Jazz

In At the Vanguard of Vinyl, Darren Mueller examines how the advent of the long-playing record (LP) in 1948 revolutionized the recording and production of jazz in the 1950s. The LP's increased fidelity and playback capacity allowed lengthy compositions and extended improvisations to fit onto a single record, ushering in a period of artistic exploration. Despite these innovations, LP production became another site of negotiating the uneven power relations of a heavily segregated music industry. Exploring how musicians, producers, and other industry professionals navigated these dynamics, Mueller contends that the practice of making LPs significantly changed how jazz was created, heard, and understood in the 1950s and beyond. By attending to the details of audio production, he reveals how Black musicians such as Louis Armstrong, Miles Davis, Duke Ellington, and Charles Mingus worked to redefine prevailing notions of race and cultural difference within the United States. Mueller demonstrates that the LP emerges as a medium of sound and culture that maps onto the more expansive sonic terrain of Black modernity in the 1950s.

Composed by Andrew Hanna, composer of In Walked Dolphy, Profit-C, The Yard Cat Song, and many other compositions. Reaches into the archives to publish Solitary Dancer. Composed for alto saxophone, guitar, bass, and drum set. Inspired by a solo dance routine, combines tempo changes, bass ostinatos, and two modal solo sections.

Samuel Charters has been studying and writing about New Orleans music for more than fifty years. A Trumpet around the Corner: The Story of New Orleans Jazz is the first book to tell the entire story of a century of jazz in New Orleans. Although there is still controversy over the racial origins and cultural sources of New Orleans jazz, Charters provides a balanced assessment of the role played by all three of the city's musical lineages--African American, white, and Creole--in jazz's formative years. Charters also maps the inroads blazed by the city's Italian immigrant musicians, who left their own imprint on the emerging styles. The study is based on the author's own interviews, begun in the 1950s, on the extensive material gathered by the Oral History Project in New Orleans, on the recent scholarship of a new generation of writers, and on an exhaustive examination of related newspaper files from the jazz era. The book extends the study area of his earlier book Jazz: New Orleans, 1885-1957, and breaks new ground with its in-depth discussion of the earliest New Orleans recordings. A Trumpet around the Corner for the first time brings the story up to the present, describing the worldwide interest in the New Orleans jazz revival of the 1950s and 1960s, and the exciting resurgence of the brass bands of the last decades. The book discusses the renewed concern over New Orleans's musical heritage, which is at great risk after the catastrophe of Hurricane Katrina's floodwaters.

From the larger production Prophecies of War, In the Beginning is a modern progressive rock / jazz-fusion composition structured in three distinct sections. The piece opens with a solo guitar introduction, gradually expanding into the main body featuring alternating odd meters, and ultimately culminating in an open-ended jazz-fusion solo section.In the Beginning leads listeners from a reflective, slow-building opening into an energetic, rhythmically complex middle section before resolving into an open solo passage that balances compositional structure with improvisational freedom.This work is intended for advanced musicians seeking a challenging and rewarding musical experience. It is well suited for both live performance and studio recording environments.This product includes a full score and individual parts for:Alto saxophoneGuitarBassSynthesizersDrum set

A new and accessible introduction to this exciting, controversial, and often misunderstood music, drawing on extensive research, close listening, and the author's experience as a performer.In the late 1950s, free jazz broke all the rules, liberating musicians both to create completely spontaneous and unplanned performances and to develop unique personal musical systems. This genre emerged alongside the radical changes of the 1960s, particularly the Civil Rights, Black Arts, and Black Power movements. Free Jazz is a new and accessible introduction to this exciting, controversial, and often misunderstood music, drawing on extensive research, close listening, and the author's experience as a performer. More than a catalog of artists and albums, the book explores the conceptual areas they opened: freedom, spirituality, energy, experimentalism, and self-determination. These are discussed in relation to both the political and artistic currents of the times and to specific musical techniques, explained in language clear to ordinary readers but also useful for musicians.

Quy¿n V¿n Minh (b. 1954) is not only a jazz saxophonist and lecturer at the prestigious Vietnam National Academy of Music, but he is also one of the most preeminent jazz musicians in Vietnam. Considered a pioneer in the country, Minh is often publicly recognized as the "godfather of Vietnamese jazz." Playing Jazz in Socialist Vietnam tells the story of the music as it intertwined with Minh's own narrative. Stan BH Tan-Tangbau details Minh's life story, telling how Minh pioneered jazz as an original genre even while navigating the trials and tribulations of a fervent socialist revolution, of the ideological battle that was the Cold War, of Vietnam's war against the United States, and of the political changes during the ¿¿i M¿i period between the mid-1980s and the 1990s. Minh worked tirelessly and delivered two breakthrough solo recitals in 1988 and 1989, marking the first time jazz was performed in the public sphere in the socialist state. To gain jazz acceptance as a mainstream musical art form, Minh founded Minh Jazz Club. With the release of his debut album of original compositions in 2000, Minh shaped the nascent genre of Vietnamese jazz. Minh's endeavors kickstarted the momentum, from his performing jazz in public, teaching jazz both formally and informally, and contributing to the shaping of an original Vietnamese voice to stand out among the many styles in the jazz world. Most importantly, Minh generated a public space for musicians to play and for the Vietnamese to listen. His work eventually helped to gain jazz the credibility necessary at the national conservatoire to offer instruction in a professional music education program.

Historical Dictionary of Jazz, Second Edition contains a chronology, an introduction, and an extensive bibliography. The dictionary section has over 1,500 cross-referenced entries on musicians, styles of jazz, instruments, recording labels, bands and band leaders, and more.

Taking up where he left off with Kinds of Blue (The Ohio State University Press, 2004), Jürgen E. Grandt seeks to explore in depth some of the implications of the modernist jazz aesthetic resonating in the African American literary tradition. Grandt's new book, Shaping Words to Fit the Soul:The Southern Ritual Grounds of Afro-Modernism, probes the ways in which modernism's key themes of fragmentation, alienation, and epistemology complicate the mapping of the American South as an "authenticating" locus of African American narrative. Rather than being a site of authentication, the South constitutes a symbolic territory that actually resists the very narrative strategies deployed to capture it. The figurative ritual grounds traversed in texts by Frederick Douglass, Jean Toomer, Richard Wright, and Tayari Jones reveal Afro-modernism as modernism with a historical conscience. Since literary Afro-modernism recurrently points to music as a symbolic territory of liberatory potential, this study also visits a variety of soundscapes, from the sorrow songs of the slaves to the hip-hop of the Dirty South, and from the blues of W. C. Handy to the southern rock of the Allman Brothers Band. Afro-modernism as modernism with a historical conscience thus suggests a reconfiguration of southern ritual grounds as situated in time and mind rather than time and place, and the ramifications of this process extend far above and beyond the Mason-Dixon Line.

Blank Classics’ Medium format 5.83X8.27 inch dotted bullet journal includes a blank table of contents and numbered pages. Dots are subtly arranged as a guide for writing, illustrations, and charts. Blank Classics’ acid free paper, ensurs that the creativity within will stand the test of time.

Blank Classics’ Medium format 5.83X8.27 inch dotted bullet journal includes a blank table of contents and numbered pages. Dots are subtly arranged as a guide for writing, illustrations, and charts. Blank Classics’ acid free paper, ensurs that the creativity within will stand the test of time.

Blank Classics’ Medium format 5.83X8.27 inch dotted bullet journal includes a blank table of contents and numbered pages. Dots are subtly arranged as a guide for writing, illustrations, and charts. Blank Classics’ acid free paper, ensurs that the creativity within will stand the test of time.

Blank Classics’ Medium format 5.83X8.27 inch dotted bullet journal includes a blank table of contents and numbered pages. Dots are subtly arranged as a guide for writing, illustrations, and charts. Blank Classics’ acid free paper, ensurs that the creativity within will stand the test of time.

Roderick Deacey's new take on Beat Poetry redefines the borderland between song lyrics and poetry; words and music. Unlike the 1950's Beat Generation's forays into poetry and jazz, where the jazz arrangements played around the poetry, Deacey's spoken words themselves take on the role of a lead instrument when backed by his bass and drums rhythm section. The poems have evolved into structures that move far beyond song lyrics into mixes of formal and free verse that carve their own path among today's contemporary poetic genres. This selection shows the range and vitality of this iteration of beat poetry, moving from love and loss stories to current issues and concerns. Deacey has established himself as a charismatic live performer, but the heart of his readings is found in the strength and imagery of these compelling new poems.

Florence is ninety-one. She is dying. Atlantic City is dying too. But both were once vibrantly alive.This is a love story between friends who met in a yoga class. "When our l’affair du coeur started Florence was eighty-seven. I was fifty-one. She lived in the city. I lived in the suburbs. She’s a black Hebrew, I’m a WASP. We are completely alike . . . During that first car ride when we started talking about everything—we had hardly scratched the surface of politics, nature, travel, race, spirituality, Atlantic City history, love, sex—we became immediate best friends."This is a love story carried on the wings of amazing songs. Atlantic City’s Kentucky Avenue was the music mecca of the 1950s, rivaling Harlem and New Orleans. All the black entertainers—mentioned in this book played in Atlantic City and Florence mingled with many of them. She also knew many celebrities, she even gave birth to one, James Avery. But her story is more interesting than his, and that’s saying something.

An insightful look at the urban sensibility that gives the Great American Songbook its pizzazz.Nothing defines the songs of the Great American Songbook more centrally than their urban sensibility. During the first half of the twentieth century, songwriters such as Harold Arlen, Irving Berlin, Dorothy Fields, George and IraGershwin, and Thomas "Fats" Waller flourished in New York City, the home of Tin Pan Alley, Broadway, and Harlem. Through their songs, these artists described America -- not its geography or politics, but its heart -- to Americansand to the world at large. In City Songs and American Life, 1900-1950, renowned author and broadcaster Michael Lasser offers an evocative and probing account of the popular songs -- including some written originally for the stage or screen -- that America heard, sang, and danced to during the turbulent first half of the twentieth century. Many songs portrayed the glamor of Broadway or the energy and Jazz Age culture of Harlem. But a city-bred spirit -- or even a specifically New York City way of feeling and talking -- also infused other widely known and loved songs, stretching from the early decades of the century to the Twenties (the age of the flapper, bathtub gin, and women's right to vote), the Great Depression, and, finally, World War II. Lasser's deftly written book demonstrates how the soul of city life -- as echoed in the nation's songs -- developed and changed in tandemwith economic, social, and political currents in America as a whole. Michael Lasser, a former teacher and theater critic, is host of the syndicated public-radio show Fascinatin' Rhythm (winner of the Peabody Award) and the author of two previous books. Support for this publication was provided by the Howard Hanson Institute for American Music at the Eastman School of Music at the University of Rochester.

Voices Found: Free Jazz and Singing contributes to a wave of voice studies scholarship with the first book-length study of free jazz voice. It pieces together a history of free jazz voice that spans from sound poetry and scat in the 1950s to the more recent wave of free jazz choirs.

Jazz Diaspora: Music and Globalisation is about the international diaspora of jazz, well underway within a year of the first jazz recordings in 1917.

Jazz great Gerald Wilson (1918-2014), born in Shelby, Mississippi, left a global legacy of paramount significance through his progressive musical ideas and his orchestra's consistent influence on international jazz. Aided greatly by interviews that bring Wilson's voice to the story, Steven Loza presents a perspective on what the musician and composer called his "jazz pilgrimage."Wilson uniquely adapted Latin influences into his jazz palette, incorporating many Cuban and Brazilian inflections as well as those of Mexican and Spanish styling. Throughout the book, Loza refers to Wilson's compositions and arrangements, including their historical contexts and motivations. Loza provides savvy musical readings and analysis of the repertoire. He concludes by reflecting upon Wilson's ideas on the place of jazz culture in America, its place in society and politics, its origins, and its future.With a foreword written by Wilson's son, Anthony, and such sources as essays, record notes, interviews, and Wilson's own reflections, the biography represents the artist's ideas with all their philosophical, historical, and cultural dimensions. Beyond merely documenting Wilson's many awards and recognitions, this book ushers readers into the heart and soul of a jazz creator. Wilson emerges a unique and proud African American artist whose tunes became a mosaic of the world.