Players will enjoy putting the cool back into these Christmas classics: All I Want for Christmas Is You * Auld Lang Syne * Baby, It's Cold Outside * Blue Christmas * The Chipmunk Song * Christmas Time Is Here * Dance of the Sugar Plum Fairy * Happy Holiday * Here Comes Santa Claus * I Heard the Bells on Christmas Day * I've Got My Love to Keep Me Warm * It Must Have Been the Mistletoe * It's Christmas in New York * Joy to the World * What Child Is This? * Last Christmas * Let It Snow Let It Snow Let It Snow * Mister Santa * Santa Baby * Santa Claus Is Comin' to Town * Silver and Gold * Silver Bells * Somewhere in My Memory * What Are You Doing New Year's Eve? * You're All I Want for Christmas * and more.

    The essays cover different historical periods and styles; encompass regional influences from North and South America, Britain, Europe, and Africa; and emphasize a variety of methodological approaches, including ethnography, anthropology, gender studies, and critical race theory. While social dance is defined primarily as dance performed by the public in ballrooms, clubs, dance halls, and other meeting spots, contributors also examine social dance’s symbiotic relationship with popular, theatrical stage dance forms.Contributors are Elizabeth Aldrich, Barbara Cohen-Stratyner, Yvonne Daniel, Sherril Dodds, Lisa Doolittle, David F. García, Nadine George-Graves, Jurretta Jordan Heckscher, Constance Valis Hill, Karen W. Hubbard, Tim Lawrence, Julie Malnig, Carol Martin, Juliet McMains, Terry Monaghan, Halifu Osumare, Sally R. Sommer, May Gwin Waggoner, Tim Wall, and Christina Zanfagna.

    Playing the Changes draws from Hinton and Berger's earlier Bass Line, but differs significantly from that 1988 classic. Milt's narrative takes up where the earlier story left off, and more than 140 new photographs augment 115 of his best-known images. It also boasts a CD of Milt telling stories and performing music, as well as a discography and filmography.

    This songbook features songs that are transcribed for piano, voice and guitar.

    It contains information on diet, keeping fit, and how to use natural therapies and massage. There is also advice on being a parent, for example, dealing with childhood illnesses.

    In an engaging blend of music analysis and cultural critique, Charles Hiroshi Garrett examines a dazzling array of genres—including art music, jazz, popular song, ragtime, and Hawaiian music—and numerous well-known musicians, such as Charles Ives, Jelly Roll Morton, Louis Armstrong, and Irving Berlin. Garrett argues that rather than a single, unified vision, an exploration of the past century reveals a contested array of musical perspectives on the nation, each one advancing a different facet of American identity through sound.

    At eighteen, after a short stint with Art Blakey's Jazz Messengers, Morgan joined Dizzy Gillespie's orchestra, where he stayed until the group disbanded in 1958. A return to Blakey brought Morgan new opportunities, including his first successful attempts at composition. But however much his time with Blakey helped to advance his playing and writing, his boss's and his bandmates' destructive drug habits exerted just as strong an influence. Within three years, Morgan would be back home in Philadelphia, strung out on heroin and penniless.Morgan's return to music in the early to mid-sixties witnessed a tremendous evolution in his playing. Formerly a virtuoso in the model of his idol, Clifford Brown, Morgan brought to his critically acclaimed Blue Note records of the era an emotionally charged, muscular tone, full of poise and control. But it was with the record Sidewinder, recorded in 1963, that Morgan found his greatest fame and commercial success, due to the infectious groove of the title tune. By the time of his death, at thirty-three---murdered in a New York City club by his girlfriend during a gig---Morgan had begun a new phase of his career, experimenting with freer-forms of musical expression.Jeff McMillan's Delightfulee is the first biography to seriously examine Morgan's vast contributions to jazz, both as a performer and as a composer. Thanks to exclusive access to Lee Morgan's now-deceased brother, McMillan is also able to provide unparalleled insight into Morgan's personal and family lifeJeff McMillan received his master's degree from the Jazz History and Research program at Rutgers-Newark in 2000 and currently works as an archivist for the Metropolitan Opera in New York City.

    Essential reading for anyone who wants to know what Miles Davis thought about his music, life, and philosophy, Miles on Miles reveals the jazz icon as a complex and contradictory man, secretive at times but extraordinarily revealing at others.   Miles was not only a musical genius, but an enigma, and nowhere else was he so compelling, exasperating, and entertaining as in his interviews, which vary from polite to outrageous, from straight-ahead to contrarian. Even his autobiography lacks the immediacy of the dialogues collected here. Many were conducted by leading journalists like Leonard Feather, Stephen Davis, Ben Sidran, Mike Zwerin, and Nat Hentoff. Others have never before seen print, are newly transcribed from radio and television shows, or appeared in long-forgotten magazines.   Since Miles Davis’s 1991 death, his influence has continued to grow. But until now, no book has brought back to life his inimitable voice--contemplative, defiant, elegant, uncompromising, and humorous. Miles on Miles will long remain the definitive source for anyone wanting to really encounter the legend in print.

    Recording artist with Miles Davis, the Brecker Bros., etc., Barry shows how to become a better improviser by melodically mastering the individual chords used in jazz, how they connect with each other, and how they are used in various song forms. Endorsed by Joe Lovano, Hubert Laws, Mark Levine, etc.