Book Description
The great improvisational American jazz musicians of the mid-20th century inspired a generation of photographers to develop a looser, moodier style of visual expression. That evocative approach is on striking display in The Jazz Image. Covering six decades of performers —from Louis Armstrong and Duke Ellington to John Coltrane and Miles Davis—this unique collection is as much a comprehensive catalogue of jazz greats as it is a salute to the photographers who captured them.
Lee Tanner, a leading authority on jazz photography, has selected works—by such noted jazz photographers as Herman Leonard, Bob Willoughby, Milt Hinton, and Bill Claxton—that are iconic, candid, explosive, and intimate. They provide a simultaneous look at jazz, photography, and America from 1935 into the 1990s.
Customer Reviews:
Truly great images.......2007-06-08
If you grew up listening to jazz from the 30's through the 60's you'll really enjoy the pictures in this book. They evoke a feeling and, in most cases, present the players as "bigger than life"...just as they were to us then and now.
candid photos depicting the greatest stars in jazz!.......2007-02-03
Wonderful "coffee table" book, loaded with excellent candid photos of the greatest jazz stars -- definitely a keeper!
Great Overview.......2006-11-19
this is the kind of Book that truly showcases some of the Greatest Jazz Artists Ever. Duke Ellington, John Coltrane, Miles Davis,Louis Armstrong, amongest others. it is great to see so many Important musical figures in the Moment where Creativity is coming about. this is a Must have collection.
Book Description
Authentic transcriptions in notes and tab for 20 classic performances by this vastly talented gypsy whose name is synonymous with jazz guitar. Includes: Ain't Misbehavin' * Belleville * Daphne * Dinah * Djangology * Honeysuckle Rose * Limehouse Blues * Marie * Minor Swing * Nuages * Old Folks at Home (Swanee River) * Stardust * Tiger Rag (Hold That Tiger) * and more.
Customer Reviews:
Go Cat Go!.......2006-01-27
This is an excellent folio of Django's music that contains 20 jazz/swing standards and originals. Additionally, many of the songs feature guitar transcriptions of Stephane Grappelli's violin parts; similar to the recent Hal Leonard score of Charlie Christian's, which features much of Benny Goodman's clarinet and Lionel Hampton's vibe work. And while some may find this a distraction others will say boon. I say boon. And many tunes are transcribed to include the second rhythm guitar part. The entire book is engraved in tab and standard notation.
What I'd like to focus on here though, deals with what album goes with which transcription. For despite the fact that each song states its source recording, there is still much confusion to be found within. Confusion - like which version of the album 'Djangology' did the transcriber rely upon? The score is not so clear, rather only stating 'Djangology'; while omitting the necessary publisher information. Because the title 'Djangology' may refer to any number of different compilations. And the score relies upon the album 'Djangology 49' by RCA Victor or Bluebird, which Bluebird has recently remastered, that now also goes by the title 'Djangology'. And some transcriptions are from 'The Best of Django Reinhardt', of which there are numerous different compilations.
So, I seek to end the confusion here. Additionally, find this site and others contain pertinent music samples, so you can hear the musical journey that you're in for (a site with the letters "jr" and "com" had the most relevant samples).
THE TRANSCRIPTIONS ARE FROM THE FOLLOWING RECORDINGS:
From Recall's 2-CD 'Djangology'
* Belleville
* Dinah
* Dinette
* Djangology
* Limehouse Blues
* Minor Swing
* Nuages
* Rose Room
* Swing 42
* Swing Guitar
From Master Classic's 'The Best of 1934-1939'
* Ain't Misbehaivin'
* Old Folks at Home (Swanee River)
* Stardust
* Tiger Rag (Hold That Tiger)
From RCA Victor's 'Djangology 49' or Bluebird's 'Djangology 49/Djangology (Remastered)'
* Marie
* The World Is Waiting For the Sunrise
From Verve's 'Jazz Masters 38'
* Daphne
* Melodie a Crepuscule
From Blue Note's 'The Best of Django Reinhardt'
* My Serenade
From Jass's 'Swing Guitar'
* Honeysuckle Rose (see note below)
This last transcription is also found in Hal Leonard's 'Guitar Tab White Pages'. It's from the Jass album 'Swing Guitar' (out of print). Here Django plays with the U.S. Air Transport Command Band during 1945-46.
The thing about Django is that he often recorded the same song numerous times. So finding the correct track for a particular transcription can be a challenge. I've Marcel Dadi's Alain Peirson Publication of Django tab, and in twenty years I still can't find the source for many of those transcriptions. This Hal Leonard score transcribes recordings that are readily available. And the transcriptions are as accurate as any I've seen.
Django Reinhardt - The Definitive Collection.......2003-06-02
This songbook features complete transcriptions, with guitar tablature, for these Django recordings: Ain't Misbehavin', Belleville, Daphne, Dinah, Dinette, Djangology, Honeysuckle Rose, Limehouse Blues, Marie, Melodie Au Crepuscule, Minor Swing, My Serenade, Nuages, Old Folks At Home (Swanee River), Rose Room, Stardust, Swing 42, Swing Guitar, The World Is Waiting For The Sunrise, and Tiger Rag (Hold That Tiger).
This book provides essential challenges for guitarists wishing to try their hands at Django's amazing rhythms and solos.
Book Description
Throughout his career, Turner has relentlessly pushed the medium of photography to achieve an extraordinary vision with an uncompromising thirst for bold color and composition. Yet Turner feels that "what really kept my name out there were these record covers." This book showcases 100 covers and their art in close to original size; many of the covers are rare and out-of-print, now collector's items, and connect to a who's who of musical legendsâfrom Count Basie, John Coltrane, and Stan Getz, to Quincy Jones, Freddie Hubbard, and Steely Dan. Turner's covers set new standards for this medium and transformed albums into art objects, sought after both for the music they contain and the cover art they display.
Customer Reviews:
wonderful book.......2007-02-18
I'm a professional jazz pianist, and a former pro photographer, and this book is just terrific. If you are a jazz fan, you already own some of these covers, and if you're interested in photography, you've probably been influenced by Turner's incredible color sense. This big collection, with his notes on the pictures and beautiful printing, is just a "must buy." I'm going to a dinner next week with a bunch of musicians, and I'm taking this book along to share. It will probably be more popular than the food.....
It's fascinating to me how the energy and freedom of jazz is reflected in Turner's approach to photography. Intensity, unusual color, surprising juxtapositions.....an inspiring blend. And he photographed the top players, the masters of jazz (with some pop in the mix, too).
Thanks Pete!.......2006-11-17
This is great: all of the best Pete Turner jazz record covers in one place. Many of these covers I saw for the first time as new releases in record stores by some of the best jazz musicians around; Milt Jackson, Paul Desmond, Freddy Hubbard, Wes Montgomery and so many others. To have a compendium of them in one beautifully designed and superbly printed book is an event worth celebrating.
The covers, by the confirmed master of color photography, Pete Turner, were always certain to grab my eye - and not let go. I don't know what I enjoyed more: looking at the covers or listening to the records. Fortunately it wasn't a mutually exclusive choice.
It is these photographs that inspired me to choose a career as a photographer, the best career in existence. I have Pete Turner to thank for that.
Jazz never looked so beautiful..........2006-10-01
For some, the visual appeal of an album cover exceeds - even outlasts - the allure of the music within. At least as far back as the advent of the 12-inch long-playing record in the mid 1950s, record companies have attempted to draw us to music by relying on the fact that, indeed, we will judge an album by its cover. By the 1960s album covers were increasingly an art form itself.
If the art form wasn't created by Pete Turner - a distinction which may belong to Josef Albers, whose work graces a scant few Enoch Light albums - it was certainly enhanced by it. Pete Turner's photography has graced some of the best and most important jazz album covers made over the last half-century.
His work stands apart from the music as great art itself. It's not uncommon to hear albums described solely by Turner's iconic photography: "The Giraffe" album (Antonio Carlos Jobim's "Wave"), "The Icicles" album (Paul Desmond's "Summertime"), "The Cannonball" album (Hubert Laws's "Afro-Classic") or "The Cheetah" album (Hubert Law's "The Right Of Spring"). Each is striking. Each is important to the visual history of recorded sound.
"The Color Of Jazz" collects many of these album covers and shows why a Pete Turner album always stood out in any record store and, more importantly, as part of any record collection. The colors just jump off the page - a tribute to Will Hopkins and Mary K. Baumann's outstanding design.
There's a visual poetry in these images, expertly framed as they were on the original albums by Sam Antupit and Bob Ciano. It's a music you can see and, like jazz, there's a creativity, originality and improvisation that you can feel.
It's not merely a book of photography and it's much more than an album cover book. It's a celebration of the way art affects all the senses. Pete Turner knows how to use a camera to tap the soul. Just like jazz. "The Color Of Jazz" is a beautiful book that makes music from the page.
Gorgeous! The work of a genius!.......2006-09-29
I bought the magnificent "The Color of Jazz" when it was still on pre-order at Amazon. Three weeks after, I didn't have time yet to absorb all the beauty of this gorgeous book. It's one of the most beautiful books I've ever seen. His shots are able to transport me to "outer space". I can keep contemplating the same photo for hours, while I "listen" to the respective LP in my head. Pete Turner is the most creative photographer who ever worked in the music (not only jazz) scene. Specially during the CTI heyday, his photos were an integral part of that crossover aesthetic. It's great to watch all those transcencental pictures together in the same book! Not to mention the great idea to include his early covers for the long-forgotten albums by The Creed Taylor Orchestra in the late 1950s, as well as his most recent work in the 2000s for such newcomers as Jorge Pescara. Pete is not only a great artist. He is a genius. Period.
Jazzy Sassy Color.......2006-09-25
Kudos for one of the finest books on color photography and album covers I have ever seen. The colors not only jump off the page, they are also mesmerizing and hold you captive. The reproductions of the photographs, I would guess, are as close to the originals as modern printing technology will permit. Throughout the book you will experience color as you never have before. Turner is a master of color and I think he is as joyfully possessed with it as was Paul Klee when he wrote "Colour possesses me. I don't have to pursue it...Colour and I are one". Turner's photographs are not only rich in color but also, rich in feeling.
If you are a synesthete (a person who can see color and hear music) I would venture that you might actually hear jazz music emanating from the book as you turn the pages and look at the vibrant, highly saturated colors.
The design of the book is without fault and the large 12 x 12 inch size provides a generous amount of space for both the album cover photographs and the commentary.
Richard D. Zakia
Amazon.com
Whaddya know--turns out size does matter. In this stunning collection of album cover art from 1940 to 1960, it is instantly apparent that despite the advantages CDs may have in the technology or convenience departments, vinyl albums--even based on their sheer proportions--have always been way cooler. This is especially true for this particular era, when cover art was truly an art form, with talented designers handcrafting individualized jackets influenced by surrealism, cubism, and modern artists of the day. And as Tony Bennett says in his preface, "they were large enough to make you feel like you were taking home your very own work of art."
Author Eric Kohler, a graphic designer and album cover artist himself, selected these 250 gorgeous covers from his own collection of over 3,000. He offers a captivating history of the early record industry, addressing the invention of the phonograph in 1877, the near demise of the industry due to competition with radio, and the rejuvenating introduction of the jukebox in 1935. Prior to Columbia Records' release of the 33 rpm vinyl LP in 1948, music fans were restricted to 78s--easily breakable, shellac-based records that could only hold four minutes' worth of music on each side. Victor Records made a competitive strike with the 45 (hence turntables with 33, 45, and 78 options), but its success was limited. Until the 1980s, the LP ruled the land with its roomy cardboard cover--a perfect canvas for artists.
Kohler's focus is on the graphic artists themselves--revolutionaries of the industry. Previously, albums had plain covers that advertised phonograph and record companies rather than performers. But when designer Alex Steinweiss entered the scene in 1939 (at the tender age of 23) he changed the business of cover art forever. Kohler illustrates the styles of eight such prominent cover artists--Steinweiss's trademark curly-scrawl script, Jim Flora's cartoonish images recalling Joan Miró and Paul Klee--with such accuracy that readers are able to immediately recognize and differentiate their work. Although the sun shone on these artists for only a brief time (the advent of photographic covers in the late 1950s all but obliterated their influence), these 20 years paint a fascinating portrait of popular music, modern art, and even business development. Best of all, Kohler serves up page after glorious, glossy page of big, beautiful album covers. --Brangien Davis
Book Description
What the much-admired Blue Note: The Album Cover Art and Blue Note 2 did for jazz, In the Groove does for the sounds of the '40s and '50s, when swing and bebop took off. Selected for their noteworthy design and wonderful illustrations, these visual stunners range from jazz to popular tunes to classical and Latin styles. But it's the lounge vibe that truly runs wild as we tour more than 300 sensational album covers, including seldom-seen issues from Decca, Blue Note, and other labels. A brief text explains what design was like before the photograph took over and how the invention of the LP changed the record business forever. Author Eric Kohler also introduces the stand-out designers and key labels of the period. Cole Porter, Louis Armstrong, Bing Crosby, Billie Holiday, Frank Sinatra, Desi Arnaz, Carmen Miranda their best album covers are all here, and they're all sizzlin' in the heyday of hip. Easy on the eyes, In the Groove is the real thing: the great covers created by the great designers for the musical greats of yesteryear.
Customer Reviews:
Excellent book, poor binding.......2005-10-04
This is a fantastic book for album cover designs. But as I was warned, the glue on the binding really does gives out after the first reading. But the content is so incredible, it's worth purchasing this book...just be sure to handle it carefully so you don't loose your pages.
Sound pictures........2002-12-14
Mr Kohler presents two hundred and fifty covers (from his large collection) which he rightly thinks show the best of album design in the early years of the LP. He features eight artist/designers who created some of the most distinctive work in cover art. Two of them are my favorites, David Stone Martin who gave Norman Granz's Clef label some beautiful cover illustrations (twenty are shown) and Reid Miles who created the east coast look to Blue Note Records. Unfortunately only four of his covers are shown but you can see dozens more in the two books by Graham Marsh: The Cover Art of Blue Note Records and The Cover Art of Blue Note Records, Vol.2. The other six designers range from the unique illustrations of RCA's Jim Flora to the work of Swiss born designer Erik Nitsche and his semi abstract work for Decca. Record companies are also featured and you can see the beginnings of the Capitol Records house style, I think they were the only major company to produce consistently well designed covers with excellent photography and typography.
Though all these covers are interesting to look at I don't think too many work as complete design units, that is image and text complement each other, mostly they are images with text added later. One cover that I like is on page eighty-one, it shows a file-card box and the albums title, 'Guide to Jazz' is typed on a card which is resting against the box, the tabs of the other cards have musical instruments on them, a simple creative idea that works. Strangely the designer is unknown.
I doubt you will see as good a coverage of the early years of the LP as this (well produced) book but have a look at this title that concentrates on jazz covers from the fifties and sixties, Jazz West Coast: Artwork of Pacific Jazz Records. It has dozens of examples of creativity on paper twelve inches square, somehow CD covers just can't compete with that.
***FOR AN INSIDE LOOK click 'customer image' under the cover.
"Groove"y Covers.......2002-06-05
Being a music lover, I've never been partial to one type of music only--I have a passion for everything from rock to classical, pop to country, even from jazz to techno. Something in all of these styles intrigues me. And how intriguing is this incredible book by Eric Kohler. I never thought I'd "get into" a book dedicated solely to album covers from 1940-1960, but I was wrong. The music lover in me kicked in, and I found myself fascinated with the glorious color photos, the revealing and well-researched text, and with the artists themselves. This album cover artistry really has diminished with the advent of the much-smaller compact disc (which is a truly disappointing fact), but Mr. Kohler's book rapturously captures the vividness of the times, the artists, the moods, and the music of those two decades. It took me back to the time when I myself used to stare at the covers of my records for hours while playing them over and over again - this classic book uncovers that wonderful feeling inside you once more. And to top it all off, Mr. Tony Bennett himself writes an introduction that's both classy and sentimental. This is a great book for any music lover with a coffee table -- and an open mind towards how art has influenced music (and vice versa) in so many ways.
Long, lost days of style........2001-08-01
As a graphic designer, I get so flustered when I see the same old CD covers now: a photo of the artist or band, and their name scribbled on top, or a really un-inspired text treatment, most likely using some wretched Photoshop tool like, alien skin or eye candy- blech! Perhaps modern day CD's skimp on the design work of the covers because they are so much smaller now. But back in the days of LP's and 45's art was generously splashed on covers. Full-colored, stylized and oh, so hip! Each one fit to be framed and displayed. "In the Groove: Vintage Record Graphics, 1940-1960" effectively chronicles the history of this long, lost art-form in a picture-book style. I say picture-book, because of the lack of background information on many of the pieces, in fact there are quite a few pieces that are listed as "unknown designer", how unfortunate! Some poor old designer dedicated his or her life to creating some stunning art to attract music lovers' eyes to this or that particular record, and now they're the "unknown designer". Eric Kohler did his best grouping together styles of record graphics, so seeing the evolution of style was very nicely mapped-out. Nice quality paper, nice printing... would've been nicer in hardback. Still, this is one of my favorite books!
Cool Collection of overlooked medium.......2001-02-21
I liked this book so much that I bought a copy for my record-collecting boyfriend and a DJ friend with a varied and ecclectic vinyl collection.
When I thought of record cover art, I thought of those fantasy-styled "YES" covers, or the metal band covers of the 80's. I had no idea about how many cool vintage record covers were out there.
The book focuses on covers from 1940-1960. You'll find many jazz, swing and vocalists represented here. The reproductions are excellent and the variety is impressive. While most covers are reproduced in 3x3inches, quite a few are refresented as full pages which is about a 9-inch square. It is organized by artist and record company, showing you how the artist's style influenced the cover.
I highly recommend it for record collectors, vintage enthusiasts, graphic designers/illustrators and those who love old things. It made me miss the 12-inch vinyl covers all the more and has inspired me to track specific albums down. CDs can never match the emotional connection that vinyl did.
Book Description
Latin jazz-the perfect combination of Latin rhythms and hot jazz phrasing-energizes audiences like no other music.. As part of the Smithsonian Institution’s series of major exhibitions on jazz music, Latin Jazz traces the music’s roots and routes, from the Caribbean to New Orleans and the clubs of New York City to its booming international popularity today. More than 100 rare photos from the ’20s, ’30s, ’40s, and ’50s show musicians and audiences in full swing, along with dozens of album covers and posters from the heyday. Stories told by the greats who were there, such as Mario Bauzá and Cal Tjader, convey all the zest for life that has made the music so exciting, and contributions by renowned musicians Andy González and Al McKibbon attest to its legacy. With all text in both English and Spanish, Latin Jazz is a spectacular and fitting tribute to this exciting musical fusion.
Average customer rating:
- Don't quit your day job, Wynton
- a wonderful book
- 'And all that jazz'
- Great art work, might be too many words for the littler ones.
- Excellent for both kids and adults
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Jazz ABZ: An A to Z Collection of Jazz Portraits
Wynton Marsalis
Manufacturer: Candlewick
ProductGroup: Book
Binding: Hardcover
 Musical
| Biographies
| People & Places
| Children's Books
| Subjects
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Jazz
| Music
| Arts & Music
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Fiction
| Performing Arts
| Arts & Music
| Children's Books
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General
| Poetry
| Literature
| Children's Books
| Subjects
| Books
General
| Literature
| Children's Books
| Subjects
| Books
General
| Ages 4-8
| Children's Books
| Subjects
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General
| Arts & Photography
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| Arts & Photography
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ASIN: 0763621358
Release Date: 2005-10-25 |
Book Description
In a swinging improvisation with poster artist Paul Rogers, Wynton Marsalis celebrates the spirit of twenty-six stellar jazz performers, from Armstrong to Dizzy — and showcases the same number of poetic forms.
A is for "almighty" Louis Armstrong, whose amazing artistry unfolds in an accumulative poem shaped like the letter he stands for. As for sax master Sonny Rollins, whose "robust style radiates roundness," could there be a better tribute than a poetic rondeau? In an extraordinary feat, Pulitzer Prize-winning jazz composer Wynton Marsalis harmonizes his love and knowledge of jazz's most celebrated artists with an astounding diversity of poetic forms — from simple blues (Count Basie) to a complex pantoum (Charlie Parker), from a tender sonnet (Sarah Vaughan) to a performance poem snapping the rhythms of Art Blakey to life.
Matching Wynton Marsalis's musical cadences note for note is the bold, poster-style art of Paul Rogers, highlighted in two phenomenal foldout spreads. The art's vibrant nostalgic feel is echoed in an exquisite design, with its size simulating an old 78 LP and its endpapers die-cut to mimic a vintage record sleeve. Complete with a discography and brief biographies of the featured musicians as well as notes on the various poetic forms, this is truly an incomparable gift book — for older children learning about jazz, longtime jazz aficionados, lovers of poetry, and readers of all ages who appreciate the finest in book design.
Customer Reviews:
Don't quit your day job, Wynton.......2007-09-10
Wynton Marsalis breezes through the gamut of Second Grade literary formats (Acrostic, Gibberish, Shape Poem) before devolving into fractious purplisms. This serious of tributes to jazz icons is more of what we've come to expect from Mr. Marsalis: Lugubrious idolatry, trumpeted from the peak of Mt. Wynton.
As with his mind-numbing dissertations on Ken Burns's jazz documentary, Mr. Marsalis presents two central theses in his poetry that are very damaging to the genre. There are:
a) You have to understand it to enjoy it, and
b) You have to worship it to talk about it.
Apart from offering another volume to the jazz nerd catechism, it's difficult to image how this book will in any way promote the music itself. But then again, as Marsalis notes, "Mingus might just talk about your momma, then go 'head and manifest a masterpiece by midnight. By moonlight. Maybe."
a wonderful book .......2007-02-25
Before I post my review, I'd like to make a correction to amazon's book information which states this book is for ages 4 to 8. Jazz ABZ would work extremely well in a high school or college jazz history class, and would be a hip coffee table book gift for a jazz fan, but it's not for young children!
This is a visually stunning and brilliantly written book. The first page instantly grabs you: it has a large round hole in the center to resemble a classic lp record sleeve. The second page is a glossy black picture of a record with the author information listed on the record label.
Wynton Marsalis collaborated with artist Paul Rogers to create this beautiful book. They selected famous jazz musicians for each letter of the alphabet. Marsalis wrote poems using a variety of poetic forms to fit each musician's unique playing/composing style. Many of the poems were written while Marsalis was touring, and he read and refined them with the other musicians on the bus or plane during the course of their travels. While Marsalis has very strong opinions about other jazz musicians (the PBS Ken Burns series, while interesting, was essentially "Jazz According to Wynton"), he keeps his opinionated and didactic sides at bay and focuses on the task at hand with this book.
Jazz ABZ is a book that assumes its readers have a decent understanding of jazz terms and forms. For this reason, it's not appropriate for elementary school readers (unless they have an unusually advanced understanding of this music). Imagine reading "Couldn't he just keep on cascading through closely clustered chord changes, cartwheeling through complex, careening, chromatic calculations?" to introduce third graders to the music of John Coltrane... I think not. Most of the poems work well with the illustrations and the different musician's personalities and music. The back of the book includes excellent short biographical sketches of each musician by Phil Schaap. Highly recommended.
'And all that jazz'.......2006-05-05
This book is infectious! For those committed and devoted to Jazz this is a book that will bring smiles and memories and plaudits to the many giants of this most American of music forms. But to those of us whose knowledge of the impact of jazz on the spirit of music has always been from the periphery, here is a book to discover and celebrate an idiom so joyous in nature and in the presentation of this book that new converts are guaranteed!
The concept of presenting famous jazz figures from A to Z (in actuality from Louis Armstrong to DiZzy Gillespie) is a sound one in that it does not tend to group artists by style or time. Each of the featured giants is introduced in poetic form written by Wynton Marsalis, poems that ring of jazz styles themselves. Additional succinct biographical data is sprinkled throughout the handsome design of the book. And each of the figures is brought to visual life by the stunning artwork of Paul Rogers, an illustrator who obviously loves and understands jazz in tandem with Marsalis.
Though this book is being marketed for youngsters ages 4 - 8 or for junior high students, the book as an artwork and as an introduction to the world of jazz is so well done that it makes a terrific excursion for readers of any age and degree of jazz sophistication. Highly Recommended. Grady Harp, May 06
Great art work, might be too many words for the littler ones........2006-03-14
The art work is first rate: each page would make a great poster, it's that stylized and refined. The print and colors are high quality and elegant.
The selection of jazz greats -- only one musician per letter -- may seem unfair and arbitrary to some readers. But hey, it doesn't promise to be an encyclopedia or who's who! Loosen up! Remember, it's an intro for kids! I like how it's light and not *too* educational and pedantic.
My gripe that it's too wordy, too poetic. It's extremely tiring to read to the little ones, especially late at night at crankytime. If there were a dumbed down, large text version, I would buy it. Seriously.
Excellent for both kids and adults.......2005-12-30
I purchased this book for the benefit of both me and my new daughter. The artwork is wonderful, and reminiscent of advertisements from the 50s and 60s. The title page is printed and die-cut to look like an LP record sleeve. The poems are not typical nursery-rhyme material, and are at times challenging to read. The poems are composed in a wide variety of styles, ranging from a short and simple haiku to longer, more complex alliterative forms. The poems are designed to be enjoyed not only for their content, but also for their rythymic and musical quality, which in turn are intended to reflect the styles of the jazz artists themselves. In case you (or a loved-one you're reading to) want more information, there is a section in the back with short biographical sketches of all the artists covered in the book.
In short, if you love poetry, this would be a great addition to your library. If you love jazz legends (such as Lady Day, Thelonious Monk, Jelly Roll Morton, etc.), this is a fantastic book. Mostly, I look forward to reading the complex and tongue-twisting poems to my little girl. The beauty of the book is that while young children might not understand the poems, they sure are fun to read; older children, teenagers, and adults, however, will hopefully appreciate the meaning of the poems.
Book Description
Along with Dave Brubeck, Vince Guaraldi was one of the leading pianists to rise to prominence from the California Bay Area scene. Originally a Latin jazz musician, his recording of "Cast Your Fate to the Wind" is one of the best-selling jazz records of all time. Guaraldi later composed the beloved and timeless music for the Peanuts television specials. This folio spans Guaraldi's multi-faceted career, with note-for-note transcriptions of 9 terrific songs: Cast Your Fate to the Wind * Christmas Time Is Here * Greensleeves * Linus and Lucy * Manha De Carnaval * O Tannenbaum * Outra Vez * Samba De Orfeu * Star Song. Includes a biography and a discography.
Customer Reviews:
The real deal!.......2006-11-10
Please note that these are accurate jazz trio transcriptions. They won't stand alone unless you rearrange the pieces to include a bass line. They are perfect for practicing with the original recordings. And some are quite difficult when played at original tempos. It's an absolute blast to read (and play) what Guaraldi imagined - especially the "Black Orpheus" pieces. I'm so glad these finally became available!
Very Nice.......2006-11-10
These are real transcriptions, note-for-note from the recordings. Everything is quite accurate. Vince Guaraldi was an amazing pianist; if you want to study his style, you'll want this book.
The definitive introduction to playing Vince........2006-07-20
I bought this together with a "best of" CD, both containing a lot of songs I really wanted to play on the piano myself. That combination has allowed me to hear what Vince played while also reading through the music to see just what it is he played. Without exception, I've found the written music exactly true to what Vince recorded, including pick up notes, tricky min-maj-min progressions, arpeggios, diminished 9th chords, and what-not, and it has made some previously unapproachable passages much easier to understand. I've also been able to use the book as a sort of learning tool, getting a feel for what a jazz musician really tries to accomplish when he sits down and plays a piece. I would like to have seen some fingering indications included, and without those, I think some beginners will not be able to do much with this work. And personally, I didn't find the performance notations particularly useful ("laid back" doesn't really convey much to me), but like I said, I also purchased a CD of Vince's music, so I already have an idea of what sort of sound I want to achieve. Other than those two minor points, I can't find anything wrong with this edition. The binding is "lay flat" perfect bound, so the pages stay glued together but pull away from the spine, allowing this book to retain a crisp appearance and feel even after the pages are pulled open on a music stand. Guaraldi fans and aspiring jazz pianists will gain a lot from this work.
GREAT.......2006-05-10
I absolutely LOVE Vince Guaraldi's work and have always wanted to play the REAL version. The fact that this is a great real exact perfect transcription is amazing. It is a pleasure to play.
Good transcriptions, but not necessarily good solo arrangements ...........2006-03-24
These are pretty much exactly what Vince played on the recordings ... which is great if you're playing with a band, but not always good for solo work. Some parts sound great by themselves (usually the beginnings and ends), but there are obviously suppporting parts missing in the middle of some songs where other instruments are soloing and Vince was just noodling along. Overall a great job of transciption.
Average customer rating:
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Black Beauty, White Heat: A Pictorial History of Classic Jazz 1920-1950
Frank Driggs , and
Harris Lewine
Manufacturer: Da Capo Press
ProductGroup: Book
Binding: Paperback
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The Jazz Image: Masters of Jazz Photography
ASIN: 030680672X |
Customer Reviews:
Indispensable!.......2004-12-11
A must have for any Jazz fan! This book is an outstanding compilation of early Jazz pictures. Ideal to have on your coffee table!
Average customer rating:
- Just someone showing off about how much he read about jazz History
- The definitive Satchmo biography
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Louis Armstrong: An American Genius
James Lincoln Collier
Manufacturer: Oxford University Press, USA
ProductGroup: Book
Binding: Paperback
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Jazz: The American Theme Song
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Beyond Category: The Life and Genius of Duke Ellington
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Louis Armstrong, In His Own Words: Selected Writings
ASIN: 0195037278 |
Book Description
Louis Armstrong. "Satchmo." To millions of fans, he was just a great entertainer. But to jazz aficionados, he was one of the most important musicians of our times--not only a key figure in the history of jazz but a formative influence on all of 20th-century popular music. Set against the backdrop of New Orleans, Chicago, and New York during the "jazz age", Collier re-creates the saga of an old-fashioned black man making it in a white world. He chronicles Armstrong's rise as a musician, his scrapes with the law, his relationships with four wives, and his frequent feuds with fellow musicians Earl Hines and Zutty Singleton. He also sheds new light on Armstrong's endless need for approval, his streak of jealousy, and perhaps most important, what some consider his betrayal of his gift as he opted for commercial success and stardom. A unique biography, knowledgeable, insightful, and packed with information, it ends with Armstrong's death in 1971 as one of the best-known figures in American entertainment.
Customer Reviews:
Just someone showing off about how much he read about jazz History.......2006-11-02
I was completely disapointed by this book. SInce the begining the author is only taking advantage of the trapped reader to show him how much he knows about the origins of technical jazz. There is really little about Louis and his lif per se. The author rather gives a rough background stating that little is known (he shouldn't have written a book about such a personality if little was known about him)and the few facts that he states he refutes arguing they are not true or completely true. Even refering to Louis autobiography trying to demonstrate that the artist himself was wrong in his own words.
Just a well written account of Jazz origins dressed up as a Louis Armstrong Biography, maybe the only way James Lincoln Collier could sell a copy. Disguising the buyer and cheating on the reader.
Strongly not recomended !!!
The definitive Satchmo biography.......2004-12-11
Collier did a great job! His historiography is as brilliant as ever. It seems to me that the mainstream of Jazz so-called "scholars" don't like Collier because he's got no race bias and because of his impartiality. Actually, Mr. Collier is the best American writer on the subject, as he knows musical theory and is also a fine researcher.
Book Description
Twelve of the Dukes' most memorable compositions arranged in standard notation and tablature. Includes: Do Nothin' Till You Hear from Me Don't Get Around Much Anymore In a Sentimental Mood It Don't Mean a Thing (If It Ain't Got That Swing) Mood Indigo Satin Doll Sophisticated Lady Take the 'A' Train.
Customer Reviews:
Top-notch jazz pieces.......2007-09-12
I bought this book a while ago and Howard Morgen's arrangements look quite different from pieces arranged by other jazz masters: they are very elegant, incredibly melodic, and grab the ear by unusual combinations of chords and single note solos with harmonics. I agree with other reviewers that Howard's arrangements are technically difficult to perform and fretting hand fingering is quite challenging. However, playing his arrangements is not impossible! This is my advice how to work on them. First, when working on the piece listen to it on the CD alone with reading the notation to link the audo signal with its notation's spelling - do it until you can hear the music just by reading the notes. Second, practice playing the most challenging measure until it sounds very close to what's on the CD: don't jump to practicing the new measure until you are good with the previous one because if they both sound "bad" you may become easily frustrated. Third, if you find it difficult to play chords requiring stretching fretting fingers over "15 frets" you can re-arrange these parts by either skipping some notes in the chord or refingering them into a more comfortable position: it will not sound as nice as original arrangement but will be good enough to walk through the entire piece.
The reason I gave it 4 is that it appears that there are few places where notation does not match its CD sound (check Satin Doll), and I hope this will be corrected in next editions of this wonderful book.
Great arrangements, but not for beginners.......2003-04-18
I really like this book. The arrangements are very interesting and well presented. Although it's not a book for beginners, some of the arragements are well suited for intermediate players who are just starting to learn solo jazz guitar. Others, though, are challenging even for a fairly advanced player (which is what I consider myself). If you find this book too challenging, make sure to stay away from Morgen's book on Gershwin. Even the simplest of those arrangements are hard.
Not for Beginners.......2003-03-21
... or even intermediates. I went through a handful of the arrangements in detail, and I found that the fingerings are much more demanding than necessary to perform any of these pieces. The flourishes and single-note non-melody material should be marked optional and instead is treated as essential, making the arrangements pretty, but also pretty tricky. Best for an intermediate guitarist, who is probably already able to make decent money gigging and who already owns a handful of fake books, who is looking for alternative arrangements.
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