Musical Genres Books - Page 4

Moving to Higher Ground: How Jazz Can Change Your Life

Wynton Marsalis, Geoffrey Ward

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Customer Reviews:
Total reviews: 5 Average rating: 4.5 of 5

Editorial Review:

Product Description
"In this book I hope to reach a new audience with the positive message of America’s greatest music, to show how great musicians demonstrate on the bandstand a mutual respect and trust that can alter your outlook on the world and enrich every aspect of your life–from individual creativity and personal relationships to conducting business and understanding what it means to be American in the most modern sense."
--Wynton Marsalis

In this beautiful book, the Pulitzer Prize-winning musician and composer Wynton Marsalis explores jazz and how an understanding of it can lead to deeper, more original ways of being, living, and relating–for individuals, communities, and nations. Marsalis shows us how to listen to jazz, and through stories about his life and the lessons he has learned from other music greats, he reveals how the central ideas in jazz can influence the way people think and even how they behave with others, changing self, family, and community for the better. At the heart of jazz is the expression of personality and individuality, coupled with an ability to listen to and improvise with others. Jazz as an art--and as a way to move people and nations to higher ground--is at the core of this unique, illuminating, and inspiring book, a master class on jazz and life by a brilliant American artist.

An Interview with Wynton Marsalis

Q: You’re a musician and composer. Why did you write this book, which is about life and lots of other things besides jazz?
A: When I first decided to become a musician, at the age of 12 or 13, I was inspired by my father, and by the New Orleans jazz tradition. I was under the impression that I had only to learn the fundamentals of music--rhythm, melody, harmony, texture--to progress as a musician. What I didn’t know then was that over the next three decades, jazz music would teach me many significant things about living. This book grew out of ten years of conversatins with my friend Geoff Ward, and is my attempt to share some of it—about how important it is to be yourself in the world, and at the same time create while respecting the creativity of others.

Q: What does the title of this book, Moving to Higher Ground, mean to you?
A: Too often in life, petty squabbles and small-mindedness keep us from realizing a higher purpose. In jazz, that higher purpose is not theoretical: We want to sound good. And when we do, you can hear what it’s like when people are really trying to get along. It’s purely human: In Jazz, you can mess up and still come together, still move together to higher ground. The title means ascending through engagement.

Q: You suggest that the ideas at the heart of jazz can carry over into everyday life. How so?
A: Let’s take two ideas in jazz that are most central: swinging and the blues.

Swinging is the art of negotiation with someone else, under the pressure of time. It shows you how opposites can come together, without compromising who they are. The one who plays the highest-sounding instrument in the rhythm section--the time-keeping cymbal--has to find a way of working with the one who plays the lowest instrument, the bass. And the bass player, who plays the softest instrument, has to find a way of working with the player of the loudest, the drums. To succeed, everybody has to have a very clear idea of the common goal: What exactly are we here to do? In jazz we know: swing. In life, if everyone involved can agree on a primary objective, a group can accomplish almost anything.

The blues is many things--a musical form, a distinctive sound, a universal feeling--but above all, the blues is survival music. It’s message is simple: things are never so bad that they can’t get any better. It’s about crying over something, actually wailing--and it’s about coming back. The words may be sad but the dancing shuffle (the definitive rhythm of the blues) is always happy or heading toward happiness. The blues is about what is--and what is has demons and angels sitting at the same table. That’s a bitter-sweet and realistic message about life that everybody needs, that everybody can hear and respond to. I’ve heard people respond to it, all over the world.

Q: How do jazz principles apply to, say, holding a successful meeting?
A: If you come to a meeting without an agenda it’s probably not going to be a very good meeting. In jazz improvisation, the agenda is the form of the song. But an agenda alone doesn’t guarantee success. If everybody feels free to participate, unexpected things are sure to come up and will have to be dealt with intelligently. That’s true in jazz improvisation, too. Things are bound to come up. Some need to be discarded right away. Others need to be expounded upon. Anyone in the rhythm section playing along behind the soloist can decide, "Hey, we need to investigate this further." And the soloist can respond, "Yeah, let’s go into that." It’s a system of checks and balances, but what makes it work is the fact that everybody is listening and responding to what the soloist is saying without ever forgetting the agenda. That’s a pretty good model for swinging, and for getting things done.

Q: How do jazz principles apply to a family?
The central relationship on the bandstand is between the bass and the drums. They’re opposites of volume and register. The drums are the loudest and the swung cymbal is the highest-pitched while the bass is the softest and lowest-pitched. In order to swing, the right-hand stroke on the cymbal must find the right-hand pluck of the bass on every beat. While it is impossible to line those beats up with metronomic perfection it is possible to achieve a perfect intent to be together. That’s what you would like to see with a mama and a daddy. They represent gender opposites. While they try to come together to solve a problem we can go in the direction of a good time. When they don’t--when one is too loud or the other is unyielding--it becomes a matter of endurance, not swinging.

Q: What can jazz teach us about our feelings and ourselves as individuals?
A: We’re all given the gift of creativity. It comes out in all kinds of ways--the way we talk or dress or cook or whistle. I remember when I was a kid my friends and I used to see who could cut grass in the most creative way. But many times young people are put down for having a gift or skill that doesn’t fit with somebody else’s idea of what he or she should do with their lives. Jazz is the opposite of that. It tells you, "That’s you! Take pride in this thing. Express yourself. Your sound is unique. Work on it. Understand it." Often it teaches you to celebrate yourself.

When we talk about expressing feelings in jazz, we mean spiritual feelings, empathetic feelings, feelings that are beyond thought. In jazz, musical ideas move too quickly for you to stop and analyze or to formulate a lie. By the time you think about it, that moment of music is long gone. Jazz teaches you to cherish how you feel in the moment. It puts a premium on having faith in the people you’re playing with. Because the second you lose that faith and start to question what they’re doing, the distraction takes your mind off the music and onto bad decisions that you will surely begin to make. The combination of emotional honesty and mutual trust that jazz demands can help you if applied to almost any field.

Q: How can jazz help you understand your own friends and family better?
A: At first it may seem like a paradox, but jazz helps you understand other people by teaching you that you never really know anybody. When you play music with someone--even someone you think you know really well--they’ll play things you don’t expect and can’t anticipate. You’ll go in one direction, based on what you think is going to happen and they’ll take a completely different path. Jazz lets people be free, and to surprise you--and them. It doesn’t let you mail in your response or let you lump people into categories that turn out to be meaningless.

It also shows you that people, even geniuses, evolve over time. The Duke Ellington who played in 1931 was very different from the Duke of 1961. So you learn to be patient with other people and respect the progress they’ve made and are still capable of making. One of the biggest challenges in dealing with friends and family is communication and more communication. Jazz forces us to communicate with people while recognizing their objectives, and over objectives, and where we can come together.

Q: How is jazz related to America, the country that created it?
A: This art form was created to explain who we are. We have rights and responsibilities in the music just as we do as citizens. The Constitution can be amended and songs can always be added to or changes. In jazz we place a premium on the individual’s right to self-expression but we also insist on checks and balances between one person’s rights infringing on another--the soloists and the rhythm section have to work things out together. Otherwise the piece is a mess.

Jazz allows us to improvise, to negotiate with one another. It’s the sound of many people coming together in one thing. You might be from Chicago and be Jewish but you can stand on this bandstand with a Creole from New Orleans and when both of y’all play, you’ll agree on what sounds good, and you’ll agree on it because you both can hear it. It’s democracy in action and it allows us, for all our faults, to see the success of our history. It tells us who we have been, who we are now, and who we can be in the future.

Q: Why is jazz especially relevant today?
A: This country is looking for change. Just look at what’s going on: An African American and a woman were leading contenders for the presidency; Big questions of race and identity; millions of brand-new voters turning out. Barack Obama carrying southern states in the primaries with a charismatic message of coming together. It’s a different time in our country and I think it’s the perfect time for this music.

Now, jazz has always been timely because it deals with the timeless issues of people, and of our democracy. Louis Armstrong dealt with them. So did Duke Ellington and Benny Goodman. But if you listen to political candidates today, they almost never talk about culture. It’s never really been part of our national dialogue and it should be, because it’s the best was for us actually to come together. We talk a lot about having national conversations and we’ve tried legislating unity. But we need to understand that art can bring people who are different together. Jazz provides a context for all the experiences we as human beings share.

The direction of our culture is ascendant. Jazz is a perfect embodiment of that. Jazz is ascendant. If we take a long view of the past 150 years, we won’t come to the conclusion that things are getting worse. We still have problems of corruption and greed. Jazz can provide a good antidote for them, too. To maintain their integrity, musicians have had to make many decisions that placed substance over commercial success. Jazz musicians have always aspired to an almost Utopian vision of a country in which everybody would come together and swing.

The contemporary excitement around empowering people is not new to jazz. Jazz is empowerment. Its first great achievement was to empower individual musicians to take part in the creative process through improvisation. Participation is essential to a healthy American democracy, and it’s essential to America’s greatest music, too. Everybody has to participate to make it sound good. Whether you’re playing or listening, you have to be active. If you’re just sitting there and waiting for something to happen, nothing will. I hope this book will empower as many people as possible to take part by showing how an understanding of jazz and its principles can change your life, and our lives together.

The Complete Quincy Jones: My Journey & Passions: Photos, Letters, Memories & More from Q’s Personal Collection

Quincy Jones

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Editorial Review:

Everything you love about American popular culture is Quincy Jones. As an artist and impresario Quincy Jones has been the creative catalyst for over 50 years of American cultural phenomena orchestrating the sounds of Frank Sinatra, setting the ambiance for Steven Spielberg, cultivating the talent of Michael Jackson, and introducing the world Oprah Winfrey and Will Smith--to name a few. The Complete Quincy Jones examines the diverse virtuosity of Quincy Jones, celebrating his prolific contribution to American art and culture. Comprised of personal interviews and recollections with Jones, this collection peers behind the veil of
celebrity, with extraordinary access to his creative inspirations and labors. Through private notebooks, correspondence, and photographs Jones offers unprecedented introspection into the depths of his creativity and the histories of his ventures. From the volumes of his memorabilia, Jones emerges as a contemplative and dynamic maestro, thriving on intuition and ceaselessly pursuing the soul of his art.

Bumping Into Geniuses: My Life Inside the Rock and Roll Business

Danny Goldberg

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Customer Reviews:
Total reviews: 6 Average rating: 4.0 of 5

Editorial Review:

A giant of the music industry grants an all-access pass to the world of rock and roll, with mesmerizing stories of thirty-five years spent working with legends from Led Zeppelin, to Stevie Nicks, to Nirvana.

Danny Goldberg has been a hugely influential figure in the world of rock and roll. He did PR for Led Zeppelin; he managed the career of Nirvana; he ran Atlantic Records, Mercury Records, and Warner Bros. Records; he launched Stevie Nicks’s solo career. In Bumping into Geniuses, Goldberg shares his stories about performers who represent a broad and powerful portion of the psychic real estate of the rock and roll kingdom: Patti Smith, Warren Zevon, Bruce Springsteen, KISS, Kurt Cobain and Nirvana, Hole, Stevie Nicks, Bonnie Raitt, Steve Earle, Led Zeppelin, and more.

But there’s more to this story than just Goldberg’s varied career. It’s also a look at the industry itself: a business that was neither the romantic vehicle for self-expression that its most naive fans imagined, nor the purely crass money machine depicted by its most cynical critics. It was complex and chaotic—a mixture of art and commerce, idealism and selfishness—and sometimes, rock’s most gifted and influential musicians were able to transcend it all.

For anyone interested in the rock and roll industry, or simply the mores and temperaments of the musicians themselves, Bumping into Geniuses is an incredible insider’s tale that only Goldberg could tell.

George Winston Piano Solos (Piano Solo)

George Winston

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Customer Reviews:
Total reviews: 15 Average rating: 4.5 of 5

Very enjoyable! 5 out of 5 stars.
0 of 0 people found this review helpful.

As some reviewers wrote, some transcriptions are not same as the recording. Regardless, this book is very enjoyable. Who doesn't enjoy playing George Winston's beautiful music? I think any player can enjoy this book because it is not very hard technically. I would have been even much happier if this book had included more blues, like "Miles City Train".

Editorial Review:

The All Music Guide says that pianist and composer George Winston is "among the earliest and most successful proponents of contemporary instrumental music." Here is the first songbook ever notating his beloved piano pieces. Winston himself chose the songs and cover art, wrote the preface, and approved every note. Features 20 of his most-requested favorites: The Black Stallion * Joy * Longing * Prelude/Carol of the Bells * Thanksgiving * Variations on the Kanon by Pachelbel * and more. Includes a biography, discography, and discussion of chords. First Fully Authorized Songbook Featuring Winston's Esteemed Compositions and Arrangements!

Hot Burritos: The True Story of The Flying Burrito Brothers

John Einarson

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Total reviews: 5 Average rating: 4.5 of 5

Editorial Review:

Widely regarded as the original country-rock band, The Flying Burrito Brothers were determined to pull rock music back from the psychedelic abyss and return it to its pure and simple roots. To say that they succeeded would be an understatement. In a brief four-year span, the original troupe became one of the most influential rock groups of all time, reaching everyone from the Eagles and Jackson Browne to Uncle Tupelo and Alan Jackson. Hot Burritos is the colorful, hard-hitting, insightful, and deeply personal account of this maverick band, as told by founder Chris Hillman and other group members and associates. It shatters common myths about the group, taking readers for the first time inside the Parsons-Hillman partnership, their notoriously extravagant 1969 train trip tour, the doomed Altamont Festival, the Rolling Stones' inner circle, the discovery of Emmylou Harris, Parsons’ overindulgence and ultimate dismissal, and the legacy the group, and the enigmatic Parsons, left behind.

The Greatest Album Covers of All Time

Grant Scott, Barry Miles, Johnny Morgan

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Customer Reviews:
Total reviews: 7 Average rating: 3.5 of 5

Editorial Review:

At a time when listeners increasingly download or upload songs, creating personal playlists on MP3 players and I-Pods, the art of packaging music seems to be fading away. But, for more than 50 years, musicians have released their work inside brilliantly-designed packages that made an important statement about their music and style. Look at the cover of Sgt. Pepper’s Lonely Heart Band, for example—just one of the 500 memorable images in this amazing collection, all chosen by a panel of 50 experts and each accompanied by enlightening commentary. Among the choices: the brilliantly psychedelic and way-out art from the Rolling Stones’ Their Satanic Majesties Request; Peter Tosh’s fiery cover for Bush Doctor; and the somewhat demented-looking prom queen on Hole’s Live Through This album. From rock to pop, jazz to blues, these are all artistically, stylistically, and culturally significant in their own way, and will undoubtedly spark a debate with fans around the world.

Dog Train: A Wild Ride on the Rock-and-Roll Side (Book & CD)

Sandra Boynton

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Total reviews: 66 Average rating: 4.5 of 5

Editorial Review:

Boynton rocks! So does Blues Traveler, who perform a stomping version of the title song, a moody rock journey that Boynton wrote especially for them. And then there’s Alison Krauss with “Evermore.” And Steve Lawrence & Eydie Gorme—really—who do the “Boring Song.” The Spin Doctors, who channel rock’s rebellious side—with a taste of punk—for “Tantrum”: “No No No, I don’t want to, I don’t want to./No no no, I don’t want to, no no./Leave me alone. Leave me alone./LEAVE ME ALONE.” And the sweetly unexpected pairing of “Weird Al” Yankovic and Kate Winslet (yep, Kate Winslet) as a duet singing “I Need a Nap.”

Full of attitude, full of fun, all lit up with star power, and boasting a variety of Top 40 styles—rock and roll, blues, hip-hop, and power pop—Dog Train is the third book-and-CD production by Sandra Boynton, following the #1 New York Times bestselling, Grammy-nominated Philadelphia Chickens and the recently re-released Rhinoceros Tap. Like Philadelphia Chickens, features all original songs recorded by a mix of big-name acts and great voices, for the pleasure of the parents as much as the kids. Packaged similarly to the previous Boynton & Ford recordings, Dog Train is also a full-color book that features a portion of each song’s lyrics set as a little story, accompanied by Boynton’s irresistible hippos, cows, dogs, and more dogs. Full lyrics appear in the back.

The Beatles - Complete Scores

The Beatles

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Customer Reviews:
Total reviews: 190 Average rating: 4.5 of 5

This Collection is Great 5 out of 5 stars.
1 of 1 people found this review helpful.

The Beatles Complete Scores really is a one of a kind collection. Sure, the highly trained eye will see simple mistakes here or there, but for those of us who aren't trained classical pianists and just like to play Beatles tunes, this book is amazing. The print is small, but not too small; complaining about the print is really being nitpicky. Plus, no other book gives you all of their recorded songs, and in the correct key. For example, this is the only book I've ever seen that finally puts Strawberry Fields in b flat instead of A major. This book is amazing, team this book with your own ear and you've hit the jackpot.

Editorial Review:

A fitting tribute to possibly the greatest pop band ever?The Beatles! This outstanding hard-cover edition features over 1100 pages with full scores and lyrics to all 213 titles recorded by The Beatles. Guitar and bass parts are in both standard notation and tablature. Also includes a full discography. The book is packaged in its own protective box. A must-own for any serious Beatles fan or collector!

Wonderful Tonight: George Harrison, Eric Clapton, and Me

Pattie Boyd, Penny Junor

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Total reviews: 245 Average rating: 3.5 of 5

Editorial Review:

A Q&A with Pattie Boyd, Author of Wonderful Tonight

Why are you writing the book now?

I have been asked for the last 15 years to write a book, and it is only now that I feel the time is right. My confidence in myself was restored after two successful exhibitions of my photography, and it occurred to me that I was finally ready to take a look at the unique experiences of my life and to share them--including all the ups and downs.

Tell us about the first time you met George Harrison.

Working as a model, I occasionally went for castings, mainly for television commercials. I went for an interview with one of the directors I had worked with in the past, and he cast me in his first movie, A Hard Day’s Night, to play the part of a schoolgirl. When I first saw George on the set, I thought he was the best-looking man I’d ever seen. I was so surprised when he asked me out on a date at the end of my first day of filming.

Tell us about the first time you heard George Harrison's song, "Something."

George said he had written a song for me, and he played it on the guitar at home without the words. Then when I heard the song after it had been recorded I couldn’t believe how utterly beautiful it was. It was released on a single in October 1969, and I felt so thrilled and flattered.

Tell us about the first time you heard Eric Clapton's "Layla."

Eric invited me to his band's flat one day and played a rough recording of "Layla" on a cassette recorder. I was sitting on a sofa and he on the floor as it played, and he kept looking up at me for a reaction. I was stunned; the intensity, passion and tenderness came across so strongly--I knew, as he said, it was written for me.

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Wild Boy: My Life in Duran Duran

Andy Taylor

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Total reviews: 31 Average rating: 4.0 of 5

Editorial Review:

Wild Boy is the explosive first inside account of the rise and fall of Duran Duran. The band rose to conquer the globe with a string of unforgettable hits such as "Rio,""Hungry Like the Wolf," and "The Reflex." With Simon Le Bon as their frontman, they were the defining pop act of the 1980s, but Andy Taylor, the enigmatic lead guitarist, is widely acknowledged to have been their musical driving force.

Then, at the very height of their achievement in 1985, Duran Duran imploded. Now Andy shares the story of what went wrong. With searing honesty, he charts every moment of Duran Duran's roller-coaster rise from their early days as club musicians through to international superstardom. He captures the glamour and excitement of the band's epic video shoots and the opulence of their world tours.

He reveals the truth about the allegations of drug abuse and wild hedonism that dogged Duran Duran. Packed with more than twenty-five years worth of rock 'n' roll anecdotes, Andy tells of his time in the band The Power Station, and explains why Duran Duran reformed with its original line-up in 2003.

But Wild Boy is also a moving story on a human level, as Andy describes how the pressures of fame took a terrible personal toll on him and his family. Moving from hilarious to harrowing at the turn of a page, WILD BOY is a must-read for anyone who lived through the 1980s, or who cares about music.