{"title":"Jazz Perspectives","description":"\u003cp\u003eDelve into the captivating world of Jazz music with this essential book series. Explore the history, culture, and key figures that shaped this influential genre. Perfect for students and seasoned fans alike.\u003c\/p\u003e","products":[{"product_id":"ellington-uptown-book-john-howland-9780472033164","title":"Ellington Uptown","description":"During the early decades of the twentieth century symphonic jazz involved an expansive family of music that emulated, paralleled, and intersected the jazz tradition. Though now largely forgotten, symphonic jazz was both a popular music -- arranging tradition and a repertory of hybrid concert works, both of which reveled in the mildly irreverent interbreeding of white and black and high and low music. While the roots of symphonic jazz can be traced to certain black ragtime orchestras of the teens, the idiom came to maturation in the music of 1920s white dance bands. Through a close examination of the music of Duke Ellington and James P. Johnson, Ellington Uptown uncovers compositions that have usually fallen in the cracks between concert music, jazz, and popular music. It also places the concert works of these two iconic figures in context through an investigation both of related compositions by black and white peers and of symphonic jazz---style arrangements from a diverse number of early sound films, Broadway musicals, Harlem nightclub floor shows, and select interwar radio programs. Both Ellington and Johnson were part of a close-knit community of several generations of Harlem musicians. Older figures like Will Marion Cook, Will Vodery, W. C. Handy, and James Reese Europe were the generation of black musicians that initially broke New York entertainment's racial barriers in the first two decades of the century. By the 1920s, Cook, Vodery, and Handy had become mentors to Harlem's younger musicians. This generational connection is a key for understanding Johnson's and Ellington's ambitions to use the success of Harlem's white-oriented entertainment trade as a springboard for establishing a black concert music tradition based on Harlem jazz and popular music.","brand":"WoB","offers":[{"title":"GB \/ NEW \/ GARDNERS","offer_id":49729169391889,"sku":"NGR9780472033164","price":0.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0784\/4072\/6801\/files\/0472033166.jpg?v=1770892217"},{"product_id":"music-of-django-reinhardt-book-benjamin-givan-9780472034086","title":"The Music of Django Reinhardt","description":"An in-depth analysis of the music and life of a gypsy music legend","brand":"WoB","offers":[{"title":"GB \/ VERY_GOOD \/ INTERNAL","offer_id":49887315656977,"sku":"GOR012937790","price":0.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0784\/4072\/6801\/files\/0472034081.jpg?v=1750741278"},{"product_id":"dameronia-book-paul-combs-9780472035632","title":"Dameronia","description":"\u003cp\u003e\u003ci\u003eDameronia\u003c\/i\u003e is the first authoritative biography of Tadd Dameron, an important and widely influential figure in jazz history as one of the most significant composers and arrangers of jazz, swing, bebop, and big band. He arranged for names like Count Basie, Artie Shaw, Jimmie Lunceford, and Dizzy Gillespie and played with Bull Moose Jackson and Benny Golson. This book sets out to clarify Dameron's place in the development of jazz in the post-World War I era. It also attempts to shed light on the tragedy of his retreat from the center of jazz activity in the 1950s. By tracing Dameron's career, one finds that until 1958, when he was incarcerated for drug related offenses, he was at the forefront of developments in jazz, sometimes anticipating trends that would not develop fully for several years. Dameron was also an important influence on several high-profile musicians, including Miles Davis, Benny Golson, and Frank Foster. Dameron was a very private man, and while in some aspects of his life he will probably remain an enigma, this book manages to give an intimate portrait of his life at a couple of key stages: the height of his career in 1949 and the brief but productive period between his release from prison and his death.\u003c\/p\u003e","brand":"WoB","offers":[{"title":"US \/ GOOD \/ SBYB","offer_id":50138698678545,"sku":"CIN0472035630G","price":0.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0784\/4072\/6801\/files\/0472035630.jpg?v=1751229669"},{"product_id":"rhythm-is-our-business-book-eddy-determeyer-9780472033591","title":"Rhythm is Our Business","description":"\u003cp\u003eIn the 1930s, swing music reigned, and the Jimmie Lunceford Orchestra was the hottest and hippest attraction on the black dance circuits. Known for its impeccable appearance and infectious rhythms, Lunceford's group was able to out-swing and outdraw any band. For ten consecutive years, they were the best-loved attraction at Harlem's famed Apollo Theater. The group's hit recordings sold in the hundreds of thousands, and Jimmie Lunceford's band rivaled Ellington's for popularity in the African American community.\u003c\/p\u003e\u003cp\u003eJimmie Lunceford was also an innovator, elevating big-band showmanship to an art and introducing such novel instruments as the electric guitar and bass. The band's arrangements, written by Sy Oliver, Edwin Wilcox, Gerald Wilson, Billy Moore, Jr., and Tadd Dameron, were daring and forward looking, influencing generations of big-band writers.\u003c\/p\u003e\u003cp\u003e\u003ci\u003eRhythm Is Our Business\u003c\/i\u003e traces the development of the Jimmie Lunceford Orchestra from its infant days as a high school band in Memphis to its record-breaking tours across the United States, Canada, and Europe. The book also unveils Lunceford's romantic yet ill-fated involvement with Yolande Du Bois, daughter of famous writer and opinion leader W.E.B. Du Bois. And by reconstructing Lunceford's last day, the book offers a glimpse into the mysteries surrounding the leader's untimely death. This is essential reading for anyone interested in the history and legacy of swing.\u003c\/p\u003e\u003cp\u003eEddy Determeyer has been a freelance music journalist for more than three decades. In 1984 Determeyer wrote a seven-part series on Jimmie Lunceford for the Dutch magazine \u003ci\u003eJazz Nu\u003c\/i\u003e. Determeyer has written thousands of articles on music for a variety of Dutch publications and is the author of several books. He currently produces the \u003ci\u003eHoliday for Hipsters\u003c\/i\u003e radio show for Dutch station Concertzender.\u003c\/p\u003e\u003cp\u003eCover image: Lunceford brass section, ca. late 1936. Left to right: Paul Webster, Eddie Durham, Sy Oliver, Elmer Crumbley, Eddie Tompkins, Russell Bowles. (Bertil Lyttkens Collection)\u003c\/p\u003e","brand":"WoB","offers":[{"title":"GB \/ VERY_GOOD \/ INTERNAL","offer_id":50265148948753,"sku":"GOR013904213","price":0.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0784\/4072\/6801\/files\/047203359X.jpg?v=1750814478"},{"product_id":"lee-konitz-book-andy-hamilton-9780472032174","title":"Lee Konitz","description":"With a foreword by Joe Lovano, an oral biography of the preeminent alto saxophonist of cool jazz","brand":"WoB","offers":[{"title":"GB \/ VERY_GOOD \/ INTERNAL","offer_id":50276865900817,"sku":"GOR006824022","price":0.0,"currency_code":"GBP","in_stock":true},{"title":"US \/ GOOD \/ SBYB","offer_id":50352209002769,"sku":"CIN0472032178G","price":0.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0784\/4072\/6801\/files\/0472032178.jpg?v=1750741271"},{"product_id":"open-the-door-book-william-r-bauer-9780472097913","title":"Open the Door","description":"Betty Carter's lifelong influence on the music world is unparalleled. Her contributions to music as a jazz singer, composer, arranger, and teacher have fostered a generation of musicians and fans. \u003cp\u003e\u003c\/p\u003eThis book looks at Betty Carter's contribution to the music world and delves behind the scenes to show Carter's growth as a businesswoman who took charge of her career. \u003cp\u003e\u003c\/p\u003eDrawing upon revealing interviews with Carter, the author shows how ever-changing shifts in the music industry affected the singer's life and influenced her music. Bauer shows through his analysis of her musical examples how Carter absorbed various musical influences, from Sarah Vaughan and Billie Holiday to Miles Davis, and made them her own. From her apprenticeship with Gladys Hampton, Carter grew to become a shrewd dealer who learned to do her own contracting, A\u0026amp;R, and marketing and distribution. By chronicling one of jazz's great singers and composers, the book sheds light on how early jazz musicians got their work to the public and how this process has changed during the past fifty years. \u003cp\u003e\u003c\/p\u003eWilliam R. Bauer is Assistant Professor of Music at Rutgers University-Newark, where he directs the Rutgers Newark Student Jazz Ensemble, MOSAIC, and teaches in the Jazz History and Research program. He has written several articles about jazz vocal performance and scat singing, as well as various aspects of music education. 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The book also unveils Lunceford's romantic yet ill-fated involvement with Yolande Du Bois, daughter of famous writer and opinion leader W.E.B. Du Bois. And by reconstructing Lunceford's last day, the book offers a glimpse into the mysteries surrounding the leader's untimely death. This is essential reading for anyone interested in the history and legacy of swing.\u003c\/p\u003e\u003cp\u003eEddy Determeyer has been a freelance music journalist for more than three decades. In 1984 Determeyer wrote a seven-part series on Jimmie Lunceford for the Dutch magazine \u003ci\u003eJazz Nu\u003c\/i\u003e. Determeyer has written thousands of articles on music for a variety of Dutch publications and is the author of several books. He currently produces the \u003ci\u003eHoliday for Hipsters\u003c\/i\u003e radio show for Dutch station Concertzender.\u003c\/p\u003e\u003cp\u003eCover image: Lunceford brass section, ca. late 1936. 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At eighteen, after a short stint with Art Blakey's Jazz Messengers, Morgan joined Dizzy Gillespie's orchestra, where he stayed until the group disbanded in 1958. A return to Blakey brought Morgan new opportunities, including his first successful attempts at composition. But however much his time with Blakey helped to advance his playing and writing, his boss's and his bandmates' destructive drug habits exerted just as strong an influence. Within three years, Morgan would be back home in Philadelphia, strung out on heroin and penniless. \u003cp\u003e\u003c\/p\u003e\u003cbr\u003eMorgan's return to music in the early to mid-sixties witnessed a tremendous evolution in his playing. Formerly a virtuoso in the model of his idol, Clifford Brown, Morgan brought to his critically acclaimed Blue Note records of the era an emotionally charged, muscular tone, full of poise and control. But it was with the record \u003ci\u003eSidewinder\u003c\/i\u003e, recorded in 1963, that Morgan found his greatest fame and commercial success, due to the infectious groove of the title tune. By the time of his death, at thirty-three---murdered in a New York City club by his girlfriend during a gig---Morgan had begun a new phase of his career, experimenting with freer-forms of musical expression. \u003cp\u003e\u003c\/p\u003e\u003cbr\u003eJeff McMillan's \u003ci\u003eDelightfulee\u003c\/i\u003e is the first biography to seriously examine Morgan's vast contributions to jazz, both as a performer and as a composer. 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