Bøger i American Made Music Series serien

In the Mississippi Delta, creativity, community, and a rich expressive culture persist despite widespread poverty. Over five years of extensive work in the region, author Ali Colleen Neff collected a wealth of materials that demonstrate a vibrant musical scene.

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.

In 1971, French jazz critics Philippe Carles and Jean-Louis Comolli co-wrote Free Jazz/Black Power, a treatise on the racial and political implications of jazz and jazz criticism. It remains a testimony to the long ignored encounter of radical African American music and French left-wing criticism. Carles and Comolli set out to defend a genre vilified by jazz critics on both sides of the Atlantic by exposing the new sound's ties to African American culture, history, and the political struggle that was raging in the early 1970s. The two offered a political and cultural history of black presence in the United States to shed more light on the dubious role played by jazz criticism in racial oppression.This analysis of jazz criticism and its production is astutely self-aware. It critiques the critics, building a work of cultural studies in a time and place where the practice was virtually unknown. The authors reached radical conclusions--free jazz was a revolutionary reaction against white domination, was the musical counterpart to the Black Power movement, and was a music that demanded a similar political commitment. The impact of this book is difficult to overstate, as it made readers reconsider their response to African American music. In some cases it changed the way musicians thought about and played jazz. Free Jazz / Black Power remains indispensable to the study of the relation of American free jazz to European audiences, critics, and artists. This monumental critique caught the spirit of its time and also realigned that zeitgeist.

When George Jones recorded "He Stopped Loving Her Today" more than 30 years ago, he was a walking disaster. Twin addictions to drugs and alcohol had him drinking Jim Beam by the case and snorting cocaine as long as he was awake. This book tells the story behind the making of the song often voted the best country song ever by both critics and fans.

Contributions by Luther Allison, John Broven, Daniel Droixhe, David Evans, William Ferris, Jim O'Neal, Mike Rowe, Robert Sacré, Arnold Shaw, and Dick ShurmanFifty 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 honor 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. Originally published by Presses Universitaires de Liège in Belgium, this collection has been revised and updated with a new foreword by William Ferris, new images added, and some essays translated into English for the first time.Patton's personal life and his recorded music bear witness to how he endured and prevailed in his struggle as a black man during the early twentieth century. Within this volume, that story offers hope and wonder. Organized in two parts--"Origins and Traditions" and "Comparison with Other Regional Styles and Mutual Influence"--the essays create an invaluable resource on the life and music of this early master. Written by a distinguished group of scholars, these pieces secure the legacy of Charley Patton as the fountainhead of Mississippi Delta blues.

Participates in the creation of the postmillennial Bob Dylan by exploring three central records of the twenty-first century - ""Love and Theft"" (2001), Modern Times (2006), and Tempest (2012) - along with the 2003 film Masked and Anonymous, which Dylan helped write and in which he appears as an actor and musical performer.

Sara Le Menestrel explores the role of music in constructing, asserting, erasing, and negotiating differences based on the notions of race, ethnicity, class, and region. She discusses established notions and brings to light social stereotypes and hierarchies at work in the evolving French Louisiana music field. She also draws attention to the interactions between oppositions such as black and white, urban and rural, differentiation and creolization, and local and global.Le Menestrel emphasizes the importance of desegregating the understanding of French Louisiana music and situating it beyond ethnic or racial identifications, amplifying instead the importance of regional identity. Musical genealogy and categories currently in use rely on a racial construct that frames African and European lineage as an essential difference. Yet as the author samples music in the field and discovers ways music is actually practiced, she reveals how the insistence on origins continually interacts with an emphasis on cultural mixing and creative agency. This book finds French Louisiana musicians navigating between multiple identifications, musical styles, and legacies while market forces, outsiders' interest, and geographical mobility also contribute to shape musicians' career strategies and artistic choices.The book also demonstrates the decisive role of non-natives' enthusiasm and mobility in the validation, evolution, and reconfiguration of French Louisiana music. Finally, the distinctiveness of South Louisiana from the rest of the country appears to be both nurtured and endured by locals, revealing how political domination and regionalism intertwine.

When Mississippi John Hurt (1892-1966) was "rediscovered" by blues revivalists in 1963, his musicianship and recordings transformed popular notions of prewar country blues. Mississippi John Hurt provides this legendary creator's life story for the first time.

Examines Bill Hanley's echoing impact on the entire field of sound engineering, that crucial but often-overlooked carrier wave of contemporary music. Hanley's innovations founded the sound reinforcement industry and launched a new area of technology, rich with clarity and intelligibility.

Participates in the creation of the postmillennial Bob Dylan by exploring three central records of the twenty-first century - "Love and Theft" (2001), Modern Times (2006), and Tempest (2012) - along with the 2003 film Masked and Anonymous, which Dylan helped write and in which he appears as an actor and musical performer.

Adrian Rollini, an American jazz multi-instrumentalist, played the bass saxophone, piano, vibraphone, and an array of other instruments. This book draws on oral history, vintage articles, and family archives to trace Rollini's life, from his family's arrival in the US to his development and career as a musician, to his retirement and death.

George P. Knauff's Virginia Reels (1839) was the first collection of southern fiddle tunes and the only substantial one published in the nineteenth century. Knauff's activity could not anticipate our modern contest-driven fiddle subcultures. But the fate of the Virginia Reels pointed in that direction, suggesting that southern fiddling, after his time, would happen outside of commercial popular culture even though it would sporadically engage that culture. Chris Goertzen uses this seminal collection as the springboard for a fresh exploration of fiddling in America, past and present. He first discusses the life of the arranger. Then he explains how this collection was meant to fit into the broad stream of early nineteenth-century music publishing. Goertzen describes the character of these fiddle tunes' names (and such titles in general), what we can learn about antebellum oral tradition from this collection, and how fiddling relates to blackface minstrelsy. Throughout the book, the author connects the evidence concerning both repertoire and practice found in the Virginia Reels with current southern fiddling, encompassing styles ranging from straightforward to fancy-old-time styles of the Upper South, exuberant West Virginia styles, and the melodic improvisations of modern contest fiddling. Twenty-six song sheets assist in this discovery. Goertzen incorporates performance descriptions and music terminology into his accessible, engaging prose. Unlike the vast majority of books on American fiddling-regional tune collections or histories-this book presents an extended look at the history of southern fiddling and a close examination of current practices.

A unique volume that is the only book solely about antebellum American fiddling. It includes more than 250 easy-to-read and clearly notated fiddle tunes alongside biographies of fiddlers and careful analysis of their personal tune collections.

Depicts the life and times of harmonica player Phil Wiggins and the unique, vibrant music scene around him. Featuring Wiggins's story, but including information on many musicians, the volume presents an incomparable documentary of the African American blues scene in Washington, DC, from 1975 to the present.

Illustrated with fifty-four photographs and featuring a comprehensive discography and sessionography, this book traces Eddy Arnold's origins from a cotton farm in western Tennessee to his legendary status in the world of country music. Michael Streissguth covers Arnold's success as a top-selling artist in the `40s and `50s and his temporary wane as listeners gravitated toward rock & roll.

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

These photographs document George Mitchell's trip to Mississippi, where he searched for then unrecorded blues musicians including R.L. Burnside, Jessie Mae Hemphill, and Othar Turner. This journey yielded recordings of music now on cherished and touted albums and CDs. From Mitchell's fieldwork many others discovered the region and its distinctive style of blues.

A study of how ragtime comedies, bands, and minstrel shows brought blues to the masses. It traces the mass popularity of so-called "coon songs" during the early years of rag, to their eventual transformation into the original blues music listened to and loved by millions around the world.

Blessed with one of the great tenor voices of all time, Mario Lanza (1921-1959) rose to spectacular heights in a film, recording, and concert career that spanned little more than a decade. Groomed at the outset for a career on the opera stage, Lanza instead flourished in Hollywood where his films, most notably The Great Caruso, broke box-office records the world over and influenced the careers of countless musicians. To this day, the Three Tenors cite him as an inspiration for their own careers on the classical stage. Lanza's recordings for RCA sold in the millions, and he remains the crossover artist supreme. But his tremendous success was derailed by his self-destructive lifestyle, and by age thirty-eight he was dead, with his extraordinary promise left unfulfilled. Newly revised and updated for its first U.S. edition, Mario Lanza: Singing to the Gods is the definitive account of the remarkable life and times of one of the twentieth century's most beloved singing stars. This richly detailed work also contains a selection of rare photographs, several of which are drawn from Lanza's estate. With the support of Lanza's daughter, Ellisa Lanza Bregman, the tenor's colleagues, and his closest friend, Terry Robinson, Derek Mannering has chronicled a fascinating and unforgettable life. From the fabulous successes of the early MGM years through the disastrous walkouts and cancellations that sent Lanza's career into freefall, Mannering objectively and movingly reveals the story of a great star torn apart by his own troubled psyche and undisciplined lifestyle.

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.