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xiv Jazz For Dummies, 2nd Edition Chapter 17: Digital Jazz: Making Music in High-Tech Times . . . . . .291 The First Recording Masterminds .............................................................291 Les Paul: A recording wizard ............................................................292 Rudy Van Gelder: Setting standards.................................................293 Tapping into Today’s Technology to Create and Sell Jazz ......................295 The nuts and bolts of home studios ................................................298 The rise of the Internet in selling music..........................................299 Part V: The Part of Tens .............................................301 Chapter 18: Ten Great Cities for Jazz . . . . . . . . . . . . . . . . . . . . . . . . . . .303 Austin.............................................................................................................303 Chicago..........................................................................................................304 Kansas City ...................................................................................................305 Los Angeles ...................................................................................................307 Miami .............................................................................................................308 New Orleans..................................................................................................309 New York City ...............................................................................................310 Philadelphia ..................................................................................................312 San Diego.......................................................................................................313 San Francisco Bay Area ...............................................................................315 Chapter 19: Ten Tips for Building and Enjoying a Jazz Collection . . .317 Tell Your Own Story with Jazz....................................................................317 Listen to Jazz in Any Medium.....................................................................318 Put Together a Good Sound System ..........................................................320 Go Mobile ......................................................................................................322 Use Quality Headphones.............................................................................322 Create a Music Space...................................................................................323 Discover New Finds from Other Jazz Fans................................................323 Do Some Research for Jazz Gems ..............................................................324 Edit and Upgrade Your Collection with Care............................................325 Protect Your Stuff.........................................................................................325 Part VI: Appendixes...................................................327 Appendix A: More Than 100 Recommended Jazz Titles . . . . . . . . . . .329 Early Jazz and New Orleans Jazz................................................................329 Swing and Big Band......................................................................................330 Bebop and Hard Bop....................................................................................331 Cool Jazz........................................................................................................332 Singers ...........................................................................................................332
Table of Contents Avant Garde Jazz and Free Jazz..................................................................333 Electric Jazz ..................................................................................................333 Latin Jazz.......................................................................................................334 Jazz from the ’80s and ’90s .........................................................................334 Appendix B: Trustworthy Jazz Labels . . . . . . . . . . . . . . . . . . . . . . . . . .335 Black Saint.....................................................................................................335 Blue Note Records .......................................................................................336 Bluebird Jazz.................................................................................................336 Concord Music Group..................................................................................337 Proper Music ................................................................................................337 Rhino Records ..............................................................................................338 Sony Music USA............................................................................................338 Telarc International......................................................................................338 Ubiquity Records .........................................................................................339 Verve Music Group.......................................................................................339 Appendix C: Resources for Further Jazz Enlightenment . . . . . . . . . .341 Books .............................................................................................................341 Magazines......................................................................................................345 Web Sites .......................................................................................................345 Television and Movies .................................................................................346 Index........................................................................351 xv
Page 1: Jazz FOR DUMmIES‰ by Dirk Sutro 2
Page 4 and 5: Jazz For Dummies ® , 2nd Edition P
Page 6 and 7: Publisher’s Acknowledgments We’
Page 9 and 10: Table of Contents Introduction.....
Page 11 and 12: Table of Contents Ragging the Rhyth
Page 13 and 14: Table of Contents Let’s Get Funky
Page 15: Table of Contents Guinness Jazz Fes
Page 19 and 20: Introduction As you begin your jour
Page 21 and 22: What You’re Not to Read I include
Page 23 and 24: Part VI: Appendixes Part VI covers
Page 25 and 26: Part I All That Jazz: A Tour of the
Page 27 and 28: In This Chapter Chapter 1 In the Be
Page 29 and 30: Chapter 1: In the Beginning: Enteri
Page 31 and 32: Meanwhile, Latin music had a signif
Page 33 and 34: Chapter 2 Altered Ears: Understandi
Page 35 and 36: Chapter 2: Altered Ears: Understand
Page 49 and 50: In This Chapter Chapter 3 The Schem
Page 51 and 52: Chapter 3: The Scheme of Things: El
Page 65 and 66: In This Chapter Chapter 4 Tools of
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Figure 4-1: A soprano sax looks lik
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Chapter 4: Tools of the Trade: The
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Figure 4-6: The bass clarinet is mo
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Strumming Along: Strings Chapter 4:
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seconds, filling the space behind a
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� Cymbals: In early jazz, one cym
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Figure 4-8: A musician plays a vibr
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Part II Jazz Greats and Great Jazz:
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Chapter 5 The Birth of an American
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Chapter 5: The Birth of an American
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Figure 5-3: Jelly Roll Morton is fa
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Chapter 6 The Golden Era of Big Ban
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Chapter 6: The Golden Era of Big Ba
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In This Chapter � Witnessing the
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Chapter 7: Bebop to Cool: The 1940s
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Surveying Influential Bebop Musicia
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Figure 7-1: Charlie Parker was nick
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Figure 7-4: Ella Fitzgerald was the
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Figure 7-5: Miles Davis played both
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In This Chapter Chapter 8 A Radical
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Figure 8-1: Classical fugues influe
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Mingus’s 1972 album Let My Childr
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Chapter 8: A Radical Departure: The
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Figure 8-5: Cecil Taylor overlapped
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Hear Dolphy’s wild leaps of imagi
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Chicago In Chicago, a group of Afri
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Although some fans and critics dism
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Chapter 9 The Perfect Hybrid: Latin
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In the ’30s, bandleaders Don Azpi
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Chapter 9: The Perfect Hybrid: Lati
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O’Farrill created “Undercurrent
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musical elements through travels to
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Gato Barbieri Born in Argentina, sa
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Mongo Santamaria For his prolific o
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population in 2005, for instance),
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Hilton Ruiz Ruiz (born 1952) grew u
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In This Chapter Chapter 10 Looking
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Chapter 10: Looking Ahead: The Pres
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Figure 10-1: Wynton Marsalis plays
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Other musicians Other musicians who
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Part III The Beat Goes On: Jazz App
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Chapter 11 Mass Appeal: Taking Note
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Chapter 11: Mass Appeal: Taking Not
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In This Chapter � Jazzing up your
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on together in 1959. Charles Mingus
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Chapter 12: Good Times: Jazzing Up
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Sending Your Guests Home with Fun P
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Chapter 13 Lovin’ It Live: A Jazz
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Chapter 13: Lovin’ It Live: A Jaz
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In This Chapter Chapter 14 Travelin
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Chapter 14: Traveling Jazz: Your Ti
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Part IV I Like the Way You Play: Th
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Chapter 15 Feeding the Jazz Jones:
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Chapter 15: Feeding the Jazz Jones:
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Chapter 16 So You Wanna Be in a Ban
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Chapter 16: So You Wanna Be in a Ba
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In This Chapter Chapter 17 Digital
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Chapter 17: Digital Jazz: Making Mu
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Part V The Part of Tens
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In This Chapter Chapter 18 Ten Grea
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Cool venues to check out include
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Los Angeles Considering its wealth
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As in many other cities, local radi
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Chapter 18: Ten Great Cities for Ja
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San Diego Chapter 18: Ten Great Cit
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San Francisco Bay Area Big time jaz
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Chapter 19 Ten Tips for Building an
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Chapter 19: Ten Tips for Building a
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Part VI Appendixes
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Appendix A More Than 100 Recommende
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Bebop and Hard Bop Appendix A: More
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Avant Garde Jazz and Free Jazz Begi
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Appendix B Trustworthy Jazz Labels
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� Benny Goodman, clarinetist �
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� Count Basie, bandleader and pia
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Appendix C Resources for Further Ja
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Appendix C: Resources for Further J
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The Story of Jazz (Oxford Universit
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• Numerics • 12-bar format, 32-
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lesser-known, 221-222 Lunceford, Ji
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Howard Rumsey’s Lighthouse All-St
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Fitzgerald, Ella (vocalist) as bebo
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Jazz Messengers, 134, 171 jazz musi
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multi-track recording, 292, 293 mus
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Herman, Woody, 218 improvisation, 4
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stretching words, 38 stride piano,
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BUSINESS, CAREERS & PERSONAL FINANC
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