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A Life in Jazz
As a musician who grew up in New Orleans, and later worked in New York with the major swing orchestras of Lucky Millinder and Cab Calloway, Barker is uniquely placed to give an authoritative but personal view of jazz history. In this book he discusses his life in music, from the children's 'spasm' bands of the seventh ward of New Orleans, through the experience of brass bands and jazz funerals involving his grandfather, Isidore Barbarin, to his early days on the road with the blues singer Little Brother Montgomery. Later he goes on to discuss New York, and the jazz scene he found there in 1930. His work with Jelly Roll Morton, as well as the lesser-known bands of Fess Williams and Albert Nicholas, is covered before a full account of his years with Millinder, Benny Carter and Calloway, including a description of Dizzy Gillespie's impact on jazz, is given. The final chapters discuss Barker's career from the late 1940s. Starting with the New York dixieland scene at Ryan's and Condon's he talks of his work with Wilbur de Paris, James P. Johnson and This is Jazz, before discussing his return to New Orleans and New Orleans Jazz Museum. A collection of Barker's photographs,
Classic Jazz
"Floyd Levin's half-century collection of reportage, reviews and recollections are an irreplaceable and totally enjoyable trove of writing about the vibrancy, past and still-present, of traditional American jazz."—Charles Champlin, author of Back There Where the Past Was "I've known Floyd and his wife Lucille for more than fifty years. Floyd's book is a colorful, intimate account of his lifelong love affair with jazz. I'm especially fascinated when he writes about his personal encounters with some of the jazz legends of the Century. This book is essential reading for anyone concerned about jazz - its present, its past, and his evolution."—Milt Hinton "Floyd Levin's dedicated and unselfis...
Keeping the Beat on the Street
Told in the words of the musicians themselves, Keeping the Beat on the Street celebrates the renewed passion and pageantry among black brass bands in New Orleans. Mick Burns introduces the people who play the music and shares their insights, showing why New Orleans is the place where jazz continues to grow. Brass bands waned during the civil rights era but revived around 1970 and then flourished in the 1980s when the music became cool with the younger generation. In the only book to cover this revival, Burns interviews members from a variety of bands, including the Fairview Baptist Church Brass Band, the Dirty Dozen, Tuba Fats' Chosen Few, and the Rebirth Brass Band. He captures their though...
Cousin Joe
A remarkable blend of history and drama seen through the eyes of a noted New Orleans bluesman. This extraordinary life history is the result of more than 15 years of recorded conversations, pieced together into a narrative of a uniquely American experience. Joseph's colorful portrayals of the characters who parade through his life document more than 70 years of changing relationships between blacks and whites. In his own words, he describes growing up in Louisiana, working a rice plantation, and how Gospel music put him on a career path. His candid remarks underscore the economic necessity prevalent in a musician's life. Within the tales of gigs, card games, and romantic exploits are intimate glimpses of legendary figures, including Billie Holiday and Muddy Waters. His descriptions of performing in New Orleans, New York, and Europe are especially revealing, filled with life experiences as rich as the rhythm and lyrics of the blues he played.
Jazz and Ragtime Records, 1897-1942
Reinforced cloth library binding, no dust jacket, individual shrinkwrap
Jazz à la Creole
During the formative years of jazz (1890–1917), the Creoles of Color—as they were then called—played a significant role in the development of jazz as teachers, bandleaders, instrumentalists, singers, and composers. Indeed, music penetrated all aspects of the life of this tight-knit community, proud of its French heritage and language. They played and/or sang classical, military, and dance music as well as popular songs and cantiques that incorporated African, European, and Caribbean elements decades before early jazz appeared. In Jazz à la Creole: French Creole Music and the Birth of Jazz, the author describes the music played by the Afro-Creole community since the arrival of enslaved...
I Remember Jazz
Al Rose has known virtually every noteworthy jazz musician of this century. For many of them he has organized concerts, composed songs that they later played or sang, and promoted their acts. He has, when called upon, bailed them out of jail, straightened out their finances, stood up for them at their weddings, and eulogized them at their funerals. He has caroused with them in bars and clubs from New Orleans to New York, from Paris to Singapore -- and survived to tell the story. The result has been a lifetime of friendship with some of the music world's most engaging and rambunctious personalities. In I Remember Jazz, Rose draws on this unparallelled experience to recall, through brief but p...
Annual Review of Jazz Studies 2: 1983
Features Thelonious Monk, McCoy Tyner, Count Basie, and John Coltrane.
The Gorilla Man and the Empress of Steak
The Gorilla Man and the Empress of Steak is the story of two larger-than-life characters and the son whom their lives helped to shape. Ruth Fertel was a petite, smart, tough-as-nails blonde with a weakness for rogues, who founded the Ruth's Chris Steak House empire almost by accident. Rodney Fertel was a gold-plated, one-of-a-kind personality, a railbird-heir to wealth from a pawnshop of dubious repute just around the corner from where the teenage Louis Armstrong and his trumpet were discovered. When Fertel ran for mayor of New Orleans on a single campaign promise-buying a pair of gorillas for the zoo-he garnered a paltry 308 votes. Then he purchased the gorillas anyway! These colorful figur...
Heaven Before I Die
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