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• List of IllustrationsForeword by Jason MoranAcknowledgmentsIntroduction
• 1. Jazz, "Great Black Music, " and the Struggle for Equality in Washington, DCMaurice Jackson2. Seventh Street: Black DC's Musical MeccaBlair A. Ruble3. Washington's Duke EllingtonJohn Edward Hasse4. Bill Brower: Notes from a Key Observer and Scene MakerInterview by Willard Jenkins5. Jazz Radio in Washington, DCRusty Hassan6. Legislating JazzAnna Harwell Celenza7. The Beautiful Struggle: A Look at Women Who Have HelpedBridget Arnwine8. No Church without a Choir: Howard University and Jazz in Washington, DCLauren Sinclair9. From Federal City College to UDC: A Retrospective on Washington's Jazz UniversityJudith A. Korey10. Researching Jazz History in Washington, DCMichael Fitzgerald List of ContributorsIndex.
• (source: Nielsen Book Data)

The familiar history of jazz music in the United States begins with its birth in New Orleans, moves upstream along the Mississippi River to Chicago, then by rail into New York before exploding across the globe. That telling of history, however, overlooks the pivotal role the nation's capital has played for jazz for a century. Some of the most important clubs in the jazz world have opened and closed their doors in Washington, DC, some of its greatest players and promoters were born there and continue to reside in the area, and some of the institutions so critical to national support of this uniquely American form of music, including Congress, the Smithsonian Institution, the Kennedy Center, the Library of Congress and the Historical Society of Washington, D.C., are rooted in the city. Closer to the ground, a network of local schools like the Duke Ellington High School for the Performing Arts, jazz programs at the University of the District of Columbia and Howard University, churches, informal associations, locally focused media, and clubs keeps the music alive to this day. Noted historians Maurice Jackson and Blair Ruble, editors of this book, present a collection of original and fascinating stories about the DC jazz scene throughout its history, including a portrait of the cultural hotbed of Seventh and U Streets, the role of jazz in desegregating the city, a portrait of the great Edward "Duke" Ellington's time in DC, notable women in DC jazz, and the seminal contributions of the University of District of Columbia and Howard University to the scene. The book also includes three jazz poems by celebrated Washington, DC, poet E. Ethelbert Miller. Collectively, these stories and poems underscore the deep connection between creativity and place. A copublishing initiative with the Historical Society of Washington, DC, the book includes over thirty museum-quality photographs and a guide to resources for learning more about DC jazz. .
(source: Nielsen Book Data)

• List of IllustrationsForeword by Jason MoranAcknowledgmentsIntroduction
• 1. Jazz, "Great Black Music, " and the Struggle for Equality in Washington, DCMaurice Jackson2. Seventh Street: Black DC's Musical MeccaBlair A. Ruble3. Washington's Duke EllingtonJohn Edward Hasse4. Bill Brower: Notes from a Key Observer and Scene MakerInterview by Willard Jenkins5. Jazz Radio in Washington, DCRusty Hassan6. Legislating JazzAnna Harwell Celenza7. The Beautiful Struggle: A Look at Women Who Have HelpedBridget Arnwine8. No Church without a Choir: Howard University and Jazz in Washington, DCLauren Sinclair9. From Federal City College to UDC: A Retrospective on Washington's Jazz UniversityJudith A. Korey10. Researching Jazz History in Washington, DCMichael Fitzgerald List of ContributorsIndex.
• (source: Nielsen Book Data)

The familiar history of jazz music in the United States begins with its birth in New Orleans, moves upstream along the Mississippi River to Chicago, then by rail into New York before exploding across the globe. That telling of history, however, overlooks the pivotal role the nation's capital has played for jazz for a century. Some of the most important clubs in the jazz world have opened and closed their doors in Washington, DC, some of its greatest players and promoters were born there and continue to reside in the area, and some of the institutions so critical to national support of this uniquely American form of music, including Congress, the Smithsonian Institution, the Kennedy Center, the Library of Congress and the Historical Society of Washington, D.C., are rooted in the city. Closer to the ground, a network of local schools like the Duke Ellington High School for the Performing Arts, jazz programs at the University of the District of Columbia and Howard University, churches, informal associations, locally focused media, and clubs keeps the music alive to this day. Noted historians Maurice Jackson and Blair Ruble, editors of this book, present a collection of original and fascinating stories about the DC jazz scene throughout its history, including a portrait of the cultural hotbed of Seventh and U Streets, the role of jazz in desegregating the city, a portrait of the great Edward "Duke" Ellington's time in DC, notable women in DC jazz, and the seminal contributions of the University of District of Columbia and Howard University to the scene. The book also includes three jazz poems by celebrated Washington, DC, poet E. Ethelbert Miller. Collectively, these stories and poems underscore the deep connection between creativity and place. A copublishing initiative with the Historical Society of Washington, DC, the book includes over thirty museum-quality photographs and a guide to resources for learning more about DC jazz. .
(source: Nielsen Book Data)

• A typical childhood weekend
• (1915-1924) Growing up on The Avenue
• (1924-1929) KKK and two new anchor buildings
• (1930-1939) The Great Depression
• (1940-1949) World War II
• (1950-1960) Post World War II era
• (1930-1960) Crispus Attucks legacy of music
• (1968-2015) Recent era of Indiana Avenue.

"The life and musical history of Indiana Avenue from 1915 to 2015 is presented for readers from young adults to adults. It shows the robust legacy of music including ragtime, blues, jazz, spiritual, bebop, doo wop, Motown, opera and hip hop. A diverse array of Indiana music legends are represented including (Wes Montgomery, J.J. Johnson, Freddie Hubbard, The Ink Spots, David Baker, Larry Ridley, Slide Hampton, Hoagy Carmichael, Janet Jackson, Michael Jackson, Angela Brown and Babyface Edmonds are included. Musicians and music educators share their advice for young musicians. Life during racially segregated times to current diversified times are discussed. The important contributions of women and women's empowerment for 100 years are highlighted. Glimpses of the African American Hodge family are interwoven with the musical history. Over sixty photos and maps illustrate the rich and notable history."--Amazon.

• Cover; The Kind of Man I Am; Title; Copyright; Dedication; CONTENTS; Preface; Acknowledgments; INTRODUCTION "Self-Portrait"; ONE "Self-Portrait in Three Colors": Emotional Life in Beneath the Underdog; TWO "West Coast Ghost": Composing Jazzmasculinity, Music, and Community; THREE "Invisible Lady": Jazzmen and the Business of Emotional Truth; FOUR "Eclipse": Jazzmasculinity, Race Womanhood, and the Hazel Scott Incident; FIVE "The Chill of Death": The Sway of Charles Mingus's Black Jazzmasculinity; Notes; Bibliography; Index; ABOUT THE AUTHOR

"Examines the effects of race and masculinity on both Charles Mingus Jr and the culture of jazz"-- Provided by publisher.

• Foreword - David J. Gibson. Preface. Acknowledgements. Publication Permission.
• Chapter 1 - Rebecca Coupe Franks.
• Chapter 2 - Christian Scott.
• Chapter 3 - Ted Curson.
• Chapter 4- Cynthia Robinson.
• Chapter 5 - Frank London.
• Chapter 6 - Pharez Whitted.
• Chapter 7 - Tom Browne.
• Chapter 8 - Ishmael Wadada Leo Smith.
• Chapter 9 - Cuong Vu.
• Chapter 10 - Ian Carey.
• Chapter 11 - Matt White.
• Chapter 12 - Tyler Kaneshiro. Index.
• (source: Nielsen Book Data)

When Esquire magazine planned an issue to salute the American jazz scene in 1958, graphic designer Art Kane pitched a crazy idea: how about gathering a group of beloved jazz musicians and photographing them? He didn't own a good camera, didn't know if any musicians would show up, and insisted on setting up the shoot in front of a Harlem brownstone. Could he pull it off? In a captivating collection of poems, Roxane Orgill steps into the frame of Harlem 1958, bringing to life the musicians' mischief and quirks, their memorable style, and the vivacious atmosphere of a Harlem block full of kids on a hot summer's day. Francis Vallejo's vibrant, detailed, and wonderfully expressive paintings do loving justice to the larger-than-life quality of jazz musicians of the era. Includes bios of several of the fifty-seven musicians, an author's note, sources, a bibliography, and a foldout of Art Kane's famous photograph.

• Performing diaspora with Sidney Bechet
• Jazz at home in France: French jazz musicians on the war path to "authentic" jazz
• Inez Cavanaugh: creating & complicating jazz community
• Boris Vian & James Baldwin in Paris: are we a blues people too?
• Kenny Clarke's journey between "black" and "universal" music
• Coda: beyond color-blind narratives: reading behind the scenes of Paris blues.

At the close of the Second World War, waves of African American musicians migrated to Paris, eager to thrive in its reinvigorated jazz scene. Jazz Diasporas challenges the notion that Paris was a color-blind paradise for African Americans. On the contrary, musicians adopted a variety of strategies to cope with the cultural and social assumptions that confronted them throughout their careers in Paris, particularly as France became embroiled in struggles over race and identity when colonial conflicts like the Algerian War escalated. Using case studies of prominent musicians and thoughtful analysis of interviews, music, film, and literature, Rashida K. Braggs investigates the impact of this postwar musical migration. She examines key figures including musicians Sidney Bechet, Inez Cavanaugh, and Kenny Clarke and writer and social critic James Baldwin to show how they performed both as artists and as African Americans. Their collaborations with French musicians and critics complicated racial and cultural understandings of who could represent "authentic" jazz and created spaces for shifting racial and national identities-what Braggs terms "jazz diasporas.".
(source: Nielsen Book Data)

• t.
• 1. Du milieu du XIXe siècle à 1929.

• Tome 1.
• Quelle histoire de quelle musique ?
• Questions de méthode
• Sources
• Périodisation
• Centres et périphéries questions transversales
• Le racisme
• Éléments sur la situation des Noirs en France -- 1889-1929
• Le contraste des situations
• Le racisme des Étatsuniens blancs en Europe
• Le racisme des Européens
• Quelles victimes ?
• L'intensité
• Les femmes dans le jazz en France
• Généralités (étatsuniennes), spécificités européennes et françaises
• Musiques populaires / musique savante -- Le métier de musicien-ne de jazz
• Statistique et (in)visibilité
• Facteurs explicatifs
• Postlude
• Chronologie : du milieu du XIXe siècle jusqu'à 1914
• Minstrelsy et performeurs afro-américains en Europe et en France au XIXe siècle
• Les échanges internationaux
• Le contexte français du music-hall
• Patrick S. Gilmore
• John Philip Sousa
• Musiciens afro-américains à l'aube du XXe siècle
• Le cake-walk
• Irene et Vernon Castle
• Chronologie : La première guerre mondiale
• Elsie janis
• Scrap Iron Jazzerinos
• James Reese Europe et les Harlem Hellfighters
• Chronologie : 1914-1929
• Le problème de "l'objet absent"
• Musiques et musiciens
• Les revues du Casino de Paris
• Louis Mitchell
• Will Marion Cook et le Southern Symphony Orchestra
• Principaux musiciens afro-américains en France
• Montmartre
• Joséphine Baker et La Revue nègre
• Florence Mills et Black Birds of 1926
• Paul Whiteman et jack Hylton en France
• Les premiers musiciens de jazz français
• Le jazz en région
• Musiques voisines
• Le jazz et la musique savante
• OEuvres de musique savante intégrant des éléments de jazz ou de musiques associées
• Quels emprunts ?
• Discours des musiciens savants à propos du jazz
• Le jazz dans les discours sur la musique : enjeux et arguments
• Jean Cocteau et Erik Satie
• Le Gaya et le Boeuf sur le toit
• Jean Wiéner et Clément Doucet
• Le "jazz-band parisien" et "Voleur d'enfants"
• Essoufflement du mouvement et évaluation
• Médiations et médiateurs
• L'édition musicale et le disque
• Nouveaux médias
• La réception généraliste
• Le commentaire en français sur le jazz
• La littérature comme document.

"La France, fille aînée du jazz ? C'est ce qui se pense, se dit parfois, souvent. L'histoire du jazz en France est en tout cas longue et très riche, de musiques, de musiciens, d'événements, de textes, de pensées, de passions, de conflits. Le projet de cette histoire du jazz en France se conforme à un déroulement chronologique, depuis les débuts jusqu'à 1990. Les volumes suivants couvriront respectivement les périodes 1930-1944, 19451959 et 1960-1990. Où faire remonter les débuts ? À l'arrivée en France des Harlem Hellfighters de James Reese Europe dans les derniers jours de 1917 ? À la première apparition écrite du mot "jazz" à l'aube de 1918 ? La réponse est donnée par le parti pris par l'auteur : celui de ne pas raconter seulement l'histoire des musiques et des musiciens, mais de placer celle-ci dans le contexte général de la société française, de ses tendances conservatrices ou progressistes, de ses blocages et de ses évolutions. C'est ainsi qu'on en est amené à remonter aussi loin que le milieu du XIXe, quand des musiciens (faussement ou réellement) noirs apparaissent sur des scènes parisiennes. On parvient de la sorte à retracer une lente maturation, jusqu'à une première articulation placée en 1929, quand s'observe la convergence de mutations sociétales et musicales. Quand, donc, a vraiment commencé le jazz en France ? Et d'abord, que signifie le mot en 1918, quand il est imprimé pour la première fois dans Le Gaulois et Le Figaro ? Est-il arrivé déjà formé des États-Unis ? Qui en furent les acteurs, français, étatsuniens, originaires d'autres pays, musiciens, médiateurs de toutes sortes ? Quels mouvements traversaient les sociétés françaises qu'il a rencontrées ? Quels cadres de pensée ont pu permettre qu'il s'implante, durablement comme on le sait ? Telles sont les questions auxquelles se confronte le volume d'ouverture de cette première histoire générale du jazz en France."--P. [4] of cover.

• The drum wars of Guy Warren
• The sojourns of Randy Weston
• Ahmed Abdul-Malik's Islamic experimentalism
• The making of Sathima Bea Benjamin.

In Bedford-Stuyvesant, Brooklyn, pianist Randy Weston and bassist Ahmed Abdul-Malik celebrated with song the revolutions spreading across Africa. In Ghana and South Africa, drummer Guy Warren and vocalist Sathima Bea Benjamin fused local musical forms with the dizzying innovations of modern jazz. These four were among hundreds of musicians in the 1950s and '60s who forged connections between jazz and Africa that definitively reshaped both their music and the world. Each artist identified in particular ways with Africa's struggle for liberation and made music dedicated to, or inspired by, demands for independence and self-determination. That music was the wild, boundary-breaking exultation of modern jazz. The result was an abundance of conversation, collaboration, and tension between African and African American musicians during the era of decolonization. This collective biography demonstrates how modern Africa reshaped jazz, how modern jazz helped form a new African identity, and how musical convergences and crossings altered politics and culture on both continents. In a crucial moment when freedom electrified the African diaspora, these black artists sought one another out to create new modes of expression. Documenting individuals and places, from Lagos to Chicago, from New York to Cape Town, Robin Kelley gives us a meditation on modernity: we see innovation not as an imposition from the West but rather as indigenous, multilingual, and messy, the result of innumerable exchanges across a breadth of cultures.
(source: Nielsen Book Data)
This collective biography of four jazz musicians from Brooklyn, Ghana, and South Africa demonstrates how modern Africa reshaped jazz, how modern jazz helped form a new African identity, and how musical convergences and crossings altered the politics and culture of both continents.
(source: Nielsen Book Data)

• Volume
• 2. Riverboat jazz.

• "Music is my life and I love to play": Louis Armstrong's jazz autobiographics
• "I have always been a great observer" : New Orleans musicking
• " I done forgot the words": versioning autobiography
• "Diddat come outa mee?" writing scat and typing swing
• "A happy go lucky sort of type of fellow": the productive ambiguities of minstrel sounding
• "He didn't need black face to be funny": the double resonance of postcolonial performance
• "My mission is music": Armstrong's cultural politics
• "What do you know about that?": final thoughts on 'Laughin' Louie.

Music Is My Life is the first comprehensive analysis of Louis Armstrong's autobiographical writings (including his books, essays, and letters) and their relation to his musical and visual performances. Combining approaches from autobiography theory, literary criticism, intermedia studies, cultural history, and musicology, Daniel Stein reconstructs Armstrong's performances of his life story across various media and for different audiences, complicating the monolithic and hagiographic views of the musician. The book will appeal to academic readers with an interest in African American studies, jazz studies, musicology, and popular culture, as well as general readers interested in Armstrong's life and music, jazz, and twentieth-century entertainment. While not a biography, it provides a key to understanding Armstrong's oeuvre as well as his complicated place in American history and twentieth-century media culture.
(source: Nielsen Book Data)

• WHAT IT IS; Contents; Foreword; Preface; Acknowledgments; Timeline;
• Chapter 1: The Delicacy of Youth: Beginnings;
• Chapter 2: The Call: I Find Music, It Finds Me;
• Chapter 3: Breakaway: Finding Myself;
• Chapter 4: Arrival: Becoming an Artist;
• Chapter 5: The Energy of the Chance: Going for It;
• Chapter 6: Guided Dream: Playing with the Masters;
• Chapter 7: It's Different Out There: On the Job with the Prince of Darkness;
• Chapter 8: Beyond the Line: My Own World;
• Chapter 9: Passages: The Ups and Downs;
• Chapter 10: Turn It Around: Solidifying Art and Life.

• Chapter 11: While We're on the Subject: On Others
• Chapter 12: Tomorrow's Expectations: The Legacy;
• Appendix I: Selected Discography;
• Appendix II: Selected Educational Materials;
• Appendix III: Two Compositions by Dave Liebman; Index.

Dave Liebman is one of the leading forces in contemporary jazz. Prominently known for performing with Miles Davis and Elvin Jones, he has exerted considerable influence as a saxophonist, bandleader, composer, author, and educator. In What It Is: The Life of a Jazz Artist, friend, pianist, and noted jazz scholar Lewis Porter conducts a series of in-depth interviews with Liebman, who discusses his professional, personal, and musical relationships with notable musicians, as well as such personal matters as contracting polio as a child. Featuring rare photos from Liebman's personal collection, this fascinating and witty story will not only appeal to jazz fans and scholars but also to those readers interested in the story of how a young man followed his dream to become one of the leading jazz artists of our time.
(source: Nielsen Book Data)

• Cover; Contents; List of Illustrations; Foreword; Prologue: "I Made Things Work"; 1 "All I Wanted Was My Freedom"; 2 "A Marvelous Crucible"; 3 Cole Train; 4 "The Opener"; 5 Let Freedom Swing; 6 Norman Granz versus . . .; 7 Mambo Jambo; 8 Enter Ella and Oscar; 9 The Continental; 10 "I Feel Most at Home in the Studio"; 11 Starry Nights; 12 "That Tall Old Man Standing Next to Ella Fitzgerald"; 13 The Jazz Hurricane; 14 "The Lost Generation"; 15 Duke, Prez, and Billie; 16 Joie de Verve; 17 Across the Sea; 18 "Musicians Don't Want to Jam"; 19 Picasso on the Beach; 20 "One More Once."

• 21 Takin' It on Out--for Good22 "Somewhere There's Music"; Epilogue: "My Career, Such As It Is . . ."; Acknowledgments; Chronology; Notes; Selected Bibliography; Index; A; B; C; D; E; F; G; H; I; J; K; L; M; N; O; P; Q; R; S; T; U; V; W; Y; Z.

'Any book on my life would start with my basic philosophy of fighting racial prejudice. I loved jazz, and jazz was my way of doing that, ' Norman Granz told Tad Hershorn during the final interviews given for this book. Granz, who died in 2001, was iconoclastic, independent, immensely influential, often thoroughly unpleasant - and one of jazz's true giants. Granz played an essential part in bringing jazz to audiences around the world, defying racial and social prejudice as he did so, and demanding that African-American performers be treated equally everywhere they toured. In this definitive biography, Hershorn recounts Granz's story: creator of the legendary jam session concerts known as Jazz at the Philharmonic; founder of the Verve record label; pioneer of live recordings and worldwide jazz concert tours; manager and recording producer for numerous stars, including Ella Fitzgerald and Oscar Peterson.
(source: Nielsen Book Data)

• Cover; Contents; List of Illustrations; Foreword; Prologue: "I Made Things Work"; 1 "All I Wanted Was My Freedom"; 2 "A Marvelous Crucible"; 3 Cole Train; 4 "The Opener"; 5 Let Freedom Swing; 6 Norman Granz versus . . .; 7 Mambo Jambo; 8 Enter Ella and Oscar; 9 The Continental; 10 "I Feel Most at Home in the Studio"; 11 Starry Nights; 12 "That Tall Old Man Standing Next to Ella Fitzgerald"; 13 The Jazz Hurricane; 14 "The Lost Generation"; 15 Duke, Prez, and Billie; 16 Joie de Verve; 17 Across the Sea; 18 "Musicians Don't Want to Jam"; 19 Picasso on the Beach; 20 "One More Once."

• 21 Takin' It on Out--for Good22 "Somewhere There's Music"; Epilogue: "My Career, Such As It Is . . ."; Acknowledgments; Chronology; Notes; Selected Bibliography; Index; A; B; C; D; E; F; G; H; I; J; K; L; M; N; O; P; Q; R; S; T; U; V; W; Y; Z.

'Any book on my life would start with my basic philosophy of fighting racial prejudice. I loved jazz, and jazz was my way of doing that, ' Norman Granz told Tad Hershorn during the final interviews given for this book. Granz, who died in 2001, was iconoclastic, independent, immensely influential, often thoroughly unpleasant - and one of jazz's true giants. Granz played an essential part in bringing jazz to audiences around the world, defying racial and social prejudice as he did so, and demanding that African-American performers be treated equally everywhere they toured. In this definitive biography, Hershorn recounts Granz's story: creator of the legendary jam session concerts known as Jazz at the Philharmonic; founder of the Verve record label; pioneer of live recordings and worldwide jazz concert tours; manager and recording producer for numerous stars, including Ella Fitzgerald and Oscar Peterson.
(source: Nielsen Book Data)

• You have to be invited: reflections on music making and musician creation in Black American culture / Leonard L. Brown
• In his own words: Coltrane's responses / Leonard L. Brown
• John Coltrane and the practice of freedom / Herman Gray
• John Coltrane as the personification of spirituality in black music / Anthony Brown
• Freedom is a constant struggle: Alice Coltrane and the redefining of the jazz avante-garde / Tammy L. Kernodle
• When bar walkers preach: John Coltrane and the crisis of the black intellectual / Tommy L. Lott
• "Don't let the devil (make you) lose your joy": a look at late Coltrane / Salim Washington
• The spiritual ethos of black musica nd its quintessential exemplar, John Coltrane / Emmett G. Price III
• Somebody please say, "amen!" / Eric D. Jackson
• Masters on a master introduction: Anthony Brown's and Leonard Brown's conversations with Olly Wilson, Yusef Lateef and Billy Taylor: Conversation with Olly Wilson; Conversation with Yusef Lateef; Conversation with Billy Taylor
• Coda: George Russell on John Coltrane.

John Coltrane's unique and powerful saxophonic sound is commonly recognized among jazz scholars and fans alike as having a "spiritual" nature, imbued with the perfomer's soul, which deeply touches musicians and listeners worldwide. This revered and respected musician created new standards, linked tradition with innovation, challenged common assumptions, and relentlessly pursued spiritual goals in his music, which he aimed openly to use as a means to help listeners see the beauty of life. More than four decades after Coltrane's death, it is this spiritual nature of the music that has kept his sound alive - and thriving - on the contemporary jazz scene. Edited by prominent jazz musician and scholar Leonard Brown, John Coltrane and Black America's Quest for Freedom is a timely exploration of Coltrane's sound and its spiritual qualities as they relate to Black American music culture and aspirations for freedom. A wide-ranging collection of essays and interviews featuring many of the most eminent figures in jazz studies and performance-Tommy Lee Lott, Anthony Brown, Herman Gray, Emmett G. Price III, Dwight Andrews, Tammy Kernodle, Salim Washington, Eric Jackson, and TJ Anderson (foreword)-the book examines the full spectrum of Coltrane's legacy. Each essay approaches this theme from a different angle, in both historical and contemporary contexts, focusing on how Coltrane became a quintessential example of the universal and enduring qualities of Black American culture. The contributors address Coltrane as the Black intellectual, the visionary master of musical syntax, the man and the media icon, and ultimately the symbol of the spiritual core of Black American music.
(source: Nielsen Book Data)

• Prologue Music in the Shadows-- The Imperfect History of Gypsy Jazz/
• Chapter 1 The Guitar with a Human Voice--In Search of Django Reinhardt/
• Chapter 2 The Boy With the Banjo-- Into a Zigzag Paradise--
• Chapter 3 Bals Musette-- Music from the Dark Side of the City of Light-- Chapter 4Jazz Modernistique-- Revisiting the Babylon of Gypsy Jazz/
• Chapter 5 Songs of One Thousand and One Nights-- Django Reinhardt, Schnuckenack Reinhardt, and Gypsy Jazz Under the Nazis--
• Chapter 6 Gypsy Bebop-- From Dizzy and Bird to Django and the Gibson Generation--
• Chapter 7 Les Guitares a Moustache-- Revolutionary Jazz Guitars for a Jazz Revolution/
• Chapter 8 Crossroads-- On the Road to Les Saintes-Maries-de-la-Mer/
• Chapter 9 Dynasty--Les Freres Ferret and their Musical Clan/Chapter 10La Derniere Valse des Niglos-- Saints and Sinners of the Malha Clan/
• Chapter 11 Au Son des Guitares-- On the Trail of Patotte Bousquet/
• Chapter 12 The Unsung Master of the Gypsy Waltz-- Tracing the Legacy of Tchan Tchou/
• Chapter 13 The Lost-- The Secret History of Lousson Baumgartner and the Other Family/
• Chapter 14 Minstrel-- Bamboula Ferret and the Travels of a Romany Troubadour/
• Chapter 15 Resurrection-- The New Elegance of Bireli Lagrene, Stochelo Rosenberg, Angelo Debarre, and Ninine Garcia/
• Chapter 16 The Music Thieves-- Into America with Danny Fender, Johnny Guitar, John Adomono, and Julio Bella/
• Chapter 17 Gypsy Jazz Rap-- Syntax and the Search for Le Meilleur Chemin/
• Chapter 18 The Most Dangerous Guitar Lesson-- Jamming with David Reinhardt/ Epilogue/Latcho Drom The Long Road/ Recommended Listening/ Notes/ Recommended Reading/ Bibliography /Acknowledgments/Index.
• (source: Nielsen Book Data)

Of all the styles of jazz to emerge in the twentieth century, none is more passionate, more exhilaratingly up-tempo, or more steeped in an outsider tradition than Gypsy Jazz. And there is no one more qualified to write about Gypsy Jazz than Michael Dregni, author of the acclaimed biography, Django. A vagabond music, Gypsy Jazz is played today in French Gypsy bars, Romany encampments, on religious pilgrimages-and increasingly on the world's greatest concert stages. Yet its story has never been told, in part because much of its history is undocumented, either in written form or often even in recorded music. Beginning with Django Reinhardt, whose dazzling Gypsy Jazz became the toast of 1930s Paris in the heady days of Josephine Baker, Picasso, and Hemingway, Dregni follows the music as it courses through caravans on the edge of Paris, where today's young French Gypsies learn Gypsy Jazz as a rite of passage, along the Gypsy pilgrimage route to Les Saintes-Maries-de-la-Mer where the Romany play around their campfires, and finally to the new era of international Gypsy stars such as Bireli Lagrene, Boulou Ferre, Dorado Schmitt, and Django's own grandchildren, David Reinhardt and Dallas Baumgartner. Interspersed with Dregni's vivid narrative are the words of the musicians themselves, many of whom have never been interviewed for the American press before, as they describe what the music means to them. Gypsy Jazz also includes a chapter devoted entirely to American Gypsy musicians who remain largely unknown outside their hidden community. Blending travelogue, detective story, and personal narrative, Gypsy Jazz is music history at its best, capturing the history and culture of this elusive music-and the soul that makes it swing.
(source: Nielsen Book Data)

• Acknowledgments Introduction 1
• CHAPTER 1. WHITE NEGROES AND NATIVE SONS BLACKS AND JEWS IN WORDS AND MUSIC 15
• CHAPTER 2. LISTENING TO ELLISON TRANSGRESSION AND TRADITION IN ELLISON'S JAZZ WRITINGS 61
• CHAPTER 3. STOMPING THE MUSE JAZZ, POETRY, AND THE PROBLEMATIC MUSE 99
• CHAPTER 4. LOVE FOR SALE HUSTLING THE JAZZ MEMOIR 150 Notes 199 Bibliography 215 Index 225.
• (source: Nielsen Book Data)

How have American writers written about jazz, and how has jazz influenced American literature? In Fascinating Rhythm, David Yaffe explores the relationship and interplay between jazz and literature, looking at jazz musicians and the themes literature has garnered from them by appropriating the style, tones, and innovations of jazz, and demonstrating that the poetics of jazz has both been assimilated into, and deeply affected, the development of twentieth-century American literature. Yaffe explores how Jewish novelists such as Norman Mailer, J. D. Salinger, and Philip Roth engaged issues of racial, ethnic, and American authenticity by way of jazz; how Ralph Ellison's descriptions of Louis Armstrong led to a "neoconservative" movement in contemporary jazz; how poets such as Wallace Stevens, Hart Crane, Langston Hughes, and Frank O'Hara were variously inspired by the music; and how memoirs by Billie Holiday, Charles Mingus, and Miles Davis both reinforced and redeemed the red light origins of jazz. The book confronts the current jazz discourse and shows how poets and novelists can be placed in it--often with problematic results. Fascinating Rhythm stops to listen for the music, demonstrating how jazz continues to speak for the American writer.
(source: Nielsen Book Data)

• The high priest of bebop
• A Monk story
• Poems.

• CONTENTS; PREFACE;
• 1. Bebop;
• 2. from Swing to Bop-The Visionaries;
• 3. Transitional figures;
• 4. The Innovators;
• 5. Into the 1950s;
• 6. Other significant figures;
• APPENDIX 1 Drum Rudiments;
• APPENDIX 2 Transcriptions of Drum Solos; NOTES; BIBLIOGRAPHY; DISCOGRAPHY; THE INTERVIEWEES; INDEX.

In the 1930s swing music was everywhere-on radio, recordings, and in the great ballrooms, hotels, theatres, and clubs. Perhaps at no other time were drummers more central to the sound and spirit of jazz. Benny Goodman showcased Gene Krupa. Jimmy Dorsey featured Ray McKinley. Artie Shaw helped make Buddy Rich a star while Count Basie riffed with the innovative Jo Jones. Drummers were at the core of this music; as Jo Jones said, "The drummer is the key-the heartbeat of jazz." An oral history told by the drummers, other musicians, and industry figures, Drummin' Men is also Burt Korall's memoir of more than fifty years in jazz. Personal and moving, the book is a celebration of the music of the time and the men who made it. Meet Chick Webb, small, fragile-looking, a hunchback from childhood, whose explosive drumming style thrilled and amazed; Gene Krupa, the great showman and pacemaker; Ray McKinley, whose rhythmic charm, light touch, and musical approach provided a great example for countless others, and the many more that populate this story. Based on interviews with a collection of the most important jazzmen, Drummin' Men offers an inside view of the swing years that cannot be found anywhere else.
(source: Nielsen Book Data)

A collection of autobiographies divided into six sections (jazz pioneers, swing, piano greats, bebop, cool jazz, and contemporary jazz) feature historical overviews and cover over fifty jazz performers.

• Contents; foreword; preface; acknowledgments; introduction; 1 kid ory and the revival era; 2 a personal view of the music; 3 a personal view of the musicians; 4 the influence of new orleans musicians on classic jazz; 5 the great louis armstrong; 6 jazz on the west coast; 7 unsung heroes; 8 the seven-year challenge to complete the louis armstrong statue; epilogue; index.

Floyd Levin, an award-winning jazz writer, has personally known many of the jazz greats who contributed to the music's colourful history. In this collection of his articles, published mostly in jazz magazines over a 50-year period, Levin takes us into the night-clubs, the recording studios, the record companies, and, most compellingly, into the lives of the musicians who made the great moments of the traditional jazz and swing eras. This collection of articles begins with Levin's first published piece and includes several new articles that were inspired by his work on this compilation. The articles are organised thematically, beginning with a piece on Kid Ory's early recordings and ending with a newly written article about the campaign to put up a momentum to Louis Armstrong in New Orleans. Along the way, Levin gives in-depth profiles of many well-known jazz legends, such as Jelly Roll Morton, Duke Ellington, and Louis Armstrong, and many lesser-known figures who contributed greatly to the development of jazz. The book readable and personable book extensively illustrated with previously unpublished photographs from Levin's personal collection, should be of interest to jazz scholars and fans everywhere for the overviews it provides of the music's evolution, and for the love of jazz it inspire on every page.
(source: Nielsen Book Data)

• Dizzy Gillespie
• Charlie Parker
• Fats Navarro
• Bud Powell
• Max Roach
• Thelonius Monk
• Charles Mingus
• Sonny Rollins
• Miles Davis
• Herbie Nichols
• John Coltrane.

Giant Steps examines the most important figures in the creation of modern jazz, detailing the emergence of bebop through the likes of Dizzy Gillespie, Charlie Parker, Fats Navarro, Bud Powell and Thelonious Monk. Using this as its starting point, Giant Steps subsequently delves into the developments of jazz composition, modal jazz and free jazz. The music of each of these great masters is examined in detail and will provide both a fine introduction for the large audience newly attracted to the music but unsure of their direction through it, as well as an entertaining and informative read for those with a more substantial background.
(source: Nielsen Book Data)

• pt.
• 1: Precursors. Bert Williams/Al Jolson (Native wits). Hank Jones/Charlie Haden (Come Sunday). Louis Armstrong/Mills Brothers (Signifying). W.C. Handy (Birth of the Blues). Irving Berlin (Ragging the Alley). Spencer Williams (The Bard of Basin Street). Ethel Waters (The mother of us all). Bunk Johnson/George Lewis (Pithcanthropus jazzmen)
• pt.
• 2: A new music. Jelly Roll Morton (Red hot dandy). King Oliver (Working man blues). Louis Armstrong (The once and future king). Duke Ellingtion (
• Part 1: The poker game). Coleman Hawkins (Patriach). Pee Wee Russell (Seer). Chick Webb (King of the Savoy). Fats Waller (Comedy tonight)
• pt.
• 3: A popular music. Benny Goodman (The mirror of swing). Jimmie Lunceford (For listeners, too). Count Basie/Lester Young (Westward Ho! and back). Jimmy Rushing (Swinging the Blues). Roy Eldridge (Jazz). Ella Fitzgerald (Joy). Artie Shaw (Cinderella's last stand). Budd Johnson (Chameleon). Bobby Hackett (Muzak man). Frank Sinatra (The ultimate in theater)
• pt.
• 4: A modern music. Duke Ellingtion (
• Part 2: The enlightment). Billy Strayhorn (Passion flower). Spike Jones (Chasin' the birdaphone). Charlie Parker (Flying home). Dizzy Gillispie (The coup and after). Sarah Vaughan (Divine). Thelonious Monk (Rhythm-a-ning). Bud Powell (Strictly confidential). Chico O'Farrill (North of the border). Stan Kenton (Big). Dexter Gordon (Resurgence).
• pt.
• 5: A mainstream music. Miles Davis (Kinds of Blues). Gerry Mulligan (Beyond cool). Art Blakey (Jazz messenger). Billie Holiday (Lady of pain). Modern Jazz Quartet (The first forty years). Nat King Cole (The comeback king). Stan Getz (Seasons). Sonny Rollins (The muse is heard). Dinah Washington (The Queen). Rahsaan Roland Kirk (One-man band).
• pt.
• 6: An alternative music. Art Tatum (Sui Generis). Charles Mingus (Bigger than death). Cecil Taylor (Outer curve). Ornette Coleman (This is our music). John Coltrane (Metamorphosis). Duke Ellington (
• Part 3: At the pulpit). Muhal Richard Abrams (Meet this composer). Roscoe Mitchell/ Marty Ehrlich (The audience). Henry Threadgill (The big top). Charles Gayle/David S. Ware/Matthew Shipp (Sweet agony)
• pt.
• 7: A struggling music. Hannibal Peterson (Out of Africa). Jimmy Rowles (The late hurrah). John Carter (American echoes). Dee Dee Bridgewater (Back home again). Julius Hemphill (Gotham's minstrel). Don Pullen (Last connections). Gary Bartz (The middle passage). David Murray (Profuse). Dave Burrell (Brotherly love). Abbey Lincoln (Strong wind blowing)
• pt.
• 8: A traditional music. Randy Weston (Afrobeats). Rosemary Clooney (Going her way). Joe Henderson (Tributes). Tommy Flanagan (Standards and practices). Joe Lovano (The long apprenticeship). Geri Allen/Jacky Terrasson (The parameters of hip). Joshua Redman (Tenor of the times). Stephen Scott (Taking time). James Carter (All of the above). Louis Armstrong/Nicholas Payton (Interpreted). Cassandra Wilson (A different songbook). Don Byron (Musically correct).

Poised to become a jazz classic, Gary Giddins' Visions of Jazz: The First Century contains no fewer than 78 chapters illuminating the lives of virtually all major figures in jazz history. From Louis Armstrong's renegade style trumpet playing to Frank Sinatra's intimate crooning, jazz critic Gary Giddins continually astonishes us with his unparalleled insight. In just a few lines, he captures the essence of Louis Armstrong, "He could telegraph with a growl or a rolling of his eyes his independence, confidence, and security. As the embodiment of jazz, he made jazz the embodiment of the individual." Giddins maintains, contrary to the opinion of most jazz enthusiasts, that Armstrongs voice was as much an integral part of creating jazz singing as his trumpet was to creating jazz. Perhaps the most remarkable chapters in the book are those that do pay tribute to the great jazz singers. Billie Holiday profoundly impacted music history, and Giddins eloquently honors her "gutted voice, drawled phrasing, and wayworn features." Many artists, such as Irving Berlin and Rosemary Clooney, have been traditionally dismissed by fans and critics as merely popular derivatives of true jazz. Giddins finally opens the doors of jazz to include these musicians. In addition to this, he devotes an entire quarter of this volume to young, active jazz artists. No other book has so boldly expanded the horizon of jazz and its influences. Visions of Jazz is an evocative journey through the first one hundred years of jazz that will captivate-and challenge-musicians, music critics, and music lovers.
(source: Nielsen Book Data)

• 1. Introduction
• 2. Labels and Out Jazz
• 3. Jazz Styles and the Precursors of Performing Out
• 4. The Founders of Out Jazz and Their Successors
• 5. The Economics of Performing Out in New York City
• 6. Perceiving Out Music through Metaphor
• 7. Communicating Out Worldviews through Music
• 8. The Implications of Fusing Out Jazz and Culture.

Focuses on performers whose own styles, by definition, transcend traditional boundaries of jazz and most Western forms of music. The performers discussed include John Coltrane, Ornette Coleman, Cecil Taylor, Daniel Carter, Billy Bang, and Jemeel Moondoc.
(source: Nielsen Book Data)

• Garvin Bushell
• Bud Freeman
• Jay Cameron
• Bob Dorough
• Art Farmer
• Mark Murphy
• Eddie "Lockjaw" Davis
• Phil Woods
• Jon Hendricks
• Nathan Davis
• Red Mitchell
• Donald "Duck" Bailey.

Interviews with famous jazz musicians about their experiences palying abroud. Interviewees include : Garvin Bushell, Bud Freeman, JAy Cameron, BobDorough, Art Farmer, Mark Murphy, Eddie "Lockjaw" Davis, Phil Woods, Jon Hendricks, NAthan Davis, Red Mitchell, Donald "Duck" Bailey.

A blend of musical history and criticism, this study of jazz includes chapters on King Oliver, Jelly Roll Morton, John Coltrane and Ornette Coleman. In addition to an expanded essay on Count Basie, this edition includes pieces on Eric Dolphy, Bill Evans and the World Saxophone Quartet.
(source: Nielsen Book Data)

• Cover
• Contents
• 1. New Orleans
• 2. Chicago
• 3. Kansas City and the Southwest
• 4. New York
• 5. The Big Bands
• 6. California
• 7. Post Bebop Developments
• 8. Singers
• 9. Jazz Around the World
• 10. The Contemporary Scene
• Index
• A
• B
• C
• D
• E
• F
• G
• H
• I
• J
• K
• L
• M
• N
• O
• P
• Q
• R
• S
• T
• U
• V
• W
• Y
• Z
• Last Page.

Combining interviews with commentary, this personal view of the history and spectrum of American jazz music deals with the differing styles found in New Orleans, Chicago, Harlem, Detroit and Kansas City, and introduces the reader to instrumentalists, composers, singers and bands.
(source: Nielsen Book Data)

• 1. The Road 9
• 2. Roots and Seeds 32
• 3. Minton's and Monroe's 75
• 4. Fifty-Second Street 118
• 5. California 160
• 6. Big-Band Bop 184
• 7. The Bop Era 219
• 8. End of Era 291.

Over a ten-year period, Ira Gitler interviewed more than fifty of the major figures in jazz history to preserve for posterity their recollections of how jazz moved from the big band era in the late 1930s and 1940s into the modern jazz period. The musicians interviewed recreate their own experiences and also evoke the legendary figures of bop who were especially influential in its development but were rarely or never recorded, people like Clyde Hart and Freddie Webster.
(source: Nielsen Book Data)