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viii, 316 pages : illustrations (some color) ; 24 x 28 cm
  • Introduction
  • Presenting the Thad Jones/Mel Lewis Orchestra
  • Mel Lewis and the Jazz Orchestra
  • The Vanguard Jazz Orchestra: sixteen as one
  • Thad
  • Mel
  • The music of Bob Brookmeyer
  • The music of Jim McNeely
  • Riding the bus: life on the road
  • Solo space: the small group within a big band
  • A legacy of composition
  • The 50th anniversary collection
  • The Village Vanguard
  • Just like on the records: the official discography
  • And the band
  • By the numbers.
Music Library
52 pages : illustrations ; 21 cm.
  • Buffha Scheidegger discography / contributor Erwin Elvers
  • Jacky Milliet discography / contributor Erwin Elvers
  • The Dixie Kids discography / contributor Fidi Weber.
Archive of Recorded Sound
xvi, 302 pages : illustrations, music ; 26 cm
  • Historical context
  • An introduction to harmolodics
  • Transposition and harmolodics
  • A definition of harmolodics : the shape of jazz to come "Peace warriors" (quartet version)
  • An argument for a harmolodic approach to jazz instruction "Kathelin Gray" and "Peace"
  • An interview with Ornette Coleman, with reflections
  • Post-interview reflections
  • Analysis and transcription of harmolodic compositions
  • Full transcriptions of all solos.
Music Library
278 pages : illustrations ; 20 cm.
Music Library
x, 163 pages : illustrations ; 24 cm
  • Introduction: nostalgia for the Lush Life
  • Pie Eye's juke joint : jazz and its interpretations
  • The Porters and Waiters Club : jazz, movies, and Ogden
  • Studio jazz from Harlem to Acapulco
  • The Blue Gardenia, Club Pigalle, and Daniel's : charting the alienation effect in film noir
  • From Elysian to Robards, from real to reel
  • A Paris bar where Miles innovates
  • "All the very gay places" : Ellington and Strayhorn swing in northern Michigan
  • Cannoy's club : "All men are evil"
  • "Jeep's blues" and jazz today.
Green Library
xviii, 364 pages : illustrations ; 23 cm.
  • Introduction (Bruce Johnson) Part I: Totalitarian Templates 1. Jazz and Fascism: Contradictions and Ambivalences in the Diffusion of Jazz Music under the Italian Fascist Dictatorship (1925-1935) (Marilisa Merolla) 2. Jazz in Moscow after Stalinism (Rudiger Ritter) Part II: In the Soviet Shadow 3. Four Spaces, Four Neanings: Narrating Jazz in Late Stalinist Estonia (Heli Reimann) 4. Jazz in Poland: Totalitarianism, Stalinism, Socialist Realism (Igor Pietraszewski) 5. Jazz in Czechoslovakia during the 1950s and 1960s (Wolf-Georg Zaddach) 6. Trouble with the Neighbours: Jazz, Geopolitics, and Finland's Totalitarian Shadow (Marcus O'Dair) Part III: Iberia - Spain 7. Performing the 'Anti-Spanish' Body: Jazz and Biopolitics in the Early Franco Regime (1939-1957) (Ivan Iglesias) 8. 'The Purest Essence of Jazz': The Appropriation of Blues in Spain during Franco's Dictatorship (Josep Pedro) Part IV: Iberia - Portugal 9. Jazz and the Portuguese Dictatorship before and after the Second World War: From Moral Panic to Suspicious Acceptance (Pedro Roxo) 10. A Kind of 'in-between': Jazz and Politics in Portugal (1958-1974) (Pedro Cravinho) Part V: Apartheid South Africa 11. A Climbing Vine through Concrete: Jazz in 1960s Apartheid South Africa (Jonathan Eato) 12. 'Fanfare for the warriors': Jazz, Education, and State Control in 1980s South Africa and After (Mark Duby) Part VI: To the East 13. From the 'Sultan' to the Persian Side: Jazz in Iran and Iranian Jazz since the 1920s (G. J. Breyley) 14. On the Marginality of Contemporary Jazz in China: The Case of Beijing (Adiel Portugali) 15. Afterword: Conclusions (Bruce Johnson).
  • (source: Nielsen Book Data)9781138887824 20161010
Jazz and Totalitarianism examines jazz in a range of regimes that in significant ways may be described as totalitarian, historically covering the period from the Franco regime in Spain beginning in the 1930s to present day Iran and China. The book presents an overview of the two central terms and their development since their contemporaneous appearance in cultural and historiographical discourses in the early twentieth century, comprising fifteen essays written by specialists on particular regimes situated in a wide variety of time periods and places. Interdisciplinary in nature, this compelling work will appeal to students from Music and Jazz Studies to Political Science, Sociology, and Cultural Theory.
(source: Nielsen Book Data)9781138887824 20161010
Music Library
xi, 176 pages : illustrations ; 23 cm.
  • 1. Introduction 2. Len Lye - The Sensual World3. Gjon Mili - The Material Ghost4. Jazz 625 - Inform-Educate-EntertainConclusion.
  • (source: Nielsen Book Data)9781784533441 20170123
This book provides a timely analysis of the relationship between jazz and recording and broadcast technologies in the early twentieth century. Jazz histories have traditionally privileged qualities such as authenticity, naturalness and spontaneity, but to do so overlooks jazz's status as a modernist, mechanised art form that evolved alongside the moving image and visual cultures. Jazz as Visual Language shows that the moving image is crucial to our understanding of what the materiality of jazz really is. Focusing on Len Lye's direct animation, Gjon Mili's experimental footage of musicians performing and the BBC's Jazz 625 series, this book places emphasis on film and television that conveys the 'sound of surprise' through formal innovation, rather than narrative structure. Nicolas Pillai seeks to refine a critical vocabulary of jazz and visual culture whilst arguing that jazz was never just a new sound; it was also a new way of seeing the world.
(source: Nielsen Book Data)9781784533441 20170123
Green Library
xxxvi, 199 pages : illustrations ; 24 cm
  • Preface Introduction to the Second Edition Selected Bibliography for the Second Edition Introduction: Follow the Second Line 1. The Haiti-New Orleans Vodou Connection: Zora Neale Hurston as Initiate Observer 2. Mardi Gras Indians and Second Lines, Sequin Artists and Rara Bands: Street Festivals and Performances in New Orleans and Haiti Interlude: The Healing Arts of African Diasporic Religion 3. In Rhythm with the Spirit: New Orleans Jazz Funerals and the African Diaspora Epilogue. A Jazz Funeral for "A City That Care Forgot": The New Orleans Diaspora after Hurricane Katrina Notes Bibliography Index.
  • (source: Nielsen Book Data)9780253024947 20170130
An examination of the musical, religious, and political landscape of black New Orleans before and after Hurricane Katrina, this revised edition looks at how these factors play out in a new millennium of global apartheid. Richard Brent Turner explores the history and contemporary significance of second lines-the group of dancers who follow the first procession of church and club members, brass bands, and grand marshals in black New Orleans's jazz street parades. Here music and religion interplay, and Turner's study reveals how these identities and traditions from Haiti and West and Central Africa are reinterpreted. He also describes how second line participants create their own social space and become proficient in the arts of political disguise, resistance, and performance.
(source: Nielsen Book Data)9780253024947 20170130
Music Library
xiii, 195 pages : illustrations ; 24 cm.
  • Part 1: Becoming American 1. Jewish Tin Pan Alley Composers and Musical Pluralism 2. Black-Jewish Integration in the Jazz World from the Swing Era to the 1950s 3. "Listening for the Black Sound": Jews in the Jazz Music Business Part 2: Becoming Black 4. "Every Time I Try to Play Black, It Comes Out Jewish": Jewish Jazz Musicians Cross the Color Line 5. "Matzo Balls-Ereenie": African American Jazz Versions of Jewish Songs Part 3: Becoming Jewish 6. Swinging Hava Nagila: "Jewish Jazz" and Jewish Identity.
  • (source: Nielsen Book Data)9781138195790 20161128
Jews and Jazz: Improvising Ethnicity explores the meaning of Jewish involvement in the world of American jazz. It focuses on the ways prominent jazz musicians like Stan Getz, Benny Goodman, Artie Shaw, Lee Konitz, Dave Liebman, Michael Brecker, and Red Rodney have engaged with jazz in order to explore and construct ethnic identities. The author looks at Jewish identity through jazz in the context of the surrounding American culture, believing that American Jews have used jazz to construct three kinds of identities: to become more American, to emphasize their minority outsider status, and to become more Jewish. From the beginning, Jewish musicians have used jazz for all three of these purposes, but the emphasis has shifted over time. In the 1920s and 1930s, when Jews were seen as foreign, Jews used jazz to make a more inclusive America, for themselves and for blacks, establishing their American identity. Beginning in the 1940s, as Jews became more accepted into the mainstream, they used jazz to "re-minoritize" and avoid over-assimilation through identification with African Americans. Finally, starting in the 1960s as ethnic assertion became more predominant in America, Jews have used jazz to explore and advance their identities as Jews in a multicultural society.
(source: Nielsen Book Data)9781138195790 20161128
Green Library

10. Late arcade [2017]

191 pages : illustration ; 21 cm.
Nathaniel Mackey's Late Arcade opens in Los Angeles. A musician known only as N. writes the first of a series of letters to the enigmatic Angel of Dust. N.'s jazz sextet, Molimo m Atet, has just rehearsed a new tune: the horn players read from The Egyptian Book of the Dead with lips clothespinned shut, while the rest of the band struts and saunters in a cosmic hymn to the sun god Ra. N. ends this breathless session by sending the Angel of Dust a cassette tape of their rehearsal. Over the next nine months, N.'s epistolary narration follows the musical goings-on of the ensemble. N. suffers from what he calls cowrie shell at- tacks oil spills, N.'s memory of his mother s melancholy musical Sundays which all becomes the source of fresh artistic invention. Here is the newest installment of the National Book Award-winner Nathaniel Mackey s From a Broken Bottle Traces of Perfume Still Emanate, the great American jazz novel of exquisite rhythmic lyricism.-- Page 4 of cover.
Green Library
x, 257 pages : illustrations, maps ; 23 cm
  • Fragmented memories and activist archives
  • Influences, antecedents, early engagements
  • The jazz loft era
  • Freedom
  • Community
  • Space
  • Archive
  • Aftermaths and legacies.
"The New York loft jazz scene of the 1970s was a pivotal period for uncompromising, artist-produced work. Faced with a flagging jazz economy, a group of young avant-garde improvisers chose to eschew the commercial sphere and develop alternative venues in the abandoned factories and warehouses of Lower Manhattan. Loft Jazz provides the first book-length study of this period, tracing its history amid a series of overlapping discourses surrounding collectivism, urban renewal, experimentalist aesthetics, underground archives, and the radical politics of self-determination"--Provided by publisher.
Music Library
xi, 346 pages : illustrations, music ; 24 cm
  • The South Side scene
  • Two art ensembles
  • The Art Ensemble of Paris
  • A Jackson in your house
  • On the road
  • Free together
  • Live at Mandel Hall
  • Great black music
  • Live from the Jazz Showcase.
Music Library
viii, 209 pages : illustrations ; 24 cm.
  • Table of Contents Introduction - Roger Fagge and Nicolas Pillai 1. Duke Ellington, the meaning of jazz and the BBC in the 1930s - Tim Wall 2. Making scenes: social media and new conceptions of jazz communities - Tom Sykes 3. Protection and internationalism: The British Musicians' Union and restrictions on foreign musicians - Andrew Hodgetts 4. Brubeck betwixt and between: television, pop and the middlebrow - Nicolas Pillai 5. Duke Ellington's Newport Up! Liveness, Artifacts, and the Seductive Menace of Jazz Revisited - Katherine Williams 6. Everybody Digs Modern Jazz... Don't They? - Adrian Litvinoff 7. 'One of the most remarkable cultural phenomena of our century': Larkin, Hobsbawm and Amis on Jazz - Roger Fagge 8. This Is Our Music?: Tradition, community and musical identity in contemporary British jazz - Mike Fletcher 9. A Time For Jazz: Narrative and History in Alan Lomax's Mister Jelly Roll - Nicholas Gebhardt.
  • (source: Nielsen Book Data)9781848936096 20170220
New Jazz Conceptions: History, Theory, Practice is an edited collection that captures the cutting edge of British jazz studies in the early 21st century, highlighting the developing methodologies and growing interdisciplinary nature of the field. In particular, the collection breaks down barriers previously maintained between jazz historians, theorists and practitioners with an emphasis on interrogating binaries of national/local and professional/amateur. Each of these essays questions popular narratives of jazz, casting fresh light on the cultural processes and economic circumstances which create the music. Subjects covered include Duke Ellington's relationship with the BBC, the impact of social media on jazz, a new view of the ban on visiting jazz musicians in interwar Britain, a study of Dave Brubeck as a transitional figure in the pages of Melody Maker and BBC2's Jazz 625, the issue of 'liveness' in Columbia's Ellington at Newport album, a musician and promoters views of the relationship with audiences, a reflection on Philip Larkin, Kingsley Amis and Eric Hobsbawm as jazz critics, a musician's perspective on the oral and generational tradition of jazz in a British context, and a meditation on Alan Lomax's Mr. Jelly Roll, and what it tells us about cultural memory and historical narratives of jazz.
(source: Nielsen Book Data)9781848936096 20170220
Music Library
178 pages ; 22 cm.
"Dans les rues de l'Amérique, le jazz souffle la vie. Des images surgissent : Miles Davis plante sa Lamborghini à New York, une gamine de race blanche traverse les émeutes de South Central, Billie Holiday s'éteint à Harlem, cernée par les rapaces, Monk pianote dans sa tête au cours d'un cambriolage, Chet Baker cède une trompette au fils d'un garagiste italien, Rosa Parks ne sait pas qu'un futur grand du jazz est assis dans son bus et Pepper part en vrille dès son retour à Los Angeles. Les seize nouvelles rassemblées dans ce volume dressent le décor fictionnel d'une musique qui troue la tête à bon nombre de fidèles dans le monde."--Page 4 of cover.
Green Library
x, 240 pages : illustrations ; 24 cm.
Music Library
391 pages : illustrations (some color) ; 30 cm
  • 1967 - 1971 -- 1972 - 1980 -- 1981 - 1989 -- 1990 - 2000 -- 2001 - 2015 -- Archives.
"Juin 1967: un zébulon helvétique nommé Claude Nobs lance dans sa petite ville de suisse romande une des plus fameuses aventures musicales de son temps. Cinquante ans plus tard, le montreux jazz festival est raconté par ceux qui l'ont fait. La voix de Nina Simone, la trompette de Miles Davis, la guitare de B. B. King résonnent dans les récits sans concession de QuincyJones, Carlos Santana ou Lenny Kravitz. Soixante stars relatent ici les plus belles pages de l'histoire de la musique live, une histoire qui continue de s'écrire. Cent soixante-quinze photographies, dont de nombreuses inédites, incarnent ce festival de légende, back et on stage."--Page 4 of cover.
Music Library
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
xii, 249 pages : music ; 31 cm
  • Audio tracks
  • Acknowledgement
  • Introduction
  • Chapter 1, Major key harmony
  • Chapter 2, Secondary dominants, extended dominants, and the "II V" progrsssion
  • Chapter 3, Substitute dominants : "sub Vs"
  • Chapter 4, Minor key harmony : a sea of options
  • Chapter 5, Modal interchange
  • Chapter 6, Blues in jazz
  • Chapter 7, The diminished seventh chord
  • Chapter 8, Modulation
  • Chapter 9, Modal harmony in jazz
  • Chapter 10, Outside of the box : constant structure progressions
  • Chapter 11, Jazz voicings
  • Appendix A, The standard deceptive resolutions of V7
  • Appendix B, Non-resolving dominant seventh chords.
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
304 pages : illustrations, music ; 24 cm.
  • Business and politics : the landscape
  • Ace race arranger : the Broadway music clinic
  • Harlem on Broadway : nightclub and theater revues
  • Theory and practice : the fundamentals
  • Episode and interlude : Broadway modernism
  • Futuristic ragtime : style and identity
  • Heavy stuff : classics and concertos
  • Give me some skin : novelty songs and ballads
  • Jungle madness : jazz dance and exotic numbers.
Behind the iconic jazz orchestras, vocalists, and stage productions of the Swing Era lay the talents of popular music's unsung heroes: the arrangers. John Wriggle takes you behind the scenes of New York City's vibrant entertainment industry of the 1930s and 1940s to uncover the lives and work of jazz arrangers, both black and white, who left an indelible mark on American music and culture. Blue Rhythm Fantasy traces the extraordinary career of arranger Chappie Willet--a collaborator of Louis Armstrong, Cab Calloway, Duke Ellington, Gene Krupa, and many others--to revisit legendary Swing Era venues and performers from Harlem to Times Square. Wriggle's insightful music analyses of big band arranging techniques explore representations of cultural modernism, discourses on art and commercialism, conceptions of race and cultural identity, music industry marketing strategies, and stage entertainment variety genres. Drawing on archives, obscure recordings, untapped sources in the African American press, and interviews with participants, Blue Rhythm Fantasy is a long-overdue study of the arranger during this dynamic era of American music history.
(source: Nielsen Book Data)9780252040405 20161003
Music Library

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