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  • Paperback + Digital Product License Key Folder
  • Bookstore's Wholesale Price: $113.00
  • February 2015
  • ISBN: 978-0-393-93706-0
  • 566 pages
  • Territory Rights: USA and Dependencies, Philippines and Canada.
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    Second Edition

    Paperback + Digital Product License Key Folder

    with Total Access Registration Card

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    Scott DeVeaux (Author, University of Virginia), Gary Giddins (Author, The Leon Levy Center for Biography)


    All That Jazz—Total Access to the music and the players.

    This streamlined second edition exposes students to the expressive power of jazz and brings its greatest players to life. With an emphasis on engagement with the music, this new text gives students all the guidance and inspiration they need to fully understand jazz. Now with Total Access, Jazz offers students a package without match—streaming music of 77 classic masterpieces and little-known gems, robust Listening Guides, a media-rich ebook, outstanding video, and a gripping narrative—all at an unbeatable price.


    Students become actively engaged with the music

    Listening Guides, streamlined for this edition, illuminate every piece. Concise head notes identify the ensemble and musicians, original album number, and date, style, and form. “What to Listen For” boxes identify key points, and minute-by-minute timings walk students through the highpoints of 77 masterworks. Two brief introductory chapters explore how to recognize jazz’s distinctive features, and over 100 “Jazz Concepts” audio and video recordings—10 new to this edition—demonstrate essential concepts, from contrasting timbres of instruments to performance techniques and formal structures. Two complete pieces—written expressly for Jazz and performed by the Free Bridge Quintet—illustrate blues and popular-song forms. Online interactive Listening Guides (iLGs)—now compatible with mobile devices—connect students to each work’s most important features. Listening Quizzes challenge students to identify the artists, styles, instruments, techniques, and forms they hear in every piece. 

    The richest repertory at the best value is now expanded to include more women musicians, more contemporary jazz, and new Latin jazz

    Innovative repertory choices—30% new to this edition—illustrate jazz’s vibrancy in the 21st century. Women musicians new to this edition include bassist Esperanza Spalding, singers Betty Carter and Cécile McLorin Salvant, and 1930s trumpet player/singer Valaida Snow. The narrative also highlights women who rose to prominence through the 1960s, including Mary Osborne (guitar), Clora Bryant (trumpet), Marian McPartland (piano), Mary Lou Williams (piano), and Melba Liston (trombone/arranger). Coverage of Latin musicians has been thoroughly revised to include, among others, Eddie Palmieri and Stan Getz/Joào Gilberto. Classics like Horace Silver’s “Song for My Father” and Sonny Rollins’s “I’m an Old Cowhand” have been added, and new contemporary artists include the World Saxophone Quartet, Herbie Hancock, Robert Glasper, the SFJAZZ Collective (with Joshua Redman), Michael Brecker, Vijay Iyer, and Abdullah Ibrahim. 

    The great musicians and their times—a century of history—are brought to vivid life

    The two award-winning authors, both master storytellers, deftly incorporate historical, social, and cultural currents—including Jim Crow, the Great Depression, jazz as portrayed in movies and on TV—and offer additional insight in podcasts for each chapter. Five concise Part Introductions—featuring a vibrant photo essay, a timeline integrating key events in jazz with important dates in American history, and a short introduction—place each period of jazz history within the broader context of American political and social life. Contextual sidebars highlight the voices, venues, and events that have enlivened the jazz scene. Evocative art from the great jazz photographers—Herman Leonard, Chuck Stewart, and Jimmy Katz, among others—tells its own story of these times, and a full-color insert traces the development of jazz through the graphic styles of album covers, sheet music, and other desiderata. Unique to this edition are the three narratives that drive post-World War II jazz: modernism, fusion, and historicism. And the notion of jazz as a commercial enterprise weaves in and out of the narrative, highlighting the economic issues that enhanced, or hindered, the dissemination of jazz across society.  

    Total Access provides all the media students need to master jazz fundamentals

    Streaming recordings of 77 great jazz works, a media-rich ebook, outstanding iLGs, and compelling video, review materials and assessments are offered at an unbeatable value.  

    Jazz offers a rich, integrated teaching and learning package

    The text’s compelling narrative is integrated with an exceptional media package, providing students the resources they need to excel in class, and instructors the tools they require to present a dynamic introduction to jazz both on and offline.  

      * indicates repertory new to this edition.

      Part 1. Musical Orientation
      1. Musical Elements and Instruments
      2. Jazz Form and Improvisation
            Bessie Smith, “Reckless Blues”
            Louis Armstrong, “West End Blues”
            Charlie Parker, “Now’s the Time”
            Billie Holiday, “A Sailboat in the Moonlight”
            Miles Davis, “So What”
            Free Bridge Quintet, “Midriff” and “The Pot Boiler”

      Part 2. Early Jazz (1900-1930)
      3. The Roots of Jazz
            Georgia Sea Island Singers, “The Buzzard Lope”
            Bessie Smith, “Reckless Blues”
            Wilbur Sweatman, “Down Home Rag”
      4. New Orleans
            Original Dixieland Jazz Band, “Dixie Jass Band One-Step”
            Jelly Roll Morton, “Dead Man Blues”
            King Oliver, “Snake Rag”
            Red Onion Jazz Babies / Sidney Bechet, “Cake Walking Babies (from Home)”
      5. New York in the 1920s
            Paul Whiteman, “Changes”
            Fletcher Henderson, “Copenhagen”
            James P. Johnson, “You’ve Got to Be Modernistic”
            Duke Ellington, “Black and Tan Fantasy”
      6. Louis Armstrong and the First Great Soloists
            Louis Armstrong, “Hotter Than That”
            Armstrong, “West End Blues”
            Armstrong / Earl Hines, “Weather Bird”
            Bix Beiderbecke / Frank Trumbauer, “Singin’ the Blues”

      Part 3. The Swing Era
      7. Swing Bands
            Fletcher Henderson, “Blue Lou”
            Benny Goodman, “Dinah”
            Artie Shaw, “Star Dust”
            *Jimmie Lunceford, “Annie Laurie”
      8. Count Basie and Duke Ellington
            Pete Johnson / Big Joe Turner, “It’s All Right, Baby”
            Andy Kirk / Mary Lou Williams, “Walkin’ and Swingin’”
            Count Basie, “One O’Clock Jump”
            Duke Ellington, “Mood Indigo”
            Ellington, “Conga Brava”
            Ellington, “Blood Count”
      9. A World of Soloists
            Coleman Hawkins, “Body and Soul”
            Count Basie / Lester Young, “Oh! Lady Be Good”
            Benny Carter / Django Reinhardt, “I’m Coming, Virginia”
            *Valiada Snow, “You’re Driving Me Crazy”
            Billie Holiday, “A Sailboat in the Moonlight”
            Ella Fitzgerald, “Blue Skies”
      10. Rhythm in Transition
            Fats Waller, “Christopher Columbus”
            Art Tatum, “Over the Rainbow”
            Charlie Christian, “Swing to Bop” (“Topsy”)


      Part 4. Modern Jazz
      11. Bebop
            Charlie Parker, “Ko Ko”
            Parker, “Embraceable You”
            Parker, “Now’s the Time”
            Bud Powell, “Tempus Fugue-It”
            Dexter Gordon, “Long Tall Dexter”
      12. The 1950s: Cool Jazz and Hard Bop
            *Miles Davis, “Venus de Milo”
            *Modern Jazz Quartet, “Vendome”
            *Horace Silver, “Song for My Father”
            Clifford Brown, “A Night in Tunisia”
            *Sonny Rollins, “I’m an Old Cowhand”
      13. Jazz Composition in the 1950s
            Thelonious Monk, “Thelonious”
            Monk, “Rhythm-a-ning”
            Charles Mingus, “Boogie Stop Shuffle”
            Gil Evans, “King Porter Stomp”
            George Russell, “Concerto for Billy the Kid”
      14. Modality: Miles Davis and John Coltrane
            Miles Davis, “So What”
            *Bill Evans, “Witchcraft”
            John Coltrane, “Giant Steps”
            Coltrane, “Acknowledgement”
            Davis, “E.S.P.”

      Part 5. The Avant-Garde, Fusion, Historicism, and Now
      15. The Avant-Garde
            Ornette Coleman, “Lonely Woman”
            Cecil Taylor, “Bulbs”
            Albert Ayler, “Ghosts”
            *World Saxophone Quartet, “Hattie Wall”
            *Anthony Braxton / Max Roach, “Spirit Possession”
      16. Fusion I: R&B, Singers, and Latin Jazz
            *Wes Montgomery / Jimmy Smith, “O.G.D.”
            *Sarah Vaughan, “All of Me”
            Dizzy Gillespie, “Manteca”
            *Stan Getz / João Gilberto, “So danço samba”
            *Eddie Palmieri, “Un dia bonito”
      17. Fusion II: Jazz, Rock, and Beyond
            Weather Report, “Teen Town”
            *Herbie Hancock, “Cantaloupe Island”
            John Scofield / Medeski, Martin and Wood, “Chank”
            *Robert Glasper, “Smells Like Teen Spirit”
      18. Historicism: Jazz on Jazz
            *Wynton Marsalis, “The Pearls”
            *SFJAZZ Collective, “Maiden Voyage”
            *Betty Carter, “My Favorite Things”
            *Michael Brecker, “Time Line”
            Jason Moran, “You’ve Got to Be Modernistic”
      19. Jazz Today
            *Vijay Iyer, “Lude”
            *Esperanza Spalding, “Short and Sweet”
            *Cecile McLorin Salvant, “John Henry”
            *Abdullah Ibrahim, “Calypso Minor”

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