Dial Records catered to jazz musicians and record collectors. Charlie Parker was one of the major jazz artists to record with Dial. His Dial sessions occurred at the personal depths and artistic peaks of his career during which he introduced a number of such jazz staples as Ornithology and Scrapple from the Apple. His ten sessions associated with Dial are presented in detail and include the repertory, original issues and reissues, titles and notated transcriptions, and analyses of performances. Commentary explains many of the titles to Parker's pieces and collates the various recordings in which he performed his Dial repertory outside the confines of the Dial studios; these celebrated performances helped to shape modern jazz. In addition to the catalogue of Parker's Dial recordings, jazz historians and scholars alike will appreciate the historical narrative detailing the evolution of Dial Records, its owner Ross Russell, and its business relations with Charlie Parker. This examination of the 1940's jazz record business sheds light on the dissemination of jazz via records. Five appendices complete this well organized and thorough study of Charlie Parker and his legendary Dial recordings.

A Guide to Library Research in Music introduces the process and techniques for researching and writing about music. It provides examples of different types of writing; offers a thorough introduction to music literature; describes various information-searching methods and library-based organizational systems; and explores the wide array of music resources. The textbook is organized into three parts, allowing for three independent tracks of study. Part 1 treats essentials of the research process, explaining starting-point resources such as library catalogs, dictionaries, and bibliographies; addresses scholarly documentation, the use of style manuals, and basics of copyright. Part 2 develops skills and strategies for library- and Internet-based research, describing database structures and library catalogs, subject searching in catalogs and journal indexes, keyword searching techniques, related-record searching and citation databases, and the use of experts and thematic catalogs. Part 3 discusses the organization of a music library, emphasizing score collections, books and journals in music literature, and music teaching publications. Features include: *End of chapter exercises to aid concept application and skill development. *Appendices of shortcuts to specifics topics in library organizational systems, including Library of Congress Subject Headings and Classification. *Bibliography of music literature and resources, especially electronic and print publications since 2000. New to this edition: *Notes on the latest innovations in library catalog searching, new matters in digital technology, and the expansion in musical genres for library research.

Search the Internet for the 100 best songs or best albums. Dozens of lists will appear from aficionados to major music personalities. But what if you not only love listening to the blues or country music or jazz or rock, you love reading about it, too. How do you separate what matters from what doesn't among the hundreds-sometimes thousands-of books on the music you so love? In the Best Music Books series, readers finally have a quick-and-ready list of the most important works published on modern major music genres by leading experts. In 100 Books Every Blues Fan Should Own, Edward Komara, former Blues Archivist of the University of Mississippi, and his successor Greg Johnson select those histories, biographies, surveys, transcriptions and studies from the many hundreds of works that have been published about this vital American musical genre. Komara and Johnson provide a short description of the contents and the achievement of each title selected for their "Blues 100." Entries include full bibliographic citations, prices of copies in print, and even descriptions of specific editions for book collectors. 100 Books Every Blues Fan Should Own also includes suggested blues recordings to accompany each recommended work, as well as a concluding section on key reference titles-or as Komara and Johnson phrase it: "The Books behind the Blues 100." 100 Books Every Blues Fan Should Own serves as a guide for any blues fan looking for a road map through the history of-and even history of the scholarship on-the blues. Here Komara and Johnson answer the question of not only what is a "blues" book, but which ones are worth owning.

A Guide to Library Research in Music introduces students to the process and techniques for researching and writing about music. It provides examples of different types of writing, offers a thorough introduction to music literature, describes various information-searching methods and library-based organizational systems, and explores the wide array of music resources. This second edition discusses the latest innovations in library catalog searching, new matters in digital technology, and the expansion in musical genres for library research. The book's organization allows for three independent tracks of study. Part 1 treats essentials of the research process, explaining starting-point resources such as library catalogs, dictionaries, and bibliographies. It addresses scholarly documentation, the use of style manuals, and basics of copyright. Part 2 develops skills and strategies for library- and Internet-based research, describing database structures and library catalogs, subject searching in catalogs and journal indexes, keyword searching techniques, related-record searching and citation databases, and the use of experts and thematic catalogs. Part 3 discusses the organization of a music library, emphasizing score collections, books and journals in music literature, and music teaching publications.

Born 130 years ago in the heart of Mississippi, Charlie Patton (c. 1891–1934) is considered by many to be a father of the Delta blues. With his bullish baritone voice and his fluid slide guitar touch, Patton established songs like “Pony Blues,” “A Spoonful Blues,” and “High Water Everywhere” in the blues lexicon and, through his imitators, in American music. But over the decades, his contributions to blues music have been overshadowed in popularity by those of Robert Johnson, Muddy Waters, and other mid-century bluesmen and women who’ve experienced a resurgence in their music. King of the Delta Blues Singers, originally published in 1988, began a small renaissance in Patton and blues research. And now, with the wide availability of Patton’s complete discography on CD and as digital downloads, this completely revised second edition continues the story of Charlie Patton’s legacy. Gayle Dean Wardlow and the late Stephen Calt (1946–2010) originally probed Patton’s career in the Mississippi Delta, his early performances and recordings, and his musical legacy that continues to influence today’s guitarists and performers, including such musicians as Jack White and Larkin Poe. For this second edition, Wardlow and Edward Komara refined the text and rewrote major sections, updating them with new scholarship on Patton and Delta blues. And finally, Komara has added a new afterword bringing Patton into the contemporary blues conversation and introducing numerous musical examples for the modern researcher and musician. The second edition of King of the Delta Blues Singers will further cement Patton’s legacy among important blues musicians, and it will be of interest to anyone absorbed in the beginnings of the Delta blues and music biographies.

Growing up in an affluent Jewish family in Plymouth, Massachusetts, Dick Waterman (b. 1935) was a shy, stuttering boy living a world away from the Mississippi Delta. Though he never heard blues music at home, he became one of the most influential figures in blues of the twentieth century. A close proximity to Greenwich Village in the 1960s fueled Waterman's growing interest in folk music and led to an unlikely trip that resulted in the rediscovery of Delta blues artist Son House in 1964. Waterman began efforts to revive House's music career and soon became his manager. He subsequently founded Avalon Productions, the first management agency focused on representing black blues musicians. In addition to booking and managing, he worked tirelessly to protect his clients from exploitation, demanded competitive compensation, and fought for royalties due them. During his career, Waterman befriended and worked with numerous musicians, including such luminaries as B. B. King, Buddy Guy, Bonnie Raitt, Taj Mahal, and Eric Clapton. During the early years of his career, he documented the work of scores of musicians through his photography and gained fame as a blues photographer. This authorized biography is the crescendo of years of original research as well as extensive interviews conducted with Waterman and those who knew and worked with him.