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Why Jazz Happened is the first comprehensive social history of jazz. It provides an intimate and compelling look at the many forces that shaped this most American of art forms and the many influences that gave rise to jazz's post-war styles. Rich with the voices of musicians, producers, promoters, and others on the scene during the decades following World War II, this book views jazz's evolution through the prism of technological advances, social transformations, changes in the law, economic trends, and much more. In an absorbing narrative enlivened by the commentary of key personalities, Marc Myers describes the myriad of events and trends that affected the music's evolution, among them, the American Federation of Musicians strike in the early 1940s, changes in radio and concert-promotion, the introduction of the long-playing record, the suburbanization of Los Angeles, the Civil Rights movement, the "British invasion" and the rise of electronic instruments. This groundbreaking book deepens our appreciation of this music by identifying many of the developments outside of jazz itself that contributed most to its texture, complexity, and growth.
Jazz could not contain Fred Hersch. Hersch’s prodigious talent as a sideman—a pianist who played with the giants of the twentieth century in the autumn of their careers, including Art Farmer and Joe Henderson—blossomed further in the eighties and beyond into a compositional genius that defied the boundaries of bop, sweeping in elements of pop, classical, and folk to create a wholly new music. Good Things Happen Slowly is his memoir. It’s the story of the first openly gay, HIV-positive jazz player; a deep look into the cloistered jazz culture that made such a status both transgressive and groundbreaking; and a profound exploration of how Hersch’s two-month-long coma in 2007 led to his creating some of the finest, most direct, and most emotionally compelling music of his career. Remarkable, and at times lyrical, Good Things Happen Slowly is an evocation of the twilight of Post-Stonewall New York, and a powerfully brave narrative of illness, recovery, music, creativity, and the glorious reward of finally becoming oneself.
Jazz is the most colorful and varied art form in the world and it was born in one of the most colorful and varied cities, New Orleans. From the seed first planted by slave dances held in Congo Square and nurtured by early ensembles led by Buddy Belden and Joe "King" Oliver, jazz began its long winding odyssey across America and around the world, giving flower to a thousand different forms--swing, bebop, cool jazz, jazz-rock fusion--and a thousand great musicians. Now, in The History of Jazz, Ted Gioia tells the story of this music as it has never been told before, in a book that brilliantly portrays the legendary jazz players, the breakthrough styles, and the world in which it evolved. Here are the giants of jazz and the great moments of jazz history--Jelly Roll Morton ("the world's greatest hot tune writer"), Louis Armstrong (whose O-keh recordings of the mid-1920s still stand as the most significant body of work that jazz has produced), Duke Ellington at the Cotton Club, cool jazz greats such as Gerry Mulligan, Stan Getz, and Lester Young, Charlie Parker's surgical precision of attack, Miles Davis's 1955 performance at the Newport Jazz Festival, Ornette Coleman's experiments with atonality, Pat Metheny's visionary extension of jazz-rock fusion, the contemporary sounds of Wynton Marsalis, and the post-modernists of the Knitting Factory. Gioia provides the reader with lively portraits of these and many other great musicians, intertwined with vibrant commentary on the music they created. Gioia also evokes the many worlds of jazz, taking the reader to the swamp lands of the Mississippi Delta, the bawdy houses of New Orleans, the rent parties of Harlem, the speakeasies of Chicago during the Jazz Age, the after hours spots of corrupt Kansas city, the Cotton Club, the Savoy, and the other locales where the history of jazz was made. And as he traces the spread of this protean form, Gioia provides much insight into the social context in which the music was born. He shows for instance how the development of technology helped promote the growth of jazz--how ragtime blossomed hand-in-hand with the spread of parlor and player pianos, and how jazz rode the growing popularity of the record industry in the 1920s. We also discover how bebop grew out of the racial unrest of the 1940s and '50s, when black players, no longer content with being "entertainers," wanted to be recognized as practitioners of a serious musical form. Jazz is a chameleon art, delighting us with the ease and rapidity with which it changes colors. Now, in Ted Gioia's The History of Jazz, we have at last a book that captures all these colors on one glorious palate. Knowledgeable, vibrant, and comprehensive, it is among the small group of books that can truly be called classics of jazz literature.
“Nat Hentoff may very well be the foremost jazz historian in the world because he was there to witness firsthand the music’s evolution from big band and swing to fusion and bossa nova; and to dive into the souls of the men and women who created it from Ellington, Basie, Miles, Ray Charles, Ella Fitzgerald and Dinah Washington, among many others. At the Jazz Band Ball: Sixty Years on the Jazz Scene is an invaluable archive of not only the musical influence of America’s only indigenous music on the world, but its enormous impact as an engine for social change as well. It is a book that should be read by every young musician, music fan, and educator in America.”—Quincy Jones "The very best witnesses in the worlds of the law, aesthetic evaluation, social contexts of imposing significance, and artistic public performance are those who accurately understand what they have seen or what they are seeing. Nat Hentoff has been and continues to be a star witness in every one of those arenas. One of the greatest contributions of his jazz writing is that he has never felt the need to condescend to black people or to let the dictates of sociology diminish the universal significance of what they do when they do it well. Nat knows that so many jazz musicians have done what they do superbly, quite often expressing themselves beyond the narrows of color. As sensitive to the Americana of jazz as he is to its transcendent revelations about the sound of the human heart, Nat Hentoff is part of our American luck."—Stanley Crouch “At the Jazz Band Ball is full of nuggets from Nat's rich lode of wit and wisdom, gleaned in a lifetime of fellowship with jazz and its makers.”—Dan Morgenstern, Director, Institute of Jazz Studies, Rutgers University; author of Living With Jazz: A Reader
This contemporary classic gets a limited edition makeover with movie art and a new preface from Donald Miller. In print for nearly a decade, Blue Like Jazz has earned a coveted spot on readers' shelves and in their hearts. Many have said that Donald Miller expressed exactly what they were feeling but couldn't find the words to say themselves. In this landmark book that changed what people expected from Christian writers, that changed what people needed for their spiritual journeys, Donald Miller takes readers through a real life striving to understand relationship with God. Heartwarming and hilarious, poignant and unexpected, Blue Like Jazz has become a contemporary classic. For anyone wondering if the Christian faith is still relevant in a postmodern culture, thirsting for a genuine encounter with a God who is real, or yearning for a renewed sense of passion in life . . . Blue Like Jazz is a fresh and original perspective on life, love, and redemption.
There are over a million jazz recordings, but only a few hundred tunes have been recorded repeatedly. Why did a minority of songs become jazz standards? Why do some songs--and not others--get rerecorded by many musicians? Shaping Jazz answers this question and more, exploring the underappreciated yet crucial roles played by initial production and markets--in particular, organizations and geography--in the development of early twentieth-century jazz. Damon Phillips considers why places like New York played more important roles as engines of diffusion than as the sources of standards. He demonstrates why and when certain geographical references in tune and group titles were considered more desirable. He also explains why a place like Berlin, which produced jazz abundantly from the 1920s to early 1930s, is now on jazz's historical sidelines. Phillips shows the key influences of firms in the recording industry, including how record companies and their executives affected what music was recorded, and why major companies would rerelease recordings under artistic pseudonyms. He indicates how a recording's appeal was related to the narrative around its creation, and how the identities of its firm and musicians influenced the tune's long-run popularity. Applying fascinating ideas about market emergence to a music's commercialization, Shaping Jazz offers a unique look at the origins of a groundbreaking art form.
Lester Young fading away in a hotel room; Charles Mingus storming down the streets of New York on a too-small bicycle; Thelonius Monk creating his own private language on the piano. . . In eight poetically charged vignettes, Geoff Dyer skilfully evokes the embattled lives of the players who shaped modern jazz. He draws on photos and anecdotes, but music is the driving force of But Beautiful and Dyer brings it to life in luminescent and wildly metaphoric prose that mirrors the quirks, eccentricity, and brilliance of each musician's style.
One of the Best Books of the Year: NPR, GQ, Billboard, JazzTimes In jazz parlance, “playing changes” refers to an improviser’s resourceful path through a chord progression. In this definitive guide to the jazz of our time, leading critic Nate Chinen boldly expands on that idea, taking us through the key changes, concepts, events, and people that have shaped jazz since the turn of the century—from Wayne Shorter and Henry Threadgill to Kamasi Washington and Esperanza Spalding; from the phrase “America’s classical music” to an explosion of new ideas and approaches; from claims of jazz’s demise to the living, breathing scene that exerts influence on mass culture, hip-hop, and R&B. Grounded in authority and brimming with style, packed with essential album lists and listening recommendations, Playing Changes takes the measure of this exhilarating moment—and the shimmering possibilities to come.
Leadership in the workplace, says Max DePree, is like playing jazz; it's more an art than a science. Today's successful managers are attuned to the needs and ideas of their followers and even step aside at times to be followers themselves. As a result, they spark vitality and productivity from their work force. They culivate communication and spontaneity, diversity and creativity, and the unique potential of every person in the organization to contribute to the success of the team. In Leadership Jazz you'll learn -How to hold people accountable but still give them space to make mistakes. - How to balance the needs of your employees with those of the company. - How to inspire change and innovation and maintain a sense of stability. - How to practice the art of delegation. - How to work constructively with creative people. - How to assess candidates for senior positions. - And much more!
Hear Me Talkin' to Ya by Nat Shapiro,Nat Hentoff Pdf
In this marvelous oral history, the words of such legends as Louis Armstrong, Fats Waller, Jelly Roll Morton, Duke Ellington, and Billy Holiday trace the birth, growth, and changes in jazz over the years.
From the acclaimed Nobel Prize winner, a passionate, profound story of love and obsession that brings us back and forth in time, as a narrative is assembled from the emotions, hopes, fears, and deep realities of Black urban life. With a foreword by the author. “As rich in themes and poetic images as her Pulitzer Prize–winning Beloved.... Morrison conjures up the hand of slavery on Harlem’s jazz generation. The more you listen, the more you crave to hear.” —Glamour In the winter of 1926, when everybody everywhere sees nothing but good things ahead, Joe Trace, middle-aged door-to-door salesman of Cleopatra beauty products, shoots his teenage lover to death. At the funeral, Joe’s wife, Violet, attacks the girl’s corpse. This novel “transforms a familiar refrain of jilted love into a bold, sustaining time of self-knowledge and discovery. Its rhythms are infectious” (People). "The author conjures up worlds with complete authority and makes no secret of her angst at the injustices dealt to Black women.” —The New York Times Book Review
“A winning look at the stories behind 45 pop, punk, folk, soul and country classics” in the words of Mick Jagger, Stevie Wonder, Cyndi Lauper and more (The Washington Post). Every great song has a fascinating backstory. And here, writer and music historian Marc Myers brings to life five decades of music through oral histories of forty-five era-defining hits woven from interviews with the artists who created them, including such legendary tunes as the Isley Brothers’ Shout, Led Zeppelin’s Whole Lotta Love, Janis Joplin’s Mercedes Benz, and R.E.M’s Losing My Religion. After receiving his discharge from the army in 1968, John Fogerty did a handstand—and reworked Beethoven’s Fifth Symphony to come up with Proud Mary. Joni Mitchell remembers living in a cave on Crete with the mean old daddy who inspired her 1971 hit Carey. Elvis Costello talks about writing (The Angels Wanna Wear My) Red Shoes in ten minutes on the train to Liverpool. And Mick Jagger, Jimmy Page, Rod Stewart, the Clash, Jimmy Cliff, Roger Waters, Stevie Wonder, Keith Richards, Cyndi Lauper, and many other leading artists reveal the emotions, inspirations, and techniques behind their influential works. Anatomy of a Song is a love letter to the songs that have defined generations of listeners and “a rich history of both the music industry and the baby boomer era” (Los Angeles Times Book Review).
An updated new edition of Ted Gioia's universally acclaimed history of jazz, with a wealth of new insight on this music's past, present, and future. Ted Gioia's The History of Jazz has been universally hailed as the most comprehensive and accessible history of the genre of all time. Acclaimed by jazz critics and fans alike, this magnificent work is now available in an up-to-date third edition that covers the latest developments in the jazz world and revisits virtually every aspect of the music. Gioia's story of jazz brilliantly portrays the most legendary jazz players, the breakthrough styles, and the scenes in which they evolved. From Louis Armstrong and Duke Ellington at the Cotton Club, Miles Davis's legendary 1955 performance at the Newport Jazz Festival, and Ornette Coleman's experiments with atonality to current innovators such as Kamasi Washington and Esperanza Spalding, Gioia takes readers on a sweeping journey through the history of jazz. As he traces the music through the swamp lands of the Mississippi Delta, the red light district of New Orleans, the rent parties of Harlem, the speakeasies of Chicago, and other key locales of jazz history, Gioia also makes the social contexts in which the music was born come alive. This new edition finally brings the often overlooked women who shaped the genre into the spotlight and traces the recent developments that have led to an upswing of jazz in contemporary mainstream culture. As it chronicles jazz from its beginnings and most iconic figures to its latest dialogues with popular music, the developments of the digital age, and new commercial successes, Gioia's History of Jazz reasserts its status as the most authoritative survey of this fascinating music.
Jazz and the Philosophy of Art by Lee B. Brown,David Goldblatt,Theodore Gracyk Pdf
Co-authored by three prominent philosophers of art, Jazz and the Philosophy of Art is the first book in English to be exclusively devoted to philosophical issues in jazz. It covers such diverse topics as minstrelsy, bebop, Voodoo, social and tap dancing, parades, phonography, musical forgeries, and jazz singing, as well as Goodman’s allographic/autographic distinction, Adorno’s critique of popular music, and what improvisation is and is not. The book is organized into three parts. Drawing on innovative strategies adopted to address challenges that arise for the project of defining art, Part I shows how historical definitions of art provide a blueprint for a historical definition of jazz. Part II extends the book’s commitment to social-historical contextualism by exploring distinctive ways that jazz has shaped, and been shaped by, American culture. It uses the lens of jazz vocals to provide perspective on racial issues previously unaddressed in the work. It then examines the broader premise that jazz was a socially progressive force in American popular culture. Part III concentrates on a topic that has entered into the arguments of each of the previous chapters: what is jazz improvisation? It outlines a pluralistic framework in which distinctive performance intentions distinguish distinctive kinds of jazz improvisation. This book is a comprehensive and valuable resource for any reader interested in the intersections between jazz and philosophy.
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.