggested Listening,"" ""Suggested Reading,"" and ""Suggested Viewing.""

"The Beat " was the first book to explore the musical, social, and cultural phenomenon of go-go music. In this new edition, updated by a substantial chapter on the current scene, authors Kip Lornell and Charles C. Stephenson, Jr., place go-go within black popular music made since the middle 1970s--a period during which hip-hop has predominated. This styling reflects the District's African American heritage. Its super-charged drumming and vocal combinations of hip-hop, funk, and soul evolved and still thrive on the streets of Washington, D.C., and in neighboring Prince George's County, making it the most geographically compact form of popular music.

Go-go--the only musical form indigenous to Washington, D.C.--features a highly syncopated, nonstop beat and vocals that are spoken as well as sung. The book chronicles its development and ongoing popularity, focusing on many of its key figures and institutions, including established acts such as Chuck Brown (the Godfather of Go-Go), Experience Unlimited, Rare Essence, and Trouble Funk; well-known DJs, managers, and promoters; and filmmakers who have incorporated it into their work. Now updated and back in print, "The Beat " provides longtime fans and those who study American musical forms a definitive look at the music and its makers.

To borrow words from Stan "The Record Man" Lewis, Shreveport, Louisiana, is one of this nation\'s most important "regional-sound cities." Its musical distinctiveness has been shaped by individuals and ensembles, record label and radio station owners, announcers and disc jockeys, club owners and sound engineers, music journalists and musicians. The area's output cannot be described by a single genre or style. Rather, its music is a kaleidoscope of country, blues, R&B, rockabilly, and rock."Shreveport Sounds in Black and White" presents that evolution in a collection of scholarly and popular writing that covers institutions and people who nurtured the musical life of the city and surroundings. The contributions of icons like Leadbelly and Hank Williams, and such lesser-known names as Taylor-Griggs Melody Makers and Eddie Giles come to light. New writing explores the famed Louisiana Hayride, musicians Jimmie Davis and Dale Hawkins, local disc jockey "Dandy Don\" Logan, and KWKH studio sound engineer Bob Sullivan. With glimpses into the lives of original creators, "Shreveport Sounds in Black and White" reveals the mix that emerges from the ongoing interaction between the city's black and white musicians.

"Exploring American Folk Music: Ethnic, Grassroots, and Regional Traditions in the United States" reflects the fascinating diversity of regional and grassroots music in the United States. The book covers the diverse strains of American folk music--Latin, Native American, African, French-Canadian, British, and Cajun--and offers a chronology of the development of folk music in the United States.

The book is divided into discrete chapters covering topics as seemingly disparate as sacred harp singing, conjunto music, the folk revival, blues, and ballad singing. It is among the few textbooks in American music that recognizes the importance and contributions of Native Americans as well as those who live, sing, and perform music along our borderlands, from the French speaking citizens in northern Vermont to the extensive Hispanic population living north of the Rio Grande River, recognizing and reflecting the increasing importance of the varied Latino traditions that have informed our folk music since the founding of the United States. Another chapter includes detailed information about the roots of hip hop and this new edition features a new chapter on urban folk music, exploring traditions in our cities, with a case study focusing on Washington, D.C. "Exploring American Folk Music" also introduces you to such important figures in American music as Bob Wills, Lydia Mendoza, Bob Dylan, and Muddy Waters, who helped shape what America sounds like in the twenty-first century. It also features new sections at the end of each chapter with up-to-date recommendations for "Suggested Listening," "Suggested Reading," and "Suggested Viewing."

During the years before World War II, hundreds of traditional musicians were sought out by commercial record companies, brought to New York or into local -- often makeshift -- studios, to cut recordings that would be marketed as "race" and "hillbilly" music. Virginia was home to scores of these performers, several of whom were to become internationally known. Among them were the Carter Family, the Golden Gate Quartet, Charlie Poole, and the Stoneman Family, whose music has touched millions of listeners far beyond the confines of the Old Dominion. It is this historically important body of recordings from this unique period that forms the focus of Kip Lornell's study. In it he combines biographical sketches and bibliographies of the artists and groups with comprehensive discographies of each, covering not only the original 78-rpm issues but also American and foreign long-play releases. The entries incorporate new primary research and contemporary interviews with veterans of early recording sessions. Numerous vintage photographs are also included, some reproduced here for the first time.

Huddie Ledbetter (1889-1949), known to millions of fans simply as Leadbelly, was arguably the most famous black singer in American history. His close musical associations included such towering figures as Blind Lemon Jefferson, Woody Guthrie, Pete Seeger, and John and Alan Lomax. He helped lay the foundations for blues, modern folk music, and rock 'n' roll. This definitive biography draws on a wealth of new archival material, interviews, and previously unknown recordings to detail Leadbelly's proud, tumultuous, and often violent life.

"Happy in the Service of the Lord" provides an in-depth look at the development of the African-American gospel quartet. Focusing argely on Memphis - long famous for its blues, jazz, and soul music - Kip Lornell reveals the special contributions that quartet members have made to the cultural and musical identity of the city. The author traces the evolution of such groups as the I. C. Glee Club Quartet, the Spirit of Memphis, the Sunset Travelers, and the Southern Wonders from the early 1920s to the late 1980s. Drawing on extensive interviews and field research, Lornell describes a unique world of radio personalities, quartet unions, fans, promoters, and singing teachers. What emerges is a fascinating picture of the complex, multilayered relationships within these communities, enhanced by a probing analysis of the gospel quartets' place within the larger contexts of popular culture and African-American history. "Happy in the Service of the Lord" was first published in 1988. For this second edition, Lornell has added a new chapter on the role of gospel composers and the importance of spirituality in quartet performances. The first chapter, a survey of the history of quartet singing across the United States from Reconstruction to the present, has been completely rewritten to reflect the most recent scholarship. Lornell has also updated and expanded the book's audiography and bibliography.