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Book SynopsisDawn The Nice Story offersa detailed exploration of the uniqueness, achievements and music of The Nice as well as the spin-off groups Jackson Heights, Refugee and beyond celebrating them as a band worthy of critical recognition in their own right.

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Book SynopsisThe Music of James Bond is the first comprehrensive chronicle of the songs and scores written for the movie adventures of Ian Fleming's intrepid Agent 007. New interviews with Bond songwriters and composers coupled with previously undiscovered details make this book required reading for all 007 fans. This paperback edition is brought up-to-date with a new chapter on Skyfall.Trade ReviewWhen it comes to writing about film music, Jon Burlingame is the man with the Midas touch. Both casual fans and 007 aficionados should find this book to be enlightening, informative, and great fun to read. * Leonard Maltin *Jon Burlingame has written an amazing behind-the-scenes dossier, revealing the personalities, the betrayals, the egos, the lawsuits, and the untold stories behind 007's hits and misses. Nobody does it better than Bond, and nobody knows Bond music better than Burlingame. * John Cork, co-author, James Bond, The Legacy *A magnificent work. Not only has Mr. Burlingame assembled a meticulously researched history of the James Bond music, but, being an expert on musical scoring and composers, he offers a degree of music appreciation and insight that few possess. James Bond fans will devour this like Beluga caviar and Dom Perignon champagne. * Steven Jay Rubin, author of The Complete James Bond Movie Encyclopedia *Jon Burlingame provides the intriguing and often fascinating story behind the one heretofore neglected aspect of the James Bond phenomenon: the soundtracks and the incredibly talented people behind them. The Music of James Bond manages to be exhaustively researched, yet highly entertaining. Those of us who pride ourselves on being 007 scholars will be humbled by the wealth of new insights the author reveals. With this indispensable book, Burlingame reaffirms his status as one of the world's foremost experts on motion picture soundtracks. * Lee Pfeiffer, co-author, The Incredible World of 007 and The Essential Bond, and Editor-in-Chief, Cinema Retro Magazine *Jon Burlingame has crafted an authoritative and uniquely informative volume * the definitive examination of a major contribution in the longevity of the James Bond film series. The Music of James Bond is packed with memorable quotes and a sprinkling of photographic gems.Graham Rye, Editor & Publisher, 007 MAGAZINE *At last, a worthy historical analysis of 007 that finally puts the music in the spotlight; often neglected and overlooked, John Barry's distinctive sound played a pivotal part in defining James Bond's screen persona. Jon Burlingame's incredibly detailed account successfully threads together the full story, and in doing so, reveals more twists and turns than an Ian Fleming novel. * Geoff Leonard and Pete Walker, co-authors, John Barry: The Man With the Midas Touch *The tunes and scores that have graced the 007 franchise finally get their due in this exhaustively researched and consistently fascinating chronicle. * Neil Smith, Total Film *THE MUSIC OF JAMES BOND is an immensely readable and satisfyingly comprehensive study of an overlooked aspect to the Bond films' success. I couldn't put it down. * Neil Shurley, Examiner.com *[A] thorough and engaging account of the composers, singers, and lyricists who have contributed the stylistically eclectic scores and title songs for James Bond films over the past fifty years... For connoisseurs of Bond films and their scores, The Music of James Bond will likely become an indispensable part of their collection. * Journal of the Society for American Music *Table of ContentsAcknowledgements ; Foreword ; Introduction ; 1. "... come watch for de moon ..." ; Dr. No ; 2. "... but oh, you haunted me so ..." ; From Russia With Love ; 3. "... the Midas touch - a spider's touch..." ; Goldfinger ; 4. "... he looks at this world and wants it all ..." ; Thunderball ; 5. "... well, it takes my breath away ..." ; Casino Royale (1967) ; 6. "... make one dream come true ..." ; You Only Live Twice ; 7. "... we have all the time in the world ..." ; On Her Majesty's Secret Service ; 8. "... touch it, stroke it and undress it ..." ; Diamonds Are Forever ; 9. "... you gotta give the other fellow hell ..." ; Live and Let Die ; 10. "... an assassin that's second to none ..." ; The Man With the Golden Gun ; 11. "... nobody does it better ..." ; The Spy Who Loved Me ; 12. "... that moonlight trail that leads to your side ..." ; Moonraker ; 13. "... you see what no one else can see ..." ; For Your Eyes Only ; 14. "... hold on tight, let the flight begin ..." ; Octopussy ; 15. "... though I know there's danger there, I don't care ..." ; Never Say Never Again ; 16. "... until we dance into the fire ..." ; A View to a Kill ; 17. "... the living's in the way we die ... " ; The Living Daylights ; 18. "... and you know I'm going straight for your heart ..." ; Licence to Kill ; 19. "... time is not on your side ... " ; GoldenEye ; 20. "... until the world falls away ..." ; Tomorrow Never Dies ; 21. "... no point in living if you can't feel alive ..." ; The World Is Not Enough ; 22. "... it's not my time to go ..." ; Die Another Day ; 23. "... the coldest blood runs through my veins ..." ; Casino Royale (2006) ; 24. "... a door left open, a woman walking by... " ; Quantum of Solace ; iv. Appendix 1: The Bond Soundtrack Albums ; v. Appendix 2: The Bond Songs That Never Were ; vi. Endnotes ; vii. Bibliography ; viii. Index

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Book SynopsisThis book bridges a gap in existing scholarship by foregrounding the contribution of women to the nineteenth-century Lied. Building on the pioneering work of scholars in recent years, it consolidates recent research on womenâs achievements in the genre, and develops an alternative narrative of the Lied that embraces an understanding of the contributions of women, and of the contexts of their engagement with German song and related genres. Lieder composers including Fanny Hensel, Clara Schumann, Pauline Viardot-Garcia and Josephine Lang are considered with a stimulating variety of analytical approaches. In addition to the focus on composers associated with history and theory of the Lied, the various chapters explore the cultural and sociological background to the Liedâs musical environment, as well as engaging with gender studies and discussing performance and pedagogical contexts. The range of subject matter reflects the interdisciplinary nature of current research in the field, and thTrade Review"This is an important book. (…) This rich collection assembled by Aisling Kenny and Susan Wollenberg is a ‘must-have’ for those interested in the history of lieder, the musical practices of women, and the social landscape of the nineteenth century." – Marcia J. Citron, Rice University."Women and the Nineteenth-Century Lied takes nineteenth-century music scholarship a considerable step closer toward a greater inclusiveness of repertoire, composers and methodologies, and for that it is profoundly welcome." – Laura K.T. Stokes, Brown University"… a fine volume for lieder scholars…" - Susan H. Borwick, Journal of the International Alliance for Women in MusicTable of ContentsPart 1 Contexts for Women's Lieder, I: Blurring the gendered dichotomies: issues of gender and creativity for the female Lied composer. Absence and dialogue: Pauline von Decker in a performing and cultural context. In pursuit of a single flame: Fanny Hensel's 'musical salon'. Part 2 Individual Composers and their Lieder, I: Early 19th Century: 'Der Jungling und Das Madchen': Fanny Hensel, Felix Mendelssohn and the Zwolf Lieder, op. 9. Functions of piano introductions in the Lieder of Josephine Lang. Clara Schumann's 'Liebst du um Schonheit' and the integrity of a composer's vision. Part 3 Individual Composers and their Lieder, II: Later 19th Century: Pauline Viardot-Garcia's 'Ne poj, krasavica, pri mne' and the genre of Russian romance. (Re)claiming space for Ingeborg von Bronsart's Wildenbruch Lieder, op. 16. Cyclic organization, narrative and self-construction in Ethel Smyth's Lieder und Balladen, op. 3 and Lieder, op. 4, Cornelia Bartsch; Contrasting concepts of love in two songs by Alma Schindler(-Mahler) and Gustav Mahler. Part 4 Contexts for Women's Lieder, II: 'Und das hat mit ihrem Singen, Die Lore-Ley gethan': subjectivity and objectification in two Heine settings. Echoes of the Lied: women's vocal repertoire in 19th-century Ireland. Women composers of Lieder: selected sources.

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Book SynopsisThe definitive musical and cultural history of new wave musicTrade Review“Are We Not New Wave? is destined to become the definitive study of new wave music.”- Mark Spicer, coeditor of Sounding Out Pop;""In carefully distinguishing the ways in which a genre is historically informed and discursively created, Cateforis has given us an exemplary treatise on an emergent historical phenomenon, a feat that can be appreciated by anyone interested in genre, even if they cannot distinguish their Kajagoogoo from their Spandau Ballet.""- James Paasche, Popular Music and Society

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Book SynopsisOnly one woman knows - his mother Debbie Nelson, at one point reviled on dozens of Internet sites as the most hated mother in the world. But by cleaning out her own personal closet, Debbie reveals a bitter-sweet story of a single mother who gave her son everything in an attempt to make up for his absent father and her own miserable childhood. This, her no holes barred autobiography, is an open letter to Marshall Bruce Mathers III, a loving reminder of how they once were, and an attempt to set the record straight by untangling the unspoken and enigmatic alter egos Eminem and Slim Shady. It reveals that there's much more to the story than his fans ever thought.

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Book SynopsisPaul Di'anno is one of rock's wildest figures. Now he reveals the shocking stories of his life on the road, including the moment he kicked out his own guitarist's teeth, chasing journalists from venues, shooting out car tyres with a rifle and the truth about his arrest for carrying a sub-machine gun. His tale is one of drugs, guns, alcohol; of extended periods banged up in prison and his time fronting the mighty Iron Maiden. His controversial antics off-stage are even more shocking than his existence under the spotlights. He has battled drug addicitions and tumbled from the heights of fame to the pit of bankruptcy. This is a look into the dark and disturbing times of a man who had spent his whole life courting his demons.

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Book SynopsisAn idea 50 years in the making, this entertaining cookbook from a cult music legend is chock-full of stories and soul foodBefore there was Snoop Dogg, there was Swamp Dogg. Born Jerry Williams Jr., he first rose to fame as a 12-year-old soul singer called Little Jerry. As an adult, he went on to reintroduce himself as Swamp Dogga legendary singer, songwriter and record producer whose singular voice and ideas have shaped the history of soul, country, hip-hop and R&B.An avid foodie, Swamp Dogg once proclaimed in 1972 that he would write a cookbook so transformative that the legacies of culinary giants such as Julia Child, Betty Crocker and even Colonel Sanders would pale in comparison. Now, more than 50 years later, that work is finally here.If You Can Kill It I Can Cook It is a book for those who appreciate recipes seasoned with personality and history, and stories to go with dinner. This is more than a cookbook: it's a biographical artifact and a journey into the mind of a chef who'll teach you how to make Baked Beans Bo Diddley, James Brown In Flight Chicken and Willie Nelson Potatoes Platter. It's also a glimpse into the savory life of a musical genius, richly illustrated with tales and photos of family, food, music and business.Jerry Williams Jr., also known as Swamp Dogg (born 1942), sang under his own name in the 1960s while also working for record labels such as Musicor and Atlantic Records. In 1970 he adopted the moniker Swamp Dogg and has recorded 25 soul and R&B albums. His collaborators have included John Prine, Jenny Lewis and Bon Iver.

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Trade Review"Recommended."--Choice "Lowney is at his best when he turns his attention to the specific forms of jazz and its literatures. He is a careful close reader with an expert eye for minute technical correspondence between literary and musical forms." --African American Review"Jazz Internationalism is thought provoking. . . certain to stimulate the intellectual interests of a wide array of scholars of black radicalism, Afro-modernism, and jazz." --The Journal of African American History"Indispensable to African American literary and cultural studies, jazz studies, and internationalist leftist studies. Its discussion of how jazz is called forth as a form of utopianism as well as social and political criticism in radical African American writing marks an important step in the contemporary critical reconsideration of how conventionally discrete areas of history and culture may be seen in intersectional terms."--Gary Edward Holcomb, author of Claude McKay, Code Name Sasha: Queer Black Marxism and the Harlem Renaissance

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Book SynopsisThere are pop stars, and then there is Prince. In this kaleidoscopic, freewheeling biography, John McKie examines the remarkable life and career of one of the most mysterious figures in music through the prism of the record most widely considered his masterpiece, 1987's Sign o' the Times. Drawing on more than 200 interviews with friends, ex-girlfriends, bandmates, recording engineers, bodyguards, personal assistants, wardrobe designers and hairdressers, accomplished music writer John McKie examines the life of this musical polymath with the help of many of the people who knew him best. Family members and friends discuss his childhood when he learned to master several instruments, there is new information on how he made the soundtrack to Purple Rain, the full story about why he decided to stop using his name, the now legendary Super Bowl half-time show and that guitar solo at the Rock 'n' Roll Hall of Fame which has been viewed on YouTube 100 million times. McKie also dives into the personality of the man: what made him laugh, the way he hired and fired colleagues, what he was like to live with, how his relentless drive to make music led to him recording for hours without sleep, how he changed his car stereo to road test his new hits and even booked his guitar and album sleeves their own seats on flights. Prince: A Sign o' the Times is the most comprehensive book ever written about one of the most enigmatic and talented pop stars of all time.

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Book SynopsisOn 4 June 1976, four young men took to the tiny stage of the Lesser Free Trade Hall in Manchester. The noise they made changed everything...The NME named it as the most important gig of all time. When the Sex Pistols played Manchester in '76 they set off a series of musical detonations that are still being felt today. Despite thousands claiming they were in attendance, only a handful of people were actually there - but those that were went on to form bands including The Smiths, Buzzcocks, Joy Division, New Order and The Fall. They kick-started the Manchester music scene, created Factory Records and laid the foundations for the world-famous Hacienda nightclub. Forty years on, music journalist David Nolan tells the true story of that legendary gig, plus the Pistols' follow up performance and the band's first ever TV appearance at Manchester's Granada TV a few weeks later. The question has truly become one of rock 'n' roll's greatest mysteries: Who really saw the Sex Pistols at the Lesser Free Trade Hall in 1976? So how does David Nolan finally solve it? By trying to track down the whole audience!In an updated edition comprised of extensive interviews with key players and audience members, and featuring previously unpublished photos, I Swear I Was There is the true story of the electrifying gig that changed the music scene forever.Trade Review'One of the greatest rock stories ever told' - GQ

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Book SynopsisEberhard Weber is a virtuoso who revolutionized jazz bass playing. He brought his instrument from the far corner of the stage into the spotlight - and turned it into a solo force. He began his career as a jazz bassist in the 1960s, and his band Colours with the saxophonist Charlie Mariano became one of the most successful jazz groups in Europe. His record Colours of Chloe (made for ECM) was a cult album in its time. Weber went on to perform with many the big stars of the international jazz scene, including Wolfgang Dauner, Gary Burton, Pat Metheny and Jan Garbarek. He was also a key member of the United Jazz and Rock Ensemble. Playing the five-string instrument, both in acoustic and electric form, he also became a master of the solo recital, using electronics to accompany his own dexterous improvisations. Weber has not been able to play the bass since he suffered a stroke in April 2007 during a sound check with the Jan Garbarek Group at the Berlin Philharmonic Hall. But he had already created an oeuvre that is second to none. The charismatic bassist made jazz history with his explorations, both in terms of his own instrument and with his range of creative musical companions. His remarkable autobiography is at the same time a humorous and exciting testimony to a vital period in German jazz history. This is the first English translation of the original published in German by Sagas in 2015.Table of ContentsPrelude 1 A Stroke of Bad Luck 2 If Only I Knew 3 Under the Grand Piano 4 A Dab Hand 5 “Hey, how about it?” 6 Free!? 7 Telephone Bass Player 8 “I’m gonna get one!” 9 New Colours 10 Philharmonic Full Circle 11 Well Received 12 “Now you’ve made it!” 13 Down Under 14 Longer Than Most Marriages 15 United (Kingdom) 16 Border Crossings 17 Highs and Lows 18 To Poona, Please! 19 Home Advantage? 20 Perfect Sound Postlude Discography

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Book SynopsisJeff Turner's story is one of bravado, triumph, tears, betrayal and despair. From having the world in his hands at 15 to staring down a barrel at 17 and going from being a star of television to queuing at the job centre in two years. Together with his brother Mickey, Jeff Turner stormed the music scene. The Cockney Rejects' attitude was the real deal. They stood for being young, working class and not taking nonsense from anyone. But the madness couldn't last forever. As violence at their gigs spiralled out of control, so did the band. Jeff was left dazed and penniless. This is his own story.

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Book SynopsisIn Britain during the late 1970s and early 1980s, a new phenomenon emerged, with female guitarists, bass-players, keyboard-players and drummers playing in bands. Before this time, women's presence in rock bands, with a few notable exceptions, had always been as vocalists. This sudden influx of female musicians into the male domain of rock music was brought about partly by the enabling ethic of punk rock ('anybody can do it!') and partly by the impact of the Equal Opportunities Act. But just as suddenly as the phenomenon arrived, the interest in these musicians evaporated and other priorities became important to music audiences. In an updated new paperback edition of a book originally published in hardcover in 2007, Helen Reddington investigates the social and commercial reasons for how these women became lost from the rock music record, and rewrites this period in history in the context of other periods when female musicians have been visible in previously male environments. Reddington draws on her own experience as bass-player in a punk band, thereby contributing a fresh perspective on the socio-political context of the punk scene and its relationship with the media. In addition to a wealth of original interview material with key protagonists, including the late John Peel, Geoff Travis, The Raincoats and the Poison Girls, this edition has been updated to reflect the national nature of punk and post-punk with the inclusion of interviews from members of Birmingham-based band The Au Pairs, Leeds-based band The Delta 5 and Viv Albertine of The Slits. Lucy Whitman (aka Lucy Toothpaste) who started the fanzine Jolt and later wrote for Spare Rib also provides enlightening words on the relationship between female punk band members and feminism.Trade ReviewPraise for the first edition ' - an entertaining and important book - ' Mojo ' - a fascinating social and cultural history - ' Popular MusicTable of ContentsIntroduction 1. A ladder through the glass ceiling? 2. Media gatekeepers and cultural intermediaries 3. The Brighton scene 4. Noise, violence and femininity 5. The aftermath 6. The social context: academic writing on subcultures, the rock press and 'women in music' 7. Conclusion

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Book SynopsisDocuments every song the Teutonictone-masters ever crafted from Lonesome Crow to Sting In The Tail,and into Rock Believer the stories of their making are all here,drawing on the author's interviews with Meine, Roth, Rudolf Schenker, Rarebell,Jabs, & manager David Krebs.

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Book SynopsisThis close-up look at the life and music of Robert Johnson and his contributions to the evolution of blues music describes his obscurity during his own life, his innovative influence on American popular music, and how the history of blues music was shaped and transformed by white fans with different tastes and standards.Trade Review"If you read only one book about blues...read this one." -- Starred Booklist on Escaping the Delta

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Trade Review"A smart, funny and revealing book that's pretty much a must read for kids in the scene." -- Chris Carrabba, Dashboard Confessional "If someone was to ask me, 'What is emo?,' I would hand them a copy of EVERYBODY HURTS." -- Matt Rubano, Taking Back Sunday "[D]estined to become a staple in any emo music lover's book collection ." -- Myspace.com "[T]his book is not only hilarious, but absolutely genius." -- Jason Tate, Absolutepunk.net "[T]he essential book for anyone who fancies themselves emo." -- Sarah "Ultragrrrl" Lewitinn, author of The iPod DJ

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Trade ReviewA bible for all song-freaks, it includes a long chapter on Rodgers that backs up enthusiasm with analysis. * BBC Music Magazine, December 1999 *'American Popular Song-The Great Innovators 1900-1950 by Alec Wilder, recently republished by Oxford University Press (Price #17.50 and worth every penny)' National Youth Jazz Orchestra, Spring/Summer 1993

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Trade Review'For beginners and those who need a refresher course in the history of jazz, a great way to start.' Beat Scene'This 1956 tome comes endorsed by Duke Ellington and Louis Armstrong.' The Guardian'it says a good deal for its thoroughness and scholarship that no revision has been deemed necessary for this, the first paperback edition for 20 years ... excellent volume' Stage and Television Today'The Jazz Tradition is certainly an informative and stimulating book ... Marshall Stearns's book has long been regarded as a masterpiece of its kind. The Story of Jazz is essential reading for anyone with even a smattering of interest in the music.' Q

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Book SynopsisLouis Armstrong was more than a great entertainer-he was one of the most important musicians of our times, not only a key figure in the history of jazz but also a formative influence on all of twentieth-century popular music. James Lincoln Collier, author of The Making of Jazz chronicles the saga of Armstrong's rise as a musician, providing a unique, insightful portrait of the man and his times.Trade Review"Destined to become one of the enduring jazz reference works."--The Philadelphia Inquirer"The definitive account of Armstrong's life. Collier is a tough, unblinkered critic."--The Washington Post"By far the most thoughtful and articulate study to date of a much misunderstood titan of jazz."--The Nation"A masterful critical biography--sophisticated in its contexts, shrewd yet sympathetic, rich in its supporting cast...and splendidly conscientious in the delicate balance between character and culture."--Kirkus Reviews"The most comprehensive account yet of the man who all but invented swing."--Newsweek"One of the most important jazz studies in recent years."--Callaloo"An excellent introduction to the real 'Satchmo.'"--History Book Review"It could be a long time before we are given a more detailed, comprehensive, perceptive, and human portrait of the great Satchmo."--Jervis Anderson, The New Republic"Only with the publication of James Lincoln Collier's biography is a truly comprehensive critical study of Armstrong available. And a splendid one it is....Distinguished by sound logic, a generous breadth of understanding of music and people, and a writing style that is a model of clarity, economy, and grace....Collier's book joins that select group of biographies of Americans in the arts whose representatives are in themselves admirable works of art."--American Music"Splendid....Distinguished by sound logic, a generous breadth of understanding of music and people, and a writing style that is a model of clarity, economy, and grace....Collier's book joins the select group of biographies of Americans in the arts whose representatives are in themselves admirable works of art."--American Music"A superb book....It is thoughtful, intelligent, informative, provocative, and comprehensive."--Stephen L. Stone, University of Oregon"This comprehensive, well-researched, highly readable biography deftly separates fact from myth in telling the rags-to-riches saga of Armstrong's life."--The Christian Science Monitor"A detailed, provocative, intellectually stimulating, and skillfully written account--in fact, one of the most engrossing biographies of a jazz musician ever written."--Down Beat"Impeccable scholarship, razor-sharp musical analysis, and lively, vibrant prose are the hallmarks of this groundbreaking biography of an American jazz legend."--Booklist

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Trade Review"An unpretentious and highly entertaining characterization of an era when black musicians tried innovatively to wrest control of their music from white big-band leaders....Informative, upbeat, carefully assembled."--Mel Watkins, American Visions "The most important and valuable book on jazz since James Lincoln Collier's The Making of Jazz, Martin Williams' The Jazz Tradition, and his own previous bop history, Jazz Masters of the '40s."--Jazziz "Mr. Gitler has done an exhaustive and creditable job, and we can thank him for the thoroughness of the interviews, the sensible organization of the material and the portrait of an emerging era marked by more interaction between new and old than historical generalizations would suggest."--The New York Times Book Review "Swing to Bop captures the genius and warmth of Parker and Gillespie, and the contributions of numerous other musicians, too-often forgotten....[It] portrays with depth and vitality what Gitler aptly described bop to be--'a music that lifted one with beauty and joy.'"--Philadelphia Tribune "A 'musician's story'...chock full of all the crazy things that can happen on the road, in the clubs, in the studios, or just about anywhere a jazz musician hangs or wears his hat."--The Christian Science Monitor "First class."--Jazztimes "An uncommonly rich selection of anecdotes, outrageous stories, hearsay and musical insight."--Baltimore Sun "An essential book, one that brings the absolute excitement and sense of change of the era vividly to life."--Cashbox "There are moments here...where provocative ground is broken...[An] enjoyable oral history."--Boston Phoenix "One of the most enjoyable volumes that I've read in a while....If you love creative music, Swing to Bop is a must--the words will make you laugh, cry, groan, and make you wish that you were right there when it happened."--Cadence

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Book SynopsisThis biography of Benny Goodman's music and times attempts to recreate the colourful music world of the 1920s and 1930s, when Goodman was hailed the "King of Swing". The author offers insights into the character and music of a man who helped transform the Depression years into the Swing Era.Trade Review'The author gives a scrupulous account of Goodman's life and character, without indulging in excessive psychological speculation. He also presents an excellent survey of the rise of the big band.' Geoffrey Smith, Country Life'he has marshalled the available data very diligently ... a commendable work on the Jewish boy from the ghetto who made good' Jim Godbolt, Sunday Telegraph'his book leaves us with a sharply drawn, far from flattering portrait of the ambitious, totally self-centred clarinettist and band leader ... But Collier paints an enthralling picture of the whole American popular music industry through to the fifties ... Collier is an extremely able social historian ... His ensembles blow as hard as his solos making this book an indispensable companion to the records.' John Ellis, The Guardian'brilliantly chronicled by James Lincoln Collier in this in-depth study ... With its fine photographs, notes, index and discography, it belongs in every jazz fan's library.' Elaine Ives-Cameron, Jewish Chronicle`Collier... writes wonderfully well' Devon Life'Even with the benefit of all the diligent research that has made this book so gripping, Collier is unable to explain why Goodman could be so uniquely nasty ... a disturbing and revealing account of one of the most paradoxical lives in jazz.' Jazz FM'authoritative study ... The author gives a scrupulous account of Goodman's life and character, without indulging in excessive psychological speculation. He also presents an excellent survey of the rise of the big band.' Geoffrey Smith, Country Life'this is a substantial and recommendable read' Wire Monthly'Collier's probing of Goodman's personality and his assessment of the music it created is superior to his earlier studies of Duke Ellington and Louis Armstrong.' Times Literary Supplement'the book gives a new and fascinating insight into Goodman's particular style of leadership and discipline ... This is, without a doubt, the most in-depth analysis of any band leader ... that you are ever likely to read.' Tony Parker, Oldham Evening Chronicle'the most reliable of Collier's three jazz biographies' Jazztimes, November 1991'Collier's book amplifies very extensively Goodman's autobiography, The Kingdom of Swing.' Times Literary Supplement

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Book SynopsisThis lively account of the Roaring 20s' in America embraces all the major personalities in jazz and popular music - singers, composers and instrumentalists - together with a detailed discography and lists of songs and films.Trade ReviewArnold Shaw has produced an interesting history of the music of the twenties, relating it strongly to the social and political influences of the decade. Agreeably anecdotal, the whole making up a rich kaleidoscope which will be of use to researchers as well as to the general reader * Stage and Television - November 1988 *Shaw's research also yields an attractive breadth of biography and social history. He sketches all sorts of luminaries of the time, producing a rich harvest of anecdote along the way. * Country Life *lively account of the Roaring 20s in America * Publishing News *Arnold Shaw has written an authoritative, exuberant, encyclopaedic book ... Shaw's knowledge ... appears infinite. Panoramic in scope, exhaustive in detail and affectionate in tone, The Jazz Age will be pored over by those who are enraptured by the period. * David Dale, The Times *eminently readable essays ... At #5.95 Lee's book is a snip. * New Musical Express *this book is so full of inside information on the era it's almost unbelievable ... a lively informative book which will be a joy to many ... Fine detail and an engaging style ... a great read. * Bernie Ralphs, Beat Scene *a feast for jazz-lovers ... goes into the jazz history of what were called the "Roaring Twenties" with a wealth of detail * Kieran Nally, Irish Independent *

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Book SynopsisA blend of musical history and criticism, this study of jazz includes chapters on King Oliver, Jelly Roll Morton, John Coltrane and Ornette Coleman. In addition to an expanded essay on Count Basie, this edition includes pieces on Eric Dolphy, Bill Evans and the World Saxophone Quartet.Trade Review'Jazz as a music provides writers with a deep well as a subject matter. Add this book to the collection if you missed it the first time round, it is among the best.' Claudia Caprez, Weekly Journal'it is never less than stimulating' Brian Glasser, Q

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Book SynopsisNew York in the 1950s. On the stage at Birdland is the midget master of ceremonies, 3''9 Pee Wee Marquette, dressed in a zoot suit and loud tie, smoking a huge cigar and screeching mispronounced introductions into the microphone. Pee Wee is just one of the many characters that have made Bill Crow''s forty years in jazz seem like an instant. In the same key as his acclaimed Jazz Anecdotes, this collection of revealing, hilarious, and sometimes moving stories runs the full gamut of New York''s nightspots, introducing us along the way to the likes of Dizzy Gillespie, Benny Goodman, Stan Getz, Judy Holliday, Yul Brynner, and Simon and Garfunkel.Trade Review`Oxford University Press is to be congratulated on recognising the historical value of these memories of a man who has been there' Jazz Times, April 1993`Crow's lively style perfectly illuminates his insider's view of the jazz scene of the '50s and '60s' Russ Neff, The Patriot-News`From Birdland to Broadway is a book that is difficult to put down, in both senses of the term.' Macon Telegraph`From Birdland to Broadway is autobiographical, and the writing flows smoothly.' Times Literary Supplement`there are some interesting yarns and insights ... Bogside fare at best.' Brian Glasser, Q`The book bristles with insider's tales about musicians he has met in 40 years of gigging around. Bill Crow's book keeps you smiling from the first page to the last ... eminently readable book ... Here is a fine bassist dipping into a deep well of reminiscence and showing that he can write as well as he can play.' Reginald Brace, Yorkshire Post`the best and possibly the only book I have read about the life of a jobbing jazz musician ... one feels that if he had been a star he could never have written a book as fascinating as this one, which digs deep into the jazz life' Peter Hepple, Stage & Television Today"In From Birdland to Broadway, Crow shares insightful anecdotes from his long career and writes in a style that's as relaxed, friendly, and straight ahead as a Mulligan baritone sax solo....He never skimps on the humorous asides and telling details. What's more, he renders most of the technical stuff, such as flugelhornist Clark Terry's method of rotary breathing, understandable to even the most unrhythmic or tonedeaf reader. Bop lives in Crow's colorful account."--Cleveland Plain Dealer"Providing some fascinating social history, [Crow] has written a book of intimate and entertaining vignettes about some modern jazz masters."--Library Journal'he has plenty to tell and his book sparkles with humour ... It is often deeply moving too.' Chris Searle, Morning Star'Whether as bystander or musician, Crow was often in the right place at the right time and recalls many priceless incidents. His book is entertaining and readable - don't miss it.' Peter Vacher, Jazz Magazine

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Book SynopsisFanny Brice was arguably the greatest American stage comedienne and the first truly great torch singer. Best known today through the Broadway and Hollywood versions of Funny Girl, the vehicle that catapulted Barbara Streisand to super-stardom, her most famous role was as `Baby Snooks'' the `incorrigible tot of network radio from 1936 to 1951''.This meticulously researched biography chronicles her entire stage career from childhood amateur shows to national fame. Full of colourful anecdote, it covers her personal life, including three broken marriages - one two a notorious gangster - and also includes four appendices detailing every aspect of her stage, film, radio, and recording careers.Trade Review'Fascinating account of the Funny Girl's career.' Peter Hepple, Stage & Television Today

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Book SynopsisIf Benny Goodman was the King of Swing, then Fletcher Henderson was the power behind the throne. Not only did Henderson arrange the music that powered Goodman''s meteoric rise, he also helped launch the careers of Louis Armstrong and Coleman Hawkins, among others. Now Jeffrey Magee offers a fascinating account of this pivotal bandleader, throwing new light on the emergence of modern jazz and the world that created it. Drawing on an unprecedented combination of sources, including sound recordings, obscure stock arrangements, and hundreds of scores that have been available only since Goodman''s death, Magee illuminates Henderson''s musical output, from his early work as a New York bandleader, to his pivotal role in building the Kingdom of Swing. He shows how Henderson, standing at the forefront of the New York jazz scene during the 1920s and ''30s, assembled the era''s best musicians, simultaneously preserving jazz''s distinctiveness and performing popular dance music that reached a widTrade Review"Magee does an excellent job of placing his subject in the context of uncertain social changes in the African American community. Well researched and highly readable."--Library Journal "An invaluable survey of Henderson's life and music. Detailed analyses of numerous musical scores are juxtaposed against a view of the roller-coaster progress of Henderson's career in the midst of the Harlem Renaissance. Perhaps most important, Magee deals with the complex issue of Henderson's identity as both a creative facilitator of other musicians' efforts and the frustrated composer-arranger of music that was a foundational element in the Swing Era--bringing triumphs that had eluded his groups to leaders such as Goodman, the Dorsey Brothers and Isham Jones."--Don Heckman, Los Angeles Times "Magee paints a vivid portrait of the central figures of early jazz and swing (Louis Armstrong is a 'strong streak of color in a crazy quilt') as well as the business of recording and touring in the 1920s and '30s. While Benny Goodman is lauded as the major force behind the Big Band sound, Magee argues convincingly that Henderson was equally important in 'building the kingdom of swing.''--Publishers Weekly "An invaluable survey of Henderson's life and music. Detailed analyses of numerous musical scores are juxtaposed against a view of the roller-coaster progress of Henderson's career in the midst of the Harlem Renaissance. Perhaps most important, Magee deals with the complex issue of Henderson's identity as both a creative facilitator of other musicians' efforts and the frustrated composer-arranger of music that was a foundational element in the Swing Era--bringing triumphs that had eluded his groups to leaders such as Goodman, the Dorsey Brothers and Isham Jones."--Don Heckman, Los Angeles Times "Magee does an excellent job of placing his subject in the context of uncertain social changes in the African American community. Well researched and highly readable."--Library Journal "Magee paints a vivid portrait of the central figures of early jazz and swing (Louis Armstrong is a 'strong streak of color in a crazy quilt') as well as the business of recording and touring in the 1920s and '30s. While Benny Goodman is lauded as the major force behind the Big Band sound, Magee argues convincingly that Henderson was equally important in 'building the kingdom of swing.''--Publishers Weekly

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Book SynopsisA well researched account of gospel blues that encompasses the broader cultural and religious histories of the African-American experience between the late 1890s and the 1930s. Harris skilfully contextualizes sacred and secular music styles within African-American religious history and significant social developments of the period.Trade Review'In a text that is rich in historical, cultural and musical data and analysis, the discussion of the conflict over music in the 'old line' churches comes across strongly.' David Horn, University of Liverpool, Popular Music, Volume 13, Part 3 - 1994

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Book SynopsisIn Chicago Jazz, William Howland Kenny offers a wide-ranging look at jazz in the Windy City, revealing how Chicago became the major centre for jazz in the 1920s, one of the most vital periods in the history of the music.Trade ReviewWilliam Howland Kenney ... writes vividly and effectively ... Chicago Jazz remains the definitive account for the foreseeable future * Times Literary Supplement *a meticulously researched and minutely detailed work of jazz scholarship that impressively enhances our understanding of how jazz developed, and the mileu in which it prospered. Aficionados will find this fascinating. * Trevor Hodgett, Irish News *CHICAGO JAZZ is a good example of the new historical writing in the field. This is a well written and thoroughly researched book, and ought to appeal to anyone interested in the general history of jazz and popular music. * Jim Burns, Beat Scene , No. 23 *

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