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In addition to providing a vivid account of life on the road and imparting new insight into the daily existence of working musicians, this book illustrates how the fundamental issue of race influenced Albert's life, as well as the music of the era."
A celebrated jazz writer offers fascinating portraits of friends he's known during a lifetime in jazz For more than half a century, jazz writer and lyricist Gene Lees has been the friend of many in the world of jazz music. In this delightful book he offers minibiographies of fifteen of these friends--some of them jazz greats, some lesser-known figures, and some up-and-comers. Combining conversations and memoirs with critical commentary, Lees's insightful and intimate profiles will captivate jazz fans, performers, and historians alike. The subjects of the book range from the versatile orchestrator and arranger Claus Ogerman to legendary jazz broadcaster Willis Conover, from the gifted young Chinese violinist Yue Deng to undersung pianist Junior Mance. Lees writes about these figures both as musicians and as human beings, and he writes out of a conviction that jazz as an art form represents the highest values of American culture. Inviting us into the lives of these unique individuals, Lees offers an affectionate view of the jazz community that only an insider could provide.
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.
Brian Wilson and The Beach Boys, Bob Dylan, Bruce Springsteen, and Paul Simon-these familiar figures have written road music for half a century and continue to remain highly-regarded artists. But there is so much more to say about road music. This book fills a glaring hole in scholarship about the road and music. In a collection of 13 essays, Music and the Road explores the origins of road music in the blues, country-western, and rock 'n' roll; the themes of adventure, freedom, mobility, camaraderie, and love, and much more in this music; the mystique and reality of touring as an important part of getting away from home, creating community among performers, and building audiences across the country from the 1930s to the present; and the contribution of music to popular road films such as Bonnie and Clyde, Easy Rider, Thelma and Louise, and On the Road.
National Dance Education Organization Ruth Lovell Murray Book Award UNCG | Susan W. Stinson Book Award for Dance Education An African American art form, jazz dance has an inaccurate historical narrative that often sets Euro-American aesthetics and values at the inception of the jazz dance genealogy. The roots were systemically erased and remain widely marginalized and untaught, and the devaluation of its Africanist origins and lineage has largely gone unchallenged. Decolonizing contemporary jazz dance practice, this book examines the state of jazz dance theory, pedagogy, and choreography in the twenty-first century, recovering and affirming the lifeblood of jazz in Africanist aesthetics and Black American culture. Rooted Jazz Dance brings together jazz dance scholars, practitioners, choreographers, and educators from across the United States and Canada with the goal of changing the course of practice in future generations. Contributors delve into the Africanist elements within jazz dance and discuss the role of Whiteness, including Eurocentric technique and ideology, in marginalizing African American vernacular dance, which has resulted in the prominence of Eurocentric jazz styles and the systemic erosion of the roots. These chapters offer strategies for teaching rooted jazz dance, examples for changing dance curricula, and artist perspectives on choreographing and performing jazz. Above all, they emphasize the importance of centering Africanist and African American principles, aesthetics, and values. Arguing that the history of jazz dance is closely tied to the history of racism in the United States, these essays challenge a century of misappropriation and lean into difficult conversations of reparations for jazz dance. This volume overcomes a major roadblock to racial justice in the dance field by amplifying the people and culture responsible for the jazz language. Contributors: LaTasha Barnes | Lindsay Guarino | Natasha Powell | Carlos R.A. Jones | Rubim de Toledo | Kim Fuller | Wendy Oliver | Joanne Baker | Karen Clemente | Vicki Adams Willis | Julie Kerr-Berry | Pat Taylor | Cory Bowles | Melanie George | Paula J Peters | Patricia Cohen | Brandi Coleman | Kimberley Cooper | Monique Marie Haley | Jamie Freeman Cormack | Adrienne Hawkins | Karen Hubbard | Lynnette Young Overby | Jessie Metcalf McCullough | E. Moncell Durden Publication of this work made possible by a Sustaining the Humanities through the American Rescue Plan grant from the National Endowment for the Humanities.
In To a Young Jazz Musician, the renowned jazz musician and Pulitzer Prize—winning composer Wynton Marsalis gives us an invaluable guide to making good music–and to leading a good life. Writing from the road “between the bus ride, the sound check, and the gig,” Marsalis passes on wisdom gained from experience, addressed to a young musician coming up–and to any of us at any stage of life. He writes that having humility is a way to continue to grow, to listen, and to learn; that patience is necessary for developing both technical proficiency and your own art rather than an imitation of someone else’s; and that rules are indispensable because “freedom lives in structure.” He offers lessons learned from his years as a performer and from his great forebears Duke Ellington, Charlie Parker, and others; he explores the art of swing; he discusses why it is important to run toward your issues, not away; and he talks about what to do when your integrity runs up against the lack thereof in others and in our culture. He poetically expresses our need for healers: “All of it tracks back to how you heal your culture, one patient at a time, beginning with yourself.” This is a unique book, in which a great artist offers his personal thoughts, both on jazz and on how to live a better, more original, productive, and meaningful life. To a Young Jazz Musician is sure to be treasured by readers young and old, musicians, lovers of music, and anyone interested in being mentored by one of America’s most influential, generous, and talented artists.
Set in the studio, on the stage, and in great cities and small towns across the country, this book captures life on the road for Marsalis and his musicians, evoking the ritual and renewal, energy and spirituality. 6 photos.
Explores the role of jazz celebrities like Ella Fitzgerald, Cab Calloway, Duke Ellington, and Mary Lou Williams as representatives of African American religion in the twentieth century Beginning in the 1920s, the Jazz Age propelled Black swing artists into national celebrity. Many took on the role of race representatives, and were able to leverage their popularity toward achieving social progress for other African Americans. In Lift Every Voice and Swing, Vaughn A. Booker argues that with the emergence of these popular jazz figures, who came from a culture shaped by Black Protestantism, religious authority for African Americans found a place and spokespeople outside of traditional Afro-Protestant institutions and religious life. Popular Black jazz professionals—such as Ella Fitzgerald, Cab Calloway, Duke Ellington, and Mary Lou Williams—inherited religious authority though they were not official religious leaders. Some of these artists put forward a religious culture in the mid-twentieth century by releasing religious recordings and putting on religious concerts, and their work came to be seen as integral to the Black religious ethos. Booker documents this transformative era in religious expression, in which jazz musicians embodied religious beliefs and practices that echoed and diverged from the predominant African American religious culture. He draws on the heretofore unexamined private religious writings of Duke Ellington and Mary Lou Williams, and showcases the careers of female jazz artists alongside those of men, expanding our understanding of African American religious expression and decentering the Black church as the sole concept for understanding Black Protestant religiosity. Featuring gorgeous prose and insightful research, Lift Every Voice and Swing will change the way we understand the connections between jazz music and faith.
Pepper Adams' Joy Road not only compiles the sessions and gigs of the greatest baritone saxophone soloist in history, but it's a fascinating overview of Adams' life and times through colorful interviews with Adams and other musicians. These candid observations open a window onto the behind-the-scenes drama that surrounded legendary recordings by John Coltrane, Charles Mingus, Thelonious Monk, Dizzy Gillespie, Duke Pearson, Thad Jones, David Amram, Elvin Jones, and many others.