Showing results for "Jazz" in Americas

In How to Listen to Jazz, award-winning music scholar Ted Gioia presents a lively introduction to one of America's premier art forms. He tells us what to listen for in a performance and includes a guide to today's leading jazz musicians. From Louis Armstrong's innovative sounds to the jazz-rock fusion of Miles Davis, Gioia covers the music's history and reveals the building blocks of improvisation. A true love letter to jazz by a foremost expert.

Jazz is more than a musical genre. It is a movement, an escape, and a form of rebellion—one whose mystery you can uncover through the fascinating musicians that shaped its history. Jazz doesn’t easily fit into any category owing to its diverse roots, incredible flexibility, and passion for improvisation. It is, therefore, ironic, yet somehow understandable, that this mysterious genre, so different even from other Black-inspired music, should be so well-loved by millions of people across the globe

Pigeonholed in popular memory as a Jazz Age epicurean, a playboy, and an emblem of the Lost Generation, F. Scott Fitzgerald was at heart a moralist struck by the nation's shifting mood and manners after World War I. In Paradise Lost, David Brown contends that Fitzgerald's deepest allegiances were to a fading antebellum world he associated with his father's Chesapeake Bay roots. Yet as a midwesterner, an Irish Catholic, and a perpetually in-debt author, he felt like an outsider in the haute bourgeoisie haunts.

It was a crime that shocked the nation: the brutal murder in Chicago in 1924 of a child by two wealthy college students who killed solely for the thrill of the experience. Nathan Leopold and Richard Loeb were intellectuals - too smart, they believed, for the police to catch them. When they were apprehended, state's attorney Robert Crowe was certain that no defense could save the ruthless killers from the gallows.

Samuel Charters has been studying and writing about New Orleans music for more than 50 years. A Trumpet around the Corner: The Story of New Orleans Jazz is the first book to tell the entire story of a century of jazz in New Orleans. Although there is still controversy over the racial origins and cultural sources of New Orleans jazz, Charters provides a balanced assessment of the role played by all three of the city's musical lineages - African American, white, and Creole - in jazz's formative years.

In four words - "the capital of everything" - Duke Ellington captured Manhattan during one of the most exciting and celebrated eras in our history: The Jazz Age. Radio, tabloid newspapers, and movies with sound appeared. The silver screen took over Times Square as Broadway became America's movie mecca. Tremendous new skyscrapers were built in Midtown in one of the greatest building booms in history.

At the height of the ideological antagonism of the Cold War, the US State Department unleashed an unexpected tool in its battle against Communism: jazz. From 1956 through the late 1970s, America dispatched its finest jazz musicians to the far corners of the earth, from Iraq to India, from the Congo to the Soviet Union, in order to win the hearts and minds of the Third World and to counter perceptions of American racism.

He's the butt of political jokes, frequently subjected to ridicule, and almost never absent a "Worst Presidents" list where he most often ends up at the bottom. Historians have labeled him the "Worst President Ever," "Dead Last," "Unfit," and "Incompetent," to name but a few. Many contemporaries were equally cruel. H. L. Mencken called him a "nitwit." To Alice Roosevelt Longworth, he was a "slob."

This Is Our Music, declared saxophonist Ornette Coleman's 1960 album title. But whose music was it? At various times during the 1950s and 1960s, musicians, critics, fans, politicians, and entrepreneurs claimed jazz as a national art form, an Afrocentric race music, an extension of modernist innovation in other genres, a music of mass consciousness, and the preserve of a cultural elite. This original and provocative book explores who makes decisions about the value of a cultural form and on what basis.

Keith Hatschek tells the story of three determined artists: Louis Armstrong, Dave Brubeck, and Iola Brubeck and the stand they took against segregation by writing and performing a jazz musical titled The Real Ambassadors. First conceived by the Brubecks in 1956, the musical's journey to the stage for its 1962 premiere tracks extraordinary twists and turns across the backdrop of the civil rights movement.

Black Music is a book about the brilliant young jazz musicians of the early 1960s: John Coltrane, Thelonious Monk, Miles Davis, Ornette Coleman, Cecil Taylor, Archie Shepp, Sun Ra, and others. It is composed of essays, reviews, interviews, liner notes, musical analyses, and personal impressions from 1959-1967. Also includes Amiri Baraka's reflections in a 2009 interview with Calvin Reid of Publishers Weekly.

Many tales from the Jazz Age reek of crime and corruption. But perhaps the era’s greatest political fiasco—one that resulted in a nationwide scandal, a public reckoning at the Department of Justice, the rise of J. Edgar Hoover, and an Oscar-winning film—has long been lost to the annals of history. In Crooked, Nathan Masters restores this story of murderers, con artists, secret lovers, spies, bootleggers, and corrupt politicians to its full, page-turning glory.

Vivian Gordon went out before midnight in a velvet dress and mink coat. Her body turned up the next morning in a desolate Bronx park, a dirty clothesline wrapped around her neck. At her stylish Manhattan apartment, detectives discovered notebooks full of names—businessmen, socialites, gangsters. And something else—a letter from an anti-corruption commission established by Governor Franklin Delano Roosevelt.

From woman¿s suffrage to Babe Ruth¿s home runs, from Louis Armstrong¿s jazz to Franklin Delano Roosevelt¿s four presidential terms, from the finale of one world war to the dramatic close of the second, War, Peace, and All That Jazz presents the story of some of the most exciting years in U.S. history. With the end of World War I, many Americans decided to live it up, going to movies, driving cars, and cheering baseball games aplenty.

On the night of August 6, 1930, Joseph Force Crater, a newly appointed judge and prominent figure in many circles of Manhattan, hailed a taxi in the heart of Broadway and vanished into thin air. Despite a decades-long international manhunt led by the New York Police Department's esteemed Missing Persons Bureau, the reason for Crater's disappearance remains a confounding mystery.

Wealth, indulgence, and a Gatsby-like aesthetic: This is what comes to mind when one thinks of the Roaring Twenties. This revolutionary decade marked the end of the American Gilded Age, a period of sustained economic growth which led to a booming marketplace. After World War I, Americans had more money to spend, and mass production rose to meet the emerging wealth. This was the era of Broadway and bootleggers, new cars and Al Capone, mass culture and money, money, money. However, it was also the prelude to the Great Depression.

New York City in the Jazz Age was host to a pulsating artistic and social revolution. Uptown, an unprecedented explosion in Black music, literature, dance, and art sparked the Harlem Renaissance. While the history of this African-American awakening has been widely explored, one chapter remains untold: The story of a group of women collectively dubbed “Miss Anne.” Kaplan’s formidable work remaps the landscape of the 1920s, and alters our perception of this historical moment.

Thomas W. Jacobsen's The New Orleans Jazz Scene, 1970-2000 chronicles the resurgence of jazz music in the Crescent City in the years following Suhor's prophetic claim. Jacobsen, a New Orleans resident and longtime jazz aficionado, offers a wide-ranging history of the New Orleans jazz renaissance in the last three decades of the twentieth century, weaving local musical developments into the larger context of the national jazz scene.

Here is the fascinating story of the Edison Phonograph Company and its "Hill and Dale" vertical recording process, illustrated by musical examples from vintage recordings of legendary jazz band, The California Ramblers (which included famed trumpeter Red Nichols and other jazz greats)! This is the behind-the-scenes story of the invention, development and commercial promotion of the phonograph by Thomas Alva Edison, the "Genius of Menlo Park."