The Jazz Harmony Book is a course in the process of adding chords to melodies, in understanding how a single melody can give rise to rich harmonic variations.This book will help you learn to speak the language of harmony, to learn the changes of standard tunes, to better understand and create the 'right' chord progressions to these songs, to re-harmonize songs freely in the manner of great jazz artists like Hank Jones, Thelonious Monk, Art Tatum, Oscar Peterson, Bill Evans, Chick Corea, Brad Mehldau, Herbie Hancock, Duke Ellington, Gil Evans, Thad Jones, Joe Pass, Jim Hall and John Scofield.Includes 2 CDs of the author playing many of the written examples in the book.

    But 50 years ago it was a floor-bound game, and the opportunities it offered for African-Americans were severely limited.A key turning point was 1963, when the Loyola Ramblers of Chicago took the NCAA men’s basketball title from Cincinnati, the two-time defending champions. It was one of Chicago’s most memorable sports victories, but Ramblers reveals it was also a game for the history books because of the transgressive lineups fielded by both teams.Ramblers is an entertaining, detail-rich look back at the unlikely circumstances that led to Loyola’s historic championship and the stories of two Loyola opponents: Cincinnati and Mississippi State. Michael Lenehan’s narrative masterfully intertwines these stories in dramatic fashion, culminating with the tournament’s final game, a come-from-behind overtime upset that featured two buzzer-beating shots.While on the surface this is a book about basketball, it goes deeper to illuminate how sport in America both typifies and drives change in the broader culture. The stark social realities of the times are brought vividly to life in Lenehan’s telling, illustrating the challenges faced in teams’ efforts simply to play their game against the worthiest opponents.

    This text provides a strong foundation in harmonic principles, supporting further study in jazz composition, arranging, and improvisation. It covers basic chord types and their tensions, with practical demonstrations of how they are used in characteristic jazz contexts and an accompanying recording that lets you hear how they can be applied. The price of this book includes access to audio tracks online, for download or streaming, using the unique code inside the book. The audio features PLAYBACK+, a multi-functional audio player that allows you to slow down audio without changing pitch, set loop points, change keys, and pan left or right available exclusively from Hal LeonardEndorsements When future beings unearth the artifacts of our culture, the Jazz Harmony Book will stand out as the most complete summary of modern diatonic harmony used in jazz and popular music of this era. This book is detailed, sophisticated and surprisingly hip. I especially enjoyed the chapter on the blues as well as how the authors noted the effect of beat placement on harmonic choices. This sentence struck me: 'We can hear and feel a chord operating one way when it arrives, but our interpretation of it that chord can also adjust retroactively.' The book is replete with similar descriptions giving this complicated subject a life of its own, beyond the usual mathematics and terminology. Dave Liebman The Berklee Book of Jazz Harmony is eminently readable and user-friendly. The authors present the principles of jazz harmony and chord scale theory clearly and invitingly. Keith Waters, jazz pianist, theorist and author of The Studio Recordings of the Miles Davis Quintet, 1965-68 Clear, thorough, and practical, the Jazz Harmony Book is indeed a welcome key to understanding not only the richness and order of jazz harmony, but also the many musical styles deeply touched by jazz harmony's broad influence. Michael Re

    His distinctive style, combining subtle observations of the world with his imagination, has not only influenced other artists but also photographers, filmmakers, and popular culture. Although Hopper is primarily known for his oil paintings, including such iconic works as Nighthawks (1942) and Early Sunday Morning (1930), this important publication is the first comprehensive exploration of his drawings and working methods.     In 1967, Hopper’s widow, Josephine Nivison Hopper, bequeathed her husband’s artistic estate to the Whitney Museum of American Art, including a fascinating collection of more than 2,500 drawings spanning his entire career. This group of works has never been the subject of in-depth study and many have never been reproduced before. Hopper kept these drawings for personal reference as he revisited various themes throughout his career. Carter E. Foster examines how Hopper used his drawings to develop his paintings, arguing that the artist’s work can only be fully understood after careful study of these preparatory sketches. Foster also argues that Hopper was, in many ways, a traditional draftsman who methodically developed schematic ideas into detailed studies to refine content. However, the steps toward this refinement are unique to Hopper and reveal how he turned the mundane into poetic images with universal appeal.

     Big City, big bands: New York’s jazz scene of the 1920s   It’s the Roaring Twenties, and New York is exploding with jazz fever. Crowds flock to the nightclubs and dance halls in Harlem to see the likes of Louis Armstrong with the Fletcher Henderson Orchestra playing at the Kentucky Club, or Duke Ellington at the Roseland Ballroom or the world-famousCotton Club. Designed, illustrated, and edited by Robert Nippoldt, this award-winning book pays homage to this exceptional era, via an entertaining blend of illustrations, facts, and amusing anecdotes presenting 24 leading lights of New York’s jazz scene in the 1920s, complete with a CD containing some of their best tunes. The texts, contributed by Hans-Jürgen Schaal, give a vivid account of the club scene and the “band battles,” as well as the legendary recording sessions. A splendid read, a groovy CD—and not strictly for jazz fans only!Awards for the original German edition: - European Design Award, 2008, Stockholm - Institute for Book Arts: “The Most Beautiful Book of Germany” 2008, Frankfurt - Illustrative: “One of the Most Beautiful Books of Europe” 2007, Berlin

    Cannonball Adderley introduces his 1967 recording of "Walk Tall," by saying, "There are times when things don't lay the way they're supposed to lay. But regardless, you're supposed to hold your head up high and walk tall." This sums up the life of Julian "Cannonball" Adderley, a man who used a gargantuan technique on the alto saxophone, pride in heritage, devotion to educating youngsters, and insatiable musical curiosity to bridge gaps between jazz and popular music in the 1960s and '70s. His career began in 1955 with a Cinderella-like cameo in a New York nightclub, resulting in the jazz world's looking to him as "the New Bird," the successor to the late Charlie Parker. But Adderley refused to be typecast. His work with Miles Davis on the landmark Kind of Blue album helped further his reputation as a unique stylist, but Adderley's greatest fame came with his own quintet's breakthrough engagement at San Francisco's Jazz Workshop in 1959, which launched the popularization of soul jazz in the 1960s. With his loyal brother Nat by his side, along with stellar sidemen, such as keyboardist Joe Zawinul, Adderley used an engaging, erudite personality as only Duke Ellington had done before him. All this and more are captured in this engaging read by author Cary Ginell. "Hipness is not a state of mind, it is a fact of life." Cannonball Adderley

    More than 50 Coltrane classics, transcribed exactly from his recorded solos. Includes: All Blues * Blue Train (Blue Trane) * Body and Soul * Bye Bye Blackbird * Countdown * Cousin Mary * Giant Steps * Impressions * India * Lazy Bird * Lush Life * Mr. P.C. * Moment's Notice * My Favorite Things * Naima (Niema) * Spiral * Syeeda's Song Flute * Witches Pit * and more.

    She quizzed him (and those who knew him) unrelentingly over seven years, editing and structuring a narrative to which she dedicated all her energy. "Straight Life" by Art and Laurie Pepper (Da Capo) was published in 1979. It was critical success and remains a classic of its kind, the subject of college literary and music studies. Laurie went on to marry Art and manage his resurgent career, touring the world with his band. "Why I Stuck with a Junkie Jazzman" was the headline some editor gave a newspaper interview Laurie did while the band was in Australia in 1981, and she's now stolen that "that perfect title" for her memoir. "ART: Why I Stuck with a Junkie Jazzman " (APMCorp), describes her marriage to the deeply troubled, drug-addicted, madly gifted artist. "That marriage was the making of me," says Laurie. "Some people go to grad school or join the Marines. I married a genius who valued and inspired me and challenged me to use MY gifts. We had a difficult, powerful partnership. I had to tell that story." She says she also needs to set the record straight and clarify her role: "People think I was some kind of little wifey-saint who rescued him. And Art encouraged them in that. But he knew how truly crazy I could be. We rescued each other."

    Charlie Parker, Count Basie, Billie Holiday, Dizzy Gillespie, Oscar Peterson, and Ella Fitzgerald all released records through Verve.This superb new volume presents some of the rarest records and unseen ephemera from the label that helped define the world of jazz. Hundreds of the best examples of iconic seven-inch, ten-inch, and twelve-inch records appear, along with publicity reports, news clippings, ledger books, telegrams, and contracts.The ultimate music guide, the book includes features on key artists as well as infographics and timelines that reveal the connections between leading artists and Verve. Looking beyond the music scene, the book discusses segregation in America, the missions to take jazz to Europe and the world, the clubs, the places, and the people who made jazz vital. Commentary from the biggest names in jazz today, including some of Verve’s own artists, complements the text.

    52 works transcribed exactly from the recorded solos of John Coltrane, including: Acknowledgement (Part I) * Airegin * Alabama * All Blues * All or Nothing at All * Bessie's Blues * Blue Train (Blue Trane) * Body and Soul * Bye Bye Blackbird * Central Park West * Chasin' the Trane * Countdown * Cousin Mary * Crescent * Eclypso * Equinox * Giant Steps * Grand Central * Impressions * In a Sentimental Mood * Just for the Love * Lazy Bird * Like Sonny (Simple Like) * Locomotion * Lonnie's Lament * Lush Life * Mr. P.C. * Moment's Notice * My Favorite Things * My One and Only Love * Naima (Niema) * Nita * Oleo * Paul's Pal * Pursuance (Part III) * Russian Lullaby * So What * Softly As in a Morning Sunrise * Some Other Blues * Spiral * Syeeda's Song Flute * Theme for Ernie * 26-2.