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Band Music/Big Band
Bands as Virtual Organisations: Improving the Processes of Band and Event Management with Information and Communication Technologies.
Publication Date: 2011-12-30
Managing a band is a challenge, similar to managing a small or medium-sized enterprise. A type of band particularly difficult to manage is a telephone band that does not have a fixed line-up of musicians. Together, the musicians form a virtual organisation. Every participant in the organisation brings in a certain set of skills, has specific business goals, and has to bear some risks. The major findings include a thorough documentation of activities involved in managing a medium-sized telephone band which are explained in more detail by modelling the processes. Emphasising the use of information and communication technologies, the results provide a chronological sequence of activities that may generally be used for band and event management.
Big Band Jazz in Black West Virginia, 1930-1942
Publication Date: 2012-02-06
The coal fields of West Virginia would seem an unlikely market for big band jazz during the Great Depression. That a prosperous African American audience dominated by those involved with the coal industry was there for jazz tours would seem equally improbable. Big Band Jazz in Black West Virginia, 1930-1942 shows that, contrary to expectations, black Mountaineers flocked to dances by the hundreds, in many instances traveling considerable distances to hear bands led by Count Basie, Duke Ellington, Andy Kirk, Jimmie Lunceford, and Chick Webb, among numerous others. Indeed, as one musician who toured the state would recall, "All the bands were goin' to West Virginia." The comparative prosperity of the coal miners, thanks to New Deal industrial policies, was what attracted the bands to the state. This study discusses that prosperity as well as the larger political environment that provided black Mountaineers with a degree of autonomy not experienced further south. Author Christopher Wilkinson demonstrates the importance of radio and the black press both in introducing this music and in keeping black West Virginians up to date with its latest developments. The book explores connections between local entrepreneurs who staged the dances and the national management of the bands that played those engagements. In analyzing black audiences' aesthetic preferences, the author reveals that many black West Virginians preferred dancing to a variety of music, not just jazz. Finally, the book shows bands now associated almost exclusively with jazz were more than willing to satisfy those audience preferences with arrangements in other styles of dance music.
English Brass Bands and Their Music, 1860-1930
Publication Date: 2011-01-01
This book is an addition to the British music culture as it traces the history, growth and environmental, social and musical conditions of the Brass Band Movement during the Victorian era, and the influences of the Romantic Period.
Making the Scene: Contemporary New York City Big Band Jazz
Publication Date: 2007-08-02
The received wisdom of popular jazz history is that the era of the big band was the 1930s and '40s, when swing was at its height. But as practicing jazz musicians know, even though big bands lost the spotlight once the bebop era began, they never really disappeared. Making the Scene challenges conventional jazz historiography by demonstrating the vital role of big bands in the ongoing development of jazz. Alex Stewart describes how jazz musicians have found big bands valuable. He explores the rich "rehearsal band" scene in New York and the rise of repertory orchestras. Making the Scene combines historical research, ethnography, and participant observation with musical analysis, ethnic studies, and gender theory, dismantling stereotypical views of the big band.
Music, Emotion and Identity in Ulster Marching Bands: Flutes, Drums and Loyal Sons.
Publication Date: 2011-07-28
Ulster’s marching bands form perhaps the most vibrant participatory folk music tradition in contemporary Europe, and are one of the most significant and visible elements of working-class loyalist culture in the divided society of Northern Ireland. Their significance springs largely from the central place they have assumed in the lives of their members. This book presents an ethnography of three County Antrim flute bands from the very different genres of ‘part-music’, ‘melody’ and ‘blood and thunder’. The author explores the emotional rewards of communal music-making and the way that identities are formed through the acquisition of tastes, competences and skills within specific communal contexts, paying particular attention to the impact of class position. These issues are examined in the context of the competitions, concerts and street parades that are central to the social lives of thousands of band members and supporters in Northern Ireland.
Swingin' the Dream: Big Band Jazz and the Rebirth of American Culture
Publication Date: 1998-05-13
During the 1930s, swing bands combined jazz and popular music to create large-scale dreams for the Depression generation, capturing the imagination of America's young people, music critics, and the music business. Swingin' the Dream explores that world, looking at the racial mixing-up and musical swinging-out that shook the nation and has kept people dancing ever since. "Swingin' the Dream is an intelligent, provocative study of the big band era, chiefly during its golden hours in the 1930s; not merely does Lewis A. Erenberg give the music its full due, but he places it in a larger context and makes, for the most part, a plausible case for its importance."—Jonathan Yardley, Washington Post Book World "An absorbing read for fans and an insightful view of the impact of an important homegrown art form."—Publishers Weekly "[A] fascinating celebration of the decade or so in which American popular music basked in the sunlight of a seemingly endless high noon."—Tony Russell, Times Literary Supplement
The Art of Interpretation of Band Music
Publication Date: 2013-09-01
All of us want inspired performances, whether we are audience members, players, or the conductor. But once we've mastered the basics, what are best practices for achieving true musical expressivity? This remarkable book from a team of leading conductors is a practical guide to the holy grail of any wind band performance: artistry. When is it appropriate to "change" a score? How can programming contribute? How can a year of performances be sequenced with creativity in mind? How much is too much "interpretation"? Each chapter provides a window into the creative process of ten remarkable conductors. In their own way, these conductors share a captivating range of approaches to the world of creative expression. The ideas in this book are informative, creative, yet accessible. No matter the age or capability of the ensemble, The Art of Interpretation of Band Music will help any conductor bring his or her wind band to the next level--bringing us that much closer to the holy grail!
The Complete Marching Band Resource Manual : Techniques and Materials for Teaching, Drill Design, and Music Arranging
Publication Date: 2015-03-27
The Complete Marching Band Resource Manual is the definitive guide to the intricate art of directing college and high school marching bands. Supplemented with musical arrangements, warm-up exercises, and over a hundred drill charts, this manual presents both the fundamentals and the advanced techniques that are essential for successful marching band leadership. The materials in this volume cover every stage of musical direction and instruction, from selecting music and choreographing movements to improving student memorization and endurance to the creation of striking visual configurations through uniform and auxiliary units. Now in its third edition, The Complete Marching Band Resource Manual has been thoroughly updated to reflect new standards for drill design, charting, and musical arrangement. Offering a fresh approach to the essentials of good marching band design, this comprehensive resource shows both veteran and novice band directors how to prepare students to perform seamless and sophisticated musical formations.
When Swing Was the Thing Personality Profiles of the Big Band ERA
Publication Date: 2009-01-01
Barrelhouse Words: A Blues Dialect Dictionary
Publication Date: 2009-01-01
This fascinating compendium explains the most unusual, obscure, and curious words and expressions from vintage blues music. Utilizing both documentary evidence and invaluable interviews with a number of now-deceased musicians from the 1920s and '30s, blues scholar Stephen Calt unravels the nuances of more than twelve hundred idioms and proper or place names found on oft-overlooked "race records" recorded between 1923 and 1949. From "aggravatin' papa" to "yas-yas-yas" and everything in between, this truly unique, racy, and compelling resource decodes a neglected speech for general readers and researchers alike, offering invaluable information about black language and American slang.
Publication Date: 2005-11-01
American popular music reflects a rich cultural diversity. From Aaron Copland to Miles Davis to Elvis Presley to Muddy Waters, the United States has produced some of the most influential and beloved musicians and performers of the 20th century. The blues, jazz, and rock and roll - musical genres loved around the world - were born here, and American composers, producers, singers, and songwriters have crafted a unique heritage in other genres such as classical and folk. ""American Popular Music"", a new eight-volume set, celebrates American music by presenting a wealth of information on seven major musical branches. Each comprehensive book provides the perfect, one-stop starting point for research in each musical field. Between 300 and 500 entries in each volume cover key personalities, landmark performances and recordings, hit songs and experimental compositions, important publications, musical instruments, styles of music, social and historical issues, organizations and schools, record companies, and much more. Together, the volumes comprise a panoramic depiction of American music and the influential threads that weave among the different musical genres. Written by experts for students and enthusiasts, ""American Popular Music"" is an essential resource for the study and appreciation of American music. A seven-member editorial board of expert advisers includes top academics who are also performing musicians, producers, and songwriters, including a Grammy nominee and an internationally recognized composer. Each book includes 40 to 60 photographs, a glossary, a discography of recommended listening, a chronology, and an index. The eighth volume, included for free with the purchase of the complete seven-volume set, is a comprehensive index that allows readers to easily locate musical terms, musicians, songs, and more throughout the entire set, ""American Popular Music"" is a must-have resource not only for students researching music but also for those interested in social movements, cultural history, geography, technology, the growth of broadcast and recorded media, ethnography and anthropology, and many other topics.
Blues Music in the Sixties: A Story in Black and White
Publication Date: 2010-05-15
Can a type of music be "owned"? Examining how music is linked to racial constructs and how African American musicians and audiences reacted to white appropriation, Blues Music in the Sixties shows the stakes when whites claim the right to play and live the blues. In the 1960s, within the larger context of the civil rights movement and the burgeoning counterculture, the blues changed from black to white in its production and reception, as audiences became increasingly white. Yet, while this was happening, blackness--especially black masculinity--remained a marker of authenticity. Crossing color lines and mixing the beats of B.B. King, Eric Clapton, and Janis Joplin; the Newport Folk Festival and the American Folk Blues Festival; and publications such as Living Blues, Ulrich Adelt discusses these developments, including the international aspects of the blues. He highlights the performers and venues that represented changing racial politics and addresses the impact and involvement of audiences and cultural brokers.
Blues Unlimited: Essential Interviews From the Original Blues Magazine
Publication Date: 2015-10-20
British blues fan Mike Leadbitter launched the magazine Blues Unlimited in 1963. The groundbreaking publication fueled the then-nascent, now-legendary blues revival that reclaimed seminal figures like Son House and Skip James from obscurity. Throughout its history, Blues Unlimited heightened the literacy of blues fans, documented the latest news and career histories of countless musicians, and set the standard for revealing long-form interviews. Conducted by Bill Greensmith, Mike Leadbitter, Mike Rowe, John Broven, and others, and covering a who's who of blues masters, these essential interviews from Blues Unlimited shed light on their subjects while gleaning colorful detail from the rough and tumble of blues history. Here is Freddie King playing a string of one-nighters so grueling it destroys his car; five-year-old Fontella Bass gigging at St. Louis funeral homes; and Arthur "Big Boy" Crudup rising from life in a packing crate to music stardom. Here, above all, is an eyewitness history of the blues written in neon lights and tears, an American epic of struggle and transcendence, of Saturday night triumphs and Sunday morning anonymity, of clean picking and dirty deals. Featuring interviews with: Fontella Bass, Ralph Bass, Fred Below, Juke Boy Bonner, Roy Brown, Albert Collins, James Cotton, Arthur "Big Boy" Crudup, Joe Dean, Henry Glover, L.C. Green, Dr. Hepcat, Red Holloway, Louise Johnson, Floyd Jones, Moody Jones, Freddie King, Big Maceo Merriweather, Walter Mitchell, Louis Myers, Johnny Otis, Snooky Pryor, Sparks Brothers, Jimmy Thomas, Jimmy Walker, and Baby Boy Warren.
Give My Poor Heart Ease: Voices of the Mississippi Blues
Publication Date: 2009-11-01
Throughout the 1960s and 1970s, folklorist William Ferris toured his home state of Mississippi, documenting the voices of African Americans as they spoke about and performed the diverse musical traditions that form the authentic roots of the blues. Now, Give My Poor Heart Ease puts front and center a searing selection of the artistically and emotionally rich voices from this invaluable documentary record. Illustrated with Ferris's photographs of the musicians and their communities and including a CD of original music, the book features more than twenty interviews relating frank, dramatic, and engaging narratives about black life and blues music in the heart of the American South. Here are the stories of artists who have long memories and speak eloquently about their lives, blues musicians who represent a wide range of musical traditions--from one-strand instruments, bottle-blowing, and banjo to spirituals, hymns, and prison work chants. Celebrities such as B. B. King and Willie Dixon, along with performers known best in their neighborhoods, express the full range of human and artistic experience--joyful and gritty, raw and painful. In an autobiographical introduction, Ferris reflects on how he fell in love with the vibrant musical culture that was all around him but was considered off limits to a white Mississippian during a troubled era. This magnificent volume illuminates blues music, the broader African American experience, and indeed the history and culture of America itself.
How Britain Got the BluesThe Transmission and Reception of American Blues Style in the United Kingdom
Publication Date: 2007-11-28
This book explores how, and why, the blues became a central component of English popular music in the 1960s. It is commonly known that many 'British invasion' rock bands were heavily influenced by Chicago and Delta blues styles. But how, exactly, did Britain get the blues? Blues records by African American artists were released in the United States in substantial numbers between 1920 and the late 1930s, but were sold primarily to black consumers in large urban centres and the rural south. How, then, in an era before globalization, when multinational record releases were rare, did English teenagers in the early 1960s encounter the music of Robert Johnson, Blind Boy Fuller, Memphis Minnie, and Barbecue Bob? Roberta Schwartz analyses the transmission of blues records to England, from the first recordings to hit English shores to the end of the sixties. How did the blues, largely banned from the BBC until the mid 1960s, become popular enough to create a demand for re-released material by American artists? When did the British blues subculture begin, and how did it develop? Most significantly, how did the music become a part of the popular consciousness, and how did it change music and expectations? The way that the blues, and various blues styles, were received by critics is a central concern of the book, as their writings greatly affected which artists and recordings were distributed and reified, particularly in the early years of the revival. 'Hot' cultural issues such as authenticity, assimilation, appropriation, and cultural transgression were also part of the revival; these topics and more were interrogated in music periodicals by critics and fans alike, even as English musicians began incorporating elements of the blues into their common musical language. The vinyl record itself, under-represented in previous studies, plays a major part in the story of the blues in Britain. Not only did recordings shape perceptions and listening habits, but which artists were available at any given time also had an enormous impact on the British blues. Schwartz maps the influences on British blues and blues-rock performers and thereby illuminates the stylistic evolution of many genres of British popular music.
I'm Feeling the Blues Right Now: Blues Tourism in the Mississippi Delta
Publication Date: 2011-06-01
In I'm Feeling the Blues Right Now: Blues Tourism and the Mississippi Delta, Stephen A. King reveals the strategies used by blues promoters and organizers in Mississippi, both African American and white, local and state, to attract the attention of tourists. In the process, he reveals how promotional materials portray the Delta's blues culture and its musicians. Those involved in selling the blues in Mississippi work to promote the music while often conveniently forgetting the state's historical record of racial and economic injustice. King's research includes numerous interviews with blues musicians and promoters, chambers of commerce, local and regional tourism entities, and members of the Mississippi Blues Commission. This book is the first critical account of Mississippi's blues tourism industry. From the late 1970s until 2000, Mississippi's blues tourism industry was fragmented, decentralized, and localized, as each community competed for tourist dollars. By 2003-2004, with the creation of the Mississippi Blues Commission, the promotion of the blues became more centralized as state government played an increasing role in promoting Mississippi's blues heritage. Blues tourism has the potential to generate new revenue in one of the poorest states in the country, repair the state's public image, and serve as a vehicle for racial reconciliation.
In Search of the Blues
Publication Date: 2009-06-30
In this extraordinary reconstruction of the origins of the blues, historian Marybeth Hamilton demonstrates that the story as we know it is largely a myth. Following the trail of characters like Howard Odum, who combed Mississippi's back roads with a cylinder phonograph to record vagrants, John and Alan Lomax, who prowled Southern penitentiaries and unearthed the rough, melancholy vocals of Leadbelly, and James McKune, a recluse whose record collection came to define the primal sounds of the Delta blues, Hamilton reveals this musical form to be the culmination of a longstanding white fascination with the exotic mysteries of black music. By excavating the history of the Delta blues, Hamilton reveals the extent to which American culture has been shaped by white fantasies of racial difference.
Nobody Knows Where the Blues Come From: Lyrics and History
Publication Date: 2007-06-01
Musicians and music scholars rightly focus on the sounds of the blues and the colorful life stories of blues performers. Equally important and, until now, inadequately studied are the lyrics. The international contributors to Nobody Knows Where the Blues Come From explore this aspect of the blues and establish the significance of African American popular song as a neglected form of oral history. "High Water Everywhere: Blues and Gospel Commentary on the 1927 Mississippi River Flood," by David Evans, is the definitive study of songs about one of the greatest natural disasters in the history of the United States. In "Death by Fire: African American Popular Music on the Natchez Rhythm Club Fire," Luigi Monge analyzes a continuum of songs about exclusively African American tragedy. "Lookin' for the Bully: An Enquiry into a Song and Its Story," by Paul Oliver traces the origins and the many avatars of the Bully song. In "That Dry Creek Eaton Clan: A North Mississippi Murder Ballad of the 1930s," Tom Freeland and Chris Smith study a ballad recorded in 1939 by a black convict at Parchman prison farm. "Coolidge's Blues: African American Blues from the Roaring Twenties" is Guido van Rijn's survey of blues of that decade. Robert Springer's "On the Electronic Trail of Blues Formulas" presents a number of conclusions about the spread of patterns in blues narratives. In "West Indies Blues: An Historical Overview 1920s-1950s," John Cowley turns his attention to West Indian songs produced on the American mainland. Finally, in "Ethel Waters: 'Long, Lean, Lanky Mama,'" Randall Cherry reappraises the early career of this blues and vaudeville singer. Robert Springer is a professor of English at the University of Metz in Longeville les Metz, France. Among other works, he is the author of Authentic Blues: Its History and Its Themes and the editor of The Lyrics in African American Popular Music.
Ramblin' on My Mind: New Perspectives on the Blues
Publication Date: 2008-01-10
This compilation of essays takes the study of the blues to a welcome new level. Distinguished scholars and well-established writers from such diverse backgrounds as musicology, anthropology, musicianship, and folklore join together to examine blues as literature, music, personal expression, and cultural product. Ramblin' on My Mind contains pieces on Ella Fitzgerald, Son House, and Robert Johnson; on the styles of vaudeville, solo guitar, and zydeco; on a comparison of blues and African music; on blues nicknames; and on lyric themes of disillusionment. Contributors are Lynn Abbott, James Bennighof, Katharine Cartwright, Andrew M. Cohen, David Evans, Bob Groom, Elliott Hurwitt, Gerhard Kubik, John Minton, Luigi Monge, and Doug Seroff.
Soul Music: Tracking the Spiritual Roots of Pop From Plato to Motown
Publication Date: 2010-08-26
"Exceptionally illuminating and philosophically sophisticated." ---Ted Cohen, Professor of Philosophy, University of Chicago "In this audacious and long-awaited book, Joel Rudinow takes seriously a range of interrelated issues that most music theorizing is embarrassed to tackle. People often ask me about music and spirituality. With Soul Music, I can finally recommend a book that offers genuine philosophical insight into the topic." ---Theodore Gracyk, Professor of Philosophy, Minnesota State University Moorhead The idea is as strange as it is commonplace---that the "soul" in soul music is more than just a name, that somehow the music truly taps into something essential rooted in the spiritual notion of the soul itself. Or is it strange? From the civil rights movement and beyond, soul music has played a key, indisputable role in moments of national healing. Of course, American popular music has long been embroiled in controversies over its spiritual purity (or lack thereof). But why? However easy it might seem to dismiss these ideas and debates as quaint and merely symbolic, they persist. In Soul Music: Tracking the Spiritual Roots of Pop from Plato to Motown, Joel Rudinow, a philosopher of music, takes these peculiar notions and exposes them to serious scrutiny. How, Rudinow asks, does music truly work upon the soul, individually and collectively? And what does it mean to say that music can be spiritually therapeutic or toxic? This illuminating, meditative exploration leads from the metaphysical idea of the soul to the legend of Robert Johnson to the philosophies of Plato and Leo Strauss to the history of race and racism in American popular culture to current clinical practices of music therapy. Joel Rudinow teaches in the Philosophy and Humanities Departments at Santa Rosa Junior College and is the coauthor of Invitation to Critical Thinking and the coeditor of Ethics and Values in the Information Age.
Publication Date: 2013-04-23
Attracting passionate fans primarily among African American listeners in the South, Southern Soul draws on such diverse influences as the blues, 1960s-era Deep Soul, contemporary R & B, neosoul, rap, hip-hop, and gospel. Aggressively danceable, lyrically evocative, and fervidly emotional, Southern Soul songs often portray unabashedly carnal themes, and audiences delight in the performer-audience interaction and communal solidarity at live performances. Examining the history and development of Southern Soul from its modern roots in the 1960s and 1970s, David Whiteis highlights some of Southern Soul's most popular and important entertainers and provides first-hand accounts from the clubs, show lounges, festivals, and other local venues where these performers work. Profiles of veteran artists such as Denise LaSalle, the late J. Blackfoot, Latimore, and Bobby Rush--as well as other contemporary artists T. K. Soul, Ms. Jody, Sweet Angel, Willie Clayton, and Sir Charles Jones--touch on issues of faith and sensuality, artistic identity and stereotyping, trickster antics, and future directions of the genre. These revealing discussions, drawing on extensive new interviews, also acknowledge the challenges of striving for mainstream popularity while still retaining the cultural and regional identity of the music and of maintaining artistic ownership and control in the age of digital dissemination.
The Blues: A Very Short Introduction
Publication Date: 2010-08-05
Praised as "suave, soulful, ebullient" (Tom Waits) and "a meticulous researcher, a graceful writer, and a committed contrarian" (New York Times Book Review), Elijah Wald is one of the leading popular music critics of his generation. In The Blues, Wald surveys a genre at the heart of Americanculture. It is not an easy thing to pin down. As Howlin' Wolf once described it, "When you ain't got no money and can't pay your house rent and can't buy you no food, you've damn sure got the blues." It has been defined by lyrical structure, or as a progression of chords, or as a set of practices reflectingWest African "tonal and rhythmic approaches," using a five-note "blues scale." Wald sees blues less as a style than as a broad musical tradition within a constantly evolving pop culture. He traces its roots in work and praise songs, and shows how it was transformed by such professional performers asW. C. Handy, who first popularized the blues a century ago. He follows its evolution from Ma Rainey and Bessie Smith through Bob Dylan and Jimi Hendrix; identifies the impact of rural field recordings of Blind Lemon Jefferson, Charley Patton and others; explores the role of blues in the developmentof both country music and jazz; and looks at the popular rhythm and blues trends of the 1940s and 1950s, from the uptown West Coast style of T-Bone Walker to the "down home" Chicago sound of Muddy Waters. Wald brings the story up to the present, touching on the effects of blues on American poetry,and its connection to modern styles such as rap.As with all of Oxford's Very Short Introductions, The Blues tells you - with insight, clarity, and wit - everything you need to know to understand this quintessentially American musical genre.
The Gospel According to the Blues
Publication Date: 2014-10-27
The Gospel According to the Blues dares us to read Jesus's Sermon on the Mount in conversation with Robert Johnson, Son House, and Muddy Waters. It suggests that thinking about the blues--the history, the artists, the songs--provides good stimulation for thinking about the Christian gospel. Both are about a world gone wrong, about injustice, about the human condition, and both are about hope for a better world. In this book, Gary Burnett probes both the gospel and the history of the blues as we find it in the Sermon on the Mount, to help us understand better the nature of the good news which Jesus preached, and its relevance and challenge to us.
The Rise of Gospel Blues: The Music of Thomas Andrew Dorsey in the Urban Church
Publication Date: 1994-06-23
Most observers believe that gospel music has been sung in African-American churches since their organization in the late 1800s. Yet nothing could be further from the truth, as Michael W. Harris's history of gospel blues reveals. Tracing the rise of gospel blues as seen through the career ofits founding figure, Thomas Andrew Dorsey, Harris tells the story of the most prominent person in the advent of gospel blues. Also known as "Georgia Tom," Dorsey had considerable success in the 1920s as a pianist, composer, and arranger for prominent blues singes including Ma Rainey. In the 1930s he became involved in Chicago's African-American, old-line Protestant churches, where his background in the blues greatlyinfluenced his composing and singing. Following much controversy during the 1930s and the eventual overwhelming response that Dorsey's new form of music received, the gospel blues became a major force in African-American churches and religion. His more than 400 gospel songs and recent Grammy Awardindicate that he is still today the most prolific composer/publisher in the movement. Delving into the life of the central figure of gospel blues, Harris illuminates not only the evolution of this popular musical form, but also the thought and social forces that forged the culture in which thismusic was shaped.
When Your Way Gets Dark: A Rhetoric of the Blue
Publication Date: 2005-01-01
Description In When Your Way Gets Dark: A Rhetoric of the Blues, Jeffrey Carroll presents a cluster of rhetorical and literary theories that illuminate the blues' place in our social, political, and cultural traditions. Drawing from his 35 years of blues encounters, Carroll also analyzes performers and nine historic blues performances-including the blues of Charlie Patton, Skip James, Memphis Minnie, Muddy Waters, B.B. King, Jimi Hendrix, Eric Clapton, and others-as well as their own accounts of performances, to understand, paraphrasing Dylan Thomas, the force through which the blue fuse drives the music. When Your Way Gets Dark uncovers the rhetorical positions of the most significant writing and writers on the blues-Samuel Charters, Paul Oliver, Robert Palmer, William Ferris, David Evans, LeRoi Jones, Ralph Ellison, Larry Neal, Albert Murray-and seeks to find rhetorics there that may resolve or exacerbate the question of race, the blues, and audience. In When Your Way Gets Dark, Carroll also shows how teachers and students can-by reinventing its contexts, sound, and effects-recover the rhetorical power of the blues. What Others Have Said When Your Way Gets Dark presents a sustained look at how African-American art and performance has extended and shaped the American aesthetic and cultural landscape. Carroll shows that the blues are a legitimate art-form for sustained study, academic and otherwise; in so doing, he stretches our conceptions of what constitutes a text . . . and how we can explore text as performance in terms of theory, interpretation, and pedagogy-without reducing the blues to being only a literary object. . . . Carroll writes about the blues with grace, style, and insight. -Thomas Rickert, Purdue University About the Author Jeffrey Carroll is Professor of English and Director of the Graduate Program in English at the University of Hawai'i at Manoa, where he teaches courses on the blues, rhetoric and composition, and the American novel. He is the author of two textbooks, Dialogs: Reading and Writing in the Disciplines and The Active Reader (with Anne Ruggles Gere), as well as a novel, Climbing to the Sun.
Willie Dixon: Preacher of the Blues
Publication Date: 2011-08-29
One of the greats of blues music, Willie Dixon was a singer, songwriter, musician, arranger, and producer, and his work influenced countless artists across the musical spectrum, in Willie Dixon: Preacher of the Blues, Mitsutoshi Inaba examines Dixon's career, from his earliest recordings with the Five Breezes through his major work with Chess Records and Cobra Records. Focusing on Dixon's work on the Chicago blues from the 1940s to the early 1970s, Willie Dixon details the development of Dixon's songwriting techniques from his early professional career to his mature, period and compares the compositions he provided for different artists. This book explores Dixon's philosophy of songwriting and its social, historical, and cultural background. This is the first study to discuss his compositions in an African American cultural context, drawing on interviews with his family and former band members. This volume also includes a detailed list of Dixon's session work, in which his compositions are chronologically organized. Book jacket.