For a brief time in a Europe threatened and then occupied by Nazi Germany, jazz was heard as ubiquitously as rock ' n' roll is today. In a personal search for the story of that time, Mike Zwerin spent two years traveling across Europe talking with individuals who performed and enjoyed jazz in Hitler's dark shadow, including the Ghetto Swingers, a Jewish jazz band that "toured" Auschwitz and Theresienstadt; the Luftwaffe pilot who listened to Glenn Miller while bombing London; Django Reinhardt, the brilliant guitarist who refused to flee Nazi-controlled France; and many others.
In his Beat-like jaunt through the Parisian and European jazz scene, Mike Zwerin is not unlike Jack Kerouac, Mezz Mezzrow, or Hunter S. Thompson—writers to whom, for different reasons, he owes some allegiance. What makes him special is his devotion to the troubled musicians he idolizes, and a passion for music that is blessedly contagious. Many jazz fans will know Mike Zwerin for his witty, irreverent, and undeniably hip music reviews and articles in the International Herald Tribune that have entertained us for decades. Based in Paris, or, rather, stuck there, as Zwerin likes to say, he has been a music critic for the Trib since 1979. Zwerin also had a distinguished career as a trombonist. When he was just eighteen years old, he was invited by Miles Davis to play alongside Gerry Mulligan, John Lewis, and Max Roach in the band that was immortalized as The Birth of the Cool. The Parisian Jazz Chronicles offers an engaging personal account of the jazz scene in Paris in the 1980s and 1990s. Zwerin writes lovingly but unsparingly about figures he knew and interviewed— such as Dexter Gordon, Freddy Heineken, Miles Davis, Bob Dylan, Chet Baker, Wayne Shorter, and Melvin Van Peebles. Against this background, Zwerin tells about his own life—split allegiances to journalism and music, and to America and France, his solitary battle for sobriety, a failing marriage, and fatherhood.
Martin Scorsese's Documentary Histories: Migrations, Movies, Music is the first comprehensive study of Martin Scorsese's prolific work as a documentary filmmaker. Highlighting the historiographic aims of the director's various non-fiction film, video, and television productions, Mike Meneghetti re-examines Scorsese's documentaries as resourceful audiovisual histories of migrations, movies, and popular music. Italianamerican's critical immersion in the post-Sixties ethnic revival inaugurates Scorsese's decades-long documentary project in 1974, and the era's developing vernacular of reclamation would shape each of his subsequent non-fiction efforts. Martin Scorsese's Documentary Histories surveys the succeeding films' decisive adherence to this language of retrieval. With extended analyses of Italianamerican, American Boy: A Profile of Steven Prince, The Last Waltz, Shine a Light, Feel Like Going Home, No Direction Home: Bob Dylan, Il mio viaggio in Italia, and A Letter to Elia among others, Meneghetti resituates Scorsese's filmmaking within the wider contexts of documentary history and American culture.
For a generation of musicians and fans, the late Ray Charles provided the catalyst that fused the previously largely exclusive genres of jazz, blues and gospel music. In an era when jazz and pop music were seemingly poles apart, the impact of Charles' music was truly revolutionary in that it brought together these strands and fans for the first time.This critically acclaimed biography traces Ray Charles' amazing story from the abject disadvantage of being orphaned, black and blind in the South of the 1930s to the height of international success.With many quotes and exclusive interviews, including several with Ray Charles himself as well as from those who worked with, or were simply influenced by, the man who more than anyone else could truly be called the founding father of soul music.Mike Evans was a regular contributor to Sounds, Cream, and Melody Maker. He is also the author of books on The Beatles, Elvis Presley and the music in New York.Paperback edition.
San Francisco’s rich and unique cultural history since its time as a gold rush frontier town has long made it a bastion of forward thinking and freedom of expression. It makes perfect sense, then, that both it and the surrounding Bay Area should prove to be a crucible for some of the most enduring and influential music of the rock and roll era. From the heady days of Haight-Ashbury in the ’60s to today, San Francisco and the Bay Area have provided a distinctive soundtrack to the American experience that has often been confrontational, controversial, enlightening, and always entertaining. Perhaps best known for the '60s psychedelic scene which included the Grateful Dead, Jefferson Airplane, Creedence Clearwater Revival, Santana, the Steve Miller Band, Sly & the Family Stone, and Janis Joplin, the Bay Area's rock and roll history twists and turns like Lombard Street itself. The first wave San Francisco punks wrought the Avengers and Dead Kennedys; punk later gripped the East Bay, giving us Green Day and Rancid. From the folk and blues eras through the chart-topping sounds of Journey and Huey Lewis & the News. The rock equivalent of Manifest Destiny carried wave upon wave of young musicians in search of fame, fortune and the great lost chord to Golden Gate City. San Francisco and the surrounding Bay Area have collectively produced countless key figures in rock and roll, from musicians to journalists to entrepreneurs. The modern concept of the vast outdoor rock festival took root in and around San Francisco. The Bay Area is also where music history happened to artists from almost everywhere else: San Francisco is where the Beatles played their final concert and the Sex Pistols fell apart; where the Clash recorded much of their second album; where a drug-addled Keith Moon passed out during a concert by the Who only to be replaced behind the drum kit by an eager fan. Rock and roll is baked into the Bay Area’s culture and story to this day. A guide to the places that shaped the local scene and world-famous sound, the Rock and Roll Explorer Guide to San Francisco and the Bay Area will take you to where music makers lived, rocked, performed, recorded, met, broke up, and much, much more.
Sympathy for the Drummer: Why Charlie Watts Matters is both a gonzo rush—capturing the bristling energy of the Rolling Stones and the times in which they lived—and a wide-eyed reflection on why the Greatest Rock 'n' Roll Band in the World needed the world's greatest rock 'n' roll drummer. Across five decades, Rolling Stones drummer Charlie Watts has had the best seat in the house. Charlie Watts, the anti-rock star—an urbane jazz fan with a dry wit and little taste for the limelight—was witness to the most savage years in rock history, and emerged a hero, a warrior poet. With his easy swing and often loping, uneven fills, he found nuance in a music that often had little room for it, and along with his greatest ally, Keith Richards, he gave the Stones their swaggering beat. While others battled their drums, Charlie played his modest kit with finesse and humility, and yet his relentless grooves on the nastiest hard-rock numbers of the era ("Gimme Shelter," "Street Fighting Man," "Brown Sugar," "Jumpin' Jack Flash," etc.) delivered a dangerous authenticity to a band that on their best nights should have been put in jail. Author Mike Edison, himself a notorious raconteur and accomplished drummer, tells a tale of respect and satisfaction that goes far beyond drums, drumming, and the Rolling Stones, ripping apart the history of rock'n'roll, and celebrating sixty years of cultural upheaval. He tears the sheets off of the myths of music making, shredding the phonies and the frauds, and unifies the frayed edges of disco, punk, blues, country, soul, jazz, and R&B—the soundtrack of our lives. Highly opinionated, fearless, and often hilarious, Sympathy is an unexpected treat for music fans and pop culture mavens, as edgy and ribald as the Rolling Stones at their finest, never losing sight of the sex and magic that puts the roll in the rock —the beat, that crazy beat!—and the man who drove the band, their true engine, the utterly irreplaceable Charlie Watts.
Until the 1960s American jazz, for all its improvisational and rhythmic brilliance, remained rooted in formal Western conventions originating in ancient Greece and early Christian plainchant. At the same time European jazz continued to follow the American model. When the creators of so-called free jazz--Ornette Coleman, Cecil Taylor, John Coltrane, Albert Ayler, Sun Ra, Anthony Braxton, and others--liberated American jazz from its Western ties, European musicians found their own distinctive voices and created a vital, innovative, and independent jazz culture. Northern Sun, Southern Moon examines this pan-Eurasian musical revolution. Author and musician Mike Heffley charts its development in Scandinavia, Holland, England, France, Italy, and especially (former East and West) Germany. He then follows its spread to former Eastern-bloc countries. Heffley brings to life an evolving musical phenomenon, situating European jazz in its historical, social, political, and cultural contexts and adding valuable material to the still-scant scholarship on improvisation. He reveals a Eurasian genealogy worthy of jazz's well-established African and American pedigrees and proposes startling new implications for the histories of both Western music and jazz.
For a brief time in a Europe threatened and then occupied by Nazi Germany, jazz was heard as ubiquitously as rock ' n' roll is today. In a personal search for the story of that time, Mike Zwerin spent two years traveling across Europe talking with individuals who performed and enjoyed jazz in Hitler's dark shadow, including the Ghetto Swingers, a Jewish jazz band that "toured" Auschwitz and Theresienstadt; the Luftwaffe pilot who listened to Glenn Miller while bombing London; Django Reinhardt, the brilliant guitarist who refused to flee Nazi-controlled France; and many others.
A celebration of Jewish men's voices in prayer—to strengthen, to heal, to comfort, to inspire from the ancient world up to our own day. "An extraordinary gathering of men—diverse in their ages, their lives, their convictions—have convened in this collection to offer contemporary, compelling and personal prayers. The words published here are not the recitation of established liturgies, but the direct address of today's Jewish men to ha-Shomea Tefilla, the Ancient One who has always heard, and who remains eager to receive, the prayers of our hearts." —from the Foreword by Rabbi Bradley Shavit Artson, DHL This collection of prayers celebrates the variety of ways Jewish men engage in personal dialogue with God—with words of praise, petition, joy, gratitude, wonder and even anger—from the ancient world up to our own day. Drawn from mystical, traditional, biblical, Talmudic, Hasidic and modern sources, these prayers will help you deepen your relationship with God and help guide your journey of self-discovery, healing and spiritual awareness. Together they provide a powerful and creative expression of Jewish men’s inner lives, and the always revealing, sometimes painful, sometimes joyous—and often even practical—practice that prayer can be. Jewish Men Pray will challenge your preconceived ideas about prayer. It will inspire you to explore new ways of prayerful expression, new paths for finding the sacred in the ordinary and new possibilities for understanding the Jewish relationship with the Divine. This is a book to treasure and to share.
In thirty years of playing in bands and sharing musical ideas and insights with some of the top musicians in his field, Mike Marshall has enjoyed an amazing opportunity to compose music for some incredible players.The individual pieces in this book reflect a desire to create something he felt would fit the musical situation at hand: the players, the instrumentation, the music that they were interested in exploring, and their collective goals and dreams. In most cases, these tunes where learned by ear and those who played them never saw charts like these. Multi-instrumentalist Matt Flinner took on the task of transcribing Mike's music into notation and tab.
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