This is the autobiography of a master musician, the King of British blues saxophone. In the 60s and 70s Dick was the cornerstone of such seminal R&B bands as Alexis Korner’s Blues Incorporated, the Graham Bond Organisation, John Mayall’s Bluesbreakers and Colosseum, paving the way for R&B-influenced rock groups like Fleetwood Mac, the Yardbirds, the Animals and the Rolling Stones. With his pithy humour, Dick describes the revolutionary founding years of British R&B - his anecdotes about Ginger Baker, Alexis Korner, Charlie Watts and the unforgettable Graham Bond alone are worth the price. An extraordinarily entertaining book, Dick’s unrelentingly honest account of his musical career also reflects on what it takes to be a full time musician, and grapples with the racism and drug abuse endemic in the music industry. In the back of the book is a CD featuring 25 minutes of previously unreleased tracks by Dick Heckstall-Smith, illustrating the sheer musical diversity of his work.

New York City has always been a mecca in the history of jazz, and in many ways the city’s jazz scene is more important now than ever before. Blowin’ the Blues Away examines how jazz has thrived in New York following its popular resurgence in the 1980s. Using interviews, in-person observation, and analysis of live and recorded events, ethnomusicologist Travis A. Jackson explores both the ways in which various participants in the New York City jazz scene interpret and evaluate performance, and the criteria on which those interpretations and evaluations are based. Through the notes and words of its most accomplished performers and most ardent fans, jazz appears not simply as a musical style, but as a cultural form intimately influenced by and influential upon American concepts of race, place, and spirituality.

(Harmonica). This exceptional, content-packed collection features 21 classic recordings of the great artists of the blues harp, transcribed and annotated by Glenn Weiser. Includes biographies of each personality, easy-to-read tablature, a notation guide, extensive performance notes, and a foreword by the legendary Charlie Musselwhite. Songs include: Baby, Scratch My Back (Slim Harpo) * The Big Boat (Charlie Musselwhite) * Blue Light (Little Walter) * Bottom Blues (Sonny Terry) * Blues in the Dark (George Smith) * Born Blind (Sonny Boy Williamson II) * Caravan (Gary Primich) * I'm Ready (Cary Bell) * Work Song (Paul Butterfield) * and more.

(Harmonica). If you're just getting started or a veteran looking to add more licks to your arsenal, this book with audio is for you. From basic 12-bar blues backing riffs to mojo-packed solo licks, Steve Cohen shares 100 time-tested licks to help you get the most out of your 10-hole diatonic harp. All examples are played on a C harp and are written in standard notation and harmonica tab. The audio includes demonstration tracks for all of the licks many with play-along tracks. Includes: cross harp and straight harp licks; boogie-woogie licks; stop-time licks; ascending & descending licks; funk licks; shuffle licks; horn-adapted licks; glissandro licks; octave licks; warble licks; over-blowing chromatic licks; turn-arounds and endings. Also include many riffs in the styles of Sonny Boy Williamson II, Little Walter, Howlin' Wolf, Jimmy Reed, James Cotton, and more!

Hailed by many as the world's greatest harmonica player, John Popper has redefined the instrument. As the lead singer and principal songwriter of Blues Traveler, Popper has performed for more than 30 million people over 2,000 live dates and composed such radio staples as "Hook," "But Anyway," and "Run-Around," the longest-charting single in Billboard history. He has appeared with Eric Clapton and B. B. King at the White House, welcomed the Hungarian ambassador to the stage, and inducted Carlos Santana into the Rock and Roll Hall of Fame. In Suck and Blow, Popper shares a candid, spirited account of his life and career. A straight-F student at Princeton High School, Popper's life changed with one serendipitous harmonica solo that captured the attention of his mercurial band teacher (the same teacher whose life was later fictionalized in the Academy Award-winning film Whiplash). After befriending three fellow musicians with whom he would form Blues Traveler, Popper's academic career nearly ended in twelfth grade, until a meeting with the Dean of the New School for Social Research in which Popper pulled out his trusty harp and played his way into college. Popper and Blues Traveler soon became enmeshed in the lower Manhattan music scene of the late 1980s, eventually becoming the house band at the fabled Wetlands Preserve and embarking on a journey that would one day land the group at Madison Square Garden on New Year's Eve. Along the way, Popper and his cohorts commanded the attention of fans and bands alike, through inspired performances and riotous debauchery. Popper's unique perspective on the music business began under the tutelage of Blues Traveler's mentor and manager Bill Graham. After the rock impresario's untimely passing, Popper applied many of Graham's lessons to the formation of the H.O.R.D.E. tour, which John co-owned and hosted over eight years, welcoming such artists as Neil Young, the Allman Brothers Band, Phish, Dave Matthews Band, Ziggy Marley, and his longtime friends the Spin Doctors. Popper also shares a forthright assessment of his longstanding battle with obesity. Plagued by weight problems since childhood, a motorcycle accident a few years into his career confined him to a wheelchair for two years while his weight ballooned to 436 pounds. Angioplasty, gastric bypass surgery, and a tattoo on his chest that reads "I Want to Be Brave" when viewed in the mirror are products of Popper's struggle, compounded by codependency issues and the untimely death of founding Blues Traveler bassist Bobby Sheehan. Popper's personal identity is entwined with his political passions. A staunch supporter of gun rights, he has performed at the National Republican Convention, yet he also maintains liberal positions on social issues. He will reconcile these views and share his encounters with the Bush family, the Clintons, the Gores, and other politicos. The iconoclastic, self-described Johnny Appleharp also dishes on cutting contests, Twitter trolls, party fouls, and prostitutes. In Suck and Blow, John Popper does it all with his signature honesty, humility, and humor. /DIV

In 1969 Gerhard Kubik chanced to encounter a Mozambican labor migrant, a miner in Transvaal, South Africa, tapping a cipendani, a mouth-resonated musical bow. A comparable instrument was seen in the hands of a white Appalachian musician who claimed it as part of his own cultural heritage. Through connections like these Kubik realized that the link between these two far-flung musicians is African-American music, the sound that became the blues. Such discoveries reveal a narrative of music evolution for Kubik, a cultural anthropologist and ethnomusicologist. Traveling in Africa, Brazil, Venezuela, and the United States, he spent forty years in the field gathering the material for Africa and the Blues. In this book, Kubik relentlessly traces the remote genealogies of African cultural music through eighteen African nations, especially in the Western and Central Sudanic Belt. Included is a comprehensive map of this cradle of the blues, along with 31 photographs gathered in his fieldwork. The author also adds clear musical notations and descriptions of both African and African American traditions and practices and calls into question the many assumptions about which elements of the blues were "European" in origin and about which came from Africa. Unique to this book is Kubik's insight into the ways present-day African musicians have adopted and enlivened the blues with their own traditions. With scholarly care but with an ease for the general reader, Kubik proposes an entirely new theory on blue notes and their origins. Tracing what musical traits came from Africa and what mutations and mergers occurred in the Americas, he shows that the African American tradition we call the blues is truly a musical phenomenon belonging to the African cultural world [Publisher description].

(Harmonica Play-Along). The Harmonica Play-Along Series will help you play your favorite songs quickly and easily. Just follow the notation, listen to the audio to hear how the harmonica should sound, and then play along using the separate backing tracks. The melody and lyrics are also included in case you want to sing, or to simply help you follow along. Volume 9 includes: Got My Mo Jo Working * Hard Hearted Woman * Help Me * I Ain't Got You * Juke * Messin' with the Kid * One More Heartache * Walking by Myself.