Bøger i American Made Music Series serien

Throughout his life, Louis Armstrong tried to explain how singing with a barbershop quartet on the streets of New Orleans was foundational to his musicianship. Creating the Jazz Solo shows that Armstrong understood exactly the relationship between what he sang and what he played, and that he he was singing through his horn.

Fifty years after Charley Patton's death in 1934, a team of blues experts gathered five thousand miles from Dockery Farms at the University of Liege in Belgium to honour the life and music of the most influential artist of the Mississippi Delta blues. This volume brings together essays from that international symposium on Charley Patton and Mississippi blues traditions, influences, and comparisons.

Examines the flow of African American music and musicians across the Atlantic to Europe from the time of slavery to the twentieth century. In a sweeping examination of different musical forms - spirituals, blues, jazz, skiffle, and orchestral music - the contributors consider the reception and influence of black music on a number of different European audiences.

In The Gaithers and Southern Gospel, Ryan P. Harper examines songwriters Bill and Gloria Gaither's Homecoming video and concert series--a gospel music franchise that, since its beginning in 1991, has outperformed all Christian and much secular popular music on the American music market.The Homecomings represent "e;southern gospel."e; Typically that means a musical style popular among white evangelical Christians in the American South and Midwest, and it sometimes overlaps in style, theme, and audience with country music. The Homecomings' nostalgic orientation--their celebration of "e;traditional"e; kinds of American Christian life--harmonize well with southern gospel music, past and present. But amidst the backward gazes, the Homecomings also portend and manifest change. The Gaithers' deliberate racial integration of their stages, their careful articulation of a relatively inclusive evangelical theology, and their experiments with an array of musical forms demonstrate that the Homecoming is neither simplistically nostalgic, nor solely "e;southern."e;Harper reveals how the Gaithers negotiate a tension between traditional and changing community norms as they seek simultaneously to maintain and expand their audience as well as to initiate and respond to shifts within their fan base. Pulling from his field work at Homecoming concerts, behind the scenes with the Gaithers, and with numerous Homecoming fans, Harper reveals the Homecoming world to be a dynamic, complicated constellation in the formation of American religious identity.

A pianist, arranger, and composer, William Pursell is a mainstay of the Nashville music scene. Crooked River City is driven by a series of recollections and anecdotes Terry Wait Klefstad assembled over three years of interviews with Pursell. This biography fills a crucial gap in Nashville music history for both scholars and music fans.

Jazz great Gerald Wilson (1918-2014), born in Shelby, Mississippi, left a global legacy of paramount significance through his progressive musical ideas and his orchestra's consistent influence on international jazz. Aided greatly by interviews that bring Wilson's voice to the story, Steven Loza presents a perspective on what the musician and composer called his "jazz pilgrimage".

In this volume, Lynn Abbott and Doug Seroff complete their groundbreaking trilogy on the development of African American popular music, authoritatively connecting the black vaudeville movement with the explosion of blues that followed.

In the spring of 1862, Lucy McKim, the nineteen-year-old daughter of a Philadelphia abolitionist Quaker family, traveled with her father to the Sea Islands of South Carolina to aid him in his efforts to organize humanitarian aid for thousands of newly freed slaves. During her stay she heard the singing of the slaves in their churches, as they rowed their boats from island to island, and as they worked and played. Already a skilled musician, she determined to preserve as much of the music as she could, quickly writing down words and melodies, some of them only fleeting improvisations. Upon her return to Philadelphia, she began composing musical settings for the songs and in the fall of 1862 published the first serious musical arrangements of slave songs. She also wrote about the musical characteristics of slave songs, and published, in a leading musical journal of the time, the first article to discuss what she had witnessed.In Songs of Sorrow renowned music scholar Samuel Charters tells McKim's personal story. Letters reveal the story of young women's lives during the harsh years of the war. At the same time that her arrangements of the songs were being published, a man with whom she had an unofficial "e;attachment"e; was killed in battle, and the war forced her to temporarily abandon her work.In 1865 she married Wendell Phillips Garrison, son of abolitionist William Lloyd Garrison, and in the early months of their marriage she proposed that they turn to the collection of slave songs that had long been her dream. She and her husband--a founder and literary editor of the recently launched journal The Nation--enlisted the help of two associates who had also collected songs in the Sea Islands. Their book, Slave Songs of the United States, appeared in 1867. After a long illness, ultimately ending in paralysis, she died at the age of thirty-four in 1877. This book reclaims the story of a pioneer in ethnomusicology, one whose influential work affected the Fisk Jubilee Singers and many others.

Tells the story of America's program of jazz diplomacy practiced in the Soviet Union and other regions of the world from 1954 to 1968. Jazz Diplomacy argues that this musical method of winning hearts and minds often transcended economic and strategic priorities.

Chronicles the story of the rhythm section at Chips Moman's American Studios from 1964 until 1972, when Moman shut down the studio. Utilizing interviews with Moman and the group, as well as additional comments from the songwriters, sound engineers, and office staff, author Roben Jones creates a collective biography combined with a business history and a critical analysis of important recordings.

The Beat! was the first book to explore the musical, social, and cultural phenomenon of go-go music. In this new edition, updated by a substantial chapter on the current scene, authors Kip Lornell and Charles C. Stephenson, Jr., place go-go within black popular music made since the middle 1970s - a period during which hip-hop has predominated.

Gerhard Kubik extends and expands the epic exploration he began in Jazz Transatlantic, Volume I. This second volume amplifies how musicians influenced by swing, bebop, and post-bop influenced musicians in Africa from the end of World War II into the 1970s were interacting with each other and re-creating jazz.

Reveals the strategies used by blues promoters and organisers in Mississippi, both African American and white, local and state, to attract the attention of tourists. In the process, Stephen A. King reveals how promotional materials portray the Delta's blues culture and its musicians.

Jimmie Rodgers (1897-1933), the first performer elected to the Country Music Hall of Fame, was a folk hero in his own lifetime and has been idolized by fans and emulated by performers ever since. Jimmie Rodgers significantly expands and alters our knowledge of the entertainer's life and career.

Offers a history of the instrument from America's late Victorian period to the Jazz Age. The narrative traces America's BMG (banjo, mandolin, and guitar) community, a late nineteenth-century musical and commercial movement dedicated to introducing these instruments into America's elite musical establishments.

Wilbur C. Sweatman (1882-1961) is one of the most important, yet unheralded, African American musicians involved in the transition of ragtime into jazz in the early twentieth century. In That's Got'Em!, Mark Berresford tracks this energetic pioneer over a seven-decade career.

Provides a riveting account of the day Johnny Cash took the stage at Folsom Prison in California. Michael Streissguth skilfully places the concert and the album that followed in the larger context of Cash's artistic development, the era's popular music, and California's prison system, uncovering new angles and exploding a few myths along the way.

In this groundbreaking volume, Laurent Cugny examines and connects the theoretical and methodological processes that underlie all of jazz. Jazz in all its forms is researched and analysed by performers, scholars, and critics. This book is required reading for any serious study of jazz.

A tale of two North Carolina brothers whose old songs and vocal harmonies captivated southern radio audiences for generations

Despite a substantial artistic legacy, there has never been a book devoted to Greek music in America until now. This volume provides a singular platform for understanding the scope, practice, and development of Greek music in America through essays and profiles written by principal scholars in the field.

Despite a substantial artistic legacy, there has never been a book devoted to Greek music in America until now. This volume provides a singular platform for understanding the scope, practice, and development of Greek music in America through essays and profiles written by principal scholars in the field.

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.

Presents a collection of academic essays that regard songs as literature and that identify intersections between the literary histories of poems and songs. The essays by well-known poets and scholars locate points of synthesis and separation so as to better understand both genres and their crafts.

The true life story of Elvis's original guitarist, the masterful Scotty Moore

Quincy Jones (b. 1933) is one of the most prolific composers, arrangers, bandleaders, producers, and humanitarians in American music history and the recording and film industries. Jones's career has spanned over sixty years, generating a substantial body of work with over five hundred compositions and arrangements. This book focuses on this material as well as many of Jones's accomplishments.

Timothy E. Wise presents the first book to focus specifically on the musical content of yodeling in our culture. He shows that yodeling serves an aesthetic function in musical texts. A series of chronological chapters analyzes this musical tradition from its earliest appearances in Europe to its incorporation into a range of American genres and beyond. Wise posits the reasons for yodeling's changing status in our music. How and why was yodeling introduced into professional music making in the first place? What purposes has it served in musical texts? Why was it expunged from classical music? Why did it attach to some popular music genres and not others? Why does yodeling now appear principally at the margins of mainstream tastes?To answer such questions, Wise applies the perspectives of critical musicology, semiotics, and cultural studies to the changing semantic associations of yodeling in an unexplored repertoire stretching from Beethoven to Zappa. This volume marks the first musicological and ideological analysis of this prominent but largely ignored feature of American musical life.Maintaining high scholarly standards but keeping the general reader in mind, the author examines yodeling in relation to ongoing cultural debates about singing, music as art, social class, and gender. Chapters devote attention to yodeling in nineteenth-century classical music, the nineteenth-century Alpine-themed song in America, the Americanization of the yodel, Jimmie Rodgers, and cowboy yodeling, among other topics.

Tells the story of one of the most notorious figures in the history of popular music, Morris Levy. At nineteen, he cofounded the nightclub Birdland in Hell's Kitchen, which became the home for a new musical style, bebop. Levy operated one of the first integrated clubs on Broadway and helped build the careers of Dizzy Gillespie and Bud Powell and most notably aided the reemergence of Count Basie.

Carter and Ralph Stanley - the Stanley Brothers - are comparable to Bill Monroe and Flatt & Scruggs as important members of the earliest generation of bluegrass musicians. In this first biography of the brothers, author David W. Johnson documents that Carter (1925-1966) and Ralph (b 1927) were equally important contributors to the tradition of old-time country music.

Edward "e;Kid"e; Ory (1886-1973) was a trombonist, composer, recording artist, and early New Orleans jazz band leader. Creole Trombone tells his story from birth on a rural sugar cane plantation in a French-speaking, ethnically mixed family, to his emergence in New Orleans as the city's hottest band leader. The Ory band featured such future jazz stars as Louis Armstrong and King Oliver, and was widely considered New Orleans's top "e;hot"e; band. Ory's career took him from New Orleans to California, where he and his band created the first African American New Orleans jazz recordings ever made. In 1925 he moved to Chicago where he made records with Oliver, Armstrong, and Jelly Roll Morton that captured the spirit of the jazz age. His most famous composition from that period, "e;Muskrat Ramble,"e; is a jazz standard. Retired from music during the Depression, he returned in the 1940s and enjoyed a reignited career.Drawing on oral history and Ory's unpublished autobiography, Creole Trombone is a story that is told in large measure by Ory himself. The author reveals Ory's personality to the reader and shares remarkable stories of incredible innovations of the jazz pioneer. The book also features unpublished Ory compositions, photographs, and a selected discography of his most significant recordings.

Listen to This stands out as the first book exclusively dedicated to Davis's watershed 1969 album, Bitches Brew. Victor Svorinich traces its incarnations and inspirations for ten-plus years before its release. The album arrived as the jazz scene waned beneath the rise of rock-and-roll and as Davis (1926-1991) faced large changes in social conditions affecting the African American consciousness. This new climate served as a catalyst for an experiment that many considered a major departure. Davis's new music projected rock-and-roll sensibilities, the experimental essence of 1960s' counterculture, yet also harsh dissonances of African American reality. Many listeners embraced it, while others misunderstood and rejected the concoction. Listen to This is not just the story of Bitches Brew. It reveals much of the legend of Miles Davis-his attitude and will, his grace under pressure, his bands, his relationship to the masses, his business and personal etiquette, and his response to extraordinary social conditions seemingly aligned to bring him down. Svorinich revisits the mystery and skepticism surrounding the album and places it into both a historical and musical context using new interviews, original analysis, recently found recordings, unearthed session data sheets, memoranda, letters, musical transcriptions, scores, and a wealth of other material. Additionally, Listen to This encompasses a thorough examination of producer Teo Macero's archives and Bitches Brew's original session reels in order to provide the only complete day-to-day account of the sessions.