12 outstanding arrangements for the beginning jazz ensemble written by experienced educational arrangers and composers. A variety of styles and tempos are included: swing, ballads, rock, pop, holiday, Latin and a great warm-up chart titled Loosen Up. This collection of charts is written for full instrumentation of 5 saxophones, 3 trumpets, 3 trombones, and 4 rhythm, but designed to sound full and complete with reduced instrumentation of just nine players - 2 Alto Saxes, Tenor Sax, 2 Trumpets, Trombone, Piano, Bass and Drums. Optional parts are available for C Flute, Tuba (doubles Bass part), Horn in F (doubles 1st Trombone), and Baritone Horn T.C. (doubles 1st Trombone). Rhythm section parts offer suggestions for voicings and rhythms and guitar chord frames are included to assist young guitarists. Solos are written out for improvised sections and there is plenty of full sounding ensemble. Conductor's book includes a full length CD recording. Titles are: Chattanooga Choo Choo * El Gato Gordo * James Bond Theme * A Jazzy Merry Christmas * The Judge * Li'l Darlin' * Loosen Up * One O'Clock Jump * Over the Rainbow * Peter Gunn Theme * The Pink Panther * Rock This Town.
These pieces display the innovative style of the late, great jazz master Bill Evans including his highly original harmonic and melodic concept, his creative sense of rhythmic subdivision and his free-flowing phrase construction. Titles are: Autumn Leaves
Django Reinhardt was arguably the greatest guitarist who ever lived, an important influence on Les Paul, Charlie Christian, B.B. King, Jerry Garcia, Chet Atkins, and many others. Yet there is no major biography of Reinhardt.
Now, in Django, Michael Dregni offers a definitive portrait of this great guitarist. Handsome, charismatic, childlike, and unpredictable, Reinhardt was a character out of a picaresque novel. Born in a gypsy caravan at a crossroads in Belgium, he was almost killed in a freak fire that burned half of his body and left his left hand twisted into a claw. But with this maimed left hand flying over the frets and his right hand plucking at dizzying speed, Django became Europe's most famous jazz musician, commanding exorbitant fees--and spending the money as fast as he made it. Dregni not only chronicles this remarkably colorful life--including a fascinating account of gypsy culture--but he also sheds much light on Django's musicianship. He examines his long musical partnership with violinist St phane Grappelli--the one suave and smooth, the other sharper and more dissonant--and he traces the evolution of their novel string jazz ensemble, Quintette du Hot Club de France. Indeed, the author spotlights Django's amazing musical diversity, describing his swing-styled Nouveau Quintette, his big band Django's Music, and his later bebop ensemble, as well as his many compositions, including symphonic pieces influenced by Ravel and Debussy and his unfinished organ mass inspired by Bach. And along the way, the author offers vivid snapshots of the jazz scene in Paris--colorful portraits of Josephine Baker, Bricktop, Louis Armstrong, Coleman Hawkins, and countless others--and of Django's vagabond wanderings around France, Europe, and the United States, where he toured with Duke Ellington.
Capturing the extraordinary life and times of one of the great musicians of the twentieth century, Django is a must-read portrait of a true original.
Scientists have only recently learned that the particles of an oxygen atom vibrate in a major key and that blades of grass 'sing." Europe's foremost jazz producer takes the reader on an exhilarating journey through Asia, Europe, Africa, and Latin America, exploring the musical traditions of diverse cultures and reaffirming what the ancients have always known--the world is sound, rhythm, and vibration. Berendt's book is alive with his experiences--living in Bali, studying at a Zen monastery in Kyoto, and encountering budding jazz stars in Indonesia, Japan, Europe, and the United States. Drawing from his friendships with composers and performers as well as his knowledge of new physics and Tantra, cybernetics, Sufism, and the works of Hermann Hesse, he reveals the importance of sound in shaping cultural and spiritual life worldwide.A tribute to the work of many of the greatest figures of our age--including Hans Kayser, Jean Gebser, Sufi Hazrat lnayat Khan, musicians John Coltrane and Ravi Shankar--Berendt's book suggests that hearing, rather than seeing, is the key to a more spiritual experience of consciousness. His discussion of sound in relation to mathematics, logic, sacred geometry, myth, and sexuality is practical as well as theoretical, offering readers a variety of techniques for developing the ear as an organ of spiritual perception.
Gary Giddins's magnificent book Visions of Jazz has been hailed as a landmark in music criticism. Jonathan Yardley in The Washington Post called it "the definitive compendium by the most interesting jazz critic now at work." And Alfred Appel, Jr., in The New York Times Book Review, said it was "the finest unconventional history of jazz ever written." It was the first work on jazz ever to win the National Book Critics Circle Award for Criticism.
Now comes Weather Bird, a brilliant companion volume to Visions of Jazz. In this superb collection of essays, reviews and articles, Giddins brings together, for the first time, more than 140 pieces written over a 14-year period, most of them for his column in the Village Voice (also called "Weather Bird"). The book is first and foremost a celebration of jazz, with illuminating commentary on contemporary jazz events, on today's top musicians, on the best records of the year, and on leading figures from jazz's past. Readers will find extended pieces on Louis Armstrong, Erroll Garner, Benny Carter, Sonny Rollins, Dave Brubeck, Ornette Coleman, Billie Holiday, Cassandra Wilson, Tony Bennett, and many others. Giddins includes a series of articles on the annual JVC Jazz Festival, which taken together offer a splendid overview of jazz in the 1990s. Other highlights include an astute look at avant-garde music ("Parajazz") and his challenging essay, "How Come Jazz Isn't Dead?" which advances a theory about the way art is born, exploited, celebrated, and sidelined to the museum.
A radiant compendium by America's leading music critic, Weather Bird offers an unforgettable look at the modern jazz scene.
Written by one of jazz journalism's best and most knowledgeable critics, this book explores the full swing spectrum from its origins in the 1920s through its current retro resurgence. Features intriguing capsule biographies of 400 of the best musicians, from classic artists like Duke Ellington and Benny Goodman to retro swingers such as the Brian Setzer Orchestra and Lavay Smith and the Red Hot Skillet Lickers, with each artist's most notable CDs reviewed and rated, plus info on film appearances, books, and hard-to-find recordings. Includes insightful essays that explore this music's cultural impact, fun photos and swing memorabilia.
A finalist for the National Book Critics Circle AwardBilly Strayhorn (1915-67) was one of the greatest composers in the history of American music, the creator of a body of work that includes such standards as Take the 'A' Train. Yet all his life Strayhorn was overshadowed by his friend and collaborator Duke Ellington, with whom he worked for three decades as the Ellington Orchestra's ace songwriter and arranger. A definitive corrective (USA Today) to decades of patchwork scholarship and journalism about this giant of jazz, David Hajdu's Lush Life is a vibrant and absorbing account of the lush life that Strayhorn and other jazz musicians led in Harlem and Paris. While composing some of the most gorgeous American music of the twentieth century, Strayhorn labored under a complex agreement whereby Ellington took the bows for his work. Until his life was tragically cut short by cancer and alcohol abuse, the small, shy composer carried himself with singular style and grace as one of the few jazzmen to be openly homosexual. Lush Life has sparked an enthusiastic revival of interest in Strayhorn's work and is already acknowledged as a jazz classic.
Along with Rudy Vallee and Bing Crosby, Russ Columbo was the model crooner of the late 1920s, with a smoothly sentimental ballad style. His mellifluous but melancholy voice spoke to many Americans still drifting in the malaise after World War I and at the beginning of the depression. But unlike most crooners, Columbo not only wrote and sang songs about lovestruck dreamers but also lived out such stories, unable or unwilling to separate art from life. Based on material from the singers personal effects, including original music transcripts, photographs, diaries, and love letters, the biography also includes concise histories of the most important crooners and the controversies their theatrics often elicited.