From Dixieland to Frisco Bay is a must read for those who yearn for a simpler time. Rufus Franklin Stephenson's honest and colorful account of his life growing up on a sharecrop cotton farm in the South, and his later career as a railroader, is a touching reminder that faith and family are all one needs to overcome even the most difficult circumstances. His rich experiences, sparkling humor and profound insight make the poems and stories of From Dixieland to Frisco Bay an uplifting read that one will not soon forget.

In the sequel to From Dixieland to Frisco Bay, Rufus Franklin Stephenson tells us the story of a romance which has lasted for more than half a century. Walking with My Sunshine chronicles his marriage to Joyce, the love of his life. When Rufus and Joyce decided to marry at a very young age, few supported them. Yet despite everything, they proved that true love can overcome any form of adversity, and can last a lifetime. Nourished by faith in God, the blessing of children, and unwavering loyalty to each other, their marriage has been the foundation for a family, now four generations strong, who know that the best moments in life are those that are shared with those we love. This is a story of family, of forgiveness, of building a life with faith. It is one that will lift your heart.

The author of the magisterial A Biographical Guide to the Great Jazz and Pop Singers now approaches the great singers and their greatest work in an innovative and revelatory way: through considering their finest albums, which is the format in which this music was most resonantly organized and presented to its public from the 1940s until the very recent decline of the CD. It is through their albums that Ella Fitzgerald, Frank Sinatra, Peggy Lee, Sarah Vaughan, Nat King Cole, Judy Garland, and the rest of the glorious honor roll of jazz and pop singers have been most tellingly and lastingly appreciated, and the history of the album itself, as Will Friedwald sketches it, can now be seen as a crucial part of musical history. We come to understand that, at their finest, albums have not been mere collections of individual songs strung together arbitrarily but organic phenomena in their own right. A Sinatra album, a Fitzgerald album, was planned and structured to show these artists at their best, at a specific moment in their artistic careers. Yet the albums Friedwald has chosen to anatomize go about their work in a variety of ways. There are studio and solo albums: Lee’s Black Coffee, June Christy’s Something Cool, Cassandra Wilson’s Belly of the Sun. There are brilliant collaborations: famous ones—Tony Bennett and Bill Evans, Louis Armstrong and Oscar Peterson—and wonderful surprises like Doris Day and Robert Goulet singing Annie Get Your Gun. There are theme albums—Dinah Washington singing Fats Waller, Maxine Sullivan singing Andy Razaf, Margaret Whiting singing Jerome Kern, Barb Jungr singing Bob Dylan, and the sublime Jo Stafford singing American and Scottish folk songs. There are also stunning concert albums like Ella in Berlin, Sarah in Japan, Lena at the Waldorf, and, of course, Judy at Carnegie Hall. All the greats are on hand, from Kay Starr and Carmen McRae to Jimmy Scott and Della Reese (Della Della Cha Cha Cha). And, from out of left field, the astounding God Bless Tiny Tim. Each of the fifty-seven albums discussed here captures the artist at a high point, if not at the expected moment, of her or his career. The individual cuts are evaluated, the sequencing explicated, the songs and songwriters heralded; anecdotes abound of how songs were born and how artists and producers collaborated. And in appraising each album, Friedwald balances his own opinions with those of musicians, listeners, and critics. A monumental achievement, The Great Jazz and Pop Vocal Albums is an essential book for lovers of American jazz and popular music.

This collection of 500 profiles covers legends plus lesser-known but also noteworthy trumpeters from all jazz eras. Overall contributions to the world of jazz are described, plus stories of colleagues, individual career details, and recommended recordings. Photos.

San Francisco is probably best known for its hills, ubiquitous fog, dungeness crab and the Golden Gate Bridge. But jazz music's threads are similarly woven into the fabric of the city and its environs. Whether performed in renowned clubs like So Different, Jimbo's Bop City, Black Hawk, and the Jazz Workshop or in halls like the Primalon Ballroom and Great American Music Hall, jazz has infused the city from the Barbary Coast to the Fillmore, thrilling audiences for over a century. San Franciscans have grooved to and incubated scores of jazz acts, hot and cool, raucous and contemplative. That tradition continues today.

Today's Retro Swing bands, like the Squirrel Nut Zippers and the Brian Setzer Orchestra, all owe their inspiration to the original masters of Swing. This rich reference details the oeuvre of the leading Swing musicians from the WWII and post-WWII years. Chapters on the masters of Swing (Ella Fitzgerald, Woody Herman, Billy Strayhorn), the legendary Big Band leaders (such as Les Brown, Dizzy Gillespie, Stan Kenton, Buddy Rich, Vaughan Monroe, etc.), vocalists (including Cab Calloway, Billie Holiday, Peggy Lee, Frank Sinatra, Sarah Vaughn, Dinah Washington), and Small Groups (Louis Jordan, Art Tatum, Charlie Ventura, etc.) introduce these timeless musicians to a new generation of musicians and music fans. An opening chapter recounts how the cultural changes during the war and postwar years affected performers-especially women and African-Americans-and an A-to-Z appendix provides synopses of almost 700 entrants, including related musicians and famous venues. A bibliography and subject index provide additional tools for those researching Swing music and its many roles in mid-century American culture. This volume is a perfect sequel to Dave Oliphant's The Early Swing Era: 1930 to 1941. Together, these books provide the perfect reference guide to an enduring form of American music.