Do you want to know when Duke Ellington was king of The Cotton Club? Have you ever wondered how old Miles Davis was when he got his first trumpet? From birth dates to gig dates and from recordings to television specials, Leonard Feather and Ira Gitler have left no stone unturned in their quest for accurate, detailed information on the careers of 3.300 jazz musicians from around the world. We learn that Duke Ellington worked his magic at TheCotton Club from 1927 to 1931, and that on Miles Davis's thirteenth birthday, his father gave him his first trumpet. Jazz is fast moving, and this edition clearly and concisely maps out an often dizzying web of professional associations. We find, for instance, that when Miles Davis was a St. Louisteenager he encountered Charlie Parker and Dizzy Gillespie for the first time. This meeting proved fateful, and by 1945 a nineteen-year-old Davis had left Juilliard to play with Parker on 52nd Street. Knowledge of these professional alliances, along with the countless others chronicled in this book,are central to tracing the development of significant jazz movements, such as the "cool jazz" that became one of Miles Davis's hallmarks. Arranged alphabetically according to last name, each entry of this book chronologically lists the highlights of every jazz musician's career. Highly accessible and vigorously researched, The Biographical Encyclopedia of Jazz is, quite simply, the most comprehensive jazz encyclopediaavailable.

The first bibliography devoted to a single jazz genre or era, Fire Music is concerned with the music of the jazz avant-gardists such as John Coltrane, Ornette Coleman, Cecil Taylor, and Sun Ra. It makes accessible the most extensive and up-to-date scholarship of the New Jazz beginning in the 1950s. Included are materials on such topics as jazz collectives and the New York loft scene, as well as jazz in specific countries and regions and a lengthy section of biographical and critical studies on more than 400 artists and ensembles from around the world. Organized by subject and artist, the over 7,100 sources are further divided by type of materials, including films, video, and audio cassettes as well as books, dissertations, and journal and newspaper articles in all major Western languages. A New Jazz Chronology places events in the jazz world in a social, political, and musical context; and a section on African-American Cultural History and the Arts provides background materials. Appendixes offer general reference sources, a directory of archives and research centers, and lists that classify artists by country and instrument. Indexes of artists, subjects, and authors complete the work.

Free Jazz: A Research and Information Guideoffers carefully selected and annotated sources on free jazz, with comprehensive coverage of English-language academic books, journal articles, and dissertations, and selective coverage of trade books, popular periodicals, documentary films, scores, Masters' theses, online texts, and materials in other languages. Free Jazz will be a major reference tool for students, faculty, librarians, artists, scholars, critics, and serious fans navigating this literature.

Jazz Books in the 1990s: An Annotated Bibliography contains over 700 entries covering adult non-fiction books on jazz published from 1990 through 1999. International in scope, the books included range from such places as Finland, Slovakia, Australia, Japan, India, and South Africa, as well as Canada, the United Kingdom, and the United States. Entries are organized by category, including biographies, history, individual instruments, essays and criticism, musicology, regional studies, discographies, and reference works. Greenberg has amassed an impressive collection of entries with each entry including the author, title, publisher, year, and number of pages, and also indicating when a book contains a bibliography, discography, footnotes, musical transcriptions, illustrations, photographs, or any other additional material. The discography entries also note whether books contain unissued material or reissues. Three indexes--by title, author, and subject--make this a valuable and comprehensive reference guide for researchers, students, and jazz aficionados alike.

Revisit favorite arrangements, discover new ones, and inspire your jazz ensemble with sound and adventurous music to play. This new book recommends and analyzes sixty-seven quality jazz arrangements recommended by eighteen of the foremost jazz experts in the field today, including directors and professors from high schools and colleges across the country, including the Houston High School for the Performing and Visual Arts, Bloomington High School, Fiorello La Guardia Performing Arts High School, Juilliard School, Berklee College of Music, and Harvard University. Listed alphabetically, each analysis includes information on instrumentation, ranges, playability, and requirements for rendering the score. This book includes eight indexes of musical features to help instructors select repertoire and teaching topics, five indexes for quick navigation and reference, three appendices on survey data results, a glossary, a bibliography, a list of jazz ensemble music publishers, and a general index.

Rev. ed. of: Jazz reference and research materials. 1981. Includes bibliographical references and indexes.

Jazz: Research and Pedagogy is the third edition of an annotated bibliography to books, recordings, videos, and websites in the field of jazz. Since the publication of the 2nd edition in 1995, the quantity and quality of books on jazz research, performance, and teaching materials have increased. Although the 1995 book was the most comprehensive annotated jazz bibliography published to that date, several books on research, performance, and teaching materials were omitted. In addition, given the proliferation of new books in all jazz areas since 1995, the need for a new, comprehensive, and annotated reference book on jazz is apparent. Multiply indexed, this book will serve as an excellent tool for librarians, researchers, and scholars in sorting through the massive amount of new material that has appeared in the field over the last decade.

Written by award-winning jazz historian Ted Gioia, this comprehensive guide offers an illuminating look at more than 250 seminal jazz compositions. In this comprehensive and unique survey, here are the songs that sit at the heart of the jazz repertoire, ranging from "Ain't Misbehavin'" and"Autumn in New York" to "God Bless the Child," "How High the Moon," and "I Can't Give You Anything But Love." Gioia includes Broadway show tunes written by such greats as George Gershwin and Irving Berlin, and classics by such famed jazz musicians as Miles Davis, Thelonious Monk, Duke Ellington, andJohn Coltrane. The book offers vibrant discussions of each song, packed with information about how the song was written, who recorded it, the song's place in jazz history, and much more. Gioia includes recommendations for more than 2,000 recordings, with a list of suggested tracks for each song. Filled withcolorful anecdotes and expert commentary, The Jazz Standards will appeal to a wide audience, serving as a fascinating introduction for new fans, an invaluable and long-needed handbook for jazz lovers and musicians, and an indispensable reference for students and educators.

In Jazz Transatlantic, Volume I, renowned scholar Gerhard Kubik takes the reader across the Atlantic from Africa to the Americas and then back in pursuit of the music we call jazz. This first volume explores the term itself and how jazz has been defined and redefined. It also celebrates the phenomena of jazz performance and uncovers hidden gems of jazz history. The volume offers insights gathered during Kubik's extensive field work and based on in-depth interviews with jazz musicians around the Atlantic world. Languages, world views, beliefs, experiences, attitudes, and commodities all play a role. Kubik reveals what is most important--the expertise of individual musical innovators on both sides of the Atlantic, and hidden relationships in their thoughts. Besides the common African origins of much vocabulary and structure, all the expressions of jazz in Africa share transatlantic family relationships. Within that framework, musicians are creating and re-creating jazz in never-ending contacts and exchanges. The first of two volumes, Jazz Transatlantic, Volume I examines this transatlantic history, sociolinguistics, musicology, and the biographical study of personalities in jazz during the twentieth century. This volume traces the African and African American influences on the creation of the jazz sound and traces specific African traditions as they transform into American jazz. Kubik seeks to describe the constant mixing of sources and traditions, so he includes influences of European music in both volumes. These works will become essential and indelible parts of jazz history.

The New Grove Dictionary of Jazz, second edition is the largest, most comprehensive and accurate reference work on jazz ever published, putting the world of jazz at your fingertips. With articles on every aspect of the field, from jazz groups, composers and arrangers to instruments, terms,record labels and venues, the new edition is the ideal companion for scholars and enthusiasts in this rapidly growing field. The New Grove Dictionary of Jazz, second edition is unique: * No other title covers jazz to this extent across all forms and styles * The only way to be completely up-to-date with the full scope of writing in this field * Provides new perspectives to established areas of study--musicology, film and media, American studies, modern social history, women's studies and cultural studies, to name a few * Offers a one-stop resource to all the key names in the jazz world

Too jazzy for rock critics, too silly for jazz critics, the jovial gentlemen and women of jive are enthusiastically saluted in this history of jive. Jive, often known as jump or swing, has had a language, a rhythm and a style all its own - lively, celebratory, and quintessentially American. This volume follows the music's rich, raucous cultural heritage from the Georgia South Sea troubadours to the pioneers (Louis Armstrong, Fats Waller and Cab Calloway), and from the golden era (Louis Jordan, Slim Gaillard and Leo Scat Watson) to the white connection (Mezz Mezzrow, Dan Hicks and Joe Jackson). It also covers the women jivesters (Betty Boop, Annie Ross and Rickie Lee Jones) and the retro swingers (Brian Setzer, Big Bad Voodoo Daddy and Cherry Poppin' Daddies), as well as the Broadway musical Five Guys Named Moe in 1994 and Swing. A discography is included.