Книги о музыке

An excitingly designed, lively, year-by-year history of people and events, covering the whole history of jazz music and its personalities for over 100 years.

The book features many rare images, an accessible, wide-ranging text and an extensive reference section including biographies (from Ammons to Zorn), a list of international Jazz Festivals and events and a carefully selected discography.

A year-by-year history of the people and events which shaped the evolution of jazz from its roots in Africa and the southern United States to the myriad urban styles heard around the world today

Updated and Revised Edition

The Chronicle of Jazz tells the whole story of jazz music and its personalities, a story rich with innovation, experimentation and controversy. Beginning at the dawn of the twentieth century, the book charts the evolution of jazz from its roots in Africa and the southern United States to the many styles heard around the world today, and looks closely at how jazz has influenced, and been influenced by, other musical and artistic forms.

It features hundreds of illustrations and rare images, from record-cover artwork to pictures of live performances, and is accompanied by an accessible and wide-ranging text that turns music into words and histories into living images. Each chronologically arranged section contains special features, on topics ranging from the bossa nova craze to jazz in Paris, personality sketches and seminal gigs and albums.

This is a vibrant celebration of imaginative and enduring music and is a rich resource for both jazz aficionados and all music lovers.

Contents List:

1895–1916: Origins • 1917–1929: From New Orleans to the East Coast • 1930–1945: Swing • 1946–1958: Style and Idea • 1959–1969: The Birth of Modern Jazz • 1970–1999: Innovation and Reaction • 2000–: Millennium Blues • Reference

About the Author:

Mervyn Cooke is Professor in Music at the University of Nottingham. Among his other books are The Cambridge Companion to Jazz, The Hollywood Film Music Reader, The Cambridge Companion to Twentieth-Century Opera, Letters from a Life: The Selected Letters of Benjamin Britten, A History of Film Music and The Cambridge Companion to Benjamin Britten.

Throughout his career, Turner has relentlessly pushed the medium of photography to achieve an extraordinary vision with an uncompromising thirst for bold color and composition. Yet Turner feels that "what really kept my name out there were these record covers." This book showcases 100 covers and their art in close to original size; many of the covers are rare and out-of-print, now collector's items, and connect to a who's who of musical legends—from Count Basie, John Coltrane, and Stan Getz, to Quincy Jones, Freddie Hubbard, and Steely Dan. Turner's covers set new standards for this medium and transformed albums into art objects, sought after both for the music they contain and the cover art they display.

The Cover Art of Blue Note Records is Graham Marsh and Glyn Callingham’s classic collection of the unparalleled record sleeves produced by the celebrated Blue Note record label.

Around January 1956 the photographer Francis Wolff and Alfred Lion of Blue Note Records met Reid Miles, a commercial artists and a devout classical music fan. After establishing a rapport, Reid Miles became the designer for the Blue Note label for the next eleven years creating wonderful graphic covers that were both unique and also retaining the indefinable Blue Note look. Featuring iconic covers for artists such as Herbie Hancock, Thelonious Monk, Miles Davis, John Coltrane, Sonny Rollins and Art Blakey, this anthology is an evocative piece of Jazz history.

Alongside over 400 of the record label’s best  album covers is a selection of short essays written by leading industry figures. Both a comprehensive guide to an acclaimed label, and an insightful snapshot of graphic design history, The Cover Art of Blue Note Records is a must-have for all Jazz fans.

About the Authors:

Graham Marsh is an art director, illustrator and writer. He is the co-author and art director of many ground-breaking books including The Cover Art of Blue Note Records Volumes 1 and 2, East Coasting and California Cool all published by Collins & Brown.

Glyn Callingham runs the legendary Ray’s Jazz Shop in London. He is co-author of The Cover Art of Blue Note Records Volumes 1 and 2, East Coasting and California Cool. He contributes to several jazz magazines and is a walking encyclopaedia on jazz of the fifties and sixties.

This is the ultimate guide to two musical styles that have fundamentally influenced popular music. Divided into eras from the Early Years, then decade by decade to the Contemporary Era, learn about the development of this music from its 19th-century African-American roots up to the present day. Each decade has a Sounds &Sources discussion before introducing the Key Artists of the time and A–Zs of lesser artists. A section on Styles is also included, which covers jazz styles from Ragtime to Bebop and blues styles from Texas Blues to Rhythm &BLues. A section on instruments, a glossary and evocative photographs complete the comprehensive experience. Whether a fan of Duke Ellington, Billie Holiday or Ray Charles this is the book

Taken from the cult BBC 6 Music show, The First Time invites you inside the lives of some of the music world’s most notable legends.

From Alice Cooper to Yoko Ono, Courtney Love to Elton John, follow their lives and careers starting with their first musical memories, first records and first gigs, finding out the songs that have shaped them along the way. With 40 compelling interviews, specially commissioned collage illustrations and a bespoke playlist for each musician, The First Time is a must-have for any music lover.

About the Authors:

Matt Everitt is a BBC 6 Music and BBC Radio 2 presenter, journalist, music consultant and producer. He produces and presents The First Time With… on 6 Music and presents the daily Music News on Shaun Keaveny’s breakfast show.

Tim Marrs is a renowned digital collage artist who has worked for Nike, Ogilvy and Geffen Records.

At a time when music is increasingly being downloaded and uploaded, the art of packaging music is being lost. For the past five decades musicians have displayed their work inside packages that were often as integral as the music itself.

This book brings together 250 of the greatest album covers of all time and is arranged chronologically, beginning in 1956. There is a 50-strong judging panel selecting the final 250 entries, those judges having been drawn from the great and the good of the music industry. The panel includes famous designers, musicians, producers and record company executives whose reasons for choosing covers will accompany the illustration of the sleeve.

From rock ''n'' roll to pop, R&B to jazz, blues and even folk some of the album covers included are obvious and essential to such a volume, while others will surprise readers and jog memories. The chosen entries might not necessarily be of a best-selling release, but they will be important artistically, stylistically or culturally.

This book will undoubtedly be an object of discussion and argument for music fans the world over.

About the Author

Miles has written several seminal books on the Beat generations, including biographies of Ginsberg, Burroughs and Kerouac, and in October 2002 published his memoirs of the decade titled In The Sixties (Jonathan Cape). He is the author of the best selling Hippie (Cassell Illustrated, 2003). Grant Scott has art directed several leading magazines, including Tatler and English Elle, and has worked with photographers such as William Klein, Jean Loup Sieff, David Bailey and Don McCullin. Choosing to move behind the camera lens, Scott was winner of the John Kobal Portrait Awards 2000 and has been exhibited at the National Portrait Gallery.

The great improvisational American jazz musicians of the mid-20th century inspired a generation of photographers to develop a looser, moodier style of visual expression.

Covering six decades of performers -- from Louis Armstrong and Duke Ellington to John Coltrane and Miles Davis -- this unique collection is as much a comprehensive catalogue of jazz greats as it is a salute to the photographers who captured them. The images here provide a simultaneous look at jazz, photography, and America from 1935 into the 1990s with images of jazz legends such as:

Charlie Parker
Sonny Rollins
Dizzy Gillespie
Ella Fitzgerald
Louis Armstrong
Jon Faddis
Miles Davis
John Coltrane
Wallace Roney
Charles Mingus
And more!

About the Author:

Lee Tanner, a leading authority on jazz photography, has selected works -- by such noted jazz photographers as Herman Leonard, Bob Willoughby, Milt Hinton, and Bill Claxton--that are iconic, candid, explosive, and intimate.

In 2004, Tanner received the Lona Foote-Bob Parent Award for Excellence in Photography from the Jazz Journalists Association. In 2010, he was presented with the prestigious Lucie Award for Achievement in Documentary. The Lucie Awards are given annually to honor the work of master photographers. His curation makes this one-of-a-kind coffee table book of jazz photography a must-have addition to any jazz aficionado's library and the perfect gift for any fan.

In 1957, Eugene Smith, a thirty-eight-year-old magazine photographer, walked out of his comfortable settled world - his longtime well-paying job at Life and the home he shared with his wife and four children in Croton-on-Hudson, New York - to move into a dilapidated, five-story loft building at 821 Sixth Avenue (between Twenty-eighth and Twenty-ninth streets) in New York City’s wholesale flower district. Smith was trying to complete the most ambitious project of his life, a massive photo-essay on the city of Pittsburgh.

821 Sixth Avenue was a late-night haunt of musicians, including some of the biggest names in jazz - Charles Mingus, Zoot Sims, Bill Evans, and Thelonious Monk among them - and countless fascinating, underground characters. As his ambitions broke down for his quixotic Pittsburgh opus, Smith found solace in the chaotic, somnambulistic world of the loft and its artists. He turned his documentary impulses away from Pittsburgh and toward his offbeat new surroundings.

From 1957 to 1965, Smith exposed 1,447 rolls of film at his loft, making roughly 40,000 pictures, the largest body of work in his career, photographing the nocturnal jazz scene as well as life on the streets of the flower district, as seen from his fourth-floor window. He wired the building like a surreptitious recording studio and made 1,740 reels (4,000 hours) of stereo and mono audiotapes, capturing more than 300 musicians, among them Roy Haynes, Sonny Rollins, Bill Evans, Roland Kirk, Alice Coltrane, Don Cherry, and Paul Bley. He recorded, as well, legends such as pianists Eddie Costa, and Sonny Clark, drummers Ronnie Free and Edgar Bateman, saxophonist Lin Halliday, bassist Henry Grimes, and multi-instrumentalist Eddie Listengart.

Also dropping in on the nighttime scene were the likes of Doris Duke, Norman Mailer, Diane Arbus, Robert Frank, Henri Cartier-Bresson, and Salvador Dalí, as well as pimps, prostitutes, drug addicts, thieves, photography students, local cops, building inspectors, marijuana dealers, and others.

Sam Stephenson discovered Smith’s jazz loft photographs and tapes eleven years ago and has spent the last seven years cataloging, archiving, selecting, and editing Smith’s materials for this book, as well as writing its introduction and the text interwoven throughout.

W. Eugene Smith’s Jazz Loft Project has been legendary in the worlds of art, photography, and music for more than forty years, but until the publication of The Jazz Loft Project, no one had seen Smith’s extraordinary photographs or read any of the firsthand accounts of those who were there and lived to tell the tale(s) . . .

In the Spring of 2008 and following the model from the previously realized cycle dedicated to John Cage, the Casa Encendida presents The Limits of Composition?, a cycle dedicated to what is known as North American Minimalism in which reunites some of the most innovative contemporary compositors: Ferry Riley, Alvin Lucier, Alvin Curran, Gordon Mumma y Christian Wolf,, together with the work of Cornelius Cardew. During one week, from the hands of these illustrious followers of the "Cagian" exposition, one was able to enjoy his compositions and interpretations, as well as share his reflections on the future of music and a look at what is presently projected over his respective trajectories.As an object apart this publication includes a CD that takes a selection of the recordings realized during the concerts, an unique soundtrack filled with the same natural air of the music which protaganized this cycle. The CD is a complete summary of all the works presented in the concerts, as well as biographical outline of the composers and interpreters of which accompanied the distinct journies

These behind-the-scenes, intimate, and unguarded shots have been unearthed after spending 45 years in a duffel bag of The Beatles and Rolling Stones' former tour manager, Bob Bonis. Bonis was the US tour manager for The Beatles' first tour in the States from 1964-1966. Hanging out on stage, backstage, at work, and at play with one of the most influential bands ever, Bonis took some 3,500 photographs at a critical point in the creative development of The Beatles. The photos show these legends in candid, intimate shots on stage, in rehearsal, in concert, backstage (tuning up, waiting to go on stage and clowning around), dressing and relaxing, on vacations or en route to shows or cities, getting haircuts, bowling, recording in the studio, at press events, and just hanging around being themselves. This collection captured a pivotal time in the bands' career. It offers a groundbreaking, amazingly candid look at some of the 20th century's biggest icons during their first moments on the world stage.

Larry Marion’s The Lost Rolling Stones Photographs is a milestone for rock and roll collecting: the largest trove of never-before-seen rock photographs ever uncovered reveals the Rolling Stones on their earliest American tours in the 1960s. Selected from a rediscovered cache of intimate, behind-the-scenes snapshots taken by Bob Bonis — the US tour manager behind the Stones, the Beatles and other British Invasion breakthroughs — The Lost Rolling Stones Photographs reveals the casual, human side of a young Mick Jagger and Keith Richards when they were merely “England’s Newest Hit Makers.” Presented by Larry Marion, owner of New York’s Not Fade Away Gallery and curator of the acclaimed exhibit “The British Are Coming: The Beatles and The Rolling Stones 1964-66,” this one-of-a-kind book gives a priceless window into the off-stage personalities of America’s first bad boy rock band.

The Merciless Book of Metal Lists is an irreverent and illustrated compendium of the most random, funny, and challenging information about Heavy Metal from the last 40 years.

You want to know which Metal albums “jumped the shark”?

Curious to know what non-Metal bands Metalheads love, which album covers feature goats, embarrassing Metal fashion faux pas, and the unfortunate original names Metal bands started with?

This is the book. In addition to some highly opinionated lists, this energetically designed volume features quotes, short essays, iconic four-color photography, and contributions from notable metal personalities, including Eddie Trunk, Gary Holt (Exodus), and Scott Ian (Anthrax, S.O.D.), among others.

From its roots in the American South to today's world stage, the journey of the blues has encompassed countless artists and recordings. But how can you find the best of them? The Penguin Guide to Blues Recordings is a uniquely informative, insightful and easy-to-use guide through the jungles of the record shop and the online music store. It surveys the recorded work of more than a thousand blues artists, from towering figures of the past like Charley Patton, Bessie Smith and Robert Johnson to stars of the modern era such as B.B. King, Buddy Guy and Stevie Ray Vaughan, providing crisp, expert and witty reviews of almost six thousand CDs. Whether you're a blues aficionado or just starting a collection, this is required reading.

The updated, eighth edition of this long-running title features more than 14,000 reviews of CDs and 400 new artist entries. Entries include very brief descriptions of the artists and a list of their recordings, with reviews and ratings by the authors. The lengths of the CD entries vary from very short (label, catalog number, issue date, and performers) to extensive, multiparagraph descriptions of the album's history, reception, and individual songs. The authors are clearly devout jazz historians, and the character of the entries is as much admiring as it is strictly factual. Their detailed descriptions of albums, songs, and even artists' tone colors and interpretations within specific songs are testament to their expertise. They also lament the loss of jazz divisions at many major record companies, leaving independent labels to carry the lion's share of the responsibility for documenting this art form.

Changes from the previous edition are worth mentioning. The artist index, missing from the seventh edition, has returned in response to reader demand, but to maintain what the authors consider a reasonable physical size for the volume, they have eliminated entries "which have seemed to stand still in recent years through the lack of any new releases by the artist in question." In some particularly long entries containing extensive lists of albums, they offer an "in brief" section, which allows for the inclusion of less-important yet still worthwhile recordings by presenting shorter descriptions.

Another important feature is the "Core Collection" selections. Within the listings for some artists, recordings considered essential for a basic jazz library are printed in bold type and described in greater detail. A separate list of these 200 titles would have been useful for those who are looking to build their own collections without having to wade through the entire book to find these seminal works.