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This text reproduces the photographs of Charles Peterson. The commentary is historical and biographical, with anecdotes connecting the musicians featured in the pictures. The photographs were restored by Peterson's son from the original negatives.
Here is the book jazz lovers have eagerly awaited, the second volume of Gunther Schuller's monumental The History of Jazz. When the first volume, Early Jazz, appeared two decades ago, it immediately established itself as one of the seminal works on American music. Nat Hentoff called it "a remarkable breakthrough in musical analysis of jazz," and Frank Conroy, in The New York Times Book Review, praised it as "definitive.... A remarkable book by any standard...unparalleled in the literature of jazz." It has been universally recognized as the basic musical analysis of jazz from its beginnings until 1933. The Swing Era focuses on that extraordinary period in American musical history--1933 to 1945--when jazz was synonymous with America's popular music, its social dances and musical entertainment. The book's thorough scholarship, critical perceptions, and great love and respect for jazz puts this well-remembered era of American music into new and revealing perspective. It examines how the arrangements of Fletcher Henderson and Eddie Sauter--whom Schuller equates with Richard Strauss as "a master of harmonic modulation"--contributed to Benny Goodman's finest work...how Duke Ellington used the highly individualistic trombone trio of Joe "Tricky Sam" Nanton, Juan Tizol, and Lawrence Brown to enrich his elegant compositions...how Billie Holiday developed her horn-like instrumental approach to singing...and how the seminal compositions and arrangements of the long-forgotten John Nesbitt helped shape Swing Era styles through their influence on Gene Gifford and the famous Casa Loma Orchestra. Schuller also provides serious reappraisals of such often neglected jazz figures as Cab Calloway, Henry "Red" Allen, Horace Henderson, Pee Wee Russell, and Joe Mooney. Much of the book's focus is on the famous swing bands of the time, which were the essence of the Swing Era. There are the great black bands--Duke Ellington, Count Basie, Jimmie Lunceford, Earl Hines, Andy Kirk, and the often superb but little known "territory bands"--and popular white bands like Benny Goodman, Tommy Dorsie, Artie Shaw, and Woody Herman, plus the first serious critical assessment of that most famous of Swing Era bandleaders, Glenn Miller. There are incisive portraits of the great musical soloists--such as Art Tatum, Teddy Wilson, Coleman Hawkins, Lester Young, Bunny Berigan, and Jack Teagarden--and such singers as Billie Holiday, Frank Sinatra, Peggy Lee, and Helen Forest.
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.
Traces the rags-to-riches career of the clarinetist and his role in popularizing jazz music in the post-Depression 1930s, assesses his elusive personality, and reevaluates dozens of his landmark recordings
New Jersey is one of the smallest and most densely populated states, yet the remarkable diversity of its birdlife surpasses that of many larger states. Well over 400 species of birds have been recorded in New Jersey and an active birder can hope to see more than 300 species in a year.William J. Boyle has updated his classic guide to birding in New Jersey, featuring all new maps and ten new illustrations. The book is an invaluable companion for every birder - novice or experienced, New Jerseyan or visitor.A Guide to Bird Finding in New Jersey features: More than 130 top birding spots described in detailClear maps, travel directions, species lists, and notes on birdingAn annotated list of the frequency and abundance of the state's birds, including waterbirds, pelagic birds, raptors, migrating birds, and northern and southern birds at the edge of their usual rangesA comprehensive bibliography and indexThe guide also includes helpful information on: Birding in New Jersey by seasonTelephone and internet rare bird alertsPelagic birdingHawk watchingBird and nature clubs in the state
If Benny Goodman was the "King of Swing," then Fletcher Henderson was the power behind the throne. Now Jeffrey Magee offers a fascinating account of Henderson's musical career, throwing new light on the emergence of modern jazz and the world that created it. Drawing on an unprecedented combination of sources, including sound recordings and hundreds of scores that have been available only since Goodman's death, Magee illuminates Henderson's musical output, from his early work as a New York bandleader, to his pivotal role in building the Kingdom of Swing. He shows how Henderson, standing at the forefront of the New York jazz scene during the 1920s and '30s, assembled the era's best musicians, simultaneously preserving jazz's distinctiveness and performing popular dance music that reached a wide audience. Magee reveals how, in Henderson's largely segregated musical world, black and white musicians worked together to establish jazz, how Henderson's style rose out of collaborations with many key players, how these players deftly combined improvised and written music, and how their work negotiated artistic and commercial impulses. Whether placing Henderson's life in the context of the Harlem Renaissance or describing how the savvy use of network radio made the Henderson-Goodman style a national standard, Jeffrey Magee brings to life a monumental musician who helped to shape an era. "An invaluable survey of Henderson's life and music." --Don Heckman, Los Angeles Times "Magee has written an important book, illuminating an era too often reduced to its most familiar names. Goodman might have been the King of Swing, but Henderson here emerges as that kingdom's chief architect." --Boston Globe "Excellent.... Jazz fans have waited 30 years for a trained musicologist...to evaluate Henderson's strengths and weaknesses and attempt to place him in the history of American music." --Will Friedwald, New York Sun
Winner of the 2022 Gustave O. Arlt Award in the Humanities, award by by the Council of Graduate Schools 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.
Today's Retro Swing bands, like the Squirrel Nut Zippers and the Brian Setzer Orchestra, all owe their inspiration to the original masters of Swing. This rich reference details the oeuvre of the leading Swing musicians from the WWII and post-WWII years. Chapters on the masters of Swing (Ella Fitzgerald, Woody Herman, Billy Strayhorn), the legendary Big Band leaders (such as Les Brown, Dizzy Gillespie, Stan Kenton, Buddy Rich, Vaughan Monroe, etc.), vocalists (including Cab Calloway, Billie Holiday, Peggy Lee, Frank Sinatra, Sarah Vaughn, Dinah Washington), and Small Groups (Louis Jordan, Art Tatum, Charlie Ventura, etc.) introduce these timeless musicians to a new generation of musicians and music fans. An opening chapter recounts how the cultural changes during the war and postwar years affected performers-especially women and African-Americans-and an A-to-Z appendix provides synopses of almost 700 entrants, including related musicians and famous venues. A bibliography and subject index provide additional tools for those researching Swing music and its many roles in mid-century American culture. This volume is a perfect sequel to Dave Oliphant's The Early Swing Era: 1930 to 1941. Together, these books provide the perfect reference guide to an enduring form of American music.
Drawing on memoirs, oral histories, newspapers, magazines, recordings, photographs, literature, and films, Stowe looks at New Deal America through its music and shows us how the contradictions and tensions within swing--over race, politics, its own cultural status, the role of women--mirrored those played out in the larger society.