Each song has a unique story to tell, with a circumstance and a history that reflect the diversity of American culture and the dynamic of American business. Forward by Vince Giordano, music director of the TV series "Boardwalk Empire."

    Released in commemoration of Strayhorn's centennial, this luxurious coffee-table book offers intimate details of the composer's life from musicians, scholars, and Strayhorn's closest relatives.Perhaps best known for his 28-year collaborative role as Duke Ellington's "writing and arranging companion," Strayhorn has emerged in recent years as an even more meritorious force in shaping the jazz canon. Strayhorn begins by describing Billy's abusive upbringing and early success, and goes on to cover his music, family, intellectual pursuits, involvement with civil rights, and open homosexuality.Strayhorn features contributions from Strayhorn's biographer David Hajdu, film director Rob Levi, music scholar Walter van de Leur, as well as commentary from jazz greats like Lena Horne, Clark Terry, Dianne Reeves, Nancy Wilson, Terell Stafford, Herb Jeffries, and more. With lush photography and rare memorabilia like handwritten scores, this is a book to be treasured by jazz aficionados and music lovers everywhere. Enthralling and visually captivating, Strayhorn: An Illustrated Life lauds a beloved jazz legend and captures a prodigious legacy that will influence generations to come.

    Jazz Arpeggios, Extensions and Substitutions to Develop & Enrich Your Playing Learn the best arpeggios to use over the thirteen most common chord sequences in jazz and bebop guitar playing. Learn to Approach Jazz Guitar the Right Way Jazz guitar can be a challenging style of music to learn. As guitarists we are often more comfortable playing scales rather than the true building blocks of jazz solos; arpeggios, so it can be difficult for us to emulate and build authentic bebop language. Musically Apply Jazz Guitar Arpeggios to the 13 Most Important Chord Progressions in Jazz There are many different bebop chord progressions, but in essence they can be broken down into just thirteen simple structures. Chord Tone Soloing for Jazz Guitar teaches you to how to use arpeggios, extensions, chromatic ideas and substitutions over each of the thirteen essential jazz sequences, and how to combine these building blocks into authentic, melodic solos.Each progression is approached both logically and methodically to build articulate guitar solos from the fundamental principles of jazz guitar. By applying arpeggio-based techniques, and learning to decorate your solos with chromatic ideas, you will quickly learn how to 'play the changes' in a musical and creative way.Chord Tone Soloing for Jazz Guitar helps you build an articulate jazz language around the most important sequences in jazz. Play the Changes Jazz soloing developed around the concept of 'hitting the changes' and by combining rich arpeggios with chromatic ideas you will quickly master the jazz guitar language. Learn to • Target Chord Changes with Arpeggios• Add Richness and Colour with Arpeggio Extensions• Form Interesting and Exciting Lines with Chromatic Approach Notes• Use 'Outside' Substitutions to add Altered Tensions to your Playing• Develop your Solos using Essential Rhythmic Concepts Jazz Guitar Chord Tone Soloing Contains • 103 Pages that Dissect the 13 Most Important Chord Sequences in Jazz• 124 Notated Audio Examples (Free to Download from www.fundamental-changes.com)• 14 Backing Tracks and over 80 Minutes of Audio• A Complete and Comprehensive Approach to Jazz Guitar Soloing Fundamental Changes Write the Most Popular Guitar Guides on Amazon This is a new release and reviews take time! Check out our other popular releases with over 1000 positive reviews on Amazon. If you like this book, please take a second to review it. If you have a question, please get in touch through the fundamental-changes.com website where you'll find over 250 free guitar lessons. Master Jazz Guitar Today Scroll up to Buy Now and get free delivery with Amazon Prime.

    The book coincides with the fiftieth anniversary of the founding of the Association for the Advancement of Creative Musicians (AACM), a still-flourishing organization of Chicago musicians who challenge jazz’s boundaries. Combining archival materials such as brochures, photographs, sheet music, and record covers with contemporary art work that respond to the 1960s Black Arts Movement, The Freedom Principle explores this tradition of cultural expression from, as one AACM group used to put it, the “ancient to the future.” Essays by curators Naomi Beckwith and Dieter Roelstraete, AACM member and historian George Lewis, art historian Rebecca Zorach, and gallerist John Corbett accompany beautiful reproductions of work by artists such as Muhal Richard Abrams, Barbara Jones-Hogu, Cauleen Smith, Rashid Johnson, Nick Cave, and many more. A roundtable conversation features Beckwith, Roelstraete, curator Hamza Walker, current AACM member and cellist Tomeka Reid, and scholar and curator Romi Crawford, with additional comments from poet and scholar Fred Moten. A chronology and curated playlist of AACM-related recordings are also included. The resulting book offers a rich sense of a global movement, with crucial roots in Chicago, driven by a commitment to experimentation, improvisation, collective action, and the pursuit of freedom.

    In Shanghai Nightscapes, sociologist James Farrer and historian Andrew David Field examine the cosmopolitan nightlife culture that first arose in Shanghai in the 1920s and that has been experiencing a revival since the 1980s. Drawing on over twenty years of fieldwork and hundreds of interviews, the authors spotlight a largely hidden world of nighttime pleasures—the dancing, drinking, and socializing going on in dance clubs and bars that have flourished in Shanghai over the last century. The book begins by examining the history of the jazz-age dance scenes that arose in the ballrooms and nightclubs of Shanghai’s foreign settlements. During its heyday in the 1930s, Shanghai was known worldwide for its jazz cabarets that fused Chinese and Western cultures. The 1990s have seen the proliferation of a drinking, music, and sexual culture collectively constructed to create new contact zones between the local and tourist populations. Today’s Shanghai night scenes are simultaneously spaces of inequality and friction, where men and women from many different walks of life compete for status and attention, and spaces of sociability, in which intercultural communities are formed. Shanghai Nightscapes highlights the continuities in the city’s nightlife across a turbulent century, as well as the importance of the multicultural agents of nightlife in shaping cosmopolitan urban culture in China’s greatest global city. To listen to an audio diary of a night out in Shanghai with Farrer and Field, click here: http://n.pr/1VsIKAw.

    Emerged from practice and designed for practical use, it provides theoretical knowledge necessary for improvisation, composing, and arranging.Titles: Introduction * Harmonic Structures * Diatonic Harmony * Dominant Chords and Diatonic Function * Minor Key Harmony * Blues * Diminished seventh Chords * Dominant Chords with Special Functions * Modal Interchange * Voicing Specific Chord Symbols and Structures * Modulations * Modal Systems * Nonfunctional Harmony * Introduction to Arranging.

    Fans have been fortunate in the past few years to gain access to Davis’s live recordings from this time, when he was working with an ensemble that has come to be known as the Lost Quintet. In this book, jazz historian and musician Bob Gluck explores the performances of this revolutionary group—Davis’s first electric band—to illuminate the thinking of one of our rarest geniuses and, by extension, the extraordinary transition in American music that he and his fellow players ushered in.               Gluck listens deeply to the uneasy tension between this group’s driving rhythmic groove and the sonic and structural openness, surprise, and experimentation they were always pushing toward. There he hears—and outlines—a fascinating web of musical interconnection that brings Davis’s funk-inflected sensibilities into conversation with the avant-garde worlds that players like Ornette Coleman and John Coltrane were developing. Going on to analyze the little-known experimental groups Circle and the Revolutionary Ensemble, Gluck traces deep resonances across a commercial gap between the celebrity Miles Davis and his less famous but profoundly innovative peers. The result is a deeply attuned look at a pivotal moment when once-disparate worlds of American music came together in explosively creative combinations.

    Beginning as a precociously talented teenage saxophonist, he took first the local and then the international jazz scene by storm, displaying gifts equal to the finest American jazzmen, appearing with none other than Duke Ellington and proving almost single-handedly that British jazz need not labour under an inferiority complex. Hayes' triumphs during the 1950s and 60s enabled still later generations of English musicians to take their music onto the world stage. However his story has rarely been accurately recorded. Distorted by the folklore surrounding his tragically early death, aged only 38, much of what has been written, broadcast and recounted about Hayes has added only confusion to our understanding of his short but brilliant life. In this book, award-winning saxophonist and writer Simon Spillett, widely regarded as the world's leading authority on Hayes and his work, painstakingly outlines a career which alternated professional success and personal downfall. Using credible eye-witness recollection, drawn from conversations with Hayes' family, partners, friends and musical colleagues, unique access to Hayes' own tape, photographic and personal archives, and extensive contemporary research material, Spillett has reconstructed the trajectory of his subject's life both candidly and respectfully. Hayes' meteoric musical rise from boy wonder to youthfully mature virtuoso, from saxophonist to multi-instrumentalist and composer is faithfully documented, as is his struggle for relevance as rock, pop and the avant-garde took over the musical landscape in the 1960s and, for the first time, the opaque world of his inconsistent and troubled personal life is recounted in full. His unsettled childhood, his battles with addiction and ill-health and his difficult personal relationships are all exposed, and the confused accounts of his final days are unravelled and made clear as never before. The Long Shadow of The Little Giant also traces Hayes' path through one of the most vibrant periods of history, beginning in the austerity of post-World War Two London, through the "never had it so good" 1950s, the "Swinging Sixties" and into the privations of the "State of Emergency" early Seventies, and outlines the cultural and musical developments of the times which underpinned the life of arguably the UK's finest ever jazz musician.

    Rather than providing a history, or series of biographical entries, Spirits Rejoice! takes to heart a central characteristic of jazz itself and improvises, generating a collection ofthemes, pursuits, reoccurring foci, and interpretations. Bivins riffs on interviews, liner notes, journals, audience reception, and critical commentary, producing a work that argues for the centrality of religious experiences to any legitimate understanding of jazz, while also suggesting that jazzopens up new interpretations of American religious history. Bivins examines themes such as musical creativity as related to specific religious traditions, jazz as a form of ritual and healing, and jazz cosmologies and metaphysics. Spirits Rejoice! connects Religious Studies to Jazz Studies throughthematic portraits, and a vast number of interviews to propose a new, improvisationally fluid archive for thinking about religion, race, and sound in the United States. Bivins's conclusions explore how the sound of spirits rejoicing challenges not only prevailing understandings of race and music, but also the way we think about religion.Spirits Rejoice! is an essential volume for any student of jazz, American religion, or American culture.

    Despite Campbell's artistic prowess--evident in his arresting images of the people who would shape the American cultural landscape for generations to come--Campbell died alone in a homeless shelter in Burlington, Vermont in 2002. His identity, and former life as an esteemed photojournalist for The Village Voice and Downbeat Magazine, would only be revealed by the unlikely discovery by a young college graduate of his ephemera and personal belongings within a trove of cardboard boxes. Rebirth of the Cool is the story of Robert James Campbell as reconstructed by Jessica Ferber, and born from tragedy; Campbell, once a wildly talented artist, but wrought by mental demons, financial hardship, and health failure, had to give up his passionate work at what should have been the prime years of his career, having succumbed to his deteriorating body and mind. Campbell left New York for LA and then disappeared into New England with little hope, but resolute to keep and care for his art he managed to diligently transport his negatives and images with him throughout his turbulent life, and ultimately with him into homelessness.At the height of his photographic career Campbell captured the likes of John Coltrane, The Modern Jazz Quartet, Philly Joe Jones, Count Basie, Bud Powell, Richie Havens, Chuck Berry, and more. Shot onstage and off, the intimacy of the photos is moving and prescient. Rebirth of the Cool collects the best of Campbell's work, shot at legendary clubs like Birdland, The Village Vanguard, and The Gaslight Café, as well as street photography, international work from his time spent in Germany, and tour photography. The era in which Campbell photographed was brief and precious, and the content he left behind represents a time capsule--a rebirth and regeneration--of a moment that was flashpoint for the culture and heritage of New York, and the nation as a whole.