Bing Crosby's innovations as recording artist, actor, businessman, and radio and television performer. A multidisciplinary exploration, plus personal testimony from family members and colleagues. Going My Way: Bing Crosby and American Culture is the first serious study of the singer/actor's art and of his centrality to the history of twentieth-century popular music, film, and the entertainment industry. The volume uses a wide range of scholarly and cultural perspectives to explore Crosby's unique and lasting achievements. It also includes tributes and reminiscences from Bing's widow Kathryn, his grandson Steve, his record producer Ken Barnes, and one of his most popular successors, Michael Feinstein. Other contributors include Gary Giddins, the author of a widely acclaimed recent biography of the singer, and Will Friedwald, the acknowledged expert on the developmentof the "great American songbook." In addition to studying Bing Crosby's innovations and remarkable achievements as a recording artist, Going My Way explores his accomplishments as an actor, businessman, and radio and television performer. Going My Way makes an impressive case not only for Crosby's considerable talent and inimitable style, but also for his raising the quality of popular singing to the level of art. Contributors: Ken Barnes, Samuel L. Chell, Kathryn Crosby, Steven C. Crosby, John Mark Dempsey, Bernard F. Dick, Deborah Dolan, Michael Feinstein, Will Friedwald, Jeanne Fuchs, Gary Giddins, Peter Hammar, M. Thomas Inge, Malcolm MacFarlane, Eric Michael Mazur, Martin McQuade, Elaine Anderson Phillips, Ruth Prigozy, Walter Raubicheck, Linda A. Robinson, Stephen C. Shafer, David White, F.W. Wiggins Ruth Prigozy is Professor of English at Hofstra University. Walter Raubicheck is Professor of English and Chair of the English Department at Pace University.

Art Pepper was described as the greatest alto-saxophonist of the post-Charlie Parker generation. Straight Life, originally narrated on tape to his wife Laurie, is an explosive work chronicling his work amidst a life dealing with alcoholism, heroin addiction, armed robberies and imprisonment. The result is an autobiography like no other, a masterpiece of the spoken word, shaped into a genuine work of literature.

In this vivid history of jazz, a respected critic and a leading scholar capture the excitement of America s unique music with intellectual bite, unprecedented insight, and the passion of unabashed fans. They explain what jazz is, where it came from, and who created it and why, all within the broader context of American life and culture. Emphasizing its African American roots, Jazz traces the history of the music over the last hundred years. From ragtime and blues to the international craze for swing, from the heated protests of the avant-garde to the radical diversity of today s artists, Jazz describes the travails and triumphs of musical innovators struggling for work, respect, and cultural acceptance set against the backdrop of American history, commerce, and politics. With vibrant photographs by legendary jazz chronicler Herman Leonard, Jazz is also an arresting visual history of a century of music."

Bing Crosby dominated American popular culture in a way that few artists ever have. From the dizzy era of Prohibition through the dark days of the Second World War, he was a desperate nation's most beloved entertainer. But he was more than just a charismatic crooner: Bing Crosby redefined the very foundations of modern music, from the way it was recorded to the way it was orchestrated and performed. In this much-anticipated follow-up to the universally acclaimed first volume, NBCC Winner and preeminent cultural critic Gary Giddins now focuses on Crosby's most memorable period, the war years and the origin story of White Christmas. Set against the backdrop of a Europe on the brink of collapse, this groundbreaking work traces Crosby's skyrocketing career as he fully inhabits a new era of American entertainment and culture. While he would go on to reshape both popular music and cinema more comprehensively than any other artist, Crosby's legacy would be forever intertwined with his impact on the home front, a unifying voice for a nation at war. Over a decade in the making and drawing on hundreds of interviews and unprecedented access to numerous archives, Giddins brings Bing Crosby, his work, and his world to vivid life--firmly reclaiming Crosby's central role in American cultural history.

In his illuminating new work, Gary Giddins explores the evolution of film, from the first moving pictures and peepshows to the digital era of DVDs and online video-streaming. New technologies have changed our experience of cinema forever; we have peeled away from the crowded theater to be home alone with classic cinema. Recounting the technological developments that films have undergone, Warning Shadows travels through time and across genres to explore the impact of the industry's most famous classics and forgotten gems. Essays such as "Houdini Escapes! From the Vaults! Of the Past!," "Edward G. Robinson, See," and "Prestige and Pretension (Pride and Prejudice)" capture the wit and magic of classic cinema. Each chapter-ranging from the horror films of Hitchcock to the fantastical frames of Disney-provides readers with engaging analyses of influential films and the directors and actors who made them possible.

Visions of Jazz: The First Century contains 79 chapters that illuminate the lives of virtually all major figures in jazz history. Poised to become a classic, this volume is an evocative journey through the first one hundred years of jazz music.

Hampton Hawes [1928-1977] was one of jazz's greatest pianists. Among his peers from California the self-taught Hawes was second only to Oscar Peterson. At the time of his celebration as New Star of the Year by downbeat magazine (1956), Hawes was already struggling with a heroin addiction that would lead to his arrest and imprisonment, and the interruption of a brilliant career. In 1963 President John F. Kennedy granted Hawes an Executive Pardon. In eloquent and humorous language Hampton Hawes tells of a life of suffering and redemption that reads like an improbable novel. Gary Giddins has called it "a major contribution to the literature of jazz." This book includes a complete discography and eight pages of photographs.

Gary Giddins, winner of the 1998 National Book Critics Circle Award, has a following that includes not only jazz enthusiasts but also pop music fans of every stripe. Writing here in a lyrical and celebratory style all his own, Giddins dazzlingly shows us--among many other things--how performers originally perceived as radical (Bing Crosby, Count Basie, Elvis Presley) became conservative institutions ... how Charlie Parker created a masterpiece from the strain of an inane ditty ... how the Dominoes helped combine church ritual with pop music ... and how Irving Berlin translated a chiaroscuro of Lower East Side minorities into imperishable songs.

As an essayist and Village Voice columnist, Gary Giddins is widely known as a preeminent jazz writer. Walter Clemons, writing in Newsweek, hailed him as "the best jazz critic now at work", praising his "elegant prose" and "encyclopedic knowledge". Yet he has won a devoted audience for his reflections on popular culture, books, and movies as well--including a marvelous essay on Jack Benny that Gay Talese selected for Best American Essays of 1987. In Faces in the Crowd, Giddins once again demonstrates his graceful style and sharp wit in a brilliant collection of critiques, assessments, and profiles of major figures in the culture of our century. Faces in the Crowd is a virtual Gary Giddins reader, a potent collection of his finest writing from the last fifteen years. Ranging from fond reflection to interview-and-commentary to close critical analysis, Giddins explores the achievements of thirty-seven artists: show people, divas, musicians, and writers, ranging from Irving Berlin to Spike Lee, Billie Holiday to Kay Starr, Louis Armstrong to Miles Davis, Elias Canetti to Philip Roth. Through every essay, his observations are sharp, his reactions honest, his judgments right on target. In "This Guy Wouldn't Give You the Parsley Off His Fish", for example, he shows how Jack Benny revolutionized comedy, creating a memorable character who was the butt of every joke. He takes a new look at the great Dinah Washington, remarking that "few performers have taken a stage or stormed off one with quite the noblesse oblige of the Queen". Giddins also offers a fresh assessment of James M. Cain and other masters of hard-boiled fiction, and he delivers an aggressive critique of the liberties academics havetaken with such classic texts as Faulkner's The Sound and the Fury. Along the way, he reveals how he uncovered the true birthdate of Louis Armstrong; chats with Clint Eastwood about Charlie Parker; and exposes the curious plagiarism of Katherine Anne Porter by her own biographer. And of course, he writes with power and authority on the great jazz musicians, providing an original perspective on Benny Goodman, tracking the evolving musical adventures of Sonny Rollins, and offering a musicological study of two Dizzy Gillespie solos separated by forty years. Pete Hamill has written, "Nobody writes with greater authority about American music than Gary Giddins", and Ken Tucker has called him "the John Updike of jazz criticism". In this provocative and immensely entertaining collection, Giddins shows why he has become one of the most influential critics of his generation.

The year 2016 will mark the centennial of the birth of Albert Murray (1916–2013), who in thirteen books was by turns a lyrical novelist, a keen and iconoclastic social critic, and a formidable interpreter of jazz and blues. Not only did his prizewinning study Stomping the Blues (1976) influence musicians far and wide, it was also a foundational text for Jazz at Lincoln Center, which he cofounded with Wynton Marsalis and others in 1987. Murray Talks Music brings together, for the first time, many of Murray’s finest interviews and essays on music—most never before published—as well as rare liner notes and prefaces. For those new to Murray, this book will be a perfect introduction, and those familiar with his work—even scholars—will be surprised, dazzled, and delighted. Highlights include Dizzy Gillespie’s richly substantive 1985 conversation; an in-depth 1994 dialogue on jazz and culture between Murray and Wynton Marsalis; and a long 1989 discussion on Duke Ellington between Murray, Stanley Crouch, and Loren Schoenberg. Also interviewed by Murray are producer and impresario John Hammond and singer and bandleader Billy Eckstine. All of thse conversations were previously lost to history. A celebrated educator and raconteur, Murray engages with a variety of scholars and journalists while making insightful connections among music, literature, and other art forms—all with ample humor and from unforeseen angles. Leading Murray scholar Paul Devlin contextualizes the essays and interviews in an extensive introduction, which doubles as a major commentary on Murray’s life and work. The volume also presents sixteen never-before-seen photographs of jazz greats taken by Murray. No jazz collection will be complete without Murray Talks Music, which includes a foreword by Gary Giddins and an afterword by Greg Thomas.

Gary Giddins's magnificent book Visions of Jazz has been hailed as a landmark in music criticism. Jonathan Yardley in The Washington Post called it "the definitive compendium by the most interesting jazz critic now at work." And Alfred Appel, Jr., in The New York Times Book Review, said it was "the finest unconventional history of jazz ever written." It was the first work on jazz ever to win the National Book Critics Circle Award for Criticism. Now comes Weather Bird, a brilliant companion volume to Visions of Jazz. In this superb collection of essays, reviews and articles, Giddins brings together, for the first time, more than 140 pieces written over a 14-year period, most of them for his column in the Village Voice (also called "Weather Bird"). The book is first and foremost a celebration of jazz, with illuminating commentary on contemporary jazz events, on today's top musicians, on the best records of the year, and on leading figures from jazz's past. Readers will find extended pieces on Louis Armstrong, Erroll Garner, Benny Carter, Sonny Rollins, Dave Brubeck, Ornette Coleman, Billie Holiday, Cassandra Wilson, Tony Bennett, and many others. Giddins includes a series of articles on the annual JVC Jazz Festival, which taken together offer a splendid overview of jazz in the 1990s. Other highlights include an astute look at avant-garde music ("Parajazz") and his challenging essay, "How Come Jazz Isn't Dead?" which advances a theory about the way art is born, exploited, celebrated, and sidelined to the museum. A radiant compendium by America's leading music critic, Weather Bird offers an unforgettable look at the modern jazz scene.

Gary Giddins has been called "the best jazz writer in America today" ("Esquire"). Louis Armstrong has been called the most influential jazz musician of the century. Together this auspicious pairing has resulted in "Satchmo," one of the most vivid and fascinating portraits ever drawn of perhaps the greatest figure in the history of American music. Available now at a new price, this text-only edition is the authoritative introduction to Armstrong's life and art for the curious newcomer, and offers fresh insight even for the serious student of Pops.

In this companion to his own Riding on a Blue Note and Faces in the Crowd, Gary Giddins provides another piece in his mosaic providing a guide to the jazz world. Whether describing a concert, defining a style or tracing an artist's evolution, Giddins' writing swings with the rhythm of the music. The book moves from sweeping surveys of jazz history, to vivid assessments of individual performers, including Thelonius Monk, Art Pepper, Stan Getz, the Marsalis brothers, Ornette Coleman and David Murray.