Charles Mingus is one of the most important—and most mythologized—composers and performers in jazz history. Classically trained and of mixed race, he was an outspoken innovator as well as a bandleader, composer, producer, and record-label owner. His vivid autobiography, Beneath the Underdog, has done much to shape the image of Mingus as something of a wild man: idiosyncratic musical genius with a penchant for skirt-chasing and violent outbursts. But, as the autobiography reveals, he was also a hopeless romantic. After exploring the most important events in Mingus’s life, Krin Gabbard takes a careful look at Mingus as a writer as well as a composer and musician. He digs into how and why Mingus chose to do so much self-analysis, how he worked to craft his racial identity in a world that saw him simply as “black,” and how his mental and physical health problems shaped his career. Gabbard sets aside the myth-making and convincingly argues that Charles Mingus created a unique language of emotions—and not just in music. Capturing many essential moments in jazz history anew, Better Git It in Your Soul will fascinate anyone who cares about jazz, African American history, and the artist’s life.

"This biography traces the output of jazz master Charles Mingus--his recordings, his compositions, and his writings--highlighting key moments in his life and musicians who influenced him and were influenced by him. As a young man, Mingus played with Louis Armstrong as well as with Kid Ory. Mingus also played in bands led by Duke Ellington, Charlie Parker, Lionel Hampton, Red Norvo, Art Tatum, and many others. He began leading his own bands in New York City in 1955. Eric Dolphy, Rahsaan Roland Kirk, Jimmy Knepper, Jackie McLean, Toshiko Akiyoshi, Cat Anderson, and Jaki Byard are among the many distinguished jazz artists who made music with Mingus during the 1950s, 1960s, and 1970s. In addition to leaving behind a large collection of compelling recordings by large and small units, Mingus was also a talented writer. His autobiography, Beneath the Underdog: His World Composed by Mingus, is unlike any other book by a major jazz artist. Mingus creates vivid portraits of the many people who passed through his life and tells his story with compelling prose. Mingus also wrote a good deal of poetry and prose, all of it reflecting his unique vision. In 1977 he was diagnosed with amyotrophic lateral sclerosis. After several months of steady deterioration, he died in 1979 in Mexico"--Provided by publisher.

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It was 1969, and Miles Davis, prince of cool, was on the edge of being left behind by a dynamic generation of young musicians, an important handful of whom had been in his band. Rock music was flying off in every direction, just as America itself seemed about to split at its seams. Following the circumscribed grooves and ambiance of In A Silent Way; coming off a tour with a burning new quintet-called 'The Lost Band'-with Wayne Shorter, Chick Corea, Dave Holland and Jack DeJohnette; he went into the studio with musicians like frighteningly talented guitarist John McLaughlin, and soulful Austrian keyboardist Joe Zawinul. Working with his essential producer, Teo Macero, Miles set a cauldron of ideas loose while the tapes rolled. At the end, there was the newly minted Prince of Darkness, a completely new way forward for jazz and rock, and the endless brilliance and depth of Bitches Brew. Bitches Brew is still one of the most astonishing albums ever made in either jazz or rock. Seeming to fuse the two, it actually does something entirely more revolutionary and open-ended: blending the most avant-garde aspects of Western music with deep grooves, the album rejects both jazz and rock for an entirely different idea of how music can be made.

A brilliant father, a complicated legacy, and a son's hard-won journey of self-discovery. William Matthews was a much-admired, award-winning poet and teacher who lived hard and died in 1997 at the age of 55. This clear-eyed, often wryly funny memoir pays homage to a charismatic father as the son struggles to step out from his considerable shadow.

Jazz Makers gathers together short biographies of more than 50 of jazz's greatest stars, from its early beginnings to the present. The stories of these innovative instrumentalists, bandleaders, and composers reveal the fascinating history of jazz in six parts: * The Pioneers, including Scott Joplin, Louis Armstrong, and Bessie Smith * Swing Bands and Soloists, with Duke Ellington, Ella Fitzgerald, and Billie Holiday * The Piano Giants, featuring Fats Waller, Art Tatum, and Mary Lou Williams * Birth of Bebop, including Dizzy Gillepsie, Charlie Parker, and Miles Davis * Cool Jazz, Hard Bop, and Fusion, with John Coltrane, Sonny Rollins, and Stan Getz * A Century of Jazz, featuring Wynton Marsalis, Joshua Redman, and other contemporary greats.

In Bebop, Owens conducts us on an insightful, loving tour through the music, players, and recordings that changed American culture. Combining vivid portraits of Bebop's gigantic personalities with deft musical analysis.

In this highly original approach to the history of the United States, James Moore focuses on the extraordinary role that prayer has played in every area of American life, from the time of the first settlers to the present day and beyond. A stirring chronicle of the spiritual life of a nation, One Nation Under God shows how the faith of Americans—from the founding fathers to corporate tycoons, from composers to social reformers, from generals to slaves—was an essential ingredient in the formation of American culture, character, commerce and creed. One Nation Under God brings together the country’s hymns, patriotic anthems, arts, and literature as a framework for telling the story of the innermost thoughts of the people who have shaped the United States we know today. Beginning with Native Americans, One Nation Under God traces the prayer lives of Quakers and Shakers, Sikhs and Muslims, Catholics and Jews, from their earliest days in the United States through the advent of cyberspace, the aftermath of 9/11, and the 2004 presidential election. It probes the approach to prayer by such diverse individuals as Benjamin Franklin, Elvis Presley, Frank Lloyd Wright, Martha Graham, J. C. Penney, Mary Pickford, Cesar Chavez, P. T. Barnum, Jackie Robinson, and Christopher Columbus. It includes every president of the United States as well as America’s farmers, clergy, immigrants, industrialists, miners, sports heroes, and scientists. One Nation Under God shows that without prayer, the political, cultural, social, and even economic and military history of the United States would be vastly different from what it is today. It engages in a thoughtful, timely examination of the modern debate over public prayer and how the current approach to prayer bears deep roots in the philosophies of the country’s founding fathers, a subject which remains distinct from the debate over church and state.

Ted Gioia's History of Jazz has been universally hailed as a classic--acclaimed by jazz critics and fans around the world. Now Gioia brings his magnificent work completely up-to-date, drawing on the latest research and revisiting virtually every aspect of the music, past and present. Gioia tells the story of jazz as it had never been told before, in a book that brilliantly portrays the legendary jazz players, the breakthrough styles, and the world in which it evolved. Here are the giants of jazz and the great moments of jazz history--Jelly Roll Morton, Louis Armstrong, Duke Ellington at the Cotton Club, cool jazz greats such as Gerry Mulligan, Stan Getz, and Lester Young, Charlie Parker and Dizzy Gillespie's advocacy of modern jazz in the 1940s, Miles Davis's 1955 performance at the Newport Jazz Festival, Ornette Coleman's experiments with atonality, Pat Metheny's visionary extension of jazz-rock fusion, the contemporary sounds of Wynton Marsalis, and the post-modernists of the current day. Gioia provides the reader with lively portraits of these and many other great musicians, intertwined with vibrant commentary on the music they created. He also evokes the many worlds of jazz, taking the reader to the swamp lands of the Mississippi Delta, the bawdy houses of New Orleans, the rent parties of Harlem, the speakeasies of Chicago during the Jazz Age, the after hours spots of corrupt Kansas city, the Cotton Club, the Savoy, and the other locales where the history of jazz was made. And as he traces the spread of this protean form, Gioia provides much insight into the social context in which the music was born.