The Giants of Jazz series is designed to provide a method for studying, analyzing, imitating and assimilating the idiosyncratic and general facets of the styles of various jazz giants. The Coltrane book provides many transcriptions, plus discography, biographical data, style traits, genealogy, and bibliography.
The Giants of Jazz series is designed to provide a method for studying, analyzing, imitating and assimilating the idiosyncratic and general facets of the styles of various jazz giants. The Coltrane book provides many transcriptions, plus discography, biographical data, style traits, genealogy, and bibliography.
The Giants of Jazz series is designed to provide a method for studying, analyzing, imitating and assimilating the idiosyncratic and general facets of the styles of various jazz giants. The Jazz Style of John Coltrane provides many transcriptions, plus discography, biographical data, style traits, genealogy, and bibliography.
(Jazz Transcriptions). More than 50 Coltrane classics, transcribed exactly from his recorded solos. Includes: All Blues * Blue Train (Blue Trane) * Body and Soul * Bye Bye Blackbird * Countdown * Cousin Mary * Giant Steps * Impressions * India * Lazy Bird * Lush Life * Mr. P.C. * Moment's Notice * My Favorite Things * Naima (Niema) * Spiral * Syeeda's Song Flute * Witches Pit * and more.
(Jazz Transcriptions). 52 jazz solo transcriptions for E-Flat instruments as played by the legendary John Coltrane, including: Blue Train (Blue Trane) * Countdown * Cousin Mary * Giant Steps * Impressions * Lazy Bird * Lush Life * Mr. P.C. * Moment's Notice * My Favorite Things * Naima (Niema) * Syeeda's Song Flute * and more.
(Artist Transcriptions). In the late 1950s, John Coltrane composed or arranged a series of tunes that used chord progressions based on a series of key center movements by thirds, rather than the usual fourths and fifths of standard progressions. This sound is so aurally identifiable and has received so much attention from jazz musicians that it has become known as "Coltrane's Changes." This book presents an exploration of his changes by studying 13 of his arrangements, each containing Coltrane's unique harmonic formula. It includes complete solo transcriptions with extensive performance notes for each. Titles include: Body and Soul * But Not for Me * Central Park West * Countdown * Fifth House * Giant Steps * Summertime * and more.
(Jazz Transcriptions). 52 jazz solo transcriptions as played by the legendary John Coltrane, including: Blue Train (Blue Trane) * Countdown * Cousin Mary * Giant Steps * Impressions * Lazy Bird * Lush Life * Mr. P.C. * Moment's Notice * My Favorite Things * Naima (Niema) * Syeeda's Song Flute * and more.
A FEW BRAVE MEN tells the story of the post-World War I entrenched military, political and ideological debate that threatened the early development of America's strategic bombardment capability. General Curtis E. Lemay is the centerpiece of this gripping and dramatic story of the struggle to advance U.S. airpower. Bart Coltrane is a composite of several Americans that went to England in 1939-1941 to fly for the British against Germany. The vast majority of American pilots flew in the RAF Eagle Squadron with some working in other critical aviation roles. These were named Black Bart missions after the notorious British Pirate John Bartholomew Roberts of Pembrokeshire, Wales. The character Black Bart represents the early American volunteers who helped the British prior to the U.S. entering the war. The American volunteer's contribution to the British war effort was notably significant.
Based on interviews with family and friends, this account of the jazz great's life reveals the influence of Miles Davis' life on his work as well as the musician's persistent desire to re-invent himself.
In the illustrious and richly documented history of American jazz, no figure has been more controversial than the jazz critic. Jazz critics can be revered or reviled—often both—but they should not be ignored. And while the tradition of jazz has been covered from seemingly every angle, nobody has ever turned the pen back on itself to chronicle the many writers who have helped define how we listen to and how we understand jazz. That is, of course, until now. In Blowin’ Hot and Cool, John Gennari provides a definitive history of jazz criticism from the 1920s to the present. The music itself is prominent in his account, as are the musicians—from Louis Armstrong and Duke Ellington to Charlie Parker, John Coltrane, Roscoe Mitchell, and beyond. But the work takes its shape from fascinating stories of the tradition’s key critics—Leonard Feather, Martin Williams, Whitney Balliett, Dan Morgenstern, Gary Giddins, and Stanley Crouch, among many others. Gennari is the first to show the many ways these critics have mediated the relationship between the musicians and the audience—not merely as writers, but in many cases as producers, broadcasters, concert organizers, and public intellectuals as well. For Gennari, the jazz tradition is not so much a collection of recordings and performances as it is a rancorous debate—the dissonant noise clamoring in response to the sounds of jazz. Against the backdrop of racial strife, class and gender issues, war, and protest that has defined the past seventy-five years in America, Blowin’ Hot and Cool brings to the fore jazz’s most vital critics and the role they have played not only in defining the history of jazz but also in shaping jazz’s significance in American culture and life.
More than a player's manual, this book portrays jazz bass as a vital element of 20th century American music. Citing examples from key recordings in the jazz canon, the book defines the essence of the musical contributions made by more than 70 important jazz bassists, including Ray Brown, Eddie Gomez, Charles Mingus, Milt Hinton and many others. Bassists get expert guidance on mastering proper technique, practice methods and improvisation, plus new insight into the theoretical and conceptual aspects of jazz. The companion audio featuring bass plus rhythm section allows readers to hear technical examples from the book, presented in slow and fast versions. It also offers play-along tracks of typical chord progressions and song forms.
Hope, trust, and forgiveness have the potential to enrich and empower human lives. Each is a facet of a life well lived, but each also possesses significant challenges from complex personal, interpersonal, and institutional forces. In Hope, Trust, and Forgiveness, John T. Lysaker draws our attention to the ways in which hope, trust, and forgiveness are capacities that intimately contend with the finitude of ethical life. Hope, Trust, and Forgiveness explores the contentions of each at length, clarifying those challenges and empowering us to meet them. In doing so, Lysaker grapples with the question of how a philosophical essay can offer ethical insight. He answers with an experimental, improvisational moral perfectionism that refuses the lure of universalized moral claims as well as the parochialism of conventional accounts of ethical life"--
Algorithms are everywhere, organizing the near-limitless data that exists in our world. Drawing on our every search, like, click, and purchase, algorithms determine the news we get, the ads we see, the information accessible to us, and even who our friends are. These complex configurations not only form knowledge and social relationships in the digital and physical world but also determine who we are and who we can be. Algorithms use our data to assign our gender, race, sexuality, and citizenship status. In this era of ubiquitous surveillance, contemporary data collection entails more than gathering information about us. Entities like Google, Facebook, and the NSA also decide what that information means, constructing our worlds and the identities we inhabit in the process. We have little control over who we algorithmically are. Through a series of entertaining and engaging examples, John Cheney-Lippold draws on the social constructions of identity to advance a new understanding of our algorithmic identities. We Are Data will educate and inspire readers who want to wrest back some freedom in our increasingly surveilled and algorithmically constructed world."--Page 4 of cover
The iconic drummer of The Doors investigates his own relationship with creativity and explores the meaning of artistry with other artists and performers in this compelling and spellbinding memoir. Whether it's the curiosity that blossoms after we listen to our favorite band's newest record, or the sheer admiration we feel after watching a knockout performance, many of us have experienced art so pure-so innovative-that we can't help but wonder afterwards: "How did they do that?" And yet, few of us are in a position to be able to ask those memorable legends where their inspiration comes from and how they translated it into something fresh and new. Fortunately for us, this book is here to offer us a bridge. In The Seekers, John Densmore—the iconic drummer of The Doors and author of the New York Times bestseller Riders onthe Storm—digs deep into his own process and draws upon his privileged access to his fellow artists and performers in order to explore the origins of creativity itself. Weaving together anecdotes from the author's personal notebooks and experiences over the past fifty years, this book takes readers on a rich, thought-provoking journey into the soul of the artist. By understanding creativity's roots, Densmore ultimately introduces us to the realm of everyday inspirations that imbue our lives with meaning. Inspired by the classic spiritual memoir Meetings with Remarkable Men, this book is fueled by Densmore's abundant collection of transformative experiences—both personal and professional—with everyone from Ravi Shankar to Patti Smith, Jim Morrison to Janis Joplin, Bob Marley to Gustavo Dudamel, Lou Reed to Van Morrison, Jerry Lee Lewis to his own dear, late Doors bandmate Ray Manzarek. Ultimately, the result is not only a look into the hearts and minds of some of the most important artists of the past century—but a way for readers to identify and ignite their own creative spark, and light their own fire.
A unique and engaging account of local urban decision-making within the globalizing world High Point, North Carolina, is known as the “Furniture Capital of the World.” Once a manufacturing stronghold, most of its furniture factories have closed over the past forty years, with production shipped off to low-wage countries. Yet as manufacturing left, the city tightened its hold on a biannual global exposition that serves as the world’s furniture fashion runway. At the High Point Market, visitors from more than one hundred nations traverse twelve million square feet of meticulous design. Downtown buildings—once courthouses, movie theaters, post offices, and gas stations—are now chic showroom spaces, even as many sit empty between each exposition. In Showroom City, John Joe Schlichtman applies an ethnographic lens to the global exposition’s relationship with High Point after it defeated rival Chicago in the 1960s and established itself as the world’s dominant furniture center. In recent decades, following trends in global finance, private equity firms were increasingly behind downtown High Point’s real estate transactions, coordinated by buyers far removed from the region. Then, in one massive transaction in 2011, a firm funded by Bain Capital purchased every major showroom building, and the majority of downtown real estate was under one owner. Showroom City is a story of exclusionary growth and unchecked development, of a city flailing to fill the void left by its dwindling factories. But beyond that Schlichtman engages the general lessons behind both High Point’s deindustrialization and its stunning reinvention as a furniture fashion, merchandising, and design node. With great nuance, he delves deeply to reveal how power operates locally and how citizens may affirm, exploit, influence, and resist the takeover of their community.
The Beatles' sixth studio album, Rubber Soul, was a game changer. By December 1965, when the album was released, the Beatles had played the first arena rock show at Shea Stadium for 55 000 delirious fans, been awarded MBE (Member of British Empire) medals, and were indisputably the greatest musical phenomenon since Elvis Presley. With their first film, A Hard Day's Night, John, Paul, George, and Ringo laid down the blueprint for everyone who ever wanted to form a group. The movie, entertaining as it was, became an instruction manual for aspiring pop stars of the day on how to play, dress, and act. Richard Lester's 1964 comedy turned out to be the touchstone for every music video that followed. Then, with the release of Rubber Soul, the Beatles created an artistic benchmark to which their peers measured their craft and creativity. Touring the world over two years, the band had grown up fast. Both musically and lyrically their new album represented a major leap. Upon hearing Rubber Soul, Bob Dylan allegedly remarked, “I get it, you're not cute anymore.” Newsweek hailed the Beatles as “the Bards of Pop ” while critic Greil Marcus claimed Rubber Soul was “the best album they would ever make.” For Traffic's Steve Winwood, the album “broke everything open. It crossed music into a whole new dimension and was responsible for kicking off the sixties rock era.” In This Bird Has Flown, John Kruth not only analyzes the songs and making of Rubber Soul, putting the album in context of the turbulent times in which it was created, but captures the spirit of musical innovation and poetry that makes the record a standout in the Beatle's canon.
What happens when public figures' private selves are put forth for examination by public audiences? How do the personal struggles of music artists, specifically those with immigrant backgrounds, compare to the private struggles of other individuals? At a time when many countries in the European Union experience an increase in far-right political party activities, how do individuals from the margins negotiate new ways of thinking about identity, offering hope for greater understanding of shared struggles across societies? This book offers interpretations of identity and belonging by examining the work of two music artists, Faudel Belloua from France and Adam Tensta from Sweden. By analyzing texts produced by these individuals, I argue that ongoing engagement with the materials produced by Belloua and Tensta, a process which I refer to as living biography, presents a unique window into the process of how Belloua and Tensta connect personal struggles to public issues, providing a compelling departure point for further discussions on how interpretations of national identity are changing in France and Sweden and beyond.
Jazz is a music born in the United States and formed by a combination of influences. In its infancy, jazz was a melting pot of military brass bands, work songs and field hollers of the United States slaves during the 19th century, European harmonies and forms, and the rhythms of Africa and the Caribbean. Later, the blues and the influence of Spanish and French Creoles with European classical training nudged jazz further along in its development. As it moved through the swing era of the 1930s, bebop of the 1940s, and cool jazz of the 1950s, jazz continued to serve as a reflection of societal changes. During the turbulent 1960s, freedom and unrest were expressed through Free Jazz and the Avant Garde. Popular and world music have been incorporated and continue to expand the impact and reach of jazz. Today, jazz is truly an international art form. This second edition of Historical Dictionary of Jazz contains a chronology, an introduction, and an extensive bibliography. The dictionary section has over 1,500 cross-referenced entries on musicians, styles of jazz, instruments, recording labels, bands and band leaders, and more. This book is an excellent resource for students, researchers, and anyone wanting to know more about Jazz.
Tens of thousands of readers have relied on this leading text and practitioner reference--now revised and updated--to understand the issues the legal system most commonly asks mental health professionals to address. Highly readable, the volume demystifies the forensic psychological assessment process and provides guidelines for participating effectively and ethically in legal proceedings. Presented are clinical and legal concepts and evidence-based assessment procedures pertaining to criminal and civil competencies, the insanity defense and related doctrines, sentencing, civil commitment, personal injury claims, antidiscrimination laws, child custody, juvenile justice, and other justice-related areas. Case examples, exercises, and a glossary facilitate learning; 19 sample reports illustrate how to conduct and write up thorough, legally admissible evaluations. New to This Edition *Extensively revised to reflect important legal, empirical, and clinical developments. *Increased attention to medical and neuroscientific research. *New protocols relevant to competence, risk assessment, child custody, and mental injury evaluations. *Updates on insanity, sentencing, civil commitment, the Americans with Disabilities Act, Social Security, juvenile and family law, and the admissibility of expert testimony. *Material on immigration law (including a sample report) and international law. *New and revised sample reports.
From scouring flea markets and eBay to maxing out their credit cards, record collectors will do just about anything to score a long-sought-after album. In Vinyl Freak, music writer, curator, and collector John Corbett burrows deep inside the record fiend’s mind, documenting and reflecting on his decades-long love affair with vinyl. Discussing more than 200 rare and out-of-print LPs, Vinyl Freak is composed in part of Corbett's long-running DownBeat magazine column of the same name, which was devoted to records that had not appeared on CD. In other essays where he combines memoir and criticism, Corbett considers the current vinyl boom, explains why vinyl is his preferred medium, profiles collector subcultures, and recounts his adventures assembling the Alton Abraham Sun Ra Archive, an event so all-consuming that he claims it cured his record-collecting addiction. Perfect for vinyl newbies and veteran crate diggers alike, Vinyl Freak plumbs the motivations that drive Corbett and collectors everywhere.
John Robert Brown presents an enthusiastic and authoritative account of a century of jazz. Written in a clear and engaging style by a well-known British author and jazz educator, this book offers an affectionate introduction to the people and places that are of worldwide importance in the history of this wonderful music.
An unforgettable new novel set in the year 2031, where gangs, guns, and genetic engineering rule. In a world where genetic engineering and organ transplants are booming businesses on the black market, Malcolm Steel, Jr. is king. His turf is Chicago, a city torn apart by the haves and have-nots alike, and Malcolm-known as Bodyslick on the streets-has found a lucrative hustle stealing healthy organs and selling them to desperate, wealthy patients in need of transplants. Bodyslick has the connections, the knowledge, and the 9mm laser pistol just in case things get hectic. But with the Italian mob, racist skinheads, and the biggest gang in Chinatown on his case, he is going to need all the help he can get, especially when his old 'hood cutbuddy and rival ganglord get ready to take over the trade by any means necessary. Now Bodyslick will make one last run to try to get out of the game for good. But some people will do anything and destroy anyone to make sure that the only way he goes out is piece by bloody piece. John H. Sibley is a writer and accomplished artist. His writing has appeared in "Chicago Reader, "the "Chicago Maroon, New City, Chicago Sun-Times, " and "Midwest Jazz. " His paintings are in the private collections of Chicago's Mayor Richard J. Daley, former NBA star John Salley, author Manik D. Dover, Mike Tyson, the late Walter Payton, and the American Sports Artist Museum Archive. The father of two daughters, he lives on the west side of Chicago.
The Classroom Guide to Jazz Improvisation dispels the misconception that one must be a jazz expert to give students a solid foundation in jazz improvisation. Authors John McNeil and Ryan Nielsen argue that all individuals possess an innate ability to improvise and that, given sufficient exposure and repetition, anyone can improvise in music as successfully as they improvise in life. Drawing on their shared 54 years of teaching experience and extensive work as professional jazz musicians, McNeil and Nielsen offer classroom-tested lesson plans for music educators of all backgrounds, removing the guesswork and mystique along the way.
Legendary drummer and founding member of The Doors, John Densmore, unpacks the intersection of art and commerce in this deeply principled middle finger to greed "The Doors drummer Densmore rockets through his tumultuous six-year lawsuit against former bandmates Ray Manzarek and Robby Krieger in this no-holds-barred account . . . Throughout, the author's initial question—at what point does money cheapen art's original message?—remains salient, even if he hammers it home a bit repetitively. Devoted fans will be eager to get their hands on this deep dive." —Publishers Weekly "Densmore's concerns about his band's legacy and its meaning in today's society are thought-provoking and worth pondering. Also impressive is his continued respect for his former bandmates' creativity and musicianship, despite the in-fighting, philosophical differences, and court battles. Not a typical rock memoir, but something more interesting to those who want to look past the hit songs and off-stage antics." —Kirkus Reviews "Part courtroom drama, part morality tale, The Doors Unhinged reminds us what happens when greed and deception get in the way of teamwork and the creative process." —Booklist IN THE DOORS UNHINGED, NEW YORK TIMES BEST-SELLING AUTHOR and legendary Doors drummer John Densmore offers a powerful exploration of the "greed gene"—that part of the human psyche that propels us toward the accumulation of more and more wealth, even at the expense of our principles, friendships, and the well-being of society. This is the gripping account of the legal battle to control The Doors's artistic destiny. In it, Densmore looks at his conflict with his bandmates over the right to use The Doors's name, revealing the ways in which this struggle mirrors and reflects a much larger societal issue: that no amount of money seems to be enough for even the wealthiest people. The Doors continue to attract new generations of fans, with more than one hundred million albums sold worldwide and counting, and nearly twenty million followers to the band's social media accounts. As such, Densmore occupies a rarefied space in popular culture. He's beloved by artists across the decades for his fierce, uncompromising dedication to art. His writing consistently earns accolades and has appeared in a range of publications, such as the Los Angeles Times and Rolling Stone. As his friend and American novelist Tom Robbins recently said to him, "If you keep writing like this, I'll have to get a drum set." This is an incredibly timely and important volume in a contemporary world that is increasingly consumed by an insatiable profit motive. John Densmore has given us a blueprint for an approach to life and culture that is not driven by greed.
Invisible Now describes Bob Dylan's transformative inspiration as artist and cultural figure in the 1960s. Hughes identifies Dylan's creativity with an essential imaginative dynamic, as the singer perpetually departs from a former state of inexpression in pursuit of new, as yet unknown, powers of self-renewal. This motif of temporal self-division is taken as corresponding to what Dylan later referred to as an artistic project of 'continual becoming', and is explored in the book as a creative and ethical principle that underlies many facets of Dylan's appeal. Accordingly, the book combines close discussions of Dylan's mercurial art with related discussions of his humour, voice, photographs, and self-presentation, as well as with the singularities of particular performances. The result is a nuanced account of Dylan's creativity that allows us to understand more closely the nature of Dylan's art, and its links with American culture.
THE CAVES, the sequel to GRUNT AIR, begins in Washington, where a radio intercept officer decodes a classified message from the head of the North Vietnam office that controls the captured American and Allied Prisoners of War. The message instructed the camp commanders in Laos to be prepared to execute the POWs on command. This sets the massive military machine into action to find a way to save the POWs. Due to very limited time and internal Pentagon turf wars, and the redeployment of US Forces out of Vietnam, the normal Special Operations units could not be used. The chairman of the Joint Chiefs of Staff was convinced by Brigadier General Herbert to use the unknown Grunt Air unit stationed in the Philippines. The story vividly describes the life and torture of the POWs prior to their scheduled execution date. Major Dan Roman, commander of Grunt Air, gets the assignment and launches a very unique and imaginative operation plan to get the prisoners out of Laos before they are killed. Time was running out for the prisoners and Roman knew it.
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