"If there is a genius in music in the 20th century, it's Miles Davis, and no one has gotten more involved in his life and his music than the poet Quincy Troupe."--Barbara Christian, University of California, Berkeley

"Brilliant, poetic, provocative, Quincy Troupe's "Miles and Me "reveals the man behind the dark glasses and legend."--Ishmael Reed, author of "Mumbo Jumbo"

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.

Drawing from contemporary journalism, reviews, program notes, memoirs, interviews, and other sources, Keeping Time lets you experience, first hand, the controversies and critical issues that have accompanied jazz from its very birth. Edited by Robert Walser, these sixty-two thought provoking pieces offer a wealth of insight into jazz. Some of the giants of jazz speak to us here, including Jelly Roll Morton, Billie Holiday, Charles Mingus and Wynton Marsalis. And there are pieces by writers such as Langston Hughes, Norman Mailer, and Ralph Ellison, and by critics such as Leonard Feather and Gunther Schuller. Readers will find Louis Armstrong on what makes swing, Dizzy Gillespie on bebop, and Miles Davis on jazz-rock fusion. Equally important, Walser has selected writings that capture the passionate reactions of people who have loved, hated, supported, and argued about jazz. One can read, for instance, a dismissive article written in 1918 that relegates jazz to the "servant's hall of music" along with "the clatter of the clogs, the click of Slavic heels." Or a debate between Wynton Marsalis and Herbie Hancock over the merits of free jazz and electric instruments. Or Duke Ellington's claim that jazz is neither highbrow nor lowbrow, but "goes back to something just about as old--and as natural--as the circulation of the blood." In the end, the focus here remains on how the music works and why people have cared about it. Filled with passionately felt, insightful writing, Keeping Time will increase one's historical awareness of jazz even as it provokes lively discussion among jazz aficionados, whether in clubs, concert halls or classrooms.

What is rock and roll and where does it come from? In this new study of music, literature, and culture, Perry Meisel shows how rock and roll joins both Romanticism and the blues tradition by testing the boundaries they share: boundaries between freedom and irony, between country and city, between the iconic figures of cowboy (e.g. John Wayne) and dandy (e.g. Oscar Wilde). In a series of startling juxtapositions, Meisel looks at rhythm and blues, Emerson and the cowboy, urban blues, the dandy and 60's psychedelia, Willa Cather, Miles Davis, and Virginia Woolf. In the process, Meisel shows how "popular" and "high" culture are hardly fixed categories, and in fact share deep roots each vainly affects to disdain.

Musical performance on brass instruments has blossomed in the 20th century because of technical improvements in horn making, a vastly increased literature, and an astonishing number of outstanding players. Louis Armstrong, Tommy Dorsey, and Doc Severinsen have become household names, and classical musicians such as Maurice Andre, Christian Lindberg, and Barry Tuckwell have pursued distinguished careers as soloists. Twentieth-Century Brass Soloists analyzes and celebrates nearly one hundred brass soloists who have performed and been recorded widely, and whose genius, technique, and style have combined to produce unforgettable moments in music.

Modern jazz and rock 'n' roll, both of which were once identified with youthful insurrection, have reached middle age. So have many longtime listeners -- including Francis Davis. Now, in these thirty-one articles, the revered jazz critic considers music young and old, examining performers from Frank Sinatra and Billie Holiday to Ornette Coleman and Sun Ra. But what makes this Davis's most surprising book is the inclusion of such pop icons as Elvis Presley, Bob Dylan, Burt Bacharach, and Lou Reed. Using himself as an example, Davis pinpoints our collective longing for a time when we (and our music) were younger -- and more inclined to take risks. Lively, opinionated, gracefully written, and often very funny, Like Young is a book for those who have long savored Davis's writing, as well as for those just now discovering him.