A candid account of Wilson's life and career, from his childhood to his association with the critic and producer John Hammond, with Benny Goodman, Billie Holliday, his own bands, Earl Hines, and Art Tatum.

A candid account of Wilson's life and career, from his childhood to his association with the critic and producer John Hammond, with Benny Goodman, Billie Holliday, his own bands, Earl Hines, and Art Tatum.

In his varied and colorful life, Teddy Wilson worked with innumerable great names of jazz. He came to fame in the small groups led by Benny Goodman, and also through his remarkable series of recordings with the singer Billie Holiday. During the mid-1970s, Wilson recorded and toured often in Europe, and during these visits he was frequently teamed with the Dutch Swing College Band. The band's guitarist Arie Ligthart and Anglo-Dutch publicist and author Humphrey van Loo took the opportunity of these visits to work with Wilson on a full-length autobiography, which has lain unpublished during the years since Wilson's death in 1986.

Fresh and innovative takes on the dissemination of music in manuscript, print, and, now, electronic formats, revealing how the world has experienced music from the sixteenth century to the present. This collection of essays examines the diverse ways in which music and ideas about music have been disseminated in print and other media from the sixteenth century onward. Contributors look afresh at unfamiliar facets of the sixteenth-century book trade and the circulation of manuscript and printed music in the seventeenth to nineteenth centuries. They also analyze and critique new media forms, showing how a dizzying array of changing technologies has influenced what we hear, whom we hear, and how we hear. The repertoires considered include Western art music -- from medieval to contemporary -- as well as popular music and jazz. Assembling contributions from experts in a wide range of fields, such as musicology, music theory, music history, and jazz and popular music studies, Music in Print and Beyond: Hildegard von Bingen to The Beatles sets new standards for the discussion of music's place in Western cultural life. Contributors: Joseph Auner, Bonnie J. Blackburn, Gabriela Cruz, Bonnie Gordon, Ellen T. Harris, Lewis Lockwood, Paul S. Machlin, Roberta Montemorra Marvin, Honey Meconi, Craig A. Monson, Kate van Orden, Sousan L. Youens. Roberta Montemorra Marvin teaches at the University of Iowa and is the author of Verdi the Student -- Verdi the Teacher (Istituto Nazionale di Studi Verdiani, 2010) and editor of The Cambridge Verdi Encyclopedia (Cambridge University Press, 2013). Craig A. Monson is Professor of Musicology at Washington University (St Louis, Missouri) and is the author of Divas in the Convent: Nuns, Music, and Defiance in Seventeenth-Century Italy (University of Chicago Press, 2012).

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.

South End Shout: Boston’s Forgotten Music Scene in the Jazz Age details the power of music in the city’s African American community, spotlighting the era of ragtime culture in the early 1900s to the rise of big band orchestras in the 1930s. This story is deeply embedded in the larger social condition of Black Bostonians and the account is brought to life by the addition of 20 illustrations of musicians, theaters, dance halls, phonographs, and radios used to enjoy the music. South End Shout is part of an emerging field of studies that examines jazz culture outside of the major centers of music production. In extensive detail, author Roger R. House covers the activities of jazz musicians, jazz bands, the places they played, the relationships between Black and white musicians, the segregated local branches of the American Federation of Musicians (AFL-CIO), and the economics of Boston’s music industry. Readers will be captivated by the inclusion of vintage local newspaper reports, classified advertisements, and details of hard-to-access oral history accounts by musicians and residents. These precious documentary materials help to understand how jazz culture evolved as a Boston art form and contributed to the national art form between the world wars. With this book, House makes an important contribution to American studies and jazz history. Scholars and general readers alike who are interested in jazz and jazz culture, the history of Boston and its Black culture, and 20th century American and urban studies will be enlightened and delighted by this book.

Chilton details the work of musicians from every era of British jazz, ranging from those who played professionally before 1920 to today's young jazz stars.

Where the Dark and the Light Folks Meet tackles a controversial question: Is jazz the product of an insulated African-American environment, shut off from the rest of society by strictures of segregation and discrimination, or is it more properly understood as the juncture of a wide variety of influences under the broader umbrella of American culture? This book does not question that jazz was created and largely driven by African Americans, but rather posits that black culture has been more open to outside influences than most commentators are likely to admit. The majority of jazz writers, past and present, have embraced an exclusionary viewpoint. Where the Dark and the Light Folks Meet begins by looking at many of these writers, from the birth of jazz history up to the present day, to see how and why their views have strayed from the historical record. This book challenges many widely held beliefs regarding the history and nature of jazz in an attempt to free jazz of the socio-political baggage that has s

A comprehensive encyclopedia of the 1930s in the United States, showing how the Depression affected every aspect of American life. In two volumes, The Great Depression and the New Deal: A Thematic Encyclopedia captures the full scope of a defining era of American history. Like no other available reference, it offers a comprehensive portrait of the nation from the Crash of 1929 to the onset of World War II, exploring the impact of the Depression and the New Deal on all aspects of American life. The book features hundreds of alphabetically organized entries in sections focusing on economics, politics, social ramifications, the arts, and ethnic issues. With an extraordinary range of primary sources integrated throughout , The Great Depression and the New Deal is the new cornerstone resource on a historic moment that is casting a shadow on our own unsettled times.

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.