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Jazz is the most colorful and varied art form in the world and it was born in one of the most colorful and varied cities, New Orleans. From the seed first planted by slave dances held in Congo Square and nurtured by early ensembles led by Buddy Belden and Joe "King" Oliver, jazz began its long ...

Jazz is the most colorful and varied art form in the world and it was born in one of the most colorful and varied cities, New Orleans. From the seed first planted by slave dances held in Congo Square and nurtured by early ensembles led by Buddy Belden and Joe "King" Oliver, jazz began its long winding odyssey across America and around the world, giving flower to a thousand different forms--swing, bebop, cool jazz, jazz-rock fusion--and a thousand great musicians. Now, in The History of Jazz, Ted Gioia tells the story of this music as it has never been told before, in a book that brilliantly portrays the legendary jazz players, the breakthrough styles, and the world in which it evolved. Here are the giants of jazz and the great moments of jazz history--Jelly Roll Morton ("the world's greatest hot tune writer"), Louis Armstrong (whose O-keh recordings of the mid-1920s still stand as the most significant body of work that jazz has produced), Duke Ellington at the Cotton Club, cool jazz greats such as Gerry Mulligan, Stan Getz, and Lester Young, Charlie Parker's surgical precision of attack, Miles Davis's 1955 performance at the Newport Jazz Festival, Ornette Coleman's experiments with atonality, Pat Metheny's visionary extension of jazz-rock fusion, the contemporary sounds of Wynton Marsalis, and the post-modernists of the Knitting Factory. Gioia provides the reader with lively portraits of these and many other great musicians, intertwined with vibrant commentary on the music they created. Gioia also evokes the many worlds of jazz, taking the reader to the swamp lands of the Mississippi Delta, the bawdy houses of New Orleans, the rent parties of Harlem, the speakeasies of Chicago during the Jazz Age, the after hours spots of corrupt Kansas city, the Cotton Club, the Savoy, and the other locales where the history of jazz was made. And as he traces the spread of this protean form, Gioia provides much insight into the social context in which the music was born. He shows for instance how the development of technology helped promote the growth of jazz--how ragtime blossomed hand-in-hand with the spread of parlor and player pianos, and how jazz rode the growing popularity of the record industry in the 1920s. We also discover how bebop grew out of the racial unrest of the 1940s and '50s, when black players, no longer content with being "entertainers," wanted to be recognized as practitioners of a serious musical form. Jazz is a chameleon art, delighting us with the ease and rapidity with which it changes colors. Now, in Ted Gioia's The History of Jazz, we have at last a book that captures all these colors on one glorious palate. Knowledgeable, vibrant, and comprehensive, it is among the small group of books that can truly be called classics of jazz literature.

Jazz is the most colourful and varied art form in the world and it was born in one of the most colourful and varied cities, New Orleans. From the seed first planted by slave dances held in Congo Square and nurtured by early ensembles led by Buddy Bolden and Joe `King' Oliver, jazz began its long ...

Jazz is the most colourful and varied art form in the world and it was born in one of the most colourful and varied cities, New Orleans. From the seed first planted by slave dances held in Congo Square and nurtured by early ensembles led by Buddy Bolden and Joe `King' Oliver, jazz began its long winding odyssey across America and around the world, giving flower to a thousand different forms -- swing, bebop, cool jazz, jazz-rock fusion -- and a thousand great musicians. Now, in The History of Jazz, Ted Gioia tells the story of this music as it has never been told before, in a book that brilliantly portrays the legendary jazz players, the breakthrough styles, and the world in which it evolved. Here are the giants of jazz and the great moments of jazz history -- Jelly Roll Morton (`the world's greatest hot tune writer'), Louis Armstrong (whose O-Keh recordings of the mid-1920s still stand as the most significant body of work that jazz has produced), Duke Ellington at the Cotton Club, cool jazz greats such as Gerry Mulligan, Stan Getz, and Lester Young, Charlie Parker's surgical precision of attack, Miles Davis's 1955 performance at the Newport Jazz Festival, Ornette Coleman's experiments with atonality, Pat Metheny's visionary extension of jazz-rock fusion, the contemporary sounds of Wynton Marsalis, and the post-modernists of the Knitting Factory. Gioia provides the reader with lively portraits of these and many other great musicians, intertwined with vibrant commentary on the music they created. Gioia also evokes the many worlds of jazz, taking the reader to the swamp lands of the Mississippi Delta, the bawdy houses of New Orleans, the rent parties of Harlem, the speakeasies of Chicago during the Jazz Age, the after hours spots of corrupt Kansas city, the Cotton Club, the Savoy, and the other locales where the history of jazz was made. And as he traces the spread of this protean form, Gioia provides much insight into the social context in which the music was born. He shows for instance how the development of technology helped promote the growth of jazz -- how ragtime blossomed hand-in-hand with the spread of parlor and player pianos, and how jazz rode the growing popularity of the record industry in the 1920s. We also discover how bebop grew out of the racial unrest of the 1940s and '50s, when black players, no longer content with being `entertainers', wanted to be recognized as practitioners of a serious musical form. Jazz is a chameleon art, delighting us with the ease and rapidity with which it changes colors. Now, in Ted Gioia's The History of Jazz, we have at last a book that captures all these colors on one glorious palate. Knowledgeable, vibrant, and comprehensive, it is among the small group of books that can truly be called classics of jazz literature.

The Antichrist, though mentioned a mere four times in the Bible, and then only obscurely, has exercised a tight hold on popular imagination throughout history. This has been particularly true in the U.S., says author Robert C. Fuller, where Americans have tended to view our nation as uniquely ...

The Antichrist, though mentioned a mere four times in the Bible, and then only obscurely, has exercised a tight hold on popular imagination throughout history. This has been particularly true in the U.S., says author Robert C. Fuller, where Americans have tended to view our nation as uniquely blessed by God--a belief that leaves us especially prone to demonizing our enemies. In Naming the Antichrist, Fuller takes us on a fascinating journey through the dark side of the American religious psyche, from the earliest American colonists right up to contemporary fundamentalists such as Pat Robertson and Hal Lindsey. Fuller begins by offering a brief history of the idea of the Antichrist and its origins in the apocalyptic thought in the Judeo-Christian tradition, and traces the eventual 71Gws how the colonists saw Antichrist personified in native Americans and French Catholics, in Anne Hutchinson, Roger Williams, and the witches of Salem, in the Church of England and the King. He looks at the Second Great Awakening in the early nineteenth century, showing how such prominent Americans as Yale president Timothy Dwight and the Reverend Jedidiah Morse (father of Samuel Morse) saw the work of the Antichrist in phenomena ranging from the French Revolution to Masonry. In the twentieth century, he finds a startling array of hate-mongers--from Gerald Winrod (who vilified Roosevelt as a pawn of the Antichrist) to the Ku Klux Klan--who drew on apocalyptic imagery in their attacks on Jews, Catholics, blacks, socialists, and others. Finally, Fuller considers contemporary fundamentalist writers such as Hal Lindsey (author of The Late Great Planet Earth, with some 19 million copies sold), Mary Stewart Relfe (whose candidates for the Antichrist have included such figures as Henry Kissinger, Pope John Paul II, and Anwar Sadat), and a host of others who have found Antichrist in the sinister guise of the European Economic Community, the National Council of Churches, feminism, New Age religions, and even supermarket barcodes and fibre optics (the latter functioning as "the eye of the Antichrist"). Throughout, Fuller reveals in vivid detail how our unique American obsession with the Antichrist reflects the struggle to understand ourselves--and our enemies--within the mythic context of the battle of absolute good versus absolute evil. From the Scofield Reference Bible (no other book had greater impact on the American Antichrist tradition) to the Scopes Monkey Trial, Fuller provides an informative and often startling look at a thread that weaves persistently throughout American religious and cultural life.

Here is the book jazz lovers have eagerly awaited, the second volume of Gunther Schuller's monumental The History of Jazz. When the first volume, Early Jazz, appeared two decades ago, it immediately established itself as one of the seminal works on American music. Nat Hentoff called it "a remarkable ...

Here is the book jazz lovers have eagerly awaited, the second volume of Gunther Schuller's monumental The History of Jazz. When the first volume, Early Jazz, appeared two decades ago, it immediately established itself as one of the seminal works on American music. Nat Hentoff called it "a remarkable breakthrough in musical analysis of jazz," and Frank Conroy, in The New York Times Book Review, praised it as "definitive.... A remarkable book by any standard...unparalleled in the literature of jazz." It has been universally recognized as the basic musical analysis of jazz from its beginnings until 1933. The Swing Era focuses on that extraordinary period in American musical history--1933 to 1945--when jazz was synonymous with America's popular music, its social dances and musical entertainment. The book's thorough scholarship, critical perceptions, and great love and respect for jazz puts this well-remembered era of American music into new and revealing perspective. It examines how the arrangements of Fletcher Henderson and Eddie Sauter--whom Schuller equates with Richard Strauss as "a master of harmonic modulation"--contributed to Benny Goodman's finest work...how Duke Ellington used the highly individualistic trombone trio of Joe "Tricky Sam" Nanton, Juan Tizol, and Lawrence Brown to enrich his elegant compositions...how Billie Holiday developed her horn-like instrumental approach to singing...and how the seminal compositions and arrangements of the long-forgotten John Nesbitt helped shape Swing Era styles through their influence on Gene Gifford and the famous Casa Loma Orchestra. Schuller also provides serious reappraisals of such often neglected jazz figures as Cab Calloway, Henry "Red" Allen, Horace Henderson, Pee Wee Russell, and Joe Mooney. Much of the book's focus is on the famous swing bands of the time, which were the essence of the Swing Era. There are the great black bands--Duke Ellington, Count Basie, Jimmie Lunceford, Earl Hines, Andy Kirk, and the often superb but little known "territory bands"--and popular white bands like Benny Goodman, Tommy Dorsie, Artie Shaw, and Woody Herman, plus the first serious critical assessment of that most famous of Swing Era bandleaders, Glenn Miller. There are incisive portraits of the great musical soloists--such as Art Tatum, Teddy Wilson, Coleman Hawkins, Lester Young, Bunny Berigan, and Jack Teagarden--and such singers as Billie Holiday, Frank Sinatra, Peggy Lee, and Helen Forest.