Jazz Duets for Saxophones
Did you beep when you should have bopped? Find a saxophone duet partner and learn to play jazz with more confidence. Includes 30 jazz rhythm challenges, eight practice duets, and nine extended performance duets at the intermediate level. The E-flat parts are printed in the first half of the book and the B-flat parts are printed in the second half---just mix and match! All selections are recorded on the play-along CD by saxophone greats Bruce Eskovitz and Ernie Watts.
"May be the best book ever written about jazz."—David Thomson, Los Angeles Times In eight poetically charged vignettes, Geoff Dyer skillfully evokes the music and the men who shaped modern jazz. Drawing on photos, anecdotes, and, most important, the way he hears the music, Dyer imaginatively reconstructs scenes from the embattled lives of some of the greats: Lester Young fading away in a hotel room; Charles Mingus storming down the streets of New York on a too-small bicycle; Thelonious Monk creating his own private language on the piano. However, music is the driving force of But Beautiful, and wildly metaphoric prose that mirrors the quirks, eccentricity, and brilliance of each musician's style.
The author recalls his journey to Central Africa, his search for gorillas, and the people he met along the way
William Shakespeare was born at Stratford-on-Avon, in a house under the tiles of which was concealed a profession of the Catholic faith beginning with these words, "I, John Shakespeare." John was the father of William. The house, situate in Henley Street, was humble; the chamber in which Shakespeare came into the world, wretched,—the walls whitewashed, the black rafters laid crosswise; at the farther end a tolerably large window with two small panes, where you may read to-day, among other names, that of Walter Scott. This poor lodging sheltered a decayed family. The father of William Shakespeare had been alderman; his grand-father had been bailiff. Shakespeare signifies "shake-lance;" the family had for coat-of-arms an arm holding a lance,—allusive arms, which were confirmed, they say, by Queen Elizabeth in 1595, and apparent, at the time we write, on Shakespeare's tomb in the church of Stratford-on-Avon. There is little agreement on the orthography of the word Shake-speare, as a family name; it is written variously,—Shakspere, Shakespere, Shakespeare, Shakspeare. In the eighteenth century it was habitually written Shakespear; the actual translator has adopted the spelling Shakespeare, as the only true method, and gives for it unanswerable reasons. The only objection that can be made is that Shakspeare is more easily pronounced than Shakespeare, that cutting off the e mute is perhaps useful, and that for their own sake, and in the interests of literary currency, posterity has, as regards surnames, a claim to euphony. It is evident, for example, that in French poetry the orthography Shakspeare is necessary. However, in prose, and convinced by the translator, we write Shakespeare. 2. The Shakespeare family had some original draw-back, probably its Catholicism, which caused it to fall. A little after the birth of William, Alderman Shakespeare was no more than "butcher John." William Shakespeare made his début in a slaughter-house. At fifteen years of age, with sleeves tucked up, in his father's shambles, he killed the sheep and calves "pompously," says Aubrey. At eighteen he married. Between the days of the slaughter-house and the marriage he composed a quatrain. This quatrain, directed against the neighbouring villages, is his début in poetry. He there says that Hillbrough is illustrious for its ghosts and Bidford for its drunken fellows. He made this quatrain (being tipsy himself), in the open air, under an apple-tree still celebrated in the country in consequence of this Midsummer Night's Dream. In this night and in this dream where there were lads and lasses, in this drunken fit, and under this apple-tree, he discovered that Anne Hathaway was a pretty girl. The wedding followed. He espoused this Anne Hathaway, older than himself by eight years, had a daughter by her, then twins, boy and girl, and left her; and this wife, vanished from Shakespeare's life, appears again only in his will, where he leaves her the worst of his two beds, "having probably," says a biographer, "employed the best with others." Shakespeare, like La Fontaine, did but sip at a married life. His wife put aside, he was a schoolmaster, then clerk to an attorney, then a poacher. This poaching has been made use of since then to justify the statement that Shakespeare had been a thief. One day he was caught poaching in Sir Thomas Lucy's park. They threw him in prison; they commenced proceedings. These being spitefully followed up, he saved himself by flight to London. In order to gain a livelihood, he sought to take care of horses at the doors of the theatres. Plautus had turned a millstone. This business of taking care of horses at the doors existed in London in the last century, and it formed then a kind of small band or corps that they called "Shakespeare's boys."
Poirot s Early Cases Poirot
In this set of short stories Captain Hastings recounts 18 of Poirot’s early cases from the days before he was famous...
The only piece of information that Summer Davis takes away from her years at Peninsula Upper School -- one of the finest in the Brooklyn Heights-to-Park Slope radius, to quote the promotional materials -- is the concept that DNA defines who we are and forever ties us to our relatives. A loner by circumstance, a social outcast by nature, and a witty and warm narrator of her own unimaginable chaos by happenstance, Summer hangs on to her interest in genetics like a life raft, in an adolescence marked by absence: her beautiful, aloof mother abandons the family without a trace; her father descends into mental illness, haunted by a lifelong burning secret and abetted by a series of letters that he writes to make sense of his feelings; her best friend Claire drifts out of Summer's life in a breeze of indifference, feigned on both sides; and her older brother fluctuates between irrational fury and unpredictable tenderness in an inaccessible world of his making. Uncertain of her path and unbalanced by conflicting impulses toward hope and escape, Summer stays close to her father while attending college, taking him to electro-shock therapy treatments and trying to make sense of his inscrutable past. Upon his departure for a new and possibly recovered life, Summer begins to question the role of genetics and whether she is destined to live out her family's legacy of despair. But it is only when Summer decides to leave New York herself and put off a promising science career to take care of her great-aunt Stella -- bedrock of the family and bastion of folksy wisdom, irreverent insight, and Sinatra memorabilia in a less-than-scenic part of the Pennsylvanian countryside -- that Summer begins to learn that her biography doesn't have to define her...and that her future, like her DNA, belongs to her alone. In a novel consumed by the uncertainties of science, the flaws of our parents, and enough loss and longing to line a highway, Sara Shepard is a penetrating chronicler of the adolescence we all carry into adulthood: how what happens to you as a kid never leaves you, how the fallibility of your parents can make you stronger, and how being right isn't as important as being wise. From the backwoods of Pennsylvania to the brownstones of Brooklyn Heights, The Visibles investigates the secrets of the past, and the hidden corners of our own hearts, to find out whether real happiness is a gift or a choice.
Protest Music in France
Barbara Lebrun traces the evolution of 'protest' music in France since 1981, exploring the contradictions that emerge when artists who take their musical production and political commitment 'seriously', cross over to the mainstream, becoming profitable and consensual. Contestation is understood as a discourse shaped by the assumptions and practices of artists, producers, the media and audiences, for whom it makes sense to reject politically reactionary ideas and the dominant taste for commercial pop. Placing music in its economic, historical and ideological context, however, reveals the fragility and instability of these oppositions. The book focuses on music production in France, the representations of a 'protest' identity in relation to discourses of national identity and examines the audiences of French 'protest' music and considers festivals as places of 'non-mainstream' identity negotiation.
Delta Blues Guitar
The Mississippi Delta of the 1920s-1940s was a treasure chest of powerful blues performances. These lessons detail tunes by Willie Brown, Tommy Johnson, and Mississippi John Hurt. This book features notation, tablature, and three compact discs of phrase-by-phrase audio instruction for the intermediate guitarist.