(Instrumental Jazz). This book, written by Benny Goodman himself, has been out of print for many years. It teaches the beginning student clarinet tone, style, technique and musicianship. It covers such basics as assembling and tuning the clarinet, proper position, scales, expression and many exercises. Features 11 tunes and includes a biography of his career up to 1940.
Before Elvis and rock & roll, Benny Goodman--the King of Swing--ruled American popular music. In this intimate biography, Firestone illuminates Goodman's enormous impact on American music and culture, offering a mesmerizing, behind-the-scenes look at this complicated, difficult jazz superstar. Photos.
Traces the rags-to-riches career of the clarinetist and his role in popularizing jazz music in the post-Depression 1930s, assesses his elusive personality, and reevaluates dozens of his landmark recordings
These etudes build on the elements introduced in Artie Shaw's Jazz Technic, Book One and provide exercises for tongue and fingers, with an additional emphasis on phrasing. They are written in various styles and changes of key and tempo to assist the player in developing a smooth, melodic style of improvising.
"The two sides of Shaw…are at the center of…[this] compulsively readable biography." —Daniel Akst, Wall Street Journal During America’s Swing Era, no musician was more successful or controversial than Artie Shaw: the charismatic and opinionated clarinetist-bandleader whose dozens of hits became anthems for “the greatest generation.” But some of his most beautiful recordings were not issued until decades after he’d left the scene. He broke racial barriers by hiring African American musicians. His frequent “retirements” earned him a reputation as the Hamlet of jazz. And he quit playing for good at the height of his powers. The handsome Shaw had seven wives (including Lana Turner and Ava Gardner). Inveterate reader and author of three books, he befriended the best-known writers of his time. Tom Nolan, who interviewed Shaw between 1990 and his death in 2004 and spoke with one hundred of his colleagues and contemporaries, captures Shaw and his era with candor and sympathy, bringing the master to vivid life and restoring him to his rightful place in jazz history. Originally published in hardcover under the title Three Chords for Beauty's Sake.
Teddy Wilson and Benny Goodman broke the color barrier in entertainment when they formed the Benny Goodman Trio with Gene Krupa. Here is the story of how two musical prodigies from very different backgrounds grew up, were brought together by the love of music, and helped to create the jazz style known as swing.
(Instrumental Folio). 6 transcribed solos, including: Airmail Special * Flying Home * Mission To Moscow * Includes pull-out piano accompaniment section.
Too many jazz fans and critics--and even some jazz musicians--still contend that white players have contributed little of substance to the music; that even, with every white musician removed from the canon, the history and nature of jazz would remain unchanged. Now, with Lost Chords, musician-historian Richard M. Sudhalter challenges this narrow view, with a book that pays definitive tribute to a generation of white jazz players, many unjustly forgotten--while never scanting the role of the great black pioneers. Greeted enthusiastically by the jazz community upon its original publication, this monumental volume offers an exhaustively documented, vividly narrated history of white jazz contribution in the vital years 1915 to 1945. Beginning in New Orleans, Sudhalter takes the reader on a fascinating multicultural odyssey through the hot jazz gestation centers of Chicago and New York, Indiana and Texas, examining such bands such as the New Orleans Rhythm Kings, the Original Memphis Five, and the Casa Loma Orchestra. Readers will find luminous accounts of many key soloists, including Bix Beiderbecke, Benny Goodman, Jack Teagarden, Red Norvo, Bud Freeman, the Dorsey Brothers, Bunny Berigan, Pee Wee Russell, and Artie Shaw, among others. Sudhalter reinforces the reputations of these and many other major jazzmen, pleading their cases persuasively and eloquently, without ever descending to polemic. Along the way, he gives due credit to Louis Armstrong, Lester Young, Duke Ellington, Coleman Hawkins, and countless other major black figures. Already hailed as a basic reference book on the subject--and now incorporating information that has come to light since its first publication--Lost Chords is a ground-breaking book that should significantly alter perceptions about jazz and its players, reminding readers of this great music's multicultural origins.
