Features Lester Young, early black recording, Earl Hines, jazz and bop harmony.

Annual Review of Jazz Studies 4: 1988

Arts & Photography

Berger, Edward

Cayer, David

Morgenstern, Dan

PORTER, Lewis

Music

Scarecrow Press

Teddy Reig (1917-1984) was a larger-than-life character, a self-described hustler who had a profound effect on the music world from the 1940s to the 1970s. As a record producer, he captured the work of dozens of leading jazz innovators. He also had an impact on rhythm and blues, rock and roll, and the Latin field. In Part 1, Reig tells his own story. Part 2 consists of interviews with key figures who were close to Reig at various stages of his career. Part 3 is an extensive discography of Reig's productions. The copious illustrations include many previously unpublished photos.

Reminiscing in Tempo

Biographies & Memoirs

Reig, Teddy

Arts & Literature

"Both as a person and as a musician, he was number one in my book." ―Benny Carter Bassist George Duvivier (1920-1985) was one of the most universally respected musicians in jazz. His impeccable musicianship graced the big bands in the 1940s and led to musical associations with virtually every important jazz and popular artist. His prolific recording career spanned all styles of music, from Eubie Blake to Eric Dolphy, Billie Holiday to Barry Manilow. Duvivier was a most astute and articulate observer of the musical scene. A large part of this book is devoted to his own reflections on growing up in Harlem in the 1920s and 1930s, the evolution of the bass, life in the commercial studios, and his memories of close associates―Coleman Hawkins, Jimmie Lunceford, Bud Powell, Lena Horne, and many others. In addition, twenty of Duvivier's colleagues, including Louie Bellson, Ron Carter, Milt Hinton, Ed Shaughnessy, Arthur Taylor, and Joe Wilder, have contributed, covering a variety of musical and social issues, as well as providing a loving portrait of an extraordinary artist. Duvivier's musical style is discussed by David Chevan, who has included transcriptions of several solos. An extensive discography/solography traces Duvivier's incredibly diverse recording career. With dozens of previously unpublished photos.

Bassically Speaking: An Oral History of George Duvivier (Studies in Jazz)

Chevan, David

Details studies of individual jazz artists including two articles on the seminal guitarist Charlie Christian.Other articles are devoted to Ornette Coleman, Arthur Taylor, and a proposed standard method of notating melodic elements of jazz performance that are inadequately represented by standard notation.

Annual Review of Jazz Studies 6: 1993

The Annual Review of Jazz Studies is dedicated to scholarly research on jazz and its related musical forms. It recognizes the growing awareness of jazz as a cultural phenomenon. All volumes include numerous musical examples, a book review section, a portfolio of jazz photographs, and bibliographic surveys. The seventh volume of this series is a special expanded work covering 1994 and 1995. It provides articles on Ornette Coleman, Thelonious Monk, Billie Holliday, and Fats Waller. It explores the distinctions between jazz and the underpinnings of European musical forms, and jazz history. For jazz scholars and aficionados. Published in cooperation with the Institute for Jazz Studies, Rutgers University.

Annual Review of Jazz Studies 7: 1994-1995

MARTIN, Henry

The Annual Review of Jazz Studies is dedicated to scholarly research on jazz and its related musical forms. It recognizes the growing awareness of jazz as a cultural phenomenon. All volumes include numerous musical examples, a book review section, a portfolio of jazz photographs, and bibliographic surveys. This volume is a special double issue covering the two years of 1997 and 1998. It begins with a series of studies devoted to the classic ballad, "Stella by Starlight," focusing on various performances by groups led by Miles Davis as well as discussing visits to "Stella" by Oscar Peterson and Bill Evans. Other articles in this volume cover major figures in the heritage of jazz, such as Bix Beiderbecke, Martial Solal, Charlie Parker, John Coltrane, and Ornette Coleman. It also explores two other areas of interest: the Western African drumming tradition and its relation to jazz, and a study of a seminal book, Jazz Dance, by Marshall and Jean Stearns. The reviews include two essays on Paul Berliner's Thinking in Jazz, an assessment of Jazz Research and Performance Materials: A Select Annotated Bibliography, three biographies of Woody Herman, and a review of important Duke Ellington recordings. Finally, there are rare photographs drawn from the files of the Institute of Jazz Studies. This volume is a must-have for collectors of this series and sure to be of interest to all jazz lovers.

Annual Review of Jazz Studies 9: 1997-1998

This extraordinary two-volume work was hailed as a milestone of jazz literature when it was originally published in 1982. Examining both his musical and cultural significance, the authors present the life and career of Benny Carter, one of the most important and versatile figures in jazz. During the past two decades, Carter, in his eighties and nineties, continued to expand his musical realm. In this new edition, Edward Berger has brought the unparalleled Carter saga into the new millennium, adding insider accounts of tours, major concerts, recordings, and other special events. In addition, the new work reveals more of the reticent Carter's complex character and views, gleaned from hundreds of hours of interviews and conversations. The accompanying annotated discography, one of the most comprehensive ever devoted to the work of a single musician, has been thoroughly revised and updated. Dozens of new and previously unpublished photographs have been added.

Benny Carter: A Life in American Music (Studies in Jazz)

PATRICK, JAMES

Humor & Entertainment

"Joe Wilder set the table. His struggles made it easier for me and many others."--From the Foreword by Wynton Marsalis
 Trumpeter Joe Wilder is distinguished for his achievements in both the jazz and classical worlds. He was a founding member of the Symphony of the New World, where he played first trumpet, and he performed as lead trumpet and soloist with Lionel Hampton, Jimmy Lunceford, Dizzy Gillespie, and Count Basie. Yet Wilder is also known as a pioneer who broke down racial barriers, the first African American to hold a principal chair in a Broadway show orchestra, and one of the first African Americans to join a network studio orchestra. 
 In Softly, with Feeling, Edward Berger tells Wilder's remarkable story-from his growing up in working-class Philadelphia to becoming one of the first 1,000 black Marines during World War II-with tremendous feeling and extensive reminiscences by Wilder and his colleagues, including renowned Philadelphia-area musicians Jimmy Heath and Buddy DeFranco. Berger also places Wilder's experiences within a broader context of American musical and social history.
 Wilder's modesty and ability to perform in many musical genres may have prevented him from achieving popular recognition, but in Softly, with Feeling, his legacy and contributions to music and culture are assured.

Softly, With Feeling: Joe Wilder and the Breaking of Barriers in American Music

Temple University Press

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