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vi, 296 pages : illustrations, music ; 24 cm
  • IntroductionBruce JohnsonCultural Contexts1. Demons of Discord Down Under: "Jump Jim Crow" and "Australia's First Jazz Band"John Whiteoak, Monash University2. Early Jazz in Australia as Oriental ExoticaAline Scott-Maxwell, Monash University3. Got a Little Rhythm: The Australian Influence on Swing in New Zealand during the 1930s and 1940sAleisha Ward, jazz writer4. Jazz in Adelaide and Melbourne in the Angry Penguins DecadeBruce Clunies-Ross, University of Copenhagen5. Cuba Street Parade: Identity, Authenticity and Self-expression in Contemporary Australasian Jazz ScenesNick Tipping, musicianInfrastructures6. How Jazz was Taken Out of the History of Australian Music TelevisionLiz Giuffre, University of Technology, Sydney7. Shotgun Weddings and Bohemian Dreams: Jazz, Family Values and Storytelling in Australian FilmChristopher Coady, Sydney Conservatorium of Music, University of Sydney8. Perspectives on the Melbourne International Women's Jazz FestivalMarjorie Louise Denson, Queensland Conservatorium, Brisbane 9. A Tale of Five Festivals: A Study of Five Australian Jazz Festivals from 2004 to 2014Brent Keogh, Macquarie University and University of Technology, SydneyMusicians10. 'I Wouldn't Change Skins with Anybody': Dulcie Pitt/Georgia Lee, a Pioneering Indigenous Australian Jazz, Blues and Community SingerKarl Neuenfeldt, musician11. Lydia in Oz: The Reception of George Russell in 1960s AustraliaPierre-Emmanuel Seguin, musician12. Examining the Legend and Music of Australian Saxophonist, Frank SmithRalph Whiteoak, doctoral student13. Expressive Ientity in the Voices of Three Australian Saxophonists: McGann, Sanders and Gorman Sandy Evans, Sydney Conservatorium of Music, University of Sydney14. Sex and the Sonic Smorgasbord - The NecksJane Galbraith, jazz musician.
  • (source: Nielsen Book Data)9781781792810 20160619
Antipodean Riffs is a collection of essays on Australian jazz and jazz in Australia. Chronologically they range from what could be called the 'prehistory' of the music - the tradition of US-sourced African-American music that predated the arrival of music billed as 'jazz' - to the present. Thematically they include studies of framing infrastructural mechanisms including the media. The volume also incorporates case studies of particular musicians or groups that reflect distinctive aspects of the Australian jazz tradition.
(source: Nielsen Book Data)9781781792810 20160619
Music Library
323 pages : illustrations ; 24 cm
  • INTRODUCTION. Charles Mingus Changed My Life PART I. A Circus in a Bathtub PART II. Autobiography, Autofiction, and Some Poetry PART III. Third Stream Music and the Rest of Jazz History PART IV. On and Off the Bandstand with Richmond, Dolphy, and Knepper EPILOGUE. Mingus in the Movies Acknowledgments Discography Notes Bibliography Index.
  • (source: Nielsen Book Data)9780520260375 20160725
Charles Mingus is one of the most important-and most mythologized-composers and performers in jazz history. Classically trained and of mixed race, he was an outspoken innovator as well as a bandleader, composer, producer, and record-label owner. His vivid autobiography, Beneath the Underdog, has done much to shape the image of Mingus as something of a wild man: idiosyncratic musical genius with a penchant for skirt-chasing and violent outbursts. But, as the autobiography reveals, he was also a hopeless romantic. After exploring the most important events in Mingus's life, Krin Gabbard takes a careful look at Mingus as a writer as well as a composer and musician. He digs into how and why Mingus chose to do so much self-analysis, how he worked to craft his racial identity in a world that saw him simply as "black, " and how his mental and physical health problems shaped his career. Gabbard sets aside the myth-making and convincingly argues that Charles Mingus created a unique language of emotions-and not just in music. Capturing many essential moments in jazz history anew, Better Git It in Your Soul will fascinate anyone who cares about jazz, African American history, and the artist's life.
(source: Nielsen Book Data)9780520260375 20160725
Music Library
xv, 276 pages ; 25 cm
During his nearly forty years as a music journalist, Ralph J. Gleason recorded many in-depth interviews with some of the greatest jazz musicians of all time. These informal sessions, conducted mostly in Gleason's Berkeley, California, home, have never been transcribed and published in full until now. This remarkable volume, a must-read for any jazz fan, serious musician, or musicologist, reveals fascinating, little-known details about these gifted artists, their lives, their personas, and, of course, their music. Bill Evans discusses his battle with severe depression, while John Coltrane talks about McCoy Tyner's integral role in shaping the sound of the Coltrane quartet, praising the pianist enthusiastically. Included also are interviews with Dizzy Gillespie, Sonny Rollins, Quincy Jones, Jon Hendricks, and the immortal Duke Ellington, plus seven more of the most notable names in twentieth-century jazz.
(source: Nielsen Book Data)9780300214529 20160711
Music Library
224 pages : illustrations (some color) ; 32 cm
Duke Ellington was the undisputed father of the American songbook. A prolific writer and consummate performer, Ellington was the author of such standards as Solitude, Prelude to a Kiss, and It Don't Mean a Thing (If It Ain't Got that Swing). With a career that spanned five decades, he is one of the defining composers of the Jazz Age. With unprecedented access to the Ellington family archives, this long overdue book illuminates the life and work of an icon of twentieth-century music from his humble beginnings to his long-lasting success. Every stage of Ellington's career is brought to life, from sepia photographs of his early days in Washington, DC, to colorful playbills from the Harlem Renaissance of the 1920s, his triumphant tours of Europe in the 1930s, and his pioneering explosion of form and genre in the 1940s and beyond. Alongside more than two hundred stunning images, contributions from peers such as Dave Brubeck, Cornel West, Quincy Jones, and Tony Bennett shed light on Ellington's musical legacy, while the voice of his granddaughter Mercedes reveals the character behind the charisma, and the man behind the piano.
(source: Nielsen Book Data)9780847848133 20160619
Music Library
xvi, 290 pages : illustrations ; 27 cm
In An Encyclopedia of South Carolina Jazz and Blues Musicians, Benjamin Franklin V documents the careers of South Carolina jazz and blues musicians from the nineteenth century to the present. The musicians range from the renowned (James Brown, Dizzy Gillespie), to the notable (Freddie Green, Josh White), to the largely forgotten (Fud Livingston, Josie Miles), to the obscure (Lottie Frost Hightower, Horace "Spoons" Williams), to the unknown (Vince Arnold, Johnny Wilson). Though the term "jazz" is commonly understood, if difficult to define, "blues" has evolved over time to include rhythm and blues, doo-wop, and soul music. Performers in these genres are represented, as are members of the Jenkins Orphanage bands of Charleston. The volume also treats nineteenth-century musicians who performed what might be called proto-jazz or proto-blues in string bands, medicine shows, vaudeville, and the like. Organized alphabetically, from Johnny Acey to Webster Young, the book's entries include basic biographical information, South Carolina residences, career details, compositions, recordings as leaders and as band members, films, awards, Web sites, and lists of resources for additional reading. Franklin has ensured biographical accuracy to the greatest degree possible by consulting such sources as the census, military registers, passport applications, and other public documents including, when law permitted, death certificates. Information in these records permitted him to dispel myths and correct misinformation that have surrounded South Carolina's musical history for generations.
(source: Nielsen Book Data)9781611176216 20160711
Music Library
xiv, 253 pages ; 22 cm
Jazz is the great American art form, its very essence is predicated on freedom and creativity. Its sound unequivocally calls forth narratives of past struggles and future dreams. Yet jazz can be as inscrutable as it is mesmerizing, especially to outsiders who don't know what to make of improvisation or unexpected shifts in melody or tempo. How does a casual listener learn to understand and appreciate the nuances between the unapologetic and innovative sounds of Louis Armstrong, the complexity of Coleman Hawkin's saxophone, and the exotic and alluring compositions of Duke Ellington? How does Thelonius Monk fit in alongside Benny Goodman and John Coltrane? In How to Listen to Jazz, award-winning music scholar Ted Gioia presents a lively, accessible introduction to the art of listening to jazz. Covering everything from the music's structure and history to the basic building blocks of improvisation, Gioia shows exactly what to listen for in a jazz performance. He shares listening strategies that will help readers understand and appreciate jazz for the rest of their lives, and provides a history of the major movements in jazz right up to the present day. He concludes with a guide to 150 elite musicians who are setting the tone for 21st century jazz. Both an appreciation and an introduction to jazz by a foremost expert, How to Listen to Jazz is a must-read for anyone who's ever wanted to understand America's greatest contribution to the world of music.
(source: Nielsen Book Data)9780465060894 20160725
Music Library
ix, 55 pages, 1 folded leaf : illustrations (some color) ; 29 cm
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.
Education Library (Cubberley)
xvi, 261 pages : illustrations ; 23 cm.
  • Performing jazz diaspora with Sidney Bechet
  • Jazz at home in France: French jazz musicians on the war path to "authentic" jazz
  • Inez Cavanaugh: creating and 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)9780520279353 20160619
Music Library
ix, 245 pages, 20 unnumbered pages of plates : illustrations ; 24 cm.
  • Listening to jazz
  • Developing "big ears" : jazz fans
  • Making the scene : fan communities
  • Providing a place and time : jazz presenters
  • Jazz jobbing : music professionals
  • Hear and now : collective improvisation and spiritual synergy.
How do we speak about jazz? In this provocative study based on the author's deep immersion in the New York City jazz scene, Tom Greenland turns from the usual emphasis on artists and their music to focus on non-performing participants, describing them as active performers in their own right who witness and thus collaborate in a happening made one-of-a-kind by improvisation, mood, and moment. Jazzing shines a spotlight on the constituency of proprietors, booking agents, photographers, critics, publicists, painters, amateur musicians, fans, friends, and tourists that makes up New York City's contemporary jazz scene. Drawn from deep ethnographic research, interviews, and long term participant observation, Jazzing charts the ways New York's distinctive physical and social-cultural environment affects and is affected by jazz. Throughout, Greenland offers a passionate argument in favor of a radically inclusive conception of music-making, one in which individuals collectively improvise across social contexts to co-create community and musical meaning. An odyssey through the clubs and other performance spaces on and off the beaten track, Jazzing is an insider's view of a vibrant urban art world.
(source: Nielsen Book Data)9780252081606 20160704
Music Library

10. Listening to jazz [2016]

xxiv, 374 pages : illustrations (some color) ; 28 cm
Music Library
xii, 264 pages, 12 unnumbered pages of plates : illustrations ; 24 cm
  • Miles goes electric
  • "Bitches brew, " in the studio and on the road
  • Anthony Braxton: Leroy Jenkins, Musica Elettronica Viva, and the "Peace Church" concert
  • Interlude: musical rumblings in Chelsea
  • Miles Davis's increasingly electric 1970, and a reflection on his 1971-75 bands
  • Circle
  • The Revolutionary Ensemble
  • Ornette Coleman's children: comparisons and contrasts inside and outside the jazz economy.
Miles Davis's Bitches Brew is one of the most iconic albums in American music, the preeminent landmark and fertile seedbed of jazz-fusion. Fans have been fortunate in the past few years to gain access to Davis's live recordings from this time, when he was working with an ensemble that has come to be known as the Lost Quintet. In this book, jazz historian and musician Bob Gluck explores the performances of this revolutionary group-Davis's first electric band-to illuminate the thinking of one of our rarest geniuses and, by extension, the extraordinary transition in American music that he and his fellow players ushered in. Gluck listens deeply to the uneasy tension between this group's driving rhythmic groove and the sonic and structural openness, surprise, and experimentation they were always pushing toward. There he hears-and outlines-a fascinating web of musical interconnection that brings Davis's funk-inflected sensibilities into conversation with the avant-garde worlds that players like Ornette Coleman and John Coltrane were developing. Going on to analyze the little-known experimental groups Circle and the Revolutionary Ensemble, Gluck traces deep resonances across a commercial gap between the celebrity Miles Davis and his less famous but profoundly innovative peers. The result is a deeply attuned look at a pivotal moment when once-disparate worlds of American music came together in explosively creative combinations.
(source: Nielsen Book Data)9780226180762 20160619
Music Library
xlvi, 273 pages, 8 unnumbered pages of plates : illustrations ; 24 cm
Music Library
xiii, 235 pages : illustrations ; 26 cm
  • We live here
  • From frontier to jazz mecca
  • Jackson Street and Williams Avenue: 1940-1959
  • The dark ages: 1960-1972
  • The renaissance: 1973-1982
  • Coming of age: 1983-1993
  • A rising tide: 1994-1999
  • Riding the wave: 1999-2007
  • Freedom on the margins: 2008-2015
  • An uncertain future.
Music Library
224 pages, xxxii pages of plates : illustrations (some color) ; 23 cm
Music Library
ix, 250 pages : illustrations (chiefly color) ; 31 cm
  • Quotidian Truth : Stuart Davis's Idiosyncratic Modernism / Barbara Haskell
  • Unfinished Business : Davis and the Dialect-X of Recursion / Harry Cooper
  • Plates
  • Stuart Davis : A Chronicle / Barbara Haskell
  • Selected Bibliography / Sarah Humphreville
  • Checklist of the Exhibition.
"Hailed as a precursor of both pop art and contemporary abstraction, Stuart Davis captured the energy of mass culture and modern life. Beginning in 1921, a series of breakthroughs led him to develop a more abstract approach. Fusing American urban experience with European modernism, his style evolved over the next four decades to become a dominant force in postwar art. The book features some 100 works, from his 1921 paintings of tobacco packages to his abstract Egg Beater series of the late twenties, the ambitious WPA murals of the thirties, and the bold works of his last two decades, in which jagged shapes and bright colors tangle with vigorous calligraphy. The volume pays special attention to his transformative recycling of earlier works; and a chronology-drawing on previously unpublished sources-represents the most complete biography to date, painting a vivid picture of economic hardship, political activism, personal struggle, and eventual triumph"-- Provided by publisher.
Art & Architecture Library (Bowes)
64 pages : illustrations ; 38 cm
  • The faces of jazz / Ted Gioia
  • Meet me at the lighthouse / Dana Gioia
  • The faces of jazz / James G. Todd, Jr.
Paying homage to a quintessential American style of music, known for its spontaneity and improvisation, this edition blends evocative jazzmen portraiture with new and highly personal characterizations of the music. Jazz is embodied music. Here you will find portraits of eight iconic jazz figures, engraved by James G. Todd Jr., an innovator in the field of wood engraving. Accompanying these penetrating engravings are words from jazz pianist and writer Ted Gioia, author of The History of Jazz, and poetry from his brother Dana Gioia, poet and former Chairman for the National Endowment for the Arts.
Special Collections
xiii, 289 pages : illustrations ; 23 cm
  • Part One: Shaping screen media. Framing jazz: thoughts on representation and embodiment / Peter Elsdon ; "All aboard!": soundies and Vitaphone shorts / Emile Wennekes ; Assimilating and domesticating jazz in 1950s American variety television: Nat King Cole's transformation from guest star to national host / Kristin McGee ; "Jazz is where you find it": encountering jazz on BBC television, 1946-66 / Jenny Doctor
  • Part Two: Gesture and mediatization. "All sights were perceived as sounds": Pat Metheny and the instrumental image / Jonathan De Souza ; Jazz performance on screen: mediatization of gesture, bodily empathy, and the viewing experience / Paul McIntyre ; Playing the clown: Charles Mingus, Jimmy Knepper, and Jerry Maguire / Krin Gabbard
  • Part Three: Ontologies of media. Seeking resolution: John Coltrane, myth, and the audiovisual / Tony Whyton ; Screening the event: watching Miles Davis's "My funny Valentine" / Nicholas Gebhardt ; Play it again, Duke: jazz performance, improvisation, and the construction of spontaneity / Björn Heile.
Watching Jazz: Encounters with Jazz Performance on Screen is the first systematic study of jazz on screen media. Where earlier studies have focused almost entirely on the role and portrayal of jazz in Hollywood film, the present book engages with a plethora of technologies and media from early film and soundies through television to recent developments in digital technologies and online media. Likewise, the authors discuss jazz in the widest sense, ranging from Duke Ellington and Jimmy Dorsey through the likes of Dizzy Gillespie, Art Blakey, Oscar Peterson, Miles Davis, John Coltrane and Charles Mingus to Pat Metheny. Much of this rich and fascinating material has never been studied in depth before, and what emerges most clearly are the manifold connections between the music and the media on which it was and is being recorded. Its long association with film and television has left its trace in jazz, just as online and social media are subtly shaping it now. Vice versa, visual media have always benefited from focusing on music and this significantly affected their development. The book follows these interrelations, showing how jazz was presented and represented on screen and what this tells us about the music, the people who made it and their audiences. The result is a new approach to jazz and the media, which will be required reading for students of both fields.
(source: Nielsen Book Data)9780199347667 20160802
Green Library
xv, 335 pages : illustrations ; 24 cm
  • Part I. John Coltrane
  • One of a kind: John Coltrane
  • John and I meet Diz and Bird
  • John becomes a dynamo
  • Part II. The 'hood and youthful reckonings
  • Uncle Robert and the man
  • Two heroes and a night at Minton's
  • Early tragedies and victories
  • Welfare days, hard times
  • Part III. Great people
  • No one else: Bobbie Hurd
  • Moose and Bostic
  • Art Blakey's neophytes and Tadd Dameron's luck
  • Further adventures with Tadd and an evening with Louis Armstrong
  • The duel: Clifford Brown and Fats Navarro
  • Wonder and beauty: Betty Carter and Art Farmer
  • Genius squared: Jimmy and Percy Heath
  • Unrivaled aces: Sarah Vaughan and Bill Evans
  • Four "brothers": Mulgrew Miller, Woody Herman, Henry Brant, and George Russell
  • Part IV. Hollywood
  • Starting over
  • Gettin' my mojo workin'
  • M*A*S*H
  • Movie stars like jazz, too
  • Part V. Amazing friendships
  • Quincy Jones
  • Sweets and Diz
  • Philly Joe Jones
  • Monk, Max, and Dinah
  • Curtis Fuller and the jazztet
  • Part VI. Music and writing
  • Writing
  • Lessons
  • "Stablemates": my first recorded song
  • "Along came Betty"
  • "I remember Clifford"
  • The ballad and "Weight"
  • Part VII. Icons
  • Steven Spielberg and Tom Hanks
  • Duke and Strayhorn
  • Coleman Hawkins
  • Art Blakey and Thelonious Monk
  • Blakey and the jazz messengers
  • Kenny Dorham and Lee Morgan
  • Sonny Rollins
  • Great performances: Oscar Pettiford, Ron Carter, Billy Higgins, Billy Taylor, and Walter Davis, Jr.
  • Charles Mingus, Benny Goodman, Gigi Gryce, and Horace Silver
  • Peggy Lee and Diana Ross
  • Milt "Bags" Jackson, Larry Young, Joe Farrell, and Tony Williams
  • Wynton Kelly and Chick Corea
  • Miles Davis and Geoffrey Keezer
  • Mickey Rooney, Redd Foxx, Jersey Joe Walcott, and Muhammad Ali
  • Part VIII. Verses and a coda
  • Notes on starting over
  • The blues
  • Brielle
  • Coda: a new way of life.
"One of the greatest artists our country has is Benny Golson. He is not only a great musician, but an original and fabulous composer. He is inventive and creative and his work is loved the world over. Benny is a rare, creative genius. All I would like to say is THREE CHEERS for Benny Golson!"-Tony Bennett "Composer supreme, tenor man supreme, jazz man supreme, good guy supreme: that's BENNY GOLSON!"-Sonny Rollins Born during the de facto inaugural era of jazz, saxophonist Benny Golson learned his instrument and the vocabulary of jazz alongside John Coltrane while Golson was still in high school in Philadelphia. Quickly establishing himself as an iconic fixture on the jazz landscape, Golson performed with dozens of jazz greats, from Sonny Rollins, Coleman Hawkins, and Jimmy Heath to Dizzy Gillespie, Freddie Hubbard, and many others. An acclaimed composer, Golson also wrote music for Hollywood films and television and composed such memorable jazz standards as "Stablemates, " "Killer Joe, " and "Whisper Not." An eloquent account of Golson's exceptional life-presented episodically rather than chronologically-Whisper Not includes a dazzling collection of anecdotes, memories, experiences, and photographs that recount the successes, the inevitable failures, and the rewards of a life eternally dedicated to jazz.
(source: Nielsen Book Data)9781439913338 20160725
Music Library
viii, 297 pages : illustrations ; 24 cm.
  • Histories of jazz in France
  • Hugues Panassié's supernatural swing : criticism, politics and the iconic jazz recording
  • Jazz between art and entertainment : André Hodeir and Thelonious Monk
  • Cool going cold : Miles Davis and Ascenseur pour l'échafaud
  • Barney Wilen : phantoms and freedom
  • Looking for something we don't yet know : towards a French jazz
  • A good jazzman is a dead jazzman.
Music Library
103 pages : many photographs ; 24 cm.
SAL3 (off-campus storage)

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