From record album liner notes to serious academic pieces, Martin Williams has been perceptively chronicling the development of jazz for over three decades. In this, his newest collection of jazz writings, Williams brings together many of his best pieces and covers new ground, with short columns on Teddy Wilson and George Winston and a longer article, "How Long Has This Been Going On?," examining the current state of jazz. In this last work, Williams notes that jazz is experiencing a period of "stylistic retrenchment or, if you will, a period of conservatism," and questions the fusion of jazz with rock. Williams cites the opinion of Wynton Marsalis and a number of other musicians, who "seem to see the whole fusion thing as a kind of commercial opportunism and artistic blind alley, maybe even a betrayal of the music." Arranged roughly according to the form of the writing (music reviews, profiles, etc.) the pieces included here examine the musicianship of jazz greats from Sidney Bechet to Ornette Coleman, including Lionel Hampton, Lee Konitz, Art Farmer, and others. There are also thought pieces on the development and direction of jazz and jazz scholarship. Together, these works provide an insightful overview of the development of jazz over the past twenty years.

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, taking as its example the impact of 1960s free improvisation on the changing status of jazz. By examining the production, presentation, and reception of experimental music by Ornette Coleman, Cecil Taylor, John Coltrane, and others, Iain Anderson traces the strange, unexpected, and at times deeply ironic intersections between free jazz, avant-garde artistic movements, Sixties politics, and patronage networks. Anderson emphasizes free improvisation's enormous impact on jazz music's institutional standing, despite ongoing resistance from some of its biggest beneficiaries. He concludes that attempts by African American artists and intellectuals to define a place for themselves in American life, structural changes in the music industry, and the rise of nonprofit sponsorship portended a significant transformation of established cultural standards. At the same time, free improvisation's growing prestige depended in part upon traditional highbrow criteria: increasingly esoteric styles, changing venues and audience behavior, European sanction, withdrawal from the marketplace, and the professionalization of criticism. Thus jazz music's performers and supporters—and potentially those in other arts—have both challenged and accommodated themselves to an ongoing process of cultural stratification.

Embark on an enriching journey through the vibrant world of jazz with 'Jazz: A Beginner's Odyssey.' This comprehensive guide offers a captivating exploration of jazz's origins, evolution, and cultural significance. Delve into the essential elements of jazz, from rhythm and harmony to improvisation and composition, as you uncover the secrets of this captivating genre. Meet jazz legends past and present, learn performance techniques, and discover the diverse styles and subgenres that have shaped jazz into what it is today. Whether you're a newcomer to jazz or a seasoned enthusiast, this book provides invaluable insights, practical exercises, and fascinating anecdotes to deepen your understanding and appreciation of this timeless art form. From swing to fusion, from Louis Armstrong to Herbie Hancock, 'Jazz: A Beginner's Odyssey' is your passport to a world of musical discovery and inspiration.

A must-read for old-school hip-hop heads and burgeoning fans alike Time 'Hip Hip is not History, it's Our story. Brilliant book' Craig Charles 'Hip-Hop Is History melds a detailed chronological retelling of the genre's story with occasionally hair-raising memoir ' Guardian 'Sharp and lyrical analyses of hip-hop's evolution with fascinating, up-close recollections of the genre's turning point... an exuberant account of a dynamic musical genre and the cultural climate in which it evolved Publishers Weekly When hip-hop first emerged in the 1970s, it wasn't expected to become the cultural force it is today. But for a young Black kid growing up in a musical family in Philadelphia, it was everything. He stayed up late to hear the newest songs on the radio. He saved his money to buy vinyl as soon as it landed. He even started to try to make his own songs. That kid was Questlove, and decades later, he is a six-time Grammy Award-winning musician, an Academy Award-winning filmmaker, a New York Times bestselling author, a producer, an entrepreneur, a cofounder of one of hip-hop's defining acts (the Roots), and the genre's unofficial in-house historian. In this landmark book, Hip-Hop Is History, Questlove skilfully traces the creative and cultural forces that made and shaped hip-hop, highlighting both the forgotten but influential gems and the undeniable chart-topping hits-and weaves it all together with the stories no one else knows. It is at once an intimate, sharply observed story of a cultural revolution and a sweeping, grand theory of the evolution of the great artistic movement of our time. And Questlove, of course, approaches it with not only the encyclopaedic fluency and passion of an obsessive fan but also the expertise and originality of an innovative participant. Hip-hop is history, and also his history. 'A must-read for music lovers, cultural history buffs, and hip-hop fans... Questlove's illuminating and insightful survey is as personal as it is expert' Booklist 'A memorable, masterful history of the first 50 years of an indelible American art form' Kirkus Reviews The musician and Oscar-winning director traces the first 50 years of hip-hop... Questlove pairs the history of hip-hop with a personal reflection on how the genre shaped his identity during his childhood in Philadelphia The Week

Taking to heart Ralph Ellison's remark that much in American life is "jazz-shaped," The Jazz Cadence of American Culture offers a wide range of eloquent statements about the influence of this art form. Robert G. O'Meally has gathered a comprehensive collection of important essays, speeches, and interviews on the impact of jazz on other arts, on politics, and on the rhythm of everyday life. Focusing mainly on American artistic expression from 1920 to 1970, O'Meally confronts a long era of political and artistic turbulence and change in which American art forms influenced one another in unexpected ways. Organized thematically, these provocative pieces include an essay considering poet and novelist James Weldon Johnson as a cultural critic, an interview with Wynton Marsalis, a speech on the heroic image in jazz, and a newspaper review of a recent melding of jazz music and dance, Bring in 'Da Noise, Bring in 'Da Funk. From Stanley Crouch to August Wilson to Jacqui Malone, the plurality of voices gathered here reflects the variety of expression within jazz. The book's opening section sketches the overall place of jazz in America. Alan P. Merriam and Fradley H. Garner unpack the word jazz and its register, Albert Murray considers improvisation in music and life, Amiri Baraka argues that white critics misunderstand jazz, and Stanley Crouch cogently dissects the intersections of jazz and mainstream American democratic institutions. After this, the book takes an interdisciplinary approach, exploring jazz and the visual arts, dance, sports, history, memory, and literature. Ann Douglas writes on jazz's influence on the design and construction of skyscrapers in the 1920s and '30s, Zora Neale Hurston considers the significance of African-American dance, Michael Eric Dyson looks at the jazz of Michael Jordan's basketball game, and Hazel Carby takes on the sexual politics of Ma Rainey and Bessie Smith's blues. The Jazz Cadence offers a wealth of insight and information for scholars, students, jazz aficionados, and any reader wishing to know more about this music form that has put its stamp on American culture more profoundly than any other in the twentieth century.

In the context of a shifting domestic and international status quo that was evolving in the decades following World War II, French audiences used jazz as a means of negotiating a wide range of issues that were pressing to them and to their fellow citizens. Despite the fact that jazz was fundamentally linked to the multicultural through its origins in the hands of African-American musicians, happenings within the French jazz public reflected much about France’s postwar society. In the minds of many, jazz was connected to youth culture, but instead of challenging traditional gender expectations, the music tended to reinforce long-held stereotypes. French critics, musicians, and fans contended with the reality of American superpower strength and often strove to elevate their own country’s stature in relation to the United States by finding fault with American consumer society and foreign policy aims. Jazz audiences used this music to condemn American racism and to support the American civil rights movement, expressing strong reservations about the American way of life. French musicians lobbied to create professional opportunities for themselves, and some went so far as to create a union that endorsed preferential treatment for French nationals. As France became more ethnically and religiously diverse due immigration from Africa, Asia, and the Caribbean, French jazz critics and fans noted the insidious appearance of racism in their own country and had to contend with how their own citizens would address the changing demographics of the nation, even if they continued to insist that racism was more prevalent in the United States. As independence movements brought an end to the French empire, jazz enthusiasts from both former colonies and France had to reenvision their relationship to jazz and to the music’s international audiences. In these postwar decades, the French were working to preserve a distinct national identity in the face of weakened global authority, most forcefully represented by decolonization and American hegemony. Through this originally African American music, French listeners, commentators, and musicians participated in a process that both challenged and reinforced ideas about their own culture and nation.

The author of “With Style & Amazing Grace” and “He’s the Keeper of My Soul” brings you “Jazz, Java & Jesus: Christian Devotions to Soothe Your Soul”. The perfect book to take to your local coffee or tea house, or to just enjoy during your private time and mediate on the Promises of God. Just as we showed you in, “He’s the Keeper of My Soul”, this book reaffirms how important YOU are to the Lord! www.AleyshaProctor.com

Veteran journalist Mitgang has written a flavorful account of New York City politics during the 1920s Jazz Age centering around the intersecting careers of the city's popular mayor, Jimmy Walker, and the state's patrician governor, Franklin D. Roosevelt.

This riveting book by Paul Balmer is the definitive biography of a unique musician whose life spanned the 20th century. Stephane Grappelli's astonishing career ran on a parallel track to the history of Jazz itself. Born in Paris in 1908 Grappelli was to become a member of the greatest European Jazz band of them all - the pre-war Hot Club de France Quintet - playing Violin alongside gypsy Guitar legend Django Reinhardt. Tat dazzling association with Reinhardt may have brought Grappelli his greatest fame, but his prodigious talent was also to give him a long and varied career in music playing with everyone from Duke Ellington and Joe Venuti to George Shearing and Oscar Peterson. This rich and revealing biography takes its place alongside the author's BAFTA-nominated DVD about Grappelli, an exceptional musician whose fascinating personal story also vividly illuminates the history of American Jazz in Europe.