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    Search Results: Returned 72 Results, Displaying Titles 1 - 20
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      By Giddins, Gary  DeVeaux, Scott Knowles
       c2009., W.W. Norton & Co. Call No: REF Art Music Jazz    Availability:1 of 1     At Your Library Summary Note: History of jazz that explains what jazz is, where it came from, and who created it and why, all within the broader context of American life and culture. Emphasizing its African American roots, Jazz traces the history of the music over the last hundred years. From ragtime and blues to the international craze for swing, from the heated protests of the avant-garde to the radical diversity of today's artists, Jazz describes the travails and triumphs of musical innovators struggling for work, respect, and cultural acceptance set against the backdrop of American history, commerce, and politics. With vibrant photographs by legendary jazz chronicler Herman Leonard, Jazz is also an arresting visual history of a century of music.
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      By Vézina, Caroline
       2022., University Press of Mississippi Call No: NEW QWF 781.62 V597j    Availability:1 of 1     At Your Library Series Title: American made music series.Summary Note: 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 Africans in La Louisiane, then a French colony, at the beginning of the eighteenth century, emphasizing the many cultural exchanges that led to the development of jazz. Caroline Vézina has compiled and analyzed a broad scope of primary sources found in diverse locations from New Orleans to Quebec City, Washington, DC, New York City, and Chicago. Two previously unpublished interviews add valuable insider knowledge about the music on French plantations and the danses Creoles held in Congo Square after the Civil War. Musical and textual analyses of cantiques provide new information about the process of their appropriation by the Creole Catholics as the French counterpart of the Negro spirituals. Finally, a closer look at their musical practices indicates that the Creoles sang and improvised music and/or lyrics of Creole songs, and that some were part of their professional repertoire. As such, they belong to the Black American and the Franco-American folk music traditions that reflect the rich cultural heritage of Louisiana.
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      By Celestin, Ray
       c2014., Mantle Call No: MYS Fic Cel    Availability:1 of 1     At Your Library Summary Note: New Orleans, 1919. As a dark serial killer the Axeman stalks the city, three individuals set out to unmask him. Though every citizen of the Big Easy thinks they know who could be behind the terrifying murders, Detective Lieutenant Michael Talbot, heading up the official investigation, is struggling to find leads. But Michael has a grave secret and if he doesn't find himself on the right track fast it could be exposed.
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      By Péan, Stanley, 1966-  Homel, David
       2022. Call No: NEW BLK 781.65 P358b    Availability:1 of 1     At Your Library Summary Note: Author and radio personality Stanley Péan is a jazz scholar who takes us seamlessly and knowledgeably through the history of the music, stopping at a number of high points along the way. He gets behind the scenes with anecdotes that tell much about the misunderstandings that have surrounded the music. How could French existentialist writer Jean-Paul Sartre have mixed up Afro-Canadian songwriter Shelton Brooks with the Jewish-American belter Sophie Tucker? What is the real story behind the searing classic “Strange Fruit” made immortal by Billie Holiday, who at first balked at performing it? Who knew that an Ohio housewife named Sadie Vimmerstedt was behind the revenge song “I wanna be around to pick up the pieces when somebody breaks your heart?” And since this is jazz, there is no shortage of sad ends: Bix Beiderbecke, Chet Baker, Lee Morgan, to name a few.