No comments about 312. Jump, Jive, Wail and Swing.

No comments about Swing Guitar (Book & 3 CDs).

3 comments about Milton Brown and the Founding of Western Swing (Music in American Life).

1. Cary Ginell has captured a part of our country western music history that has gone essentially unpublished; giving way to the likes of Bob Wills, Hank Thompson and others. A part of our heritage moving off the horizon has been captured in part by the research of Mr. Ginell and help document the beginnings of western swing. As one of the contributors to his research, I enjoyed reading his perspective of the evolution of this part of our culture. Although I disagree with some of the conclusions reached between the relationship between Milton Brown and my father and grandfather, I find his work to include a balanced blend of stories and recollections from people who were a part of the evolution. Crystal Springs, "Papa Sam" and "Baby Henry" Cunningham were central to the creation and spread of this music phenomenon. From Papa Sam's early efforts to uplift spirits through a musical forum to Baby Henry's "ear" and search for a particular sound; this music was born at Crystal Springs in Fort Worth, Texas. Papa Sam and the Babe moved this music throughout Texas and the neighboring states through radio, recordings, and personal appearances. Mr. Ginell slightly missed the mark giving weight to there not being a formal business arrangement between Milton Brown and Papa Sam. In those days your word was your bond and a handshake was more binding than anything we have today. Milton Brown and Bob Wills were both indebted to the efforts and support given them by my father and grandfather; and vice versa. Their relationships were binding and lasting beyond the superficial disagreements fueled by the price of fame gained. After approaching their peaks (Milton and Bob), they would still call on the Babe when they were hurting. Most people didn't see the stars when they were a little tarnished and needed some polishing before being put back in their places for all to see. Most of their problems extending beyond family to outside relationships (personal and professional), financial support and alcohol were attended to in a very discreet and sometimes forcefull manner by the two people they knew had the ability and heart to come alongside. Good job, Cary, maybe we'll see more on Crystal Springs, Papa Sam and the Babe before all those from that era pass.



2. Great reading for the newcomer as well as the old seasoned lover of this Texas born music. Cary Ginell & Roy Lee Brown did a super job on this book! History told is in great detail. As my old friend Frank Reneau, who was a Crystal Spring Rambler & Light Crust Doughboy as well said, "It took me back 65 years!"
   Highly recommended!



3. Book is going to be a gift. I'll not be reading it.

1 comments about Big Book of Swing ("Piano, Vocal, Guitar).

1. This book featured piano and guitar reductions of some of the most famous pop tunes of the Swing Era. The music is primarily accompaniment for vocals, though. Only "Air Mail Special" and "In the Mood" don't come with lyrics. That's great for singers, like me, but my friends who are pianists were disappointed by the lack of complexity in the accompaniment.

2 comments about Accordions, Fiddles, Two Step & Swing: A Cajun Music Reader.

1. 
   Accordions, Fiddles, Two Step & Swing gives a fresh new perspective on the music of the Cajuns, showing that it is not a completely isolated cultural artform, but a result of a unique ethnic people who are contsantly being influenced and changed by thier American nieghbors, integrating mainstream culture into thier own, without losing the Cajun identity.
   
   The book fills in many of the blanks we all wonder about...how did these musicians actually live and learn. Reviews many overlooked bands and musicians that were never given credit because the are "outside the cultural boundaries."
   
   My favorite aspect of Accordions, Fiddles, Two Step & Swing: A Cajun Music Reader, is how it focuses not on the romantic idealism of South Louisiana, but focuses on the reality of this Franco-Catholic culture surrounded by an Anglo-protestant America, and the effects of this constant influence from the outside-in.
   
   I recommend this book to any Americana music lovers, Cajun/Creole fans, musicians, and any Cajun who wants to understand more where many of our musical traditions and stigmas have evolved through the years



2. It states quite early on that it's going to be about cajun music and not zydeco - apart from where they meet - but as a collection of essential articles about the music and people and more - it can't be beaten - only updated, as time passes.

No comments about Best of Swing: Jazz Play Along Series Volume 32 (Jazz Play Along Series).

No comments about Swing Along: The Musical Life of Will Marion Cook.

3 comments about Oscar Peterson, Updated Edition: The Will to Swing.

1. This updated version of the great jazz pianist is an excellent work by Mr. Lees. Few other writers could do justice to this project. Gene Lees has known most of the legends of jazz and counts many as personal friends. Only someone like Lees could have done such an extensive piece on this celebrated artist. The story of Oscar Peterson and his impact on modern jazz is worthy of 5 stars. Highly recommended for students of jazz history and those many fans that have collected OP's recordings for decades. A marvelous effort by the author.



2. If you listen to Oscar Peterson recordings and ever wonder just how and why he became so great this is he book to read. An accurate and facinating biography of Peterson from birth right up the year 2000 in this updated edition.
   
   The book is full of little musical details that you won't know about. Stories about Oscar's influences, his musical competetiveness and his abhorence of racism. There is lot written on the mixed reaction to Oscars playing over the years. Nobody disputes he has (or had) technique of the highest standard, but some critised him for lacking originality and Miles Davis (in)famously once said "...he even had to learn how to play the blues". All this is discussed and more.
   
   A great biography of a great artist.



3. This is somewhat of a mixed bag, uneasily straddling the divide between a fan's gushy enthusiasm and a critic's more distanced perspective. I, in turn, am torn between giving it 3 or 4 stars. Perhaps it is the fan in me that ultimately nudges my decision upwards to the fourth star.
   
   In my youth I spent countless hours at the piano, almost all of it devoted to classical music. Hence, I have less of a feel for jazz piano than I would like. But for a long time, Oscar Peterson has been one of my favorite jazz pianists (along with Bill Evans, until about a decade ago when I first was introduced to Art Tatum, who may even edge out OP). I also was familiar with the NPR duo/interview disc Marian McPartland did with Peterson, and I was impressed with his obvious intellect, thoughtfulness, and dignity.
   
   With all that as background, I opened this book with keen anticipation. I learned that Oscar Peterson, even putting aside his mammoth musical ability, is a remarkable and admirable person. (So, too, were his father and sister, both of whom had a lot to do with his character and musical training, and Ray Brown, his bassist and alter-ego in perhaps the finest trio(s) in jazz history.) And I learned that indeed Oscar Peterson is a person of intelligence, thoughtfulness, and dignity. I also learned much about his life, in a straightforward, easy-to-digest fashion, albeit without at times sufficient critical distance.
   
   The book is written by Gene Lees, who is both a long-time fan and friend of Oscar Peterson (and, apparently, fellow Canadian) and a long-time jazz critic. To my mind, the best chapters of the book were two in which Lees-as-critic were more to the fore than Lees-as-fan: Chapter 18 deals with jazz criticism, the uneasy position of the piano within jazz, and Oscar Peterson as a piano virtuoso in the tradition of Chopin and Liszt; Chapter 21 contains a provocative discussion of the present problems with jazz and reasons for its decline in popularity. I can unreservedly recommend those two chapters to anyone interested in jazz or piano, but the rest of the book, I believe, would be appreciated primarily by those already taken with Oscar Peterson.
   
   I can't resist ending with one quote from Oscar Peterson. As a youth in Montreal, he had received considerable teaching and training as a classical pianist. When asked late in life whether he would have continued in the classical tradition had it not been for the then almost insuperable barriers to entry to the concert stage for black musicians, Peterson said: "No. I'd still have taken the direction I did. Because of the creativity of jazz."

1 comments about Mel Bay 60 Hot Licks for Western Swing Guitar.

1. This book is an excellent way to learn some authentic licks for Western Swing guitar. The licks are written in tab and notated. This is an intermediate to advanced book and assumes that yuou can play the guitar reasonably well. Like all of theses lick books you should learn these licks in serveral keys and practice them over the changes to your favorite tunes to internalize thier use. If you are willing to take the time to do this the results will be well worthwhile. I would alos suggest getting Brent Mason's video, he has some great Western swing lines as well as great country licks. Also Stacy Phillips book "Western Swing Fiddle" has a lot of transcriptions off the reodrd that will give you the feel of improvising in a Western Swing style.

No comments about Music Minus One Trumpet: Munich Brass: The Swing Era (Sheet Music and CD Accompaniment).