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The Jazz Ear: Conversations over Music

Ben Ratliff

The Jazz Ear: Conversations over Music Ben Ratliff Amazon Price: $16.50
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Total reviews: 1 Average rating: 4.0 of 5

Editorial Review:

An intimate exploration into the musical genius of fifteen living jazz legends, from the longtime New York Times jazz critic

Jazz is conducted almost wordlessly: John Coltrane rarely told his quartet what to do, and Miles Davis famously gave his group only the barest instructions before recording his masterpiece “Kind of Blue.” Musicians are often loath to discuss their craft for fear of destroying its improvisational essence, rendering jazz among the most ephemeral and least transparent of the performing arts.

In The Jazz Ear, the acclaimed music critic Ben Ratliff sits down with jazz greats to discuss recordings by the musicians who most influenced them. In the process, he skillfully coaxes out a profound understanding of the men and women themselves, the context of their work, and how jazz—from horn blare to drum riff—is created conceptually. Expanding on his popular interviews for The New York Times, Ratliff speaks with Sonny Rollins, Ornette Coleman, Branford Marsalis, Dianne Reeves, Wayne Shorter, Joshua Redman, and others about the subtle variations in generation, training, and attitude that define their music.

Playful and keenly insightful, The Jazz Ear is a revelatory exploration of a unique way of making and hearing music.

Moving to Higher Ground: How Jazz Can Change Your Life

Wynton Marsalis, Geoffrey Ward

Moving to Higher Ground: How Jazz Can Change Your Life Wynton Marsalis, Geoffrey Ward Amazon Price: $17.16
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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 Jazz Piano Book

Mark Levine

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Customer Reviews:
Total reviews: 28 Average rating: 4.5 of 5

"The" book for playing jazz on piano 5 out of 5 stars.
4 of 4 people found this review helpful.

This is not an easy book to get a handle on. Beginner's may be overwhelmed. Intermediate students will need help in structuring the topics and lessons. Advanced students will probably find plenty of nuggets of jazz wisdom to make the purchase of this book worthwhile. As a long time musician relatively new to jazz, I find this book extremely valuable for learning about jazz, but it isn't terribly helpful in improving my piano chops. I still give it five stars because I didn't buy it to learn the piano so much as to learn jazz, and obviously, jazz piano. That may sound crazy, but it makes sense when you realize there aren't many specific "drills" to learn the various aspects that Levine teaches about jazz and specifically, jazz piano. Yeah, he may say something like, "Be sure you can do this in all twelve keys", but you're not going to stop reading the book, rush to the piano and practice for four weeks before you continuing reading. The kind of stuff he "teaches" takes a lifetime of experience and playing to learn. So I appreciate being told about it, and I like having some perspective added to such a very deep field of music, but after you buy this book, you're still going to need to do some drills, (try Jazz Chord Hanon: 70 Exercises for the Beginning to Professional Pianist, Jazz Hanon (Private Lessons), Post-Bop Jazz Piano - The Complete Guide with CD!: Hal Leonard Keyboard Style Series (Hal Leonard Keyboard Style), and even Piano Essentials: Scales, Chords, Arpeggios, and Cadences for the Contemporary Pianist (Book & CD)), learn some songs (use The Real Book: Sixth Edition), and get some instruction (try your local community college or music store). In short, Levine's book is a wonderful map and a readable, useful guide for just about anyone with interest in playing jazz on the piano.

Editorial Review:

Endorsed by Kenny Barron, Jamey Aebersold, Richie Beirach, and more, this book presents all the information a student of jazz piano needs in an easy-to-understand, yet thorough, manner. For intermediate to advanced pianists, written by one of the acknowledged masters of jazz piano playing.

The Real Book: Sixth Edition

Hal Leonard Corporation

The Real Book: Sixth Edition Hal Leonard Corporation Amazon Price: $29.35
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Total reviews: 45 Average rating: 4.5 of 5

Editorial Review:

The Real Books are the best-selling jazz books of all time. Since the 1970s, musicians have trusted these volumes to get them through every gig, night after night. The problem is that the books were illegally produced and distributed without any copyrights or royalties paid to the master composers who created these musical canons. Hal Leonard is very proud to present the first legitimate and legal editions of these books ever produced. You and your customers won't even notice the difference...the covers look the same, the engravings look the same, the songlist is nearly identical, and the price remains fair even on a musician's salary! But every conscientious musician and music store owner will appreciate that these books are now produced legally and ethically, benefitting the songwriters that we owe for some of the greatest music ever written! 400 songs, including: All Blues * Au Privave * Autumn Leaves (Les Feuilles Mortes) * Black Orpheus * Bluesette * Body and Soul * Bright Size Life * Con Alma * Dolphin Dance * Don't Get Around Much Anymore * Easy Living * Epistrophy * Falling in Love with Love * Footprints * Four * Four on Six * Giant Steps * Have You Met Miss Jones? * How High the Moon * I'll Remember April * Impressions * Lullaby of Birdland * Misty * My Funny Valentine * Oleo * Red Clay * Satin Doll * Sidewinder * Stella by Starlight * Take Five * There Is No Greater Love * Wave * and more!

Effortless Mastery: Liberating the Master Musician Within

Kenny Werner

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Total reviews: 49 Average rating: 4.5 of 5

A life-changing experience 5 out of 5 stars.
1 of 1 people found this review helpful.

Please get involved with this product. I was at a fellow musician's home in Sydney about 6 years ago when I first read this book. Since then I have changed from an uptight, crappy player into a player who gets noticed, has "chops" and one who can find peace in playing. Like the man says, I used to approach the piano with trepidation - now, like Kenny, the piano seat is the most comfortable in the house for me. I have even prescribed this book to my students. IF YOU WANT TO BE A MUSICIAN, YOU MUST READ THIS. I repeat
READ THIS NOW - BEFORE YOU WASTE HALF YOUR LIFE (like I did) WONDERING WHY YOU CAN'T PLAY LIKE "A HEAVY".

Editorial Review:

Paperback book and CD set. Effortless Mastery: Liberating the Master Musician Within is a book for any musician who finds themselves having reached a plateau in their development. Werner, a masterful jazz pianist in his own right, uses his own life story and experiences to explore the barriers to creativity and mastery of music, and in the process reveals that "Mastery is available to everyone," providing practical, detailed ways to move towards greater confidence and proficiency in any endeavor. While Werner is a musician, the concepts presented are for every profession or life-style where there is a need for free-flowing, effortless thinking. Book also includes an audio CD of meditations narrated by Kenny to help the musician reach a place of relaxed focus.

The Penguin Guide to Jazz Recordings: Ninth Edition (Penguin Guide to Jazz Recordings)

Richard Cook, Brian Morton

The Penguin Guide to Jazz Recordings: Ninth Edition (Penguin Guide to Jazz Recordings) Richard Cook, Brian Morton Amazon Price: $23.10
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Editorial Review:

The essential guide to recorded jazz, now in its ninth edition

Firmly established as the world’s leading guide to jazz, this celebrated reference book is a mine of fascinating information and insightful—often wittily trenchant—criticism. For this completely revised edition, Richard Cook and Brian Morton have reassessed each artist’s entry and updated the text to incorporate thousands of additional CDs and artists. The result is an endlessly browsable companion for jazz aficionados and novices alike.

Three Wishes: An Intimate Look at Jazz Greats

Pannonica de Koenigswarter

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Editorial Review:

An unprecedented, behind-the-scenes look at jazz legends

In the 1950s, 60s, and 70s, Pannonica de Koenigswarter, known as Nica, was a constant and benevolent presence on the thriving New York jazz scene. Known as the Jazz Baroness (she was born into the wealthy Rothschild family and later married a French aristocrat) she befriended such giants as Thelonious Monk, Charlie Parker, Barry Harris, Art Blakey, Miles Davis, Bud Powell, and many more. She inspired over twenty jazz compositions, bailed musicians out of jail, and even acted as a booking agent.

She also collected wishes. Over the course of a decade, Koenigswarter asked three hundred musicians what their three wishes in life were, jotting them all down in a notebook. At the same time she took hundreds of candid photographs, saving them all. In Three Wishes, Koenigswarter’s forays into the psyches and lives of these legendary jazz artists are made available in America for the first time.

With a foreword by celebrated jazz critic Gary Giddins, and a introduction from Nica’s granddaughter, Nadine de Koenigswarter, providing rare insights into the mysterious baroness’s life, this funny, eclectic, and moving compilation is a uniquely intimate look into the immortals of the classic era of jazz, and a must-have for any fan or afficianado.

Deep Blues: A Musical and Cultural History of the Mississippi Delta

Robert Palmer

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Total reviews: 28 Average rating: 5.0 of 5

A review on the book, not the DVD....... 5 out of 5 stars.
3 of 3 people found this review helpful.

Robert Palmer's book "Deep Blues" is nothing short of an anthropological journey to find the genesis of the blues. He does an excellent job of highlighting the various early popular bluesmen, men such as Tommy Johnson, Charlie Patton, and Robert Johnson. He details life working on the plantations of the deep south, life on a Saturday night living it up in the various juke joints of the south, and the personal lives of early blues singers which led to the creation of the blues, and by extension, American music as we have come to know it.

The book begins by going back to the western coast of Africa, where the slave trading occurred, and Palmer details very well the oral music traditions of people from the various tribes and countries, presenting styles which could be found in the music of the eastern and southern United States from the late 19th and on into the early 20th Century. He highlights, in great detail, the sounds and how they were made in the mouth by particular tribes in Africa, and in what areas of the country and these sounds began showing up performed in field hollers done by workers on plantations throughout the south. I do not use the word anthropological lightly, as Robert Palmer does a magnificent job of highlighting the blues tradition from it's specific oral traditions in Africa, to it's nascent phase in the early 20th Century, to Muddy Waters' time in the Delta on up through his success in Chicago, to Sonny Boy Williamson's King Biscuit Time radio show and beyond.

Various interviews abound from people and relatives of the blues musicians and by articles from early periodicals detailing their lives, so by the end of the book one really feels as though we were on the freight car with Robert Johnson traveling and avoiding the hellhound on his trail.

A book for anyone who truly loves the blues. Being a book just shy of 300 pages however, only so much detail can be given, which is why this will probably not be the last book on the blues I own. 4 1/2 stars.

The History of Jazz

Ted Gioia

The History of Jazz Ted Gioia Amazon Price: $13.57
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Total reviews: 22 Average rating: 4.5 of 5

Editorial Review:

Jazz is the most colorful and varied art form in the world and it was born in one of the most colorful and varied cities, New Orleans. From the seed first planted by slave dances held in Congo Square and nurtured by early ensembles led by Buddy Belden and Joe "King" Oliver, jazz began its long winding odyssey across America and around the world, giving flower to a thousand different forms--swing, bebop, cool jazz, jazz-rock fusion--and a thousand great musicians. Now, in The History of Jazz, Ted Gioia tells the story of this music as it has never been told before, in a book that brilliantly portrays the legendary jazz players, the breakthrough styles, and the world in which it evolved. Here are the giants of jazz and the great moments of jazz history--Jelly Roll Morton ("the world's greatest hot tune writer"), Louis Armstrong (whose O-keh recordings of the mid-1920s still stand as the most significant body of work that jazz has produced), Duke Ellington at the Cotton Club, cool jazz greats such as Gerry Mulligan, Stan Getz, and Lester Young, Charlie Parker's surgical precision of attack, Miles Davis's 1955 performance at the Newport Jazz Festival, Ornette Coleman's experiments with atonality, Pat Metheny's visionary extension of jazz-rock fusion, the contemporary sounds of Wynton Marsalis, and the post-modernists of the Knitting Factory. Gioia provides the reader with lively portraits of these and many other great musicians, intertwined with vibrant commentary on the music they created. Gioia also evokes the many worlds of jazz, taking the reader to the swamp lands of the Mississippi Delta, the bawdy houses of New Orleans, the rent parties of Harlem, the speakeasies of Chicago during the Jazz Age, the after hours spots of corrupt Kansas city, the Cotton Club, the Savoy, and the other locales where the history of jazz was made. And as he traces the spread of this protean form, Gioia provides much insight into the social context in which the music was born. He shows for instance how the development of technology helped promote the growth of jazz--how ragtime blossomed hand-in-hand with the spread of parlor and player pianos, and how jazz rode the growing popularity of the record industry in the 1920s. We also discover how bebop grew out of the racial unrest of the 1940s and '50s, when black players, no longer content with being "entertainers," wanted to be recognized as practitioners of a serious musical form.

Jazz is a chameleon art, delighting us with the ease and rapidity with which it changes colors. Now, in Ted Gioia's The History of Jazz, we have at last a book that captures all these colors on one glorious palate. Knowledgeable, vibrant, and comprehensive, it is among the small group of books that can truly be called classics of jazz literature.

Miles

Miles Davis

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Total reviews: 66 Average rating: 4.5 of 5

Editorial Review:

For more than forty years Miles Davis has been in the front rank of American music. Universally acclaimed as a musical genius, Miles is one of the most important and influential musicians in the world. The subject of several biographies, now Miles speaks out himself about his extraordinary life.

Miles: The Autobiography, like Miles himself, holds nothing back. For the first time Miles talks about his five-year silence. He speaks frankly and openly about his drug problem and how he overcame it. He condemns the racism he has encountered in the music business and in American society generally. And he discusses the women in his life. But above all, Miles talks about music and musicians, including the legends he has played with over the years: Bird, Dizzy, Monk, Trane, Mingus, and many others.

The man who has given us some of the most exciting music of the past few decades has now given us a compelling and fascinating autobiography, featuring a concise discography and thirty-two pages of photographs.


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