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ARTICLES: BERGER, Morroe - Benny Carter: a life in American music; LAUBICH, Arnold - Art Tatum: a guide to his recorded music; DORAN, James M - Erroll Garner: the most happy piano; BROWN, Scott E - James P Johnson - a case of mistaken identity; VACHE, Warren W - Pee Wee Erwin - This horn for hire; CONNOR, D Russell - Benny Goodman: listen to his legacy; TIMNER, W E - Ellingtonia: the recorded music of Duke Ellington and his Sideman; POLIC, Edward F - The Glen Miller Army Air Force Band: Sustineo alas / I sustain the wings; DEFFAA, Chip - Swing legacy; REIG, Teddy - Reminiscing in tempo: the life and times of a jazz hustler; DEFFAA, Chip - In the mainstream: 18 portraits in jazz; KUEHN, John - Buddy DeFranco: a biographical portrait and discography; HILBERT, Robert - Pee Wee speaks: a discography of Pee Wee Russell; HILL, Dick - Sylvester Ahola: the Gloucester Gabriel; COHEN, Maxwell T - The police card discord; DEFFAA, Chip - Traditionalists and revivalists in jazz; BERGER, Edward - Ba ...
Features Thelonious Monk, McCoy Tyner, Count Basie, and John Coltrane.
Continuing the rich tradition, this latest Annual is particularly impressive. The articles in this volume present important technical analyses of four major figures: Booker Little, Charlie Christian, Herbie Hancock, and Miles Davis.
This twelfth volume of the Annual Review celebrates the fiftieth anniversary of the Institute of Jazz Studies and features articles covering subjects which have not been engaged in past issues of the Review. Gil Evans, Django Reinhardt, Lucky Thompson, and Paul Bley each receive much deserved critical attention in this issue. This issue also includes a photo gallery illustrating some of the prominant locations and people of the Institute's history, both in New York and at its present home at Rutgers in Newark, New Jersey.
The range of work represented in this book spans Jazz in the 1920s to the 1960s. Pedagogical section covers ear training, technique for using a CD player for transcription, and a method for exploring the outer boundaries of tonality in improvisation.
Jazz Theory: From Basic to Advanced Study is a comprehensive textbook ideal for Jazz Theory courses or as a self-study guide for amateur and professional musicians. Written with the goal of bridging theory and practice, it provides a strong theoretical foundation beginning with music fundamentals through post-tonal theory, while integrating ear training, keyboard skills, and improvisation. It includes a DVD with 46 Play Along audio tracks and a companion website, which hosts the workbook, ear training exercises, and audio tracks of the musical examples featured in the book.
The "Second Quintet" -- the Miles Davis Quintet of the mid-1960s -- was one of the most innovative and influential groups in the history of the genre. Each of the musicians who performed with Davis--saxophonist Wayne Shorter, pianist Herbie Hancock, bassist Ron Carter, and drummer Tony Williams--went on to a successful career as a top player. The studio recordings released by this group made profound contributions to improvisational strategies, jazz composition, and mediation between mainstream and avant-garde jazz, yet most critical attention has focused instead on live performances or the socio-cultural context of the work. Keith Waters' The Studio Recordings of the Miles Davis Quintet, 1965-68 concentrates instead on the music itself, as written, performed, and recorded. Treating six different studio recordings in depth--ESP, Miles Smiles, Sorcerer, Nefertiti, Miles in the Sky, and Filles de Kilimanjaro--Waters has tracked down a host of references to and explications of Davis' work. His analysis takes into account contemporary reviews of the recordings, interviews with the five musicians, and relevant larger-scale cultural studies of the era, as well as two previously unexplored sources: the studio outtakes and Wayne Shorter's Library of Congress composition deposits. Only recently made available, the outtakes throw the master takes into relief, revealing how the musicians and producer organized and edited the material to craft a unified artistic statement for each of these albums. The author's research into the Shorter archives proves to be of even broader significance and interest, as Waters is able now to demonstrate the composer's original conception of a given piece. Waters also points out errors in the notated versions of the canonical songs as they often appear in the main sources available to musicians and scholars. An indispensible resource, The Miles Davis Quintet Studio Recordings: 1965-1968 is suited for the jazz scholar as well as for jazz musicians and aficionados of all levels.
Any listener knows the power of music to define a place, but few can describe the how or why of this phenomenon. In Lonesome Roads and Streets of Dreams: Place, Mobility, and Race in Jazz of the 1930s and ’40s, Andrew Berish attempts to right this wrong, showcasing how American jazz defined a culture particularly preoccupied with place. By analyzing both the performances and cultural context of leading jazz figures, including the many famous venues where they played, Berish bridges two dominant scholarly approaches to the genre, offering not only a new reading of swing era jazz but an entirely new framework for musical analysis in general, one that examines how the geographical realities of daily life can be transformed into musical sound. Focusing on white bandleader Jan Garber, black bandleader Duke Ellington, white saxophonist Charlie Barnet, and black guitarist Charlie Christian, as well as traveling from Catalina Island to Manhattan to Oklahoma City, Lonesome Roads and Streets of Dreams depicts not only a geography of race but how this geography was disrupted, how these musicians crossed physical and racial boundaries—from black to white, South to North, and rural to urban—and how they found expression for these movements in the insistent music they were creating.
This 13th issue of the ARJS includes an extensive study of the saxophonist Sonny Red, an analysis of a composition by Steve Swallow, a new perspective on John Coltrane's compositional approach, and an examination of Miles Davis's classic 'Walkin', ' plus book reviews and a continuing bibliography of scholarly articles about jazz in non-jazz journals