The Clef/Verve discography is another magnificent achievement for which the jazz world owes Michel Ruppli and Greenwood Press an enormous debt of gratitude. The information contained in it should now be available to writers, researchers, and collectors. Jazztimes Through his Jazz at the Philharmonic concerts and recordings and the Verve/Clef recordings of the 1940s and 1950s, Norman Granz had a significant impact in bringing jazz before a wide public and helping to sustain the careers of some of the most famous musical artists of the time. The first volume of the Clef/Verve discography provides comprehensive listings of recordings made or issued under the Clef, Verve, and subsidiary labels between 1944 and 1961, when Granz owned both labels and conducted recording sessions. It features many classic performances by Louis Armstrong, Count Basie, Duke Ellington, Billie Holliday, and many other great names in jazz. Volume II, which is devoted to sessions made on the Verve label following its purchase by MGM in 1961 until the last sessions in 1973, includes Jazz Bossa Nova, folk music, and rock and pop groups such as Stan Getz, Wes Montgomery, and the Mothers of Invention.

The Clef/Verve discography is another magnificent achievement for which the jazz world owes Michel Ruppli and Greenwood Press an enormous debt of gratitude. The information contained in it should now be available to writers, researchers, and collectors. Jazztimes Through his Jazz at the Philharmonic concerts and recordings and the Verve/Clef recordings of the 1940s and 1950s, Norman Granz had a significant impact in bringing jazz before a wide public and helping to sustain the careers of some of the most famous musical artists of the time. The first volume of the Clef/Verve discography provides comprehensive listings of recordings made or issued under the Clef, Verve, and subsidiary labels between 1944 and 1961, when Granz owned both labels and conducted recording sessions. It features many classic performances by Louis Armstrong, Count Basie, Duke Ellington, Billie Holliday, and many other great names in jazz. Volume II, which is devoted to sessions made on the Verve label following its purchase by MGM in 1961 until the last sessions in 1973, includes Jazz Bossa Nova, folk music, and rock and pop groups such as Stan Getz, Wes Montgomery, and the Mothers of Invention.

This four-volume discography, in chronological segments from 1947 to 1974, purports to cover every recording Atlantic Records ever issued, in serial order, with minor exceptions. . . . It looks like a good job. . . . For collectors it is invaluable. Choice

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.

First Published in 1996. Routledge is an imprint of Taylor & Francis, an informa company.

A complete discographical compilation listing all the recordings issued by the MGM Record Company throughout its long and illustrious recording history from 1946 to 1982. It includes music specially recorded by MGM as well as recordings leased or purchased from other sources such as Musicraft, Joe Davis, and German Polydor. All music genres from jazz and country to popular and classical are covered, but the strongest feature may be the extensive recordings of films and musicals. Volume 1 covers the period 1946 through 1960, while Volume 2 covers the 1961 through 1982 period. Volume 3 lists additional recordings in various fields--popular artists, film soundtracks, foreign recordings, classical material-- and provides a complete record listing by media (singles, albums, compact discs) as well as indexes for composers, special subjects, and artists. This is an essential resource for any one interested in recorded music after the Second World War.

A highly personal collection of jazz portraits--centered around the towering figure of Duke Ellington--with the unabashedly didactic intent of publicizing, promoting, and encouraging listeners at all levels of sophistication to hear jazz anew. And it will. (c) by Book News, Inc., Portland, OR.

Billy May was a self-taught musician and arranger. In 1938, he received his first big break arranging and playing trumpet; first, for the Charlie Barnet band, and in 1940, the band of Glenn Miller. Settling in Hollywood in 1943, his first of many big breaks in radio was playing in Ozzie Nelson's band for the Red Skelton Show. Shortly thereafter, May was asked by Nelson to be musical director to his new show, The Adventures of Ozzie and Harriet. He was also fortunate to play in the orchestra and write arrangements for John Scott Trotter on Bing Crosby's Kraft Music Hall. Billy May's earliest collaboration with Frank Sinatra produced Don't Fence Me In for broadcast on December 23, 1944. Capitol Records paired Billy May and Alan Livingston to initiate a series of children's recordings with arrangements and compositions such as Bozo the Clown and the exceedingly popular I Taut I Taw a Putty Tat. As a band leader and arranger, his signature included the prominent saxophone section glissando (sliding, or slurping) effect, and highly imaginative arrangements. His last great project was the documentation on record of swing era music, commissioned by Time-Life, and completed in 1973. The discography covers Billy May as arranger and composer from 1944-1998, as sideman and arranger for others, his work on radio, television, movies, and international appearances, his road band, recordings, both domestic and foreign, and his transcriptions. Data is cross-indexed by song title and artist.