{"title":"Duncan Heining","description":"","products":[{"product_id":"mosaics-book-duncan-heining-9781800502932","title":"Mosaics","description":"Graham Collier's career in jazz lasted over five decades. He was a bassist, a band-leader, a composer, an educator and an author, who wrote extensively about the music. His working life was littered with 'firsts'. Amongst his many achievements, he was the first British jazz musician to study at the Berklee School of music in Boston and the first to receive an Arts Council grant. In 1985, Collier began teaching at the Royal Academy of Music, where he later established the first full-time jazz degree course in the UK in 1987. Mosaics draws extensively on Collier's personal archive, as well as on interviews with fellow musicians, ex-students and colleagues from the Royal Academy of Music. It locates Collier and his work within the social and cultural changes which occurred during his life and, particularly, in relation to developments in British and European jazz of the 1960s and 70s. Collier's work as a composer-bandleader represented an attempt to resolve the paradoxes inherent in jazz between composition and improvisation, familiarity and spontaneity and change and tradition. In this regard, Mosaics compares Collier's work with other composers such as Duke Ellington, Charles Mingus, Gil Evans, Mike Westbrook, Stan Tracey, Barry Guy and Butch Morris. Throughout, Collier emerges as a contradictory figure falling between several different camps. He was never an out-and-out musical, cultural or political radical but rather an individualist continually forced to confront the contradictions in his own position - a musical outsider working within a marginalised area of cultural activity; a gay man operating in a very male area of the music business and within heterosexist culture in general; a man of working class origins stepping outside traditionally prescribed class boundaries; and a musician-composer seeking individual solutions to collective problems of aesthetic and ethical value.","brand":"WoB","offers":[{"title":"GB \/ NEW \/ GARDNERS","offer_id":49745436344593,"sku":"NGR9781800502932","price":0.0,"currency_code":"GBP","in_stock":true},{"title":"US \/ NEW \/ INGRAM","offer_id":51295684788497,"sku":"NIN9781800502932","price":0.0,"currency_code":"GBP","in_stock":false},{"title":"GB \/ NEW \/ INGRAM","offer_id":52454259491089,"sku":"NLS9781800502932","price":0.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0784\/4072\/6801\/files\/1800502931.jpg?v=1750766645"},{"product_id":"trad-dads-dirty-boppers-and-free-fusioneers-book-duncan-heining-9781845534059","title":"Trad Dads, Dirty Boppers and Free Fusioneers","description":"The 1960's was a decade of major transformation in British Jazz and, of course, in British popular music in general. The British Jazz scene had been, arguably, the first outside America to assert its independence. At first slowly but with gathering speed, it began to define an identity that drew increasingly on sources from within its own culture, as well as those from African-American jazz, and from its shared European cultural heritage. This process would in itself prove highly influential, as French, Italian, German and Scandinavian scenes began to follow suit. The nature of Jazz, its scope and potential were re-examined and reformulated in this period with important implications for its musicians and its audience.  But the external forces acting upon the UK Jazz scene were both global and local in origin. On the one hand, Jazz was not immune from the economic, social and cultural changes that occurred following the Second World War and which continued apace in the 1960's. Its development was both affected by and reflected those changes and the new ways of thinking and acting that arose from them. On the other hand, wider global economic and political changes, in particular in America, would continue to have a major impact on British Jazz. For these reasons, any history of British Jazz in the 1960's must seek to explain these trends and describe which were global and which were local in origin. It must show how forces outside the music acted upon it and both created and limited its potential for development. But it must also define the personalities, as well as the context in which they functioned. Jazz is made by its musicians and is ultimately changed by them. What were the records that they made which defined the era? From where did their inspiration arise? And how did their audience respond?  Trad Dads, Dirty Boppers and Free Fusioneers follows a number of themes  -  class, education, drugs and addictions, relationships with Rock and Blues, race and immigration, gender issues, the arts, politics and that sixties buzzword, 'freedom'. In doing so, the book challenges many conventional understandings of British Jazz and its scene. This is the definitive history of British Jazz  -  and the context in which it was defined - the 1960s.","brand":"WoB","offers":[{"title":"GB \/ VERY_GOOD \/ INTERNAL","offer_id":49946772078865,"sku":"GOR009392377","price":0.0,"currency_code":"GBP","in_stock":true},{"title":"US \/ NEW \/ INGRAM","offer_id":51057850188049,"sku":"NIN9781845534059","price":0.0,"currency_code":"GBP","in_stock":false},{"title":"GB \/ GOOD \/ INTERNAL","offer_id":51922389041425,"sku":"GOR014463402","price":0.0,"currency_code":"GBP","in_stock":false},{"title":"GB \/ NEW \/ INGRAM","offer_id":52617932308753,"sku":"NLS9781845534059","price":0.0,"currency_code":"GBP","in_stock":true},{"title":"GB \/ LIKE_NEW \/ INTERNAL","offer_id":53115219050769,"sku":"GOR014749966","price":0.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0784\/4072\/6801\/files\/1845534050.jpg?v=1750898546"},{"product_id":"and-did-those-feet-six-british-jazz-composers-book-duncan-heining-9781916320666","title":"And Did Those Feet... Six British Jazz Composers","description":"The idea for this collection of profiles of British jazz composers came about for two reasons. Firstly, several people involved in the British jazz scene had proposed separately that I might write biographies on three of the artists featured in And Did Those Feet.... Much though each one deserved their own full biography, I felt unable to oblige. Given the state of this small corner of the publishing industry, any such book would be unlikely to sell in sufficient quantities to warrant the outlay of money, time and resources that would be involved. That said, it occurred to me that a series of detailed career retrospectives on each of these subjects in a single volume might at least do some justice to their rich and varied careers in British jazz. Moreover, such a book would not preclude others picking up the mantle later and producing specific biographies on any of these major figures in the music.     The second reason arose from my realisation that the fiftieth anniversary of the publication of Ian Carr's seminal Music Outside (Latimer 1973\/Northway 2008) was drawing near. The composers, bandleaders and improvisers Ian discussed, in the main, went on to long and hugely productive careers and it seemed that it was high time to look again at the work of several of those artists in depth. Additionally, these musicians have had to chart very different waters from those described by Carr in 1973. One important criterion for inclusion was, therefore, that the artists discussed here had all had careers that stretched into, at least, the late part of the last millennium. The second criteria was that we would focus on musicians, who were both band-leaders and composers.     The author wishes to thank in particular Mike Westbrook, Mike Gibbs and Barry Guy for their participation in this book but also for the care and attention they have given in reading initial drafts of their chapters. I know that their comments have made this a better book. I also want to thank Kate Westbrook and Maya Homburger, who also read the chapters on their respective partners. In the case of Mike Gibbs, our mutual friend Hans Koller also read an early draft and provided supportive feedback.      A number of people have given their time for interview, though I cannot thank them all, I would single out Gabriel and Christian Garrick, Art Themen and Norma Winstone who read and commented upon the Michael Garrick chapter; Jonathan Mayer (and his mother) for checking the chapter on John Mayer; and Julie Tippetts and Lisa Tregale for doing the same for the chapter on Keith Tippett. They have made this biographer's task a far less lonely one.      I must also thank my wife, Annie. Not only did she read and offer advice on certain sections but, in a way, was forced to live this book with me. That is a big ask and my love and thanks to her as always. Finally, this volume would, nevertheless, never have seen the light of day were it not for the vision and acumen of Jazz in Britain founder\/proprietor John Thurlow and Pete Woodman, who took on the unenviable role of proof-reader for this project. Some people in this world wait for things to happen, others make them happen.      This book is our contribution to the British and European jazz world that these pioneers helped create. We hope you enjoy it.","brand":"WoB","offers":[{"title":"GB \/ LIKE_NEW \/ INTERNAL","offer_id":50265925386513,"sku":"GOR013904400","price":0.0,"currency_code":"GBP","in_stock":false},{"title":"GB \/ VERY_GOOD \/ INTERNAL","offer_id":52152993120529,"sku":"GOR014495643","price":0.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0784\/4072\/6801\/files\/191632066X.jpg?v=1750727076"},{"product_id":"mosaics-book-duncan-heining-9781781792636","title":"Mosaics","description":"Graham Collier's career in jazz lasted over five decades. He was a bassist, a band-leader, a composer, an educator and an author, who wrote extensively about the music. His working life was littered with 'firsts'. Amongst his many achievements, he was the first British jazz musician to study at the Berklee School of music in Boston and the first to receive an Arts Council grant. In 1985, Collier began teaching at the Royal Academy of Music, where he later established the first full-time jazz degree course in the UK in 1987. Mosaics draws extensively on Collier's personal archive, as well as on interviews with fellow musicians, ex-students and colleagues from the Royal Academy of Music. It locates Collier and his work within the social and cultural changes which occurred during his life and, particularly, in relation to developments in British and European jazz of the 1960s and 70s. Collier's work as a composer-bandleader represented an attempt to resolve the paradoxes inherent in jazz between composition and improvisation, familiarity and spontaneity and change and tradition. In this regard, Mosaics compares Collier's work with other composers such as Duke Ellington, Charles Mingus, Gil Evans, Mike Westbrook, Stan Tracey, Barry Guy and Butch Morris. Throughout, Collier emerges as a contradictory figure falling between several different camps. He was never an out-and-out musical, cultural or political radical but rather an individualist continually forced to confront the contradictions in his own position - a musical outsider working within a marginalised area of cultural activity; a gay man operating in a very male area of the music business and within heterosexist culture in general; a man of working class origins stepping outside traditionally prescribed class boundaries; and a musician-composer seeking individual solutions to collective problems of aesthetic and ethical value.","brand":"WoB","offers":[{"title":"GB \/ NEW \/ INGRAM","offer_id":52120297636113,"sku":"NLS9781781792636","price":0.0,"currency_code":"GBP","in_stock":true},{"title":"US \/ NEW \/ INGRAM","offer_id":52754671993105,"sku":"NIN9781781792636","price":0.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0784\/4072\/6801\/files\/9781781792636.jpg?v=1757425125"}],"url":"https:\/\/www.worldofbooks.com\/collections\/author-books-by-duncan-heining.oembed","provider":"World of Books ","version":"1.0","type":"link"}