The Annual Review of Jazz Studies (ARJS) is a journal providing a forum for the ever expanding range and depth of jazz scholarship, from technical analyses to oral history to cultural interpretation. Addressed to specialists and fans alike, all volumes include feature articles, book reviews, and unpublished photographs. This 14th issue contains four intriguing articles that to some degree contravene accepted precepts of jazz orthodoxy. John Howland traces the connection between Duke Ellington's extended works and the "symphonic jazz" model of the 1920s as exemplified by Paul Whiteman and his chief arranger, Ferde Grof . Horace J. Maxile Jr. takes an unfashionably broad perspective of Charles Mingus's "Ecclusiastics," applying recent developments in cultural theory as well as the formal tools of traditional music theory. Brian Priestley's exploration of the ties between Charlie Parker and popular music challenges the canonical depiction of Parker as a lone revolutionary genius, instead underscoring the saxophonist's ties to the popular music of his time. Finally, John Wriggle presents an extensive examination of the life and work of arranger Chappie Willet, an unsung hero of the Swing Era. The book reviews cover a cross-section of the burgeoning jazz literature, and Vincent Pelote has again compiled a list of books received at the Institute of Jazz Studies.

Reveals how the new technologies of mass culture--the phonograph, radio, and film--played a key role in accelerating the diffusion of jazz as a modernist art form across the nation's racial divide. Focuses on four cities--New Orleans, New York, Chicago, and Los Angeles--to show how each city produced a distinctive style of jazz.

The first authoritative guide to scholarly literature on popular music of the world includes some 8,300 entries covering every non-biographical aspect of the field, including genres, the industry, social and cultural contexts, musical practices, geographical locations, and theory and method. The bibliography serves as an announcement of the forthcoming Encyclopedia of Popular Music of the World. Distributed in the US by Books International. Annotation copyrighted by Book News, Inc., Portland, OR

Demonstrates that the theories of Heinrich Schenker can illuminate not only the technical aspects of jazz (such as melody, rhythm, and harmony), but also its artistic content. This book offers an analyses of Larson's transcriptions into musical notation of five recorded performances of Thelonious Monk's classic jazz composition "Round Midnight".