In addition to providing a vivid account of life on the road and imparting new insight into the daily existence of working musicians, this book illustrates how the fundamental issue of race influenced Albert's life, as well as the music of the era."

Christopher Wilkinson uncovers a fascinating and unexplored side of American musical and social history in this richly detailed account of Don Albert's musical career and the multicultural forces that influenced it. Albert was born Albert Dominque in New Orleans in 1908. Wilkinson discusses his musical education in the Creole community of New Orleans and the fusion of New Orleans jazz and the Texas blues styles in the later 1920s during his tenure with Troy Floyd's Orchestra of Gold. He documents the founding of Albert's own band in San Antonio, its tours through twenty-four states during the 1930s, its recordings, and its significant reputation within the African American community. In addition to providing a vivid account of life on the road and imparting new insight into the daily existence of working musicians, this book illustrates how the fundamental issue of race influenced Albert's life, as well as the music of the era. Albert's years as a San Antonio nightclub owner in the 1940s and 1950s saw the rise in popularity of rhythm and blues and the decline of interest in jazz. There was also increasing racial animosity, which Albert resisted by the successful legal defense of his right to operate an integrated establishment in 1951. In the two decades before his death in 1980, his performances in Dixieland jazz bands and interviews with oral historians concerning his own career were the fitting climax to a multifaceted musical life. Albert's voice and personality, his feelings and opinions about the music he loved, and the obstacles he faced in performing and promoting it, are artfully conveyed in Wilkinson's fluid, accessible, and erudite narrative. Jazz on the Road shows the importance of live performance in bringing jazz to America, and succeeds brilliantly in depicting an era, a locale, and a way of life.

Brian Wilson and The Beach Boys, Bob Dylan, Bruce Springsteen, and Paul Simon-these familiar figures have written road music for half a century and continue to remain highly-regarded artists. But there is so much more to say about road music. This book fills a glaring hole in scholarship about the road and music. In a collection of 13 essays, Music and the Road explores the origins of road music in the blues, country-western, and rock 'n' roll; the themes of adventure, freedom, mobility, camaraderie, and love, and much more in this music; the mystique and reality of touring as an important part of getting away from home, creating community among performers, and building audiences across the country from the 1930s to the present; and the contribution of music to popular road films such as Bonnie and Clyde, Easy Rider, Thelma and Louise, and On the Road.

In To a Young Jazz Musician, the renowned jazz musician and Pulitzer Prize—winning composer Wynton Marsalis gives us an invaluable guide to making good music–and to leading a good life. Writing from the road “between the bus ride, the sound check, and the gig,” Marsalis passes on wisdom gained from experience, addressed to a young musician coming up–and to any of us at any stage of life. He writes that having humility is a way to continue to grow, to listen, and to learn; that patience is necessary for developing both technical proficiency and your own art rather than an imitation of someone else’s; and that rules are indispensable because “freedom lives in structure.” He offers lessons learned from his years as a performer and from his great forebears Duke Ellington, Charlie Parker, and others; he explores the art of swing; he discusses why it is important to run toward your issues, not away; and he talks about what to do when your integrity runs up against the lack thereof in others and in our culture. He poetically expresses our need for healers: “All of it tracks back to how you heal your culture, one patient at a time, beginning with yourself.” This is a unique book, in which a great artist offers his personal thoughts, both on jazz and on how to live a better, more original, productive, and meaningful life. To a Young Jazz Musician is sure to be treasured by readers young and old, musicians, lovers of music, and anyone interested in being mentored by one of America’s most influential, generous, and talented artists.

Any listener knows the power of music to define a place, but few can describe the how or why of this phenomenon. In Lonesome Roads and Streets of Dreams: Place, Mobility, and Race in Jazz of the 1930s and ’40s, Andrew Berish attempts to right this wrong, showcasing how American jazz defined a culture particularly preoccupied with place. By analyzing both the performances and cultural context of leading jazz figures, including the many famous venues where they played, Berish bridges two dominant scholarly approaches to the genre, offering not only a new reading of swing era jazz but an entirely new framework for musical analysis in general, one that examines how the geographical realities of daily life can be transformed into musical sound. Focusing on white bandleader Jan Garber, black bandleader Duke Ellington, white saxophonist Charlie Barnet, and black guitarist Charlie Christian, as well as traveling from Catalina Island to Manhattan to Oklahoma City, Lonesome Roads and Streets of Dreams depicts not only a geography of race but how this geography was disrupted, how these musicians crossed physical and racial boundaries—from black to white, South to North, and rural to urban—and how they found expression for these movements in the insistent music they were creating.

A year in the life of the jazz musician and composer includes his views on rap, the road, romance, creativity, politics, culture, and the role of the artist in American society.

A jazz writer for three decades, W. Royal Stokes has a special talent for capturing the initial spark that launches a musician's career. In Growing Up With Jazz , he has interviewed twenty-four instrumentalists and singers who talk candidly about the early influences that started them on the road to jazz and where that road has taken them. Stokes offers a kaleidoscopic look at the jazz scene, featuring musicians from a dazzling array of backgrounds. Ray Gelato recalls the life of a working class youth in London, Patrizia Scascitelli recounts being a child prodigy in Rome who became the first woman of Italian jazz, and Billy Taylor tells about his childhood in Washington, DC, where his grandfather was a Baptist minister and his father a dentist--and everyone in the family seemed well trained in music. Perhaps most exotic is Luluk Purwanto, an Indonesian violinist who as a child listened to gamelan music in the morning and took violin lessons in the afternoon (on an instrument so expensive she didn't dare quit). For some, the flame burned bright at an early age. Jane Monheit sang before she could speak and was set on a musical career by age eight. Lisa Sokolov played classical piano, sang opera and choral music, and was in a jazz band--all by high school. But Carol Sudhalter, though born into a very musical family ("a Bix Beiderbecke family"), was a botany major at Smith, and only became a serious musician after college, quitting a government job to study the flute and saxophone in Italy. From Art Blakey to Claire Daly to Don Byron, here are the compelling stories of two dozen top musicians finding their way in the world of jazz.