The Life And Music Of Kenny Davern
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| Author | : Edward N. Meyer |
| Publisher | : Scarecrow Press |
| Total Pages | : 478 |
| Release | : 2010-07-09 |
| Genre | : Music |
| ISBN | : 0810876930 |
Clarinetist Kenny Davern ranked among the best jazz musicians for over 50 years. The unique and instantly recognizable sound of his clarinet, coupled with a wide ranging intellect and quick sense of humor drew praise and applause and endeared him to his fans and friends. The Life and Music of Kenny Davern tells the story of this fascinating musician who had a vision of how he wanted his music to sound and who persisted in the face of adversity until he achieved that vision. Edward N. Meyer conducted interviews with friends, family, colleagues, and critics of Kenny Davern, as well as the man himself, to gain a comprehensive and personal narrative of the artist's life. Beginning with the tragic events that shaped his early life, Meyer traces Davern's growth from a young boy raised in an atmosphere of conflict into an acclaimed, self-assured musician and a warm and loving husband and father. Meyer describes the state of the jazz music business in the last half of the 20th century and fully establishes Davern's status within that scene. Meyer also explores a side of Davern that the public never saw: Davern's hunger for reading made him a knowledgeable and well-respected person with experts outside the world of jazz. With more than 30 photos, a comprehensive discography, bibliography, and index, this volume will fascinate jazz students, fans, and scholars.
| Author | : Thomas P. Hustad |
| Publisher | : Scarecrow Press |
| Total Pages | : 721 |
| Release | : 2012 |
| Genre | : Biography & Autobiography |
| ISBN | : 0810882647 |
Ruby Braff's uncompromising standards, musical taste, and creative imagination informed his consummate artistry in creating music beautifully played. He achieved swiftly what few musicians accomplish in a lifetime by developing a unique and immediately recognizable style. Alth...
| Author | : Dave Liebman |
| Publisher | : Scarecrow Press |
| Total Pages | : 402 |
| Release | : 2012-03-15 |
| Genre | : Biography & Autobiography |
| ISBN | : 081088254X |
Dave Liebman is one of the leading forces in contemporary jazz. Prominently known for performing with Miles Davis and Elvin Jones, he has exerted considerable influence as a saxophonist, bandleader, composer, author, and educator. In addition to his recent recognition as a National Endowment for the Arts Jazz Master, he has received the Order of Arts and Letters from France and holds an honorary doctorate from the Sibelius Academy in Helsinki, Finland. He has mentored many of today's most notable young jazz musicians worldwide and is a prolific writer on jazz. In What It Is: The Life of a Jazz Artist, friend, pianist, and noted jazz scholar Lewis Porter conducts a series of in-depth interviews with Liebman, who discusses his professional, personal, and musical relationships with Davis and Jones, as well as such notable musicians as Chick Corea, Richie Beirach, Michael and Randy Brecker, and many others. Through the interviews, Liebman discusses such personal matters as contracting polio as a child and the difficulties it caused as an adult during his rise as a jazz musician. He offers insights into the life of jazz performers of his generation, particularly the tumultuous period of the 1960s and 1970s. The book also features rare photos from Liebman's personal collection. A fascinating and witty storyteller, Liebman's stories in What It Is will appeal to jazz fans and scholars by providing a firsthand look into the creative life of one of America's leading jazz musicians.
| Author | : Timme Rosenkrantz |
| Publisher | : Scarecrow Press |
| Total Pages | : 347 |
| Release | : 2012-01-12 |
| Genre | : Biography & Autobiography |
| ISBN | : 0810879786 |
Timme Rosenkrantz (1911–1969) was a Danish journalist, author, concert and record producer, radio show host, and entrepreneur with a consuming passion for jazz and little head for business. Known in Denmark and New York as the “Jazz Baron” because of his noble lineage, he was the first European journalist to cover the jazz scene in Harlem. Harlem Jazz Adventures: A European Baron’s Memoir, 1934–1969 recounts Rosenkrantz’s happy years in New York City, where he would produce jazz concerts, record top musicians and bands in his midtown apartment, organize a “dream band” for Timme Rosenkrantz and His Barrelhouse Barons, a 1938 RCA Victor recording, (DL) live in Harlem and run a record shop with his life companion, journalist and singer Inez Cavanaugh. A good friend of jazz impresario John Hammond, Rosenkrantz would become the James Boswell of the Harlem jazz scene. Duke Ellington, Art Tatum, Coleman Hawkins, Billie Holiday—there wasn’t a New York jazz musician unknown to “Honeysuckle Rosenkrantz,” as christened by Fats Waller. Drawing on the published Danish-language original Dus med Jazzen, and an unpublished English free translation (DL) by Rosenkrantz and Cavanaugh, translator-adapter Fradley Hamilton Garner gives polish and context to Rosenkrantz’s stories of meetings with Cecile and Louis Armstrong, Benny Carter, Willie “The Lion” Smith, Eddie Condon, Erroll Garner—whom Rosenkrantz discovered and was first to record—and many others. This book is a must-have for jazz lovers. Social historians interested in the intersection of race and the music business will find in Rosenkrantz’s memoir an invaluable primary source on Harlem’s social scene and its musical legacy.
| Author | : Ellen Johnson |
| Publisher | : Scarecrow Press |
| Total Pages | : 275 |
| Release | : 2014-09-12 |
| Genre | : Music |
| ISBN | : 0810888378 |
When Sheila Jordan dropped a nickel in the juke box of a Detroit diner in the 1940s and heard “Now’s The Time” by Charlie Parker, she was instantly hooked—and so began a seventy-year jazz journey. In 1962, she emerged as the first jazz singer to record on the prestigious Blue Note label with her debut album Portrait of Sheila. Exploding on the jazz scene, this classic work set the bar for her career as an iconic jazz vocalist and mentor to other promising female vocalists. As The New York Times then announced, “Her ballad performances are simply beyond the emotional and expressive capabilities of most other vocalists.” Jazz Child: A Portrait of Sheila Jordan, as the first complete biography about this remarkable singer’s life, reveals the challenges she confronted, from her growing up poor in a Pennsylvania coal mining town to her rise as a bebop singer in Detroit and New York City during the 1950s to her work as a recording artist and performer under the influence of and in performance with such jazz luminaries as Charlie Parker, George Russell, Lennie Tristano, Charles Mingus, Sonny Rollins, and Thelonious Monk. Jordan’s views as a woman living the jazz life in an era of racial and gender discrimination while surrounded by those often struggling with the twin evils of alcohol and drug abuse are skillfully woven into the tapestry of the tale she tells. With Jordan’s full cooperation, author Ellen Johnson documents the fascinating career of this jazz great, who stands today as one of the most deeply respected jazz singers and educators. For jazz fans, Johnson’s biography is a testament to a vanishing generation of musicians and her indomitable spirit is an inspiration to all walks of life.
| Author | : Alfred Green |
| Publisher | : Rowman & Littlefield |
| Total Pages | : 377 |
| Release | : 2015-08-06 |
| Genre | : Music |
| ISBN | : 1442242477 |
In Rhythm Is My Beat: Jazz Guitar Great Freddie Green and the Count Basie Sound, Alfred Green tells the story of his father, rhythm guitarist Freddie Green, whose guitar work served as the pulse of the Count Basie Band. A quiet but key figure in big band jazz, Freddie Green took a distinct pride in his role as Basie’s rhythm guitarist, redefining the outer limits of acoustic rhythm guitar and morphing it into an art form. So distinct was Green’s style that it would eventually give birth to notations on guitar charts that read: “Play in the style of Freddie Green.” This American jazz icon, much like his inimitable sound, achieved stardom as a sideman, both in and out of Basie’s band. Green’s signature sound provided lift to soloists like Lester Young and vocalist Lil’ Jimmy Rushing, a reflection of Green’s sophisticated technique, that produced, in Green’s words, his “rhythm wave.” Billie Holiday, Ruby Braff, Benny Goodman, Gerry Mulligan, Teddy Wilson, Ray Charles, Judy Carmichael, Joe Williams and other recording artists all benefited from the relentless fours of the man who came to be known as Mr. Rhythm. The mystique surrounding Freddie Green’s technique is illuminated through generous commentary by insightful interviews with other musicians, guitar professionals and scholars, all of whom offer their ideas on Freddie Green’s sound. Alfred Green throughout demystifies the man behind the legend. This work will interest jazz fans, students, and scholars; guitar enthusiasts and professionals; music historians and anyone interested not only in the history of jazz but of the African American experience in jazz.
| Author | : Gregg Akkerman |
| Publisher | : Scarecrow Press |
| Total Pages | : 393 |
| Release | : 2012-06-14 |
| Genre | : Biography & Autobiography |
| ISBN | : 0810882825 |
Just after recording with John Coltrane in 1963, baritone singer Johnny Hartman (1923–1983) told a family member that “something special” occurred in the studio that day. He was right – the album, containing definitive readings of “Lush Life” and “My One and Only Love,” resides firmly in the realm of iconic; forever enveloping listeners in the sounds of romance. In The Last Balladeer, author Gregg Akkerman skillfully reveals not only the intimate details of that album but the life-long achievements and occasional missteps of Hartman as an African-American artist dedicated to his craft. This book carefully follows the journey of the Grammy-nominated vocalist from his big band origins with Earl Hines and Dizzy Gillespie to featured soloist in prestigious supper clubs throughout the world. Through exclusive interviews with Hartman’s family and fellow musicians (including Tony Bennett, Billy Taylor, Kurt Elling, Jon Hendricks, and others), accounts from friends and associates, newly discovered recordings and studio outtakes, and in-depth research on his career and personal life, Akkerman expertly recollects the Hartman character as a gentleman, romantic, family man, and constant contributor to the jazz scene. From his international concerts in Japan, Australia, and England to his steady presence as an American nightclub singer that spanned five decades, Hartman personifies the “last balladeer” of his kind, singing with a sentiment that captured the attention of Clint Eastwood, who brought Hartman’s songs to the masses in the film The Bridges of Madison County. In the first full-length biography and discography to chronicle the rhapsodic life and music of Johnny Hartman, the author completes a previously missing dimension of vocal-jazz history by documenting Hartman as the balladeer who crooned his way into so many hearts. Backed by impeccable research but conveyed in a conversational style, this book will interest not only musicians and scholars but any fan of the Great American Songbook and the singers who brought it to life.
| Author | : Laurent Cugny |
| Publisher | : Univ. Press of Mississippi |
| Total Pages | : 267 |
| Release | : 2019-03-20 |
| Genre | : Music |
| ISBN | : 1496821904 |
Analysis of Jazz: A Comprehensive Approach, originally published in French as Analyser le jazz, is available here in English for the first time. In this groundbreaking volume, Laurent Cugny examines and connects the theoretical and methodological processes that underlie all of jazz. Jazz in all its forms has been researched and analyzed by performers, scholars, and critics, and Analysis of Jazz is required reading for any serious study of jazz; but not just musicians and musicologists analyze jazz. All listeners are analysts to some extent. Listening is an active process; it may not involve questioning but it always involves remembering, comparing, and listening again. This book is for anyone who attentively listens to and wants to understand jazz. Divided into three parts, the book focuses on the work of jazz, analytical parameters, and analysis. In part one, Cugny aims at defining what a jazz work is precisely, offering suggestions based on the main features of definition and structure. Part two he dedicates to the analytical parameters of jazz in which a work is performed: harmony, rhythm, form, sound, and melody. Part three takes up the analysis of jazz itself, its history, issues of transcription, and the nature of improvised solos. In conclusion, Cugny addresses the issues of interpretation to reflect on the goals of analysis with regard to understanding the history of jazz and the different cultural backgrounds in which it takes place. Analysis of Jazz presents a detailed inventory of theoretical tools and issues necessary for understanding jazz.
| Author | : Don Rayno |
| Publisher | : Scarecrow Press |
| Total Pages | : 894 |
| Release | : 2012-12-19 |
| Genre | : Biography & Autobiography |
| ISBN | : 0810883228 |
In a career that spanned 60 years, Paul Whiteman changed the landscape of American music, beginning with his million-selling recordings in the early 1920s of “Whispering,” “Japanese Sandman,” and “Three O’Clock in the Morning.” Whiteman would then introduce “symphonic jazz,” a powerful blend of the classical and jazz idioms that represented a whole new approach to modern American music, influencing generations of bandleaders and composers. While some hold that at the close of the Roaring Twenties Whiteman’s musical hegemony quickly waned, Don Rayno illustrates in this second volume of Paul Whiteman: Pioneer in American Music how much of a dominant figure Whiteman remained. A major figure on the American music scene for decades to come, he would continue to lead critically-acclaimed orchestras, filling theaters and concert halls alike and diligently seeking out and nurturing musical talent on the largest scale of any orchestra leader in the 20th century. In this second volume of Rayno’s magisterial treatment of the life and music of this remarkable maestro, Whiteman’s career during the second half of his life is explored in the fullest detail, as Whiteman conquers the worlds of theater and vaudeville, the concert hall, radio, motion pictures, and television, winning accolades in all of them. Through hundreds of interviews, extensive documentation, and exhaustive research of over nearly three decades, a portrait emerges of one of American music’s most important musical figures during the last century. Rayno paints a stunning portrait of Whiteman’s considerable accomplishments and far-reaching influence.
| Author | : Reva Marin |
| Publisher | : Univ. Press of Mississippi |
| Total Pages | : 272 |
| Release | : 2020-10-15 |
| Genre | : Music |
| ISBN | : 1496830016 |
Outside and Inside: Representations of Race and Identity in White Jazz Autobiography is the first full-length study of key autobiographies of white jazz musicians. White musicians from a wide range of musical, social, and economic backgrounds looked to black music and culture as the model on which to form their personal identities and their identities as professional musicians. Their accounts illustrate the triumphs and failures of jazz interracialism. As they describe their relationships with black musicians who are their teachers and peers, white jazz autobiographers display the contradictory attitudes of reverence and entitlement, and deference and insensitivity that remain part of the white response to black culture to the present day. Outside and Inside features insights into the development of jazz styles and culture in the urban meccas of twentieth-century jazz in New Orleans, Chicago, New York, and Los Angeles. Reva Marin considers the autobiographies of sixteen white male jazz instrumentalists, including renowned swing-era bandleaders Benny Goodman, Artie Shaw, and Charlie Barnet; reed instrumentalists Mezz Mezzrow, Bob Wilber, and Bud Freeman; trumpeters Max Kaminsky and Wingy Manone; guitarist Steve Jordan; pianists Art Hodes and Don Asher; saxophonist Art Pepper; guitarist and bandleader Eddie Condon; and New Orleans–style clarinetist Tom Sancton. While critical race theory informs this work, Marin argues that viewing these texts simply through the lens of white privilege does not do justice to the kind of sustained relationships with black music and culture described in the accounts of white jazz autobiographers. She both insists upon the value of insider perspectives and holds the texts to rigorous scrutiny, while embracing an expansive interpretation of white involvement in black culture. Marin opens new paths for study of race relations and racial, ethnic, and gender identity formation in jazz studies.
