Product Description
Spanning nearly seventy years, Buck Clayton's autobiography offers fascinating insights into not only the life of one of the most significant trumpeters and bandleaders in jazz, but also American social history in general.
This engaging volume depicts Clayton's childhood in Parson, Kansas, where he learned how to play the trumpet and first came into contact with church and gospel music.It then details his move to the West Coast in the 1930s when he began to play jazz professionally.Clayton recounts the many important events that followed, including a Hollywood-style wedding, his trip to Shanghai in 1934 with his band, his involvement with the Count Basie Orchestra in New York, his enlistment in the U.S. Army in the 1940s, his work as a soloist and leader in both the U.S. and Europe, and his later career as an arranger and composer, as well as his days spent lecturing in jazz studies at Hunter College, City University of New York.Chronicling his encounters with many of the most influential jazz figures, such as Billie Holiday, Count Basie, Coleman Hawkins, Lester Young, and Jimmy Rushing, Clayton presents a fascinating record of jazz history, both in the United States and abroad. ... Read more

Customer Reviews (2)

For Parsonians and/or Jazz Buffs, a Must-Read
Great book, the best autobiography of a musician I've ever read, and one of the best by anyone, period--Buck Clayton tells story after funny story after poignant (and funny, and enlightening) story--this book's a delight to read.I say that because it's true (and not only because I grew up across the alley from the old Clayton homestead in Parsons, Kansas; Buck's mother used to cut my mom's hair and I'd tag along when I was three or four, not knowing that, really, 2313 Grand could be thought of as a shrine to a great musician who'd long-since left town and made his way to fame).True, the jazz-fan reader will especially love this once Buck returns to California (after an adventure riding boxcars west, he'd returned home to graduate high school) and begins his climb to success--the names of great jazzers fall like spring rain.But Parsonians will truly cherish the long first chapter, in which Buck recounts his adventures and exploits growing up--it's a mini-history of life for a young black man in the early twentieth century in a small Kansas town (not far from Ft. Scott, and Gordon Parks's great book "The Learning Tree") and his eye for detail (and, of course, his splendid storytelling) brings back a lost world.Few will know that W.E.B. Dubois came to Parsons--and stayed with the Claytons--to organize supporters and make speeches in southeast Kansas; I sure didn't, but it's all here, all this and much, much more, beautifully told.

A very readable and informative book on jazz and musicians.
Buck Clayton shows himself to be a most articulate musician, covering hislife and times from the midwest to California to China.His period withCount Basie was, of course, the most important part of his career, and onewishes that Clayton had written more incisively about that time.But, hewrites so well that the book is always entertaining, up to and includinghis later years when he was forced to play Dixieland music in order towork. ... Read more

Product Description
Often seen as the most important and influential female star of Harlem's Renaissance, Adelaide Hall dynamically pushed down the barriers that had previously prevented black entertainers from reaching mass recognition. The astounding media attention she received on both sides of the Atlantic during her two year starring role in Lew Leslie's Broadway revue "Blackbirds" of 1928 turned Adelaide into what can only be termed the first modern-day international black female superstar. This work documents the birth of Adelaide in Brooklyn and follows her career from her humble childhood in Harlem, to her triumphs on Broadway to the glamour of Paris' Moulin Rouge. By the end of 1932, Adelaide had performed to millions and in the process had become one of America's wealthiest black women. By 1938, not content with being dubbed the Queen of Montmartre she set her sights on conquering Britain. The book concludes with her mysterious disappearance in November 1938, which is for the first time fully explained. ... Read more

Customer Reviews (7)

A PRACTICAL GUIDE TO ADELAIDE HALL'S CAREER
All praise to Iain Cameron Williams for the exhaustive research he carried out in preparing this biography, as evidenced by the annotations, which take up fifteen pages. Adelaide's story is a fascinating one, and when he reports it objectively the author is on solid ground. Sadly, he cannot resist embellishing the facts at frequent intervals, which is when his hold on the narrative becomes tenuous. The situation is not helped by an unfortunate tendency to indulge in purple prose, like this example on p.117 which relates to the impact of the recording of "Creole Love Call" on the careers of both Adelaide Hall and Duke Ellington:

"They would have to wait for history to carve its granite niche before the full importance of the recording would rightfully be recognised".

The text is littered with similar examples, which do nothing to illuminate his meaning, but rather have the reverse effect. The other reservation is that Adelaide's role is cast as somehow pivotal to the development of jazz, which leads to some questionable conclusions. The book is a practical guide to Adelaide Hall's career, but the presence of so many arkward figures of speech means that I cannot rate it as highly as others have done.

Underneath A Harlem Moon
By documenting Adelaide Hall's early career, which ran parallel with one of the most fascinating and culturally rich era's in American black musical history, the writer not only paints a vivid and well written account of the real first lady of Jazz, he also cleverly portrays the whole spirit and ethos of the Harlem Renaissance and all the wonderful characters that helped create this movement. "Underneath a Harlem Moon" is one of the finest books that I have read about the 20s and 30s Jazz Age and one that I thoroughly recommend.

Omitted Diva
When we are asked of jazz vocal pioneers, the names Ethel, Billie, Ella, and Dinah roll off our tongues without contemplation. However, Iain Cameron Williams, in his book Underneath a Harlem Moon, introduced me to a diva who had been omitted from the history books.This diva is Adelaide Hall.

Born on "the rough side of Brooklyn" and raised in Harlem, Adelaide Hall became one of the most famous black Broadway and cabaret stars, rivaling the legacies of Florence Mills, Ethel Waters, and the like.Williams traces her journey from an ordinary gal from New York to a famed singer, dancer, and actress, the world over.

Williams, a friend of the late Hall, has definitely done his homework. I could tell that he had sat with Adelaide many a time while she related her stories to him in great detail.While I understand that Williams was trying to set a backdrop for Adelaide's story, I felt as though too much time was spent on the histories of her surroundings and her contemporaries, such as Al Capone, Josephine Baker, and even the Duke himself.

I feel like the proverbial wool has been lifted from my eyes about where female jazz vocalists really began.I took the time to research Adelaide further, and even got a chance to listen to some of her recordings.I can now see clearly, after having read Underneath a Harlem Moon, getting to know Adelaide, and hearing her crooning voice, the profound effect she had on divas past and present.

Reviewed by CandaceK
The RAWSISTAZ Reviewers

The talent of Adelaide Hall
With a glittering International career that brought her into contact with such icons as Rudolph Valentino, George Gershwin, Maurice Chevalier and Al Capone, not to mention all her renowned fellow black musicians and colleagues from the Harlem Renaissance, one wonders why the name Adelaide Hall is still relatively unknown or charted in our history books.
Her talent was pure ... untarnished by the ravages of [chemicals] and alcohol. She claimed that she was born to sing and entertain, and with an astonishing career that spanned eight decades how prophetic were those words.
To say I thoroughly enjoyed reading this book would be an understatement. The book has been written in such an appealing way that at times I actually felt as if I were part of the story as a member of the audience, so realistic were some of the events and dramas that occur within its pages.
I wholly recommend this book and can truthfully say that it's the best biography I have read this year.
5 stars for the writer.

Hidden treasure
I can only applaud the writer for the depth of research he obviously engaged upon in order to put forward Adelaide Hall's story and subsequently, I think this book is an important one.
During the 20s and 30s Hall stood alongside giants in the entertainment world yet today, for some unfathomable reason, she is almost forgotten.
Whilst reading Underneath a Harlem Moon I had an uncanny feeling of discovering hidden treasure that has lain buried for centuries. Thankfully, the writer�s intent to inform rather than lecture makes for an engaging and rewarding read. I certainly had no knowledge of the fact that it was Adelaide Hall who helped create the whole genre of jazz singing and, remarkably, that Ella, Billie and all the other jazz diva�s that are nailed inside our history books, only followed in Hall�s steps.
Williams accounts vivid stories of the glory, persecution, pain and happiness Hall encountered in order to achieve her goals and in the process brings the subject's forceful personality, talent and human nature to light. Hall's focused ambition, drive and tenacity, along with the extraordinary eventful circumstances of her life will drive anyone's interest. Her painful contact with racism, the wrath of her impresario and mentor Lew Leslie, the continual envy she experienced from her colleagues and many of her so called friends, along with the tiresome neglect she endured from her philandering and money grabbing husband all led to an isolation Hall appears to have suffered from continuously throughout her life. Her only escape was to tread the boards, for it was here she felt at home and could bask in the real warmth, love and affection she received from her audience. The stage became her drug and, from the volume of work Hall performed, one feels it was an addiction she had no intention of ever giving up.
Energetic reading with thought provoking facts and the most fascinating account of the Harlem Renaissance that I have ever come across. Williams has done a great job of packing this book with valid information without making it overly wordy which makes for an easy read that fairly flies by.
I hope I'm correct in saying that Adelaide Hall�s prospects could very easy change with the publication of this book. ... Read more

Product Description
This book is a major contribution to the body of literature on jazz of the twenties. Until now there has been no generally available comprehensive survey of Armstrong's most formative phase, i.e. the period during which he worked alongside such luminaries as King Oliveier, Bessie Smith, Sidney Bechet, Fletcher Henderson and Earl Hines. Where most writers of Jazz history illustrate the period by reference to one or two, or possibly a handful of generally recognized classics, Edward Brooks has undertaken a meticulous and exhaustive study of all the surviving recordings made by Armstrong between 1923 and 1928. Brooks writes with great authority and insight, charting along the way a fascinating portrait of the development of Louis's powers of improvisation and musicianship. "The Young Louis Armstrong on Records" consists of a chronological and comprehensive survey and series of analyses of every recording on which Louis Armstrong played during the period 1923 to 1928. This book will prove a useful and popular work of reference, not only for the enthusiast, but also for the more causal listener. It has been said that America is aware that Louis Armstrong was a genius, but doesn't know why: this book should provide the answer. ... Read more

Product Description
Interviewed by Griffiths, jazz artists describe their background and musical training. They describe the pleasures and sufferings of jazz life, and share memories of Jelly Roll Morton, Louis Armstrong, Fats Waller, and Duke Ellington. These voices from the past and the present merge into a colorful account of one of America's brightest points in musical history. Contains 18 photographs. ... Read more

Product Description
This biography tells the story of Bud Powell, one of the most significant pianists of modern jazz in the the style that became bop. He was influential in the 1940s and '50s, but suffered ill health and died aged only 42. Powell's story was subsequently made into the film "Round Midnight". ... Read more

Customer Reviews (4)

gotta have it in your Bud Powell library
One of the other reviews says that this could be written by anyone with access to a library. That is theoretically true. But, the problem is that there just aren't that many books out there solely dedicated to Bud, not like the number of books dedicated to Miles Davis or John Coltraine. So, though this may not be stuffed in new information, there's just not that much new information and what's out there requires a really really good library. Indeed, as also has been said, the discography is a highlight. So, get this book as an addition to your library if you love Bud. Also, if you want to know every little detail this is also a good place to go.

Nothing New
This book could've been written by anybody with access to a library. There is nothing new, revealing, insightful, or hip. This book is a rehash of stuff and I'd feel it was a waste except for some pics of Bud I've never seen.

This great piano player deserves better

Interesting but Incomplete
The Glass Enclosure offers a brief biographical sketch of Bud Powell as it traces the artistic triumphs of his early career that turned to tragedy as mental illness, alcoholism, and mistreatment by his handlers all diminished his musical gifts.The book balances some of the claims made by Francis Paudras in Dance of the Infidels and fills in some of the details of Powell's pre-Paris years that Paudras omits.Still, The Glass Enclosure reads like an extended encyclopedia entry and provides little information beyond that found in other histories of the era or biographies of the principal players.The definitive Bud Powell biography is probably still to be written.

The most useful part of the book is the discography.This is presented first as a critical analysis and then as a detailed chronology of Powell's recordings.Together, these two chapters provide a brief but comprehensive survey of Powell's career and are useful to anyone building a collection of his important recordings.The book also pulls together a number of photos of both Powell and the musicians who influenced him; unfortunately, many of these are so dark as printed in the book, that many details are hard to make out.

Essential Reading For all Bud Powell Fans
This short work should be read in conjunction or shortly after reading "Dance of the Infidels : A Portrait of Bud Powell -- by Francis Paudras"."The Glass Enclosure" frequently refers to Francis Paudras, as any biography of Bud Powell must.It contains many pictures of Bud that help to understand him better, including several pictures of his common law wife "Buttercup".The book assumes the reader is familiar with the general history of bebop and figures such as Miles Davis, Diz, Monk, Mingus, Clifford Brown, etc.It was originally published in 1993, so this is a reprint.The book can be read in a couple of days.The research done for the book is good in terms of people who were interviewed.Bud was a genius but a very troubled on.This books explains, sometimes to the point of being painful to read, the details of Bud's mental troubles.It leaves one feeling sad but full of wonder at Bud's extraordinary musical powers and the recorded legacy he leaves for current and future generations.These two books are probably the sum total of all that will ever be known about Bud Powell.Combined with his recordings, especially from the period 1947 to 1953, it is hopefully enough to satisfy the generations as yet unborn who will certainly revere Bud as a great master. ... Read more

Product Description
This is the first of a two-volume set that will serve as the definitive work on the life and music of this legendary jazz leader. Covering the early years from 1890 to 1930, the text will entertain and inform the reader about the exciting life of one of the major influencers of jazz music and also provide a nostalgic glimpse of what life was like during the Roaring Twenties. ... Read more

Customer Reviews (1)

King of Jazz?
It's an oft quoted title bestowed on a man who was far more of a showman than a jazz musician.Nevertheless, through his large symphonic style showbands Whiteman was able to present a number of top jazz artistes, although purists will always debate those settings long and hard!

What is not in debate is the cavalcade of stars that passed through Whiteman's ranks at one time or another and especially during the peak years of the nineteen twenties.From the unstable genious of cornetist Bix Beiderbecke to the Dorsey Brothers (Tommy and Jimmy both) to saxist Frankie Trumbauer, the list goes on.

Then of course there was that singing fellow by the name of Bing Crosby...

Oh yes, and the arranging talents of Johnny Mercer...

What of Whiteman the man?In his heyday he was a trailblazer, inventing 'symphonic jazz'and staging the debut performance of George Gershwin's 'Rhapsody in Blue' with the composer himself at the piano.

Happy days from long ago!

This book is volume 1 of the Whiteman story from Scarecrow Press and is typical of those in the genre, being a combination of both entetaining biography and learned reference work.If you want 'everything Whiteman' look no further.

Drew

[...] ... Read more

Product Description
Marshal Royal was at the core of the Count Basie Orchestra for 20 years during its resurgence in the 1950s and 1960s. Before that he was a pioneer of jazz on the West Coast of the US, playing with many bands in and around Los Angeles. His memoirs provide a document of the history of jazz on the West Coast and the development of big band jazz. Royal gives a vivid account of his work in Les Hite's band at Sebastian's New Cotton Club, where he worked with many stars including Louis Armstrong and Fats Waller. He became a founder member and "straw boss" of Lionel Hampton's Orchestra after a wartime career in US Navy bands. Leaving Hampton, he made countless recordings as a freelance before joining Basie, where he was responsible for rehearsing the Orchestra, and three chapters offer an insider's view of the latter-day Basie band. After leaving Basie, as well as continuing his prolific recording career Royal became internationally famous as a touring soloist. The book also contains an account of Royal's trumpeter brother Ernie, who starred in the bands of Woody Herman and Stan Kenton. ... Read more

Product Description
More than a discography, this book compiles the complete recorded music of Duke Ellington and his sidemen, including studio recordings, movie soundtracks, concerts, dance dates, radio broadcasts, telecasts, and private recordings, creating an easy to use reference source for Jazz collectors and scholars. ... Read more

Customer Reviews (2)

The place to go with questions on Ellington recordings
This book fills in the gaps left by dodgy or absent liner notes. The main body of the text is a chronological list of Ellington band performances (including the small ensembles under sidemen's names) which were known to have been recorded and released by somebody at sometime somewhere. The typical entry includes:
a)title of ensemble (e.g. D.E. and his Famous Orchestra, Johnny Hodges and his Orchestra etc.),
b)date,
c) nature of performance (live, studio, movie sound track),
d)musicians,
e)place, and
f) titles with original record label & identifying numbers. There are occasionally notes giving variant titles.
There is also an alphabetical list of titles indicating the various recording dates and several lists and indexes of "Ellingtonians", band personnel who were connected with the Ellington organization in any way, as well as lists of record labels and the various names under which Ellington recorded.
This is entirely oriented toward identifying recordings, not compositions, so there is no composer or publishing data given. There is no interpretive or evaluative commentary.
Keep in mind that there have been several editions, as new performances are occasionally unearthed, so this is a work in progress. For example, the fifth volume of the Duke Ellington Treasury Shows, released by Storyville in 2002, included a live performance from 1945 that I did not find in Timner.

Essential for any serious Ellington lover
This is a huge and initially intimidating book which lists every known recording of Duke Ellington including much that has never been released. Also included are recording of 'Ellingtonians', men from the band who now and then led their own groups. Heavily indexed and cross-referenced.

I've had the 4th edition ever since it came out and I find it indespensible. Grab one now before you have to buy one used at twice the price!

... ... Read more

Customer Reviews (3)

Garner's only biography--but the music was the man
I don't know that there was any explaining Erroll Garner's genius, since it was a natural gift, any more than someone could explain Mozart's gift. This book provides little insight, but it does have some wonderfulinformation and a discography which was complete at that time.Thereis now an Erroll Garner website, although I do not consider it verycomplete. If anyone is interested, one thing that is often missing frominformation is that Mr. Garner started out as a stride piano player.Hisstyle later change to the guitar strumming left-hand style he became famousfor.Yet, paradoxically, being constricted to that style, althoughmaking him famous, limited his genius.His Latin recordings in the 50s,60s, and 70s, when he was not restricted to that style,were a wonderfuldemonstration of rhythmic independence of the hands in piano playing.What this biography talks about is the influence of Martha Glaser.Theimplication is strong in other people'swords, that this influence, whilecausing his fame, also limited his genius.One can gain almost as muchinformation from old record jackets as one can from reading this book, butit is different information.Although I don't know if Amazon edits outthis type of stuff, I can recommend some things about Mr. Garner, you mightnot find elsewhere. There is some wonderful information about ErrollGarner's playing in the CD-ROM by Dick Hyman titled A Century of JazzPiano, by JSS Music.Mr. Hyman also wrote an article about Mr. Garner'sstyle once in Piano Today magazine.Soon enough Hal Leonard Publishing issupposed to be coming out with a book of Erroll Garner's transcriptions inits Artist Transcription series.The most extensive catalog of Mr.Garner's CDs, as far as I know, is available at www.ktel.com. There weresix music books put out about Mr. Garner's playing. Three were by CherryLane music, but only two of these are still in print.There were alsotwo sheet music folios of Erroll Garner's music put out in the forties,when he was still a stride player.The recording that the Smithsonian putout is Mr. Garner playing in this style.This recording is transcribed inBrian Priestley's book, Jazz Piano Styles.There is also a book thatwas put out in the 70s, I think, by Schwarz, about how to play in the styleof Garner, but it is long out of print.Although not great, at least itwas an attempt. Finally, there is a wonderful series of books by BillDobbins, available from Jamey Aebersold. In the last one, there is animitation of him playing Erroll Garner, which can be ordered on tape.Thisis also instructive.And really finally, there are two more examples Ican think of.There were two books put out by Claude Bolling, in whichseveral pieces owed a lot to Erroll Garner.One was very similar to Mr.Garner's latin style, but based on the chord changes to The Man I Love. Another was called Garnerama, and it drew upon Mr. Garner's ballad style. Yet another example of someone trying to imitate Mr. Garner can be foundin one of Lee Evans's books.Also, Mr. Hyman put out a book of jazzetudes, based on styles of different jazz pianist.This is included in theCD-ROM I mentioned.I was planning a web site, but someone beat me toit.Yet, perhaps someone can find this information posted here useful.Please feel free to email me.My son is named Erroll, after Erroll Garner,so I would really appreciate it.If I ever get feeling down, all I have todo is put on a CD of Mr. Garner's, and I get going again.

Sorry i did not read this book but.....
I saw Mr.Garner life in concert in the fifty s in Amsterdam Concertgebouw.He is for me the most original style player,in the whole Jazz world. Because of his heigth, he needed the telephone book from Amsterdam,to sit on, upon his chair so he could play the piano. Good luck with yourwebsite. A real Garner fan.

erroll the marvellous
I like Erroll garner, it's my favoite jazzman. He got a lot of swing and style and that's why i like his music. I would like to see a better site of he, because"il le mérite" (sorry for my poor english) Good bye And "vive Erroll garner!!!!!!" ... Read more

Product Description
25 transcribed clarinet solos in a pull-out section. All solos are repeated with a complete piano accompaniment version. Includes: Air Mail Special * Mission to Moscow * Seven Come Eleven * Stompin' at the Savoy * and more. ... Read more

Product Description
Lil Hardin Armstrong, Louis Armstrong's second wife, was a phenomenal jazz pianist who helped Louis achieve the status of jazz legend. This biography recounts her early years in Memphis, her career in roaring Chicago, and her separation from Louis. ... Read more

Customer Reviews (8)

Amazing Woman
Lil Armstrong has got to be the most amazing woman in American music history.

From reading this book, I learned things about jazz history that I did not know. I never realized how dependent Louis Armstrong was on his wife for his success. Not only did she write his early songs, she shaped him into the world-class performer that he became in later years.

I was also surprised to learn how sleazy the music busness was in those days. The author does an excellent job of documenting the birth of jazz in an atmosphere of crime and racial intolerance. Lil was victimized her entire life. Especially despicable is a certain man who took advantage of her good nature and her artistic talent. What he did to Lil is awful.

If you are not moved by this story, you are not human.

Great book....so when is the movie coming out?

Lil would have hated this flawed effort.
This ranks among the most shallow, factually incorrect jazz biographies I have read. As someone who knew Lil Armsrong well, I was struck by how far off the mark this alleged portrait of her is. The author hasn't a clue when it comes to Lil's personality, the fabric of her life, and her place in jazz. Lil deserves better than this hack job, which I gave one star because none is not an option.

a missed opportunity
As a lifelong jazz researcher, I was indeed thrilled when I discovered the first attempt at a Lil Hardin-Armstrong bio, but I must say that this one was a disappointment.Resources for jazz research are richer than they have ever been and jazz history books are finally starting to rise to the level of quality scholarship. but that is not evident here.The author seems to have assembled much of the previously published information on Lil, drawn some odd conclusions (exposing a lack of knowledge of early jazz music) and left it at that. Lil was a significant presence in the 1920's Chicago sceneand in the life of her second husband, Louis; she was a fine composer and an above-average instrumentalist.She most certainly did not, as the author suggests, write out Louis' magnificent introduction to West End Blues!
There is also a strange, and somewhat unfair characterization of Louis Armstrong in this book.While much is made of Louis' infidelities, little or nothing is mentioned of Lil's (which have been documented elsewhere).Such inconsistencies damage the credibility of the book.
I love Lil Armstrong's music, and I wish that there was a better biography of her out there.She certainly deserves better!

Dickerson's JUST FOR A THRILL
James L. Dickerson focuses upon Lillian 'Lil' Hardin as a
highly educated, multi-talented, and prestigious individual from
stardom in the early part of the Twentieth Century--when it was
not "cool" to be both a black female and a vocalist/instrumental-
ist--to her last recording. The biographer depicts Lil as one who
was willing to neglect opportunities that would foster her own
additional success in order to promote her husband, Louis Arm-
strong in his musical endeavors as a soloist and instrumentalist.

The conflicts in management, the shifts from city to city, and
the rocky marriage, which eventually involved "the other woman,"
took a toll on the relationship between Lil and Louis. However,
as Dickerson vividly emphasizes, Lil never lost her love for her
musical soulmate, with whom she nurtured their only child--jazz.

Lil Hardin's impressive musical career
Just For A Thrill: Lil Hardin Armstrong, First Lady Of Jazz by James L. Dickerson is the energetic, informative and compelling biography of Lillian "Lil" Hardin (1898-1971), one of the most sought-after female jazz pianists in Chicago in her day and the wife of Louis Armstrong until their divorce in 1938. Lil Hardin's impressive musical career, trailblazing achievements and exciting love of music are all recorded in this first-class biography. Just For A Thrill is a welcome and enthusiastically recommended contribution to the growing library of biographies and memoirs of the men and women who significantly contributed to the development of jazz -- America's unique contribution to the world of music. ... Read more

Product Description
This extraordinary two-volume work presents the career of Benny Carter, one of the most important and versatile figures in jazz, and treats a number of social and musicological aspects of jazz and popular music with an interdisciplinary approach unique in jazz literature. The authors draw upon hundreds of interviews with Carter and many other important figures in the music industry. Carter's musical development is traced through transcriptions and analyses of representative solos and arrangements from the 1920s to the 70s. The accompanying discography is one of the most comprehensive ever devoted to the work of a single musician. Generously illustrated. ... Read more

Product Description
Burt Korall is widely recognized as the most authoritative writer on jazz drumming. His first book Drummin' Men--The Heartbeat of Jazz: The Swing Era is considered a classic. It was praised by Nat Hentoff as "a book that illuminates not only the pantheon of jazz drummers in classic jazz, but makes clear the very essence of the jazz spirit." Now, in this exciting sequel, Korall offers a richly informative history of drumming in the Bebop era. Bebop--hard driving, discordant, melodically unconventional--introduced new sounds and innovative rhythms that changed the face of jazz. Korall looks at this music through the eyes of the musicians themselves, covering a whole range of important jazz drummers, butfocusing upon the most original and significant--principally Kenny Clarke, Max Roach, and Art Blakey.Korall provides a knowledgeable background about the history of bebop--and the unfortunate and almost universal heroin addiction that swept through the jazz world in the wake of Charlie Parker's habit.The book contains Korall's own memoir of nearly 50 years in the jazz world, linked by his narrative of the careers of these drummers and their place in the bebop jazz scene.But the most remarkable aspect of the book is the oral history that weaves together the stories of the drummers themselves as well as their friends and contemporaries. This is one of the most readable jazz histories in recent years, as well as one of the most authoritative and significant. It takes readers inside the heads of the men who drove the beat, to convey the excitement and originality of the bebop era. ... Read more

Customer Reviews (5)

a waste of time
A book about bebop drummers needs to explain 1) what bebop drumming consists of and 2) how the styles of the various drummers profiled diverge. This book does not do either. Instead we are told that drummer after drummer after drummer has "a great feel" and "great time"; we learn nothing.

If it were just that I'd give the book another star for its sketchy and scattered biographical information, but considering how badly written the book is, I can't justify it.

I suggest instead that you buy a copy of "The Grove Dictionary of Jazz" and look up the entry for each famous drummer you want to know about. You'll learn a lot more and have a much better time doing it.

For transcriptions consult Modern Drummer magazine.

Buddy Ruch Fanatic
This is a GOOD book on the Be Bop drummers, my only complaint is that the author has opinions that I do not agree with. Such as "Blakey is not a virtuoso"; My opinion is that Blakey played solo's that were beyond "Human Technique",they were Spiritual. He also relates a story of how Buddy Rich was Philly Joe's "Demon",and again states that Philly Joe Jones was not a virtuoso. The author also states that the "Rich versus Roach" recording was a "radical mistake" for Max, because Buddy "ran Roach out of the studio". The author seems to think Buddy Rich is "The world's greatest drummer". And that the real innovaters have no technique. I say ,listen to Buddy with Bird & Diz;(Tasteless Bombast),then listen to Max(pure melodic Beauty). I don,t care if Buddy can play 3000 single strokes per minute, lets don,t distort the truth, with this continuing myth. Buddy did'nt make any contribution to "Music", that these cats did.

Inspiring to drummers of all genres
As a swing influenced drummer, I could not put this book down.It has inspired me as well as affirmed some of my beliefs regarding the drummer's role.

An explosion of Rimshots, a crash of cymbals!
I am a drummer and I loved reading "Drummin' Men The Heartbeazt ofJazz...the swing years.

I've always admired the drummers of this era andwondered about some of their secrets.I learned how Gene Krupa got hiscool rimshot sounds and why Burt Korall knows of what he writes.Icouldn't put this book down.He confirmed some of my own opinions and letme feel what it was like to be in the Savoy Ballroom for a drum battlebetween Chick Webb and Gene Krupa.

If you drum, read this book.If youlike music , read this book.

The pulse of the Big Band Era
This is an outstanding account of the Big Band Era from the standpoint of the individuals who literally provided the beat.They're all here in the story of the best of the big band drummers: Chick Webb, Buddy Rich, Gene Krupa, Davey Tough, Ray McKinley, Big Sid Catlett, and more.This was clearly a labor of love for author Burt Korrall, who is an amateur drummer himself.Following his references to recorded material the reader can become absorbed in the topic in a way he or she never thought possible.The fact is, this book is well written and makes great reading for anyone interested in the Big Band Era or swing/jazz drumming. ... Read more

Product Description
This "deeply personal look at Marsalis and his music"(USA Today) takes readers across America and into the heart ofjazz.

The thrill of sitting in a club or concert hall hearing jazz being made is familiar to most fans. But what if you could immerse yourself in the world of the musician, where creating and performing is a profound task, and yet as routine as breathing? When writer Carl Vigeland was invited to tour with Wynton Marsalis and his septet, he was able to do just that. Vigeland's acute observations sweep us into their world as he becomes virtually part of the band. At the same time, Marsalis offers intimate meditations on home, family, creation, and performance--written in the cadence of his inimitable voice. Set on the stage, in the studio, and in great cities and small towns around the world, this richly textured narrative explores how the music is made in America today. ... Read more

Customer Reviews (4)

An Insightful Look at the Improvisational Process
Jazz, America's music, is an improvisational art.In Bittersweet Blues Marsalis and Vigeland do a lot do educate the reader just how this works.Not just on the bandstand but also on the road and in the life of jazz' leading spokesman.The book helps you see how musicians must comminucate, must hold each other with respect, must listen with an ear for creativity and must withhold judgement.

The book alternates between Vigeland's discussion of the events in life of Marsalis' Septet and Wynton's discussions of what it means to be a jazz musician.This interplay is what gives the book it's beautiful tone and variety.In a sense, you see the two authors improvising around each other's styles.What amazed me the most was the pace of Marsalis' life and the breadth of his associations.I enjoyed learning more about the creative process behind some of my favorite music as well.

I recommend this book to anyone who is interested in road stories, jazz or how artists create the ir art.

On the road again, just can't wait to get on the road again
You can't just say those words without putting music to the most famous road anthem by Willie Nelson.That's what this book is about: life on the road with jazz musicians.

Co-author Carl Vigeland was invited to travel the country and Europe with jazz superstar Wynton Marsalis and his band.

This is about the music of jazz, the blues and the road.Vigeland and Marsalis make numerous references to the book's title "Jazz In The Bittersweet Blues of Life.Vigeland covers personal observations of life with its rigors of the road, the overwhelming passion to produce quality performances. You don't get too much of the personal life of Marsalis, he shares little about his two older boys living in New York.

Brother Branford splits for a rock band
We also get very little info on tenor saxophone Branford Marsalis along with member Kenny Kirkland who left the band in the early 80's to play with rock superstar Sting.Branford also did a short stint as band leader for Jay Leno's "Tonight Show."In the book, we DON'T' get a clear understanding about the departure of his brother Branford and member Kenny Kirkland. Little is known here about Branford's departure, only mentioned here is "that others have thought that it may have been hurtful to have your brother leave for a rock musician." This book doesn't discuss that a rift was occurring and the finality was the departure. But I believe now, all is well with the brothers.

Marsalis, on the other hand, shares keen insight into the world of jazz, his composition style, and rhythm including his relationship with the trumpet.About the trumpet, he says "you can never force the trumpet, you got to baby it, treat it gently, coax it.It's always there when you need a high note, or something very loud.If you don't handle up on it, it won't respect you"

He teaches us about playing the songs and how the members produce an evening's show. We learn about his amiable personality and he exudes the passion to please his audience.

Observations from the Jazz man
Just from this book alone, we get the impression that Wynton Marsalisis cool and collected, caring of young children, family man and friend.His insights into life are fascinating.Of people who hang out at bars, discos, etc., he says are the unhappiest and lonliest blankety blanks in the whole world. He says, "If you want to be happy, go inside.Inside yourself, inside the people you love, inside your art.Inside seems much lonlier than outside, don't be fooled, you go far enough, it's always warm and good."

But most of all, Wynton gives us an idea how he works, how he composes; it's incredible.It may be no surprise that he is also an accredited author with hisbooks by"Marsalis on Music" and "Sweet Swing Blues on the Road."Wonderful read....Rizzo

Absolutely Fantastic Work!
Picked up Marsalis + Vigeland's work and just couldn't put it down! From descriptions of events, to understanding the personal struggles of band members, Jazz in the bittersweet blues of life fully expresses the goings on of the Wynton Marsalis Septet. Above all, I found Marsalis's commentaries on life, love, and music striking chords within my soul, and left me pleading for more.

Marsalis' words are profound and poetic
Jazz in the Bittersweet Blues of Life is a chronicle of one artist's ten year journey as he shares his gift and talent with the world.Marsalis' words, which appear in italics throughout the book are both profound and poetic.As you read, you can hear him speak, but most of all you feel the passion he has for his craft.He poses the question early in the book when explaining that everyone is an artist, "...how do you want to make me feel with your art, and what insights do you have that distinguish your ideas from someone else's?" A rhetorical question for every artist.

You get a sense of the daily experiences of Wynton and the other musicians in the Septet, from composing on the road, to the daily pick-up basketball games, to the lectures in schools across the country to the musicians ironing their clothing before each performance.It is a demanding, yet rewarding life.Throughout the book (and his travels)Marsalis not only meets and encourages young musicians, but he keeps in contact with them through periodic phone calls, updating himself on their growth as musicians.Some of the young musicians he met early in his career became members of the septet.

Jazz in the Bittersweet Blues of Life, has shaped me as both an artist and author.I had the pleasure of meeting Mr. Marsalis at Book Expo America.He is as personable, down-to-earth and charming as he appears in this book. ... Read more

Customer Reviews (1)

a great book for practical music theory
this is a great book!i have been searching for a resource as complete as this for a long time.the author has an excellent knowledge ofimprovisation and music theory, embellishments, and substitute chords. from reading and memorizing EVERY word (because EVERY word is worthmemorizing), i can now play out of a fake book like a professional!mythanks to Mr. Ricigliano for providing such a valuable resource. ... Read more

Product Description
Jazz musician and film composer Terence Blanchard takes center stage in Contemporary Cat, a book that traces Blanchard's roots in jazz town New Orleans to his current roles in both the music and film worlds. Not only a rare, colorful insight into the new generation of jazz musicians, but also a behind-the-scenes glimpse into movie making in Tinsel Town. ... Read more

Product Description
In the 1950s, Art Blakey and the Jazz Messengers introduced "hard bop," a blend of bebop, blues, gospel, and Latin music that has defined jazz mainstream ever since. Although Blakey’s influence as a drummer and bandleader was enormous, his greatest contribution may have been as a mentor to younger musicians such as Wayne Shorter, Freddie Hubbard, Lee Morgan, Jackie McLean, and Wynton Marsalis. Leslie Gourse chronicles Blakey’s colorful life and career, from his hardscrabble childhood in Pittsburg to his final years as an international jazz icon. ... Read more

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Customer Reviews (2)

The Musical Mind of Lester Willis Young
This is a great book if you want to try to understand Prez. There are tons of transcribed solos, and you can listen and read along--or even better--play along. All examples are in Bb transcription, so you can play along on your own Tenor Sax.

Take for example the solo he did with Count Basie on Lady, Be Good. It is something new, something he created, it sounds like a real breakthrough, like music has been pushed to a new level. Worthy of further study. Or dig how modern Prez sounds on I Didn't Know What Time It Was. You can see several different versions of many standards, done years apart, showing the evolving sound. For instance, Just You, Just Me, the earliest version is so classic, but the later version at a quicker tempo is an interesting comparison.

Besides the transcriptions and discography, the prose is good, too. I like the writing, as it seems like it was written by a musician, with a great understanding of the music, and also a musical way of writing.

Good analysis
If you want to understand what the musical elements are in Lester's hugely influential style, read this book and listen to every recording you can afford to lay hands on.
Porter does a great job of transcribing and annotating several Young solos from different points in his career and explains with solid scholarship exactly what Young was doing and some of the whys.Porter is not among those who dismiss Lester's later work with the cliche about all the best stuff being before WWII.Instead he breaks Young's career into three periods and examines each fairly.There are some gaps in his discography, i.e.,the session with Oscar Peterson, but that may be due to the original publication date pre-dating the advent of CDs.
Charlie Parker's idol and cited as a major influence by nearly every jazz saxophonist to follow him, Lester Young was indeed the President of the Saxophone. ... Read more

Product Description
Spice up your Christmas party or seasonal recital with these jazz-inspired arrangements of familiar carols. Superb fare for both teenage and adult pianists. 6 solos: Away in a Manger * Deck the Hall * It Came Upon the Midnight Clear * Jingle Bells * Silent Night * We Wish You a Merry Christmas. ... Read more

Product Description
Good Vibes is a rollicking autobiography that tracks jazz from the turbulent post-war years through the rise of bebop, traversing its changes through the eyes of one of its greatest practitioners. Gibbs's hilarious, poignant, and always fascinating anecdotes reveal little-known attributes and quirks about legendary personalities such as Benny Goodman, Buddy Rich, Steve Allen, Frank Sinatra, Don Rickles, Billie Holiday, and many more. A foreword by Chubby Jackson, a discography, and an index round out this work. ... Read more

Customer Reviews (4)

A slam dunk review
This is a "slam-dunk" review of a book that I know for a certainty will be a terrific read. I have my copy & have just starting reading it,& look forward to many hours of pleasure in completing it. Last night it was my delightful pleasure to attend a local "Tribute to Benny Goodman" which featured Terry leading a wonderful sextet playing some of the best jazz I've ever heard.Terry & I are the same age, & I am a huge fan of the kind of jazz the existed in the 40's, much of it played by those wonderful "big bands", such as Goodman, Herman, & Shaw. Terry is now 84, so I was blown away when I heard him play his vibes like he hadn't lost a step. He remains one of the very best, & it's obvious that he still totally enjoys his craft.His very humorous reminiscing between songs created a great connection with his audience, adding a lot to an evening of great jazz. Definitely five stars.

A "MUST" READ FOR ANY JAZZ FAN!
I have been fortunate to have seen Terry in various musical settings--with small groups and his fabulous big band, and I have never seen Terry give less than 100% on the bandstand. His communication with the audience is always an added bonus. I have also had the pleasure of conversing with Terry on several occasions over the years--including a radio interview I did with him in the 1980s when I was working in Las Vegas and Terry was appearing at the Sahara with a quintet he co-led with Buddy DeFranco. This book reads just like a conversation with Terry. It has humor, jazz history, great stories about jazz musicians, Terry's thoughts on the music business and a sincere honesty about the events in his own personal life over the years. The enthusiasm and intensity that Terry exudes on the bandstand comes through loud and clear on every page of this book. Thank you Terry for this book and for your many years of playing and presenting uncompromised modern jazz at the highest level!

A supreme master of jazz, and a national treasure
Some people see the world as a minefield, and some see it as a merry go round. Terry Gibbs sees life as a fun filled playland, doing what he was born to do almost from birth. Son of a Brooklyn band leader who performed at weddings and bar mitzvahs, Terry learned his craft with his dad, and went on to perform with Benny Goodman, and every major jazz artist from 1940 on. He was stopped in his tracks by only one man. A man many of us see as not only the inventor of modern jazz (1943 on) but as an almost religious figure, Charlie Parker. Hearing Parker's playing, for the first time, was such a major event, that I heard Terry say in an interview, he literally was knocked for a loop by the Parker, Gillespie bebop revolution,and had to re-think his position as a player of jazz. For some strange reason, while almost every one around him was addicted, or fooling around with heroin in the fifties, Terry never succumbed to drugs. It can't be because he was a "nice Jewish boy", because other "nice Jewish boys" got wasted, like Serge Chaloff, Red Rodney, Stan Getz, and Stan Levey, among others. I guess Terry was high on life. This book tells it "like it was". What it meant to be a jazz star on planet earth, cica 1940 to the present, with wit, humanity, and a love of life. The cat is still swingin'. Don't deny yourself the treat of this opus.

Good Vibes from a Great Guy and a Great Musician!
I really liked this book!Aside from being a jazz player myself, I got a kick out of the stories Terry tells about the people he's worked with, the adventures he's had, his particularly touching story about Buddy Rich giving his drums to Terry's son, Gerry.I mean, we've all heard the stories about Buddy Rich's meanness, but here's the other side of one of the greatest drummers of all time.The same with Benny Goodman--we've heard about "the ray," but Terry gives another perspective on Benny--a brilliant musician who was so out of it he couldn't remember the name of a white pianist in his group on a tv broadcast (though they'd been rehearsing together all week) and refered to him as "Teddy Wilson," whom everyone knew was African American.

The book has all kinds of anecdotes that give the reader an insight into what it's like to be on the road, trying to play the best, most swinging jazz you can with the best musicians you can hire, despite the racial prejudices that relegated great African American players like Terry Pollard to near invisibility off the stand.Also, great passing anecdotes about Bird, Dizzie Gillespie, Woody Herman and his band, and others.

A great read--hard for me to put down.Terry Gibbs is as funny and engaging a narrator as he is in person.If you're at all interested in the history of jazz told from the perspective of the people who played it, this book should be on your shelves. ... Read more