In addition to being a collection of transcriptions of the Buddy Rich solos featured on the Buddy Rich Jazz Legend DVD (00-903792), this publication concentrates on the specifics of "The World's Greatest Drummer's" playing. The techniques covered include left-handed/bass drum coordination, drumset crossovers, cymbal patterns, left-hand/right-hand singles, left-hand time patterns, hi-hat work, blisteringly fast alternating single strokes, and various nuances that made Buddy so special. Together with the videos, or by itself, this book is a must for any drummer's library.
In the 1950s Lee Friedlander arrived in New York and began work as a house photographer for Atlantic Records. Over the next two decades, he would create some of their most famous album covers, and his picture style--including portraits of Ray Charles, Aretha Franklin, Ruth Brown, Charles Mingus, John Coltrane, the Modern Jazz Quartet, and countless others--became forever associated with that golden era of American music. This book is Friedlander's tribute to the great musicians of the post-war years. It includes work from his trips through the Deep South, where he met Delta Blues musicians like Mississippi Fred McDowell, New Orleans marching bands and Nashville performers such as Johnny Cash, the Carter Sisters and Flatt & Scruggs. There are photographs of unknown bluegrass guitarists in Appalachia, photographs from tours with Count Basie's Orchestra, and images of Jazz geniuses like Thelonius Monk, Duke Ellington, Ornette Coleman and Yusef Lateef. Interviews by Friedlander with R&B legend Ruth Brown and modern jazz pioneer Steve Lacy are included along with an introduction by music impresario Joel Dorn.
Jelly's Blues vividly recounts the tumultuous life of Jelly Roll Morton (1890-1941), born Ferdinand Joseph Lamonthe to a large, extended family in New Orleans. A virtuoso pianist with a larger-than-life personality, he composed such influential early jazz pieces as "Kansas City Stomp" and "New Orleans Blues." But by the late 1930s, Jelly Roll Morton was nearly forgotten as a visionary jazz composer. Instead, he was caricatured as a braggart, a hustler, and, worst of all, a has-been. He was ridiculed by the white popular press and robbed of due royalties by unscrupulous music publishers. His reputation at rock bottom, Jelly Roll Morton seemed destined to be remembered more as a flamboyant, diamond-toothed rounder than as the brilliant architect of that new American musical idiom: Jazz.In 1992, the death of a New Orleans memorabilia collector unearthed a startling archive. Here were unknown later compositions as well as correspondence, court and copyright records, all detailing Morton's struggle to salvage his reputation, recover lost royalties, and protect the publishing rights of black musicians. Morton was a much more complex and passionate man than many had realized, fiercely dedicated to his art and possessing an unwavering belief in his own genius, even as he toiled in poverty and obscurity. An especially immediate and visceral look into the jazz worlds of New Orleans and Chicago, Jelly's Blues is the definitive biography of a jazz icon, and a long overdue look at one of the twentieth century's most important composers.
Pianists who are looking for new and exciting Christmas arrangements will love to see these renditions by Steve Calderone. Writing club date arrangements with a jazz flair, Calderone uses hip chord changes to bring new life to 10 traditional carols. Perfect for holiday parties.
A collection of studies composed for musicians who wish to extend themselves in improvisation, composition, sight reading and general musicianship skills. Each etude has a theoretical explanation, suggestions for performance and tips for practice routines
Once a thriving body of innovative and fluid music, jazz is now the victim of destructive professional and artistic forces, says Eric Nisenson. Corruption by marketers, appropriation by the mainstream, superficial media portrayal, and sheer lack of skill have all contributed to the demise of this venerable art form. Nisenson persuasively describes how the entire jazz "industry" is controlled by a select cadre with a choke hold on the most vital components of the music. As the listening culture has changed, have spontaneity and improvisation been sacrificed? You can agree or disagree with Nisenson's thesis and arguments, but as Booklist says, "his passion is engrossing."
Born in New Orleans in 1894, Warren "Baby" Dodds became one of the greatest drummers of that city's early jazz tradition. This lively autobiography, first published more than 30 years ago and long unavailable, is the result of a series of interviews Dodds taped with Larry Gara a few years before his death in 1959. With disarming candor, Dodds recalls his remarkable musical career, which spanned more than four decades and took him from New Orleans' famed Storyville district to Mississippi riverboats, to Chicago and New York. Dodds performed and recorded with some of the most famous musicians of his time - King Oliver, Kid Ory, Bunk Johnson, Jelly Roll Morton, Louis Armstrong and Sidney Bechet, among others - and his recollections of these men and the music they created add much to our knowledge of jazz history. Dodds also discusses his own style and philosophy of music, revealing himself as a dedicated artist who placed a high value on craftsmanship, versatility and originality, and whose love of the jazz world never waned. Features 12 pages of photos and a Dodds discography.
"...in the tradition of the best jazz autobiographies...a fascinating travelogue through the jazz world, filled with vivid images of Gene Krupa, Stan Kenton, Roy Eldridge and Billie Holiday...Her prose is as hip as her music." -The New York Times Book Review
Biography -- Music -- African American Studies
Long before the recognized birth of ragtime and jazz such hard-working travelers as Perry George Lowery blew their horns and led their bands throughout America, shaping the sound of modern music while performing in cities and towns across the nation.
An exhausting on-the-road life caused Lowery's name to fade from music history. Even after dazzling America as a marquee soloist and the leader of minstrel and circus bands, Lowery (1870-1942) ended up in an unmarked grave in Cleveland, Ohio.
This biography, the only book-length study of this groundbreaking African American cornet player, resurrects his name. It is the story of a quiet maverick who became the standard that shook American music.
Lowery came from hardscrabble black settlers in Kansas. His family created an environment in which he could develop his musical talent. His life follows the evolution of American music via the circus, minstrelsy, and the vaudeville stage. From 1895 through 1942, he made his name not only as a musician but also as an author, columnist, teacher, showman, and entrepreneur. H. C. Brown of the Boston Conservatory called him the "World's Greatest Colored Cornet Soloist."
A road-weary show veteran, Lowery landed a spot in the Ringling Brothers Sideshow Band at the height of the golden age of circuses.
At a time when the nation slammed the doors on African American travel and opportunity, his work with the Ringling Brothers changed the music scene. By 1910, as a result of his performances, there were fourteen circus acts that employed African American bands.
Clifford Edward Watkins is professor of music at North Carolina A&T State University in Greensboro. His work has been published in the Encyclopedia of African-American Culture and Feel the Spirit: Studies in Nineteenth-Century Afro-American Music.