Rick Martin loved music and the music loved him. He could pick up a tune so quickly that it didn’t matter to the Cotton Club boss that he was underage, or to the guys in the band that he was just a white kid. He started out in the slums of LA with nothing, and he ended up on top of the game in the speakeasies and nightclubs of New York. But while talent and drive are all you need to make it in music, they aren’t enough to make it through a life. Dorothy Baker’s Young Man with a Horn is widely regarded as the first jazz novel, and it pulses with the music that defined an era. Baker took her inspiration from the artistry—though not the life—of legendary horn player Bix Beiderbecke, and the novel went on to be adapted into a successful movie starring Kirk Douglas, Lauren Bacall, and Doris Day.

Rick Martin loved music and the music loved him. He could pick up a tune so quickly that it didn’t matter to the Cotton Club boss that he was underage, or to the guys in the band that he was just a white kid. He started out in the slums of LA with nothing, and he ended up on top of the game in the speakeasies and nightclubs of New York. But while talent and drive are all you need to make it in music, they aren’t enough to make it through a life. Dorothy Baker’s Young Man with a Horn is widely regarded as the first jazz novel, and it pulses with the music that defined an era. Baker took her inspiration from the artistry—though not the life—of legendary horn player Bix Beiderbecke, and the novel went on to be adapted into a successful movie starring Kirk Douglas, Lauren Bacall, and Doris Day.

In jazz circles, players and listeners with “big ears” hear and engage complexity in the moment, as it unfolds. Taking gender as part of the intricate, unpredictable action in jazz culture, this interdisciplinary collection explores the terrain opened up by listening, with big ears, for gender in jazz. Essays range from a reflection on the female boogie-woogie pianists who played at Café Society in New York during the 1930s and 1940s to interpretations of how the jazzman is represented in Dorothy Baker’s novel Young Man with a Horn (1938) and Michael Curtiz’s film adaptation (1950). Taken together, the essays enrich the field of jazz studies by showing how gender dynamics have shaped the production, reception, and criticism of jazz culture. Scholars of music, ethnomusicology, American studies, literature, anthropology, and cultural studies approach the question of gender in jazz from multiple perspectives. One contributor scrutinizes the tendency of jazz historiography to treat singing as subordinate to the predominantly male domain of instrumental music, while another reflects on her doubly inappropriate position as a female trumpet player and a white jazz musician and scholar. Other essays explore the composer George Russell’s Lydian Chromatic Concept as a critique of mid-twentieth-century discourses of embodiment, madness, and black masculinity; performances of “female hysteria” by Les Diaboliques, a feminist improvising trio; and the BBC radio broadcasts of Ivy Benson and Her Ladies’ Dance Orchestra during the Second World War. By incorporating gender analysis into jazz studies, Big Ears transforms ideas of who counts as a subject of study and even of what counts as jazz. Contributors: Christina Baade, Jayna Brown, Farah Jasmine Griffin, Monica Hairston, Kristin McGee, Tracy McMullen, Ingrid Monson, Lara Pellegrinelli, Eric Porter, Nichole T. Rustin, Ursel Schlicht, Julie Dawn Smith, Jeffrey Taylor, Sherrie Tucker, João H. Costa Vargas

Orgill's vivid words and Jenkins's dramatic pictures combine to tell the story of a boy who grew up to be a giant of jazz--the legendary and beloved Louis Armstrong.

Fallen Angels by Walter Dean Myers is a young adult novel about seventeen-year-old Richie Perry, a Harlem teenager who volunteers for the Army when unable to afford college and is sent to fight in the Vietnam War. Perry and his platoon—Peewee, Lobel, Johnson, and Brunner—come face-to-face with the Vietcong, the harsh realities of war, and some dark truths about themselves. A thoughtful young man with a gift for writing and love of basketball, Perry learns to navigate among fellow soldiers under tremendous stress and struggles with his own fear as he sees things he’ll never forget: the filling of body bags, the deaths of civilians and soldier friends, the effects of claymore mines, the fires of Napalm, and jungle diseases like Nam Rot. Available as an e-book for the first time on the 25th anniversary of its publication, Fallen Angels has been called one of the best Vietnam War books ever and one of the great coming-of-age Vietnam War stories. Filled with unforgettable characters, not least Peewee Gates of Chicago who copes with war by relying on wisecracks and dark humor, Fallen Angels “reaches deep into the minds of soldiers” and makes “readers feel they are there, deep in the heart of war.” Fallen Angels has won numerous awards and honors, including the Coretta Scott King Award, an ALA Best Book for Young Adults, a Booklist Editors Choice, and a School Library Journal Best Book. Fallen Angels was #16 on the American Library Association’s list of the most frequently challenged books of 1990–2000 for its realistic depiction of war and those who fight in wars.

Brendan Wolfe's Finding Bix is a personal and often surprising attempt to connect music, history, and legend. A native of Bix Beiderbecke's hometown of Davenport, Iowa, Wolfe grew up seeing Bix's iconic portrait on everything from posters to parking garages. He never heard his music, though, until cast to play a bit part in an Italian biopic filmed in Davenport. Then, after writing a newspaper review of a book about Beiderbecke, Wolfe unexpectedly received a letter from the late musician's nephew scolding him for getting a number of facts wrong. This is where Finding Bix begins: in Wolfe's good-faith attempt to get the facts right.