Customer Reviews (2)

Ellington for beginners
This excellent study of several Ellington's classical composition is very interesting for us who are not musical scholars but want to gain some insight in the mechanics behind Ellington's art. I suppose it will also serve as a great introduction to Ellington for musicologists who are not yet acquainted with his work.

Good and less good about this book
The good thing about this book is, that it tries to describe the style ofEllington through musical analysis documented through transcriptions innotes, and it shows how Ellington was influenced by blues, ragtime and TinPan Alley. We are though not told everything about Ellington as composer,as one might gather from the title. It is strange that the author doesn'tmention the tradition of categorization of the various styles of Ellington,nor do he explains, why he has ignored this tradition. The book must beunderstood as a contribution to the full investigation of Ellington ascomposer.

Jørgen Mathiasen, Musicologist and jazzhistorian, ... Read more

Book Description

A complete musical analysis of one of the greatest jazz masters of all time. This comprehensive text studies and analyzes the works, provides transcriptions of the solos, and much more. For all music enthusiasts. Songs covered include: All Blues - Four - Freddie Freeloader - My Funny Valentine - Nardis - So What - Solar - Stella by Starlight - Tune Up - and more!

... Read more

Customer Reviews (1)

Cool!
This book is for composers and improvisers who are interested in creating new music and are searching for tools and knowledge to do so.The author shows the musical elements - melody, rhythm, harmony and tone color - in their purest form and suggests ways in which they can be organized.Provides the needed materials, formats, and examples. ... Read more

Product Description
none ... Read more

Book Description
Bill Boyd works his usual magic with these simple, yet truly jazzy little solos for the young beginner. Each piece has a catchy title and "feels good" to play. The jazz flavor Bill creates in each solo is a classic hallmark of his creative genius - easy-to-play pieces that give beginning performers a real taste of jazz style and flair. Various meters, tempos; C Major; alternating hands melodies; fixed position; Reading range: middle of the keyboard range; Treble and bass staff lines and spaces; 12 pieces: Bass Guitar Blues; Bass Guitar Rock; Blues Parade; Follow The Leader; Imitation; Jazz Time; Love Theme For A TV Series; A Minor Effort; Smooth Groove; Take A Rest; Tick Tock The Jazz Clock; Triple Play.Perf. Time: less than 1 minute for each solo. ... Read more

Amazon.com
Do "jazz greats" belong with the likes of Bartók and Puccini?The editors of Phaidon's 20th-Century Composers series think so. This readable volume surveys the careers of a dozen influential figures in the development of jazz, from Buddy Bolden and Sidney Bechet to Wynton Marsalis and Keith Jarrett. Author David Perry avoids an overly analytical approach to a largely improvisational art, while still marking the ebb and flow of jazz style over the decades. When it comes to the lives of his "greats," he is steadfastly honest in recounting their failings (personal and musical) without judgment. The only quibble one might have with Perry's approach to his subject is that he seems to have discounted the undisputed importance of a number of non-black contributors to the growth and development of this music.Book Description
Do "jazz greats" belong with the likes of Bart+k and Puccini?The editors of Phaidon's 20th-Century Composers series think so. This readable volume surveys the careers of a dozen influential figures in the development of jazz, from Buddy Bolden and Sidney Bechet to Wynton Marsalis and Keith Jarrett. Author David Perry avoids an overly analytical approach to a largely improvisational art, while still marking the ebb and flow of jazz style over the decades. When it comes to the lives of his "greats," he is steadfastly honest in recounting their failings (personal and musical) without judgment. The only quibble one might have with Perry's approach to his subject is that he seems to have discounted the undisputed importance of a number of non-black contributors to the growth and development of this music. ... Read more

Customer Reviews (1)

Right on Mark
Perry does an excellent job of telling a disinterested life of each of the musicians he proflies, from Sachmo to Miles.The plates are great.Anyone looking for a biography on the great jazz musicians should definately buy this one. ... Read more

Book Description
Bill Boyd's masterful craftsmanship is readily apparent in these 11 pieces. Slightly easier than his intermediate-level books, Jazz Delights and Jazz Fest, this solo collection for the early-intermediate pianist explores a variety of jazz styles from blues to swing. Bill's original solos lay out essential style elements in pieces that "fit" a developing pianist's technique easily, providing students with ample opportunity to develop finesse through enticing melodies and subtle harmonies. An imaginative collection of pieces, sure to please any age. Keys: full range; Reading: full range of keyboard; syncopation; 2 - 4 page solos; 24 pages. ... Read more

Book Description
With his essays on jazz for a variety of publications, including The Atlantic, 7 Days, and The Village Voice, Francis Davis has established himself as a major voice in jazz criticism.In the Moment, his first collection, published in 1986, won praise from both the jazz and general press. down
beat called it "a collection as useful to future generations for how it captures this moment in musical evolution as for how it alters our vision now." The New York Times Book Review compared it to "a well-blown solo."
In Outcats, Davis presents a new series of critical essays, artist profiles, and pieces that skillfully combine both modes. In the 1950s,Paul Knopf, a now forgotten and even then obscure pianist, coined the word "outcat" to describe himself as "an outcast and a far-out cat combined."In
using a word originally meant to convey jubilant defiance, Davis recognizes its undertones of alienation and cultural exile.Some of his subjects are outcats because of their politics, drug problems, or musical iconoclasm.But Davis defines all jazz performers--"including the most famous,
influential, and housebroken"--as outcats, by virtue of the scant recognition given them by contemporary society.
Like In the Moment, Outcats is an indispensible guide to the best in recent and reissued jazz.Davis illuminates the unusual aspects of famous performers--Duke Ellington composing an opera, for example, or Miles Davis talking about his move into pop--while deftly analyzing their music.His
subjects range from the mainstream to the experimental, from the familiar to the forgotten; from Frank Sinatra, Billie Holiday, and Wynton Marsalis to Cecil Taylor, John Zorn, and Sun Ra.Whether challenging the portrayal of Charlie Parker in Bird or admitting to his own fondness for the rock
singer Bobby Darin, Davis writes with wit, sensitivity, and candor.As Pauline Kael describes him, "He gets at what he responds to and why--you feel you're reading an honest man." ... Read more

Customer Reviews (1)

Great essays on the fundamentals of jazz
Regardless of your familiarity with jazz history, its people or its forms, this collection of essays is great for the fan or the first time listener interested in learning more. Duke Ellington, Miles Davis, Gil Evans, and Lester Young get scholarly appreciations, but so do Sun Ra, Henry Threadgill, Steve Lacy, and -- really showing the author's capacity for inclusiveness -- Bobby Darin, which isn't as farfetched as it seems. Essays are grouped into composers, instrumentalists, and vocalists, with a fourth section devoted to historical essays, encouraging the interested reader to explore more of a particular style. Davis assumes the reader will know a little about jazz, but his enthusiasm for his subject matter makes this book lively reading about America's most original musical form. ... Read more

Book Description
When jazz musicians get together, they often delight one another with stories about the great, or merely remarkable, players and singers they've worked with.One good story leads to another until someone says, "Somebody ought to wrie these down!"With Jazz Anecdotes, somebody finally has. Drawing on a rich verbal tradition, bassist and jazz writer Bill Crow has culled stories from a wide variety of sources, including interviews, biographies and a remarkable oral history collection, which resides at the Institute of Jazz Studies at Rutgers University, to paint fascinating and very human portraits of jazz musicians.Organized around general topics--teaching and learning, life on the road, prejudice and discrimination, and the importance of a good nickname--Jazz Anecdotes shows the jazz world as it really is.In this fully updated edition, which contains over 150 new anecdotes and new topics like Hiring and Firing, Crow regales us with new stories of such jazz greats as Benny Goodman, Chet Baker, Ravi Coltrane, Buddy Rich and Paul Desmond.He offers extended sections on old favorites--Louis Armstrong, Duke Ellington, Coleman Hawkins and Lester Young, and the fabulous Eddie Condon, who seems to have lived his entire life with the anecdotist in mind. With its unique blend of sparkling dialogue and historical and social insight, Jazz Anecdotes will delight anyone who loves a good story.It offers a fresh perspective on the joys and hardships of a musician's life as well as a rare glimpse of the personalities who created America's most distinctive music. ... Read more

Customer Reviews (9)

Q - "How Late Does The Band Play?"
A - "About half a beat behind the drummer."Or.Q - "How can a jazz musician end up with a million dollars?"A - "Start with two million." Or. Q - "What do you call a person that likes to hang around with musicians?" A - "A drummer."

Jazz Anecdotes by Bill Crow is much more than a collection of jokes skewed towards a jazz musician's cattywhumpus view of the world.It's even more than a collection of colorful war stories about life on the road, playing lousy clubs, and trying to keep a band together.It's really an insider's look at the world of jazz, and a wonderful one.If nothing else emerges from this book certainly one learns that only love could keep a jazz musician playing, given the obstacles of this lifestyle.

Fact and myth seem to bob and weave through these tales, which is perhaps appropriate.I am a little uncertain about Lester Young's claim that he started playing the sax only after giving up on the drums because he noticed that when a gig was done and girls were milling around the bandstand, the sax players quickly packed up their horns and left with girls on their arms while the drummer desperately tried to pack up and when he was done - left empty handed.

Jazz Anecdotes is rich in content, interesting for novice and aficionado alike.The careers of great individuals and the storied histories of seminal bands are examined in detail.What's fun is that some of the "legend" is worn off, replaced by the person.Jazz truly is America's greatest contribution to world culture, we should all be proud of it.It's worth remembering that the music is not a monolithic entity but an organic, dynamic thing - the product of a diverse and eccentric group of splendid individuals.Bill Crow's book takes you inside that world.

A Must-Read Jazz Book
I love every moment since I read this book. This book would take u on forever even if u're a craver for jazz music. It tells all the details from Wynton, Duke, Miles, Hirt, Coltrane, Bird, all of 'em right here on 1 book. Go get it or u'll miss out a world of good music.

Great entertainment
Great entertainment from the the first to the last page, even if you aren't a jazz buff. Mr. Crow was a bassist and he must have heard most of those anecdotes on the grapevine.

Superb book!
For anyone into jazz, if you don't have a copy of this book, you're in for a rare treat.Wonderfully captures the essence of jazz and jazz musicians.Great stories, unique personalities, and guaranteed a laugh a minute.Caution: Don't read it while you're eating and/or drinking...you'll probably choke to death.Thanks for a very special book Bill!

Entertaining -- and a good intro to jazz.
I bought this book for my son, whoÕs a musician, but I heard him laughing so much as he was reading it that I asked to borrow it. Even if youÕre not a musician, or even very knowledgeable about jazz, this is a really entertaining book. Almost every chapter has at least a couple of laugh-out-loud lines. It also gives you a good feel for what the lives of jazz musicians were like Ð the camaraderie and competition, the inventiveness, the struggles over money, the often terrible working (and especially recording) conditions. There are also poignantly funny stories about problems with drugs and alcohol, and even about the racial prejudice that musicians had to put up with. My favorite story in the book was about Bessie Smith storming out to confront a group of Klansmen gathering outside the tent where she was working. Peppering them with curses, she ordered them to "pick up them sheets and run." They did. Great woman. There are lots of great women (and men Ð mostly men) in this book. I thoroughly enjoyed getting to know a little bit about them. ... Read more

Amazon.com
In the early '50s, Clifford Brown was one of the most dominanttrumpeters of the Hard Bop period. Nick Catalano, professor of literature andmusic at Pace University, has written the first book on this important artist,and it's a winner. "In addition to his artistic achievements, Brown exudedvirtue and magnanimity," Catalano writes. "He wasn't just a 'nice guy'; he wasmuch more than that." At a time when jazzmen where generally portrayed as drugaddicted hustlers, Brown was the exception. He was college educated, rarelysmoked or drank, and was a positive role model to other musicians. Had he notbeen killed in a tragic car accident at the tender age of 25, he may havealtered the future of jazz. As it is, he has left a lasting impression on theart form.

Beginning with his nurturing childhood in Wilmington, Delaware, Catalanochronicles Brown's extraordinary rise as a Dizzy Gillespie-inspired upstart, toa seasoned professional who continued to practice and play R&B dates despiteterrible pain from a near-fatal car accident. Catalano highlights Brown's workwith heavyweights like Lionel Hampton, Quincy Jones, John Lewis, and Art Blakey,and his analyses of Brown's crisp trumpet style and compositions, including "JoySpring" and "Dahooud," are detailed and entertaining. At the summit of hiscareer, while co-leading a trailblazing combo that featured Max Roach and SonnyRollins, Brown perished on the rain-soaked Pennsylvania Turnpike on the way to agig in Chicago. Catalano shows that, even in death, his influence lives on intrumpeters like Freddie Hubbard and Wynton Marsalis, and in the Tony Award-winning Broadway play, Sideman. If there is such a thing as a jazz saint,Clifford Brown was it. --Eugene Holley Jr.Book Description
Although he died in a tragic car accident at twenty-five, Clifford Brown is widely considered one of the most important figures in the history of jazz--now, in this absorbing work, Nick Catalano gives us the first major biography of this musical giant.Based on extensive interviews with Brown's family, friends, and fellow jazz musicians, this is a fascinating portrait of a remarkable musician. Catalano colorfully depicts Brown's life, showing how he developed a dazzling technique that few jazz players have equaled. We read of his meteoric rise in Philadelphia, his tour of Europe with Lionel Hampton, and his formation of the Brown-Roach Quintet with prominent drummer Max Roach. The book also features an informed analysis of Brown's major recorded solos, highlighting his originality and revealing why he remains such a great influence today. ... Read more

Customer Reviews (7)

The Best History of Clifford Available
To my knowledge, this is the only full biography of Clifford Brown ever written.It covers his entire life, from his birth, through his Blue Flame days, all the way to his historical work with Max Roach.The book also includes 8 or so pages of pictures in the middle, which is great for those of you whom haven't seen brownie, and a nearly complete discography in the back of the book.Simply put, Clifford Brown is one of the best jazz trumpeters of all time (my favorite, personally), and quite possibly the most tragic loss in jazz history.Any jazz musicians, Clifford fans, or general jazz aficionados should check this book out if they are looking to learn about one of the greats.

Clifford Brown-Maybe The Ultimate 'Tough Sell' Book'
Clifford Brown really was 'too good to be true'...didn't drink,do drugs...incredible jazz musician.Nick Catalano really
does an "impossible job" in telling the story of the great trumpeter who died tragically way before his time-and Catalano's anaysis of Brown's recordings makes the case that Brown is a man who "coulda been king"(even though he sorta was anyway).
.

Brownie
Clifford Brown had one of the most beautiful trumpet tones in all of modern jazz, and technique that other players would die for. He was not your "typical" (as portrayed to the masses) jazz musician - he didn't drink, smoke, or use drugs; he had a family and a good marriage; he worked hard at his craft. The tragedy is that he was killed in a car crash at the age of 25 at the height of his powers. Even by then though, he had recorded a number of albums establishing himself as one of the greats in the business.

Catalano's book competently traces Brownie's life, from the beginnings in Wilmington, Delaware, to his days with the Lionel Hampton band, early sideman dates in NYC, gigs in LA and Chicago, and finally the formation of the Brown-Max Roach Quintet with Harold Land and then Sonny Rollins on tenor. Catalano is a musician so is able to analyze Brownie's performances and recordings, which he does well, but the life history of the man is told somewhat blandly. We finish the book with a good skeletal outline of Brown's life and career, but much of the meat seems missing.

Sensitive portrait of the trumpet's most tragic talent
I read this modest little work last summer in a cottage in the lakeland region of central Finland. The silence around me allowed me to think about Brownie's playing -its purity and clarity- uncontaminated by other music or noise. Of course the first thing I wanted to do when I got back to my records was listen to Brownie over and over again. Catalano paints a sensitive portrait in an approachable, occasionally shoddy style. Clifford Brown's music doesn't quite come alive, perhaps, but Catalano expresses the lucidity of the trumpeter's musical vision and astonishing melodic gift with some agility. It's not a penetrating insight, but there is no other book around (as far as I know) that tells the poignant story of the great trumpeter's short life, so this is an essential purchase.

Dull Account of Life of Super Trumpeter.
Catalano's book about Clifford Brown fails to convey much more than lamesummary.The reader receives a readable account of the trumpeter's shortlife, but the writing itself leaves much to be desired in that it'sunpolished, redundant, chatty, and rarely profound.(And it's got typos toboot!)How about this telling detail of Brown's stint in an R&B band? "Clifford Brown and Vance Wilson were quite close and got the kind ofeducation that only comes from being on the road.One time, recalledWilson, 'We were in Wildwood [New Jersey].Clifford had never eaten rawclams and neither had I.So we dared each other.We went over to thiscounter where they were serving them, but we didn't know how to eat them.' They proceeded to put sauce on the clams and started to chew them, failingto notice other eaters who were 'slurping' them.Their exaggerated chewingmade everyone laugh" (Catalano 62).Catalano's choice of quotations,in my opinion, is very suspect throughout the entire book.It's as thoughhe's a high-school-essay-writing-novice trying to round out a paper andshow that's he read a thing or two or interviewed someone or another, asthe case may be.Ok, the book does contain some analysis of Brown's music,and provided that not much else has been written of the trumpeter, Isuppose the book merits a cursory glance.But be prepared for some dull,over-accessible, easy-reading. ... Read more

Book Description
"You can tell the whole world: there'll never be another Bix Beiderbecke. Take that from Satchmo! He was a born genius…"--Louis Armstrong

Bix Beiderbecke is one of jazz music's most enigmatic figures, and he has captivated listeners since his career began in the 1920s. He died at just 28, leaving many loose ends and inspiring much speculation. This book aims to clarify many of the myths created by the musician's premature death and the fictionalizations of Bix's life (three novels and a film: "Remembering Bix" by Ralph Berton, "1929" by Fredericks W. Turner, and "Young Man with a Horn" by Dorothy Baker, and the 1950 film of Baker's novel by Michael Curtiz), and to update his two prior biographies ("Bix, Man and Legend" being out of print for many years).French jazz scholar Jean Pierre Lion traveled the trajectory of Bix's life, from birth to death, to boarding school, on tour and beyond, to find the true story of this pivotal figure.

Considered a genius by his fans and fellow musicians, Bix Beiderbecke was a master cornet player, and one of the most inspiring white jazz musicians of his age. He drank heavily during Prohibition, and fell ill from the toxic swill he had been drinking. When he died he left behind a tremendous list of recordings (included here in a definitive discography) and several original compositions. This biography culls the entirety of Bix scholarship into one volume, painting a complete picture of the man, his music, and his times.

Lion brings the true legend of Bix into historical context, underlining the importance of the jazz scene that Bix not only participated in, but also helped to establish. The originality of Bix's style has roots in New Orleans jazz and such classical composers as Debussy and Ravel, and this biography traces the evolution of these various inspirations alongside the tale of the white cornet player. Historical ambience is created by descriptions of the Chicago of the 1920s - ruled by Al Capone and peopled with fast cars, flappers and hot jazz musicians - and Bix's personality is fleshed out by excerpts fromthe few letters he wrote in his lifetime, and memories of friends and witnesses of the jazz-age. The story is lively and emotional, the testament of a true fan and a true scholar. ... Read more

Customer Reviews (4)

If you're looking for Bix, you can stop here!

To put it simply, this is IT.The One.Order it.

Berton's book is a nice read but there's information in this book that changes the whole scope of how we should see Bix's depression/nomadism/problems. I'll not print it here, you'll have to read it.

Suffice it to say that of all the "reasonably available" books on Beiderbecke, this is the beginning AND the end.

Probably not the starting point for the neophyte but still, "THE DEFINITIVE BIOGRAPHY".

Wow!
This could be the definitive book on Bix. It has everything, lots of pictures (the publisher did it right and put the pictures where it relates to the text and not all together in the middle of the book which is cheaper for the publisher), copies of important documents and new information about his life not mentioned in other books, an embarrassing arrest of a High School age Bix that has either been throughly suppressed by the Beiderbecke family and/or a blind eye turned to this incident and ignored by previous biographers.When I first read about the incident I thought to myself I didn't need to know that and it kind of bothered me for a while.When I finished the book I had to admit that I really enjoyed the book and the research by the author was very extensive and thorough, at times uncomfortably so.Which is what a good biography should be. Highly recommended.

A gripping biography that reads like a novel...
Incredibly well researched and eminently readable, "Bix" is a mandatory addition to the library of twentieth-century historians, Beiderbecke fans and casual listeners alike.

If Bix was there, Jean Pierre Lion was there too!
Previous Bix Beiderbecke biographies were marred by too much trivia and speculation. The late Philip Evans was the ultimate Bix biographer, but his books overwhelm you with minutia. Jean Pierre Lion depends heavily upon Evans' landmark research; in fact, he is quick to acknowledge all of the great Bix research by Richard Sudhalter and others.

But Mr. Lion, a French business executive with a deep passion for early jazz, has taken a very refreshing approach to the Bix story. As a Frenchman, he's able to stand back and put Bix in the context of the American Roaring '20s. The book is biography, part social history, part travel book. It's great reading, and not ruined by self-indulgent musical analysis. Lion wrote the book on the assumption that his readers already know a fair bit about Bix's musical contribution.

Mr. Lion traveled to virtually every single spot in America where Bix had an important moment. Given that Bix died at age 28, it was possible. And his book is full of his wonderful little photographs of these historic sites (old hotels, city streets, private homes, ballrooms, etc.) as they appear today. That may prove to have the greatest appeal to Bixologists. You can toss Jean Pierre's book in your car and go on one heck of a across-country field trip.

Like almost all jazz histories, this book won't sell well, and Mr. Lion obviously didn't create it for money. But it's a little treasure for jazz buffs - so don't let this one slip away! I immediately read it from cover to cover, and because of its beautiful visual appeal, it will be pulled from my book shelf for many years to come. Felicitations, Monsieur Lion! ... Read more

Book Description
Presents a biography of George Gershwin ... Read more

Customer Reviews (2)

Another Great Composer Biography
This is a great representation of George Gershwin's life.A must have for every elementary school library.It has beautiful black and white and color pictures along with cartoons enhancing the story.Hyper-sensitive schools and parents may be shocked at the first photo of the book which has Gershwin sitting at the piano with a cigar in his mouth.If everyone can get past that picture by reminding children that this was before people knew that smoking was bad for your health, then you can enjoy this great biography.

Interesting and Enjoyable
This is one in a wonderful series of books intended to introduce young readers to the lives of famous composers. The story of George Gershwin not only tells about his life, but also gives children a feel for the time helived in. Venezia uses details about Gershwin as a child to draw youngstersinto the story. They can empathize with the young George who is seen as a"nerd" by his peers, because of his love for music. Yet he stillenjoyed sports, particularly roller skating. As always, Venezia'sillustrations are wonderful and I particularly enjoyed the photographs andartwork that accompanied them. All the parts come together to give childrenan interestingand enjoyable pictureof the man and his music. ... Read more

Amazon.com
During his 1960s prime, jazz guitarist Grant Green was overshadowed by rivals Wes Montgomery and George Benson, two immensely talented players who made successful forays into the pop world. But although Green passed away in 1979, the 1990s have seen a Grant Green renaissance, thanks to the birth of acid jazz, the reemergence of soul jazz, the jazz-reissue boom, and, most importantly, Green's distinctive guitar style--steeped in his R&B roots and boasting a clear, biting, soulful tone that makes him attractive to rock fans. When she met and later married Grant's youngest son, journalist Sharony Andrews Green stumbled into an admirable mission: to shed light on the life and music of her cult-favorite father-in-law. Green-the-author delivers an engaging, casual remembrance that adeptly balances many aspects of Green's life while never delving deeply into any of them. Green-the-guitarist lived in service to an uneasy triumvirate--music, Islam, and heroin--and the author, despite her ties to her subject, pulls no punches in detailing his drug habit and dark side. The book relies on heartfelt anecdotes from friends, family, musicians, and historians to tell his story and provide a clear and compelling picture of the mindset of a black jazz musician. We learn, for example, how many St. Louis jazzmen began to use heroin in admiration of Midwestern idols (and users) such as Charlie Parker and Miles Davis, and how Green himself yearned for a wider audience in the late 1960s and changed musical directions in search of it (only to be even more frustrated when it did not come). The easy-going, conversational writing style mostly makes for a warm, emotional memoir, though it loses sophistication when the focus moves toward the author and her biography process. Still, adding a comprehensive sessionography, Green offers a useful primer for a talented musician, opening the door for more thorough investigations of Grant Green's unique guitar technique and stylistic innovations. --Marc GreilsamerBook Description
Now in softcover! This heartfelt biography celebrates the life and music of unsung hero Grant Green, the late jazz guitar genius who played on nearly 100 albums from the early '60s to the late '70s, but narrowly missed celebrity. Today his music has inspired numerous acid-jazz and hip-hop recordings and his legend continues to grow. A straight-ahead jazzman turned funk wizard, Grant is best known for his rhythmic and driving tone as a session leader and sideman for Blue Note Records. The book paints a personal portrait of Grant's internal struggles through the eyes of his family, friends, and fellow musicians. ... Read more

Customer Reviews (15)

The soul of jazz guitar...
This is a must read for all Grant Green fans, or anyone who wants a glimpse of what the 60's and 70's jazz scene was really like... How he got started in St. Louis, the years in New York at Blue Note, the good times in Detroit in the 70's, and that last fateful trip to the Lighthouse in the green Caddy... Grant was truly the heart and soul of jazz guitar and everybody, including Wes and George Benson knew it... Written by Grant Green Jr's ex-wife there are lots of personal stories from the folks who knew Grant best! Lots of the great Blue Note Album cover photos by Frank Wolfe too!

A Valuable Book for Grant Green Fans
This is the only biography of the great Grant Green thusfar, a valuable collector's item for all Grant's fans. The author interviewed family members, fellow musicians and others to develop a picture of the premier guitarist. Although the author has no musical background, she includes selected reviews, a complete discography and informative critical essay by TJ Jundt.

Too Much Politics, Not Enough Biography
I like Grant Green. I always thought he was one of the four or five top jazz guitarists of his day. He deserves a true biography, rather than the immaturish writing and same old liberal rationalisms for why Mr. Green failed and died young. His career failed and he died young becauee of drugs---no one's fault but his own.

needs some more critical perspective
Sharony Green is trying something interesting here, a biography which is also something of an autobiography. She does a nice job of letting the various people who knew Green speak, and you do get an interesting sense of the man from the book. I have two criticisms. The first is that it goes on and on about how forgotten and unappreciated Green is, which gets tiring after a while. After all, most people who read this book will already think green was a great guitarist. And the guy is one more records than anybody but Milt Hinton--he was hardly unappreciated. He was never as famous as Wes or Benson, but they were more marketable than Green was

The other annoying thing about the book is that it goes on and on about how Green was ripped off. It's true that the white controlled industry is doubly tough on African Americans, and musicians get exploited frequently. But Green never lacked a gig--he worked ALL the time. He had more work in a year, more high quality work, with first rate musicians, than some people get in a decade. So he had money--he was well paid by the standards of his profession. He blew it all in addiction--his sad end came through his own doing. He was a lousy father and husband, and ... his success away. I don't know why, and the book can't say--maybe nobody can. It'd be easy and wrong to understate the power of racism to twist and warp lives, but it's hard to pity Green in some ways. He never lacked for work or recognition in his lifetime, he had prodigious gifts, stunning intelligence and fire (i've spent all afternoon working on his solo on "Speak Low," and I'm more amazed as I go along), but he did himself in,which was maybe nore of a tragedy than if he was done in by racism

It's an interesting and evocative book, that conveys a good sense of the world Green came up in and the world of jazz in the 50s and 60s Worth a read for any jazz fan or lover of Green's great playing

needs some more critical perspective
Sharony Green is trying something interesting here, a biography which is also something of an autobiography. She does a nice job of letting the various people who knew Green speak, and you do get an interesting sense of the man from the book. I have two criticisms. The first is that it goes on and on about how forgotten and unappreciated Green is, which gets tiring after a while. After all, most people who read this book will already think green was a great guitarist. And the guy is one more records than anybody but Milt Hinton--he was hardly unappreciated. He was never as famous as Wes or Benson, but they were more marketable than Green was

The other annoying thing about the book is that it goes on and on about how Green was ripped off. It's true that the white controlled industry is doubly tough on African Americans, and musicians get exploited frequently. But Green never lacked a gig--he worked ALL the time. He had more work in a year, more high quality work, with first rate musicians, than some people get in a decade. So he had money--he was well paid by the standards of his profession. He blew it all in addiction--his sad end came through his own doing. He was a lousy father and husband, and pissed his success away. I don't know why, and the book can't say--maybe nobody can. It'd be easy and wrong to understate the power of racism to twist and warp lives, but it's hard to pity Green in some ways. He never lacked for work or recognition in his lifetime, he had prodigious gifts, stunning intelligence and fire (i've spent all afternoon working on his solo on "Speak Low," and I'm more amazed as I go along), but he did himself in,which was maybe nore of a tragedy than if he was done in by racism

It's an interesting and evocative book, that conveys a good sense of the world Green came up in and the world of jazz in the 50s and 60s Worth a read for any jazz fan or lover of Green's great playing ... Read more

Book Description
More than a discography, this book compiles the complete recorded music of Duke Ellington and his sidemen, including studio recordings, movie soundtracks, concerts, dance dates, radio broadcasts, telecasts, and private recordings, creating an easy to use reference source for Jazz collectors and scholars. ... Read more

Customer Reviews (2)

The place to go with questions on Ellington recordings
This book fills in the gaps left by dodgy or absent liner notes. The main body of the text is a chronological list of Ellington band performances (including the small ensembles under sidemen's names) which were known to have been recorded and released by somebody at sometime somewhere. The typical entry includes:
a)title of ensemble (e.g. D.E. and his Famous Orchestra, Johnny Hodges and his Orchestra etc.),
b)date,
c) nature of performance (live, studio, movie sound track),
d)musicians,
e)place, and
f) titles with original record label & identifying numbers. There are occasionally notes giving variant titles.
There is also an alphabetical list of titles indicating the various recording dates and several lists and indexes of "Ellingtonians", band personnel who were connected with the Ellington organization in any way, as well as lists of record labels and the various names under which Ellington recorded.
This is entirely oriented toward identifying recordings, not compositions, so there is no composer or publishing data given. There is no interpretive or evaluative commentary.
Keep in mind that there have been several editions, as new performances are occasionally unearthed, so this is a work in progress. For example, the fifth volume of the Duke Ellington Treasury Shows, released by Storyville in 2002, included a live performance from 1945 that I did not find in Timner.

Essential for any serious Ellington lover
This is a huge and initially intimidating book which lists every known recording of Duke Ellington including much that has never been released. Also included are recording of 'Ellingtonians', men from the band who now and then led their own groups. Heavily indexed and cross-referenced.

I've had the 4th edition ever since it came out and I find it indespensible. Grab one now before you have to buy one used at twice the price!

... ... Read more

Book Description
The thrill of sitting in a club or concert hall hearing jazz being made is familiar to most fans. But what if you could immerse yourself in the world of the musician, where creating and performing is a profound task, and yet as routine as breathing? When writer Carl Vigeland was invited to tour with Wynton Marsalis and his septet, he was able to do just that. Vigeland's acute observations sweep us into their world as he becomes virtually part of the band. At the same time, Marsalis offers intimate meditations on home, family, creation, and performance--written in the cadence of his inimitable voice. Set on the stage, in the studio, and in great cities and small towns around the world, this richly textured narrative explores how the music is made in America today. ... Read more

Customer Reviews (4)

An Insightful Look at the Improvisational Process
Jazz, America's music, is an improvisational art.In Bittersweet Blues Marsalis and Vigeland do a lot do educate the reader just how this works.Not just on the bandstand but also on the road and in the life of jazz' leading spokesman.The book helps you see how musicians must comminucate, must hold each other with respect, must listen with an ear for creativity and must withhold judgement.

The book alternates between Vigeland's discussion of the events in life of Marsalis' Septet and Wynton's discussions of what it means to be a jazz musician.This interplay is what gives the book it's beautiful tone and variety.In a sense, you see the two authors improvising around each other's styles.What amazed me the most was the pace of Marsalis' life and the breadth of his associations.I enjoyed learning more about the creative process behind some of my favorite music as well.

I recommend this book to anyone who is interested in road stories, jazz or how artists create the ir art.

On the road again, just can't wait to get on the road again
You can't just say those words without putting music to the most famous road anthem by Willie Nelson.That's what this book is about: life on the road with jazz musicians.

Co-author Carl Vigeland was invited to travel the country and Europe with jazz superstar Wynton Marsalis and his band.

This is about the music of jazz, the blues and the road.Vigeland and Marsalis make numerous references to the book's title "Jazz In The Bittersweet Blues of Life.Vigeland covers personal observations of life with its rigors of the road, the overwhelming passion to produce quality performances. You don't get too much of the personal life of Marsalis, he shares little about his two older boys living in New York.

Brother Branford splits for a rock band
We also get very little info on tenor saxophone Branford Marsalis along with member Kenny Kirkland who left the band in the early 80's to play with rock superstar Sting.Branford also did a short stint as band leader for Jay Leno's "Tonight Show."In the book, we DON'T' get a clear understanding about the departure of his brother Branford and member Kenny Kirkland. Little is known here about Branford's departure, only mentioned here is "that others have thought that it may have been hurtful to have your brother leave for a rock musician." This book doesn't discuss that a rift was occurring and the finality was the departure. But I believe now, all is well with the brothers.

Marsalis, on the other hand, shares keen insight into the world of jazz, his composition style, and rhythm including his relationship with the trumpet.About the trumpet, he says "you can never force the trumpet, you got to baby it, treat it gently, coax it.It's always there when you need a high note, or something very loud.If you don't handle up on it, it won't respect you"

He teaches us about playing the songs and how the members produce an evening's show. We learn about his amiable personality and he exudes the passion to please his audience.

Observations from the Jazz man
Just from this book alone, we get the impression that Wynton Marsalisis cool and collected, caring of young children, family man and friend.His insights into life are fascinating.Of people who hang out at bars, discos, etc., he says are the unhappiest and lonliest blankety blanks in the whole world. He says, "If you want to be happy, go inside.Inside yourself, inside the people you love, inside your art.Inside seems much lonlier than outside, don't be fooled, you go far enough, it's always warm and good."

But most of all, Wynton gives us an idea how he works, how he composes; it's incredible.It may be no surprise that he is also an accredited author with hisbooks by"Marsalis on Music" and "Sweet Swing Blues on the Road."Wonderful read....MzRizz

Absolutely Fantastic Work!
Picked up Marsalis + Vigeland's work and just couldn't put it down! From descriptions of events, to understanding the personal struggles of band members, Jazz in the bittersweet blues of life fully expresses the goings on of the Wynton Marsalis Septet. Above all, I found Marsalis's commentaries on life, love, and music striking chords within my soul, and left me pleading for more.

Marsalis' words are profound and poetic
Jazz in the Bittersweet Blues of Life is a chronicle of one artist's ten year journey as he shares his gift and talent with the world.Marsalis' words, which appear in italics throughout the book are both profound and poetic.As you read, you can hear him speak, but most of all you feel the passion he has for his craft.He poses the question early in the book when explaining that everyone is an artist, "...how do you want to make me feel with your art, and what insights do you have that distinguish your ideas from someone else's?" A rhetorical question for every artist.

You get a sense of the daily experiences of Wynton and the other musicians in the Septet, from composing on the road, to the daily pick-up basketball games, to the lectures in schools across the country to the musicians ironing their clothing before each performance.It is a demanding, yet rewarding life.Throughout the book (and his travels)Marsalis not only meets and encourages young musicians, but he keeps in contact with them through periodic phone calls, updating himself on their growth as musicians.Some of the young musicians he met early in his career became members of the septet.

Jazz in the Bittersweet Blues of Life, has shaped me as both an artist and author.I had the pleasure of meeting Mr. Marsalis at Book Expo America.He is as personable, down-to-earth and charming as he appears in this book. ... Read more

Customer Reviews (1)

A useful collection
This is probably the best book of interviews with contemporary jazz musicians in print. They derive from Ben Sidran's show on NPR, _Sidran on Record_; they date from the mid-1980s to 1990, & thus capture jazz during something of a resurgence as "classic" jazz become newly fashionable. But Sidran doesn't seem especially interested in following the neo-hard-bop line--Wynton & Branford Marsalis are interviewed here, but that's about it. Instead, Sidran is interested at once in the "classic" jazz players (most of the players he interviews are from the generation that came to prominence in the 1940s, 1950s and 1960s); and also in emphasizing jazz as a pluralist idiom that feeds into many varieties of popular music. Thus he also interviews musicians like Dr John, Joe Sample, Charles Brown, Steve Gadd, Bobby McFerrin, even Donald Fagen from Steely Dan. He also touches on the avantgarde with interviews with Don Cherry, Archie Shepp & David Murray; & there are interviews with a few important nonmusicians: the recording engineer Rudy Van Gelder & Max Gordon, owner of the Village Vanguard. There are some marvelous interviews here--for instance, the one with the great Michel Petrucciani, where he sounds as joyous & rambunctious as on any of his recordings. Miles Davis is unusually relaxed--no revelations, but it's still worth reading. The interview with Keith Jarrett makes him sound as spacey & self-important as one would guess from his recordings. The interview with Don Cherry is an excellent memorial to an irreplaceable musician. Interesting to hear him talk about his & Ornette's hanging around Harry Partch, or going to hear a Stockhausen concert in the 1950s. -- Wynton Marsalis is mentioned several times by other musicians in the book, both positively (Betty Carter) & with doubts about his agendas & approach (Herbie Hancock); the interview with Marsalis isn't one of his most memorably opinionated & polemical, though it has its moments which will be catnip to Marsalophiles & -phobes alike. (E.g. the judgment that _The Birth of the Cool_ was irrelevant to the development of jazz & was merely "gorillaed into the history of the music"--a remark that is pretty crass in the context of a volume that also contains an interview with Gil Evans.) The Marsalis verbal tics & oddities of phrasing are well-displayed--e.g. the comment that the members of the Coltrane quartet "would just swing on the highest level of serious Negroid implication". The only problems with this book are a lack of an index, & the occasion mistranscription of a name (the bane of interviews). The transcriptions seem to be lightly edited, which is very welcome--I'm not a fan of interview volumes that preserve every stumble & hesitation. They read very well. For the record here are the subjects: Miles Davis, Gil Evans, Dizzy Gillespie, Jay McShann, Red Rodney, Frank Morgan, John Hendricks, Max Roach, Willie Ruff, Art Blakey, Betty Carter, Jackie McLean, Horace Silver, Abdullah Ibrahim, Mose Allison, Sonny Rollins, Phil Woods, Johnny Griffin, Pepper Adams, Michel Petrucciani, McCoy Tyner, Max Gordon, Archie Shepp, Herbie Hancock, Tony Williams, Keith Jarrett, Branford Marsalis, Rudy Van Gelder, George Benson, Wynton Marsalis, Charles Brown, Dr. John, Joe Sample, Jack DeJohnette, Denny Zeitlin, Don Cherry, Carla Bley, David Murray, Steve Gadd, Donald Fagen, Bobby McFerrin, Dave Grusin, & Bob James. While the book doesn't function as a serious historical survey, I think it's more stimulating & useful than any number of marmoreal histories of jazz. It's a book to set beside Art Taylor's _Notes and Tones_ & Nat Hentoff's old collection (if I remember rightly, the title's _Hear Me Talking to Ya_). ... Read more