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Revenge might be cold . . . Xander Dade has a deep-seated regret, and the nomadic decade he’s spent doling out justice as a computer hacker hasn’t helped ease his conscience. Ever since Charlie McGovern was asked to leave the specialized revenge-for-hire business called Dirty Deeds, the curvy blonde bombshell has been stuck in his head. And now that the talented thief is being stalked by a dangerous enemy, Xander isn’t about to let her slip through his fingers—not when he’s so close to convincing her she belongs in his bed . . . But desire is a dish best served hot Caught in a high-stakes game of cat and mouse, Charlie won’t be surrendering her secrets any time soon. Not even when long-lost friend, Xander Dade, shows up, packing a sexy agenda all his own. Her movements are being tracked, and accepting his help may put everyone she loves in danger. Things are getting too hot to handle, and selling her secrets to the highest bidder may end up costing more than her heart . . .

The work of multiple scholars is combined in this single volume, bringing together in conversation the traditions of brass instrumentalism and jazz idiom. Early Twentieth-Century Brass Idioms: Art, Jazz, and Other Popular Traditions, edited by Howard T. Weiner, features articles by some of the most distinguished jazz and brass scholars and performers in the world. The topics covered span continents and decades and bridge gaps that until now remained uncrossed. Two primary themes emerge throughout the book and enter into dialogue with each other: the contribution brass performers made to the evolution of jazz in the early 20th century, and the influence jazz and popular music idioms had on the evolution of brass performance. The 13 articles in this volume cover a range of topics from Italian jazz trumpet style to the origins of jazz improvisation to the role of brass in klezmer music. New Orleans becomes a focal point as the essays examine the work of many important musicians, including Louis Armstrong, Buddy Bolden, Bunk Johnson, King Oliver, James Reese Europe, and Newell 'Spiegle' Willcox. Included as well is an interview with two legends of jazz trumpet, William Fielder and Joe Wilder, and the renowned performer and teacher Jimmy Owens reveals his practice techniques. Many of the essays include bibliographies, discographies, and other reference information. The meeting of the Historic Brass Society and the Institute of Jazz Studies represents the first time scholars have gathered to bring these two fields into such comprehensive discussion with each other. Early Twentieth-Century Brass Idioms: Art, Jazz, and Other Popular Traditions presents this historic conversation.

“Hold tight. The way to go mad without losing your mind is sometimes unruly.” So begins La Marr Jurelle Bruce's urgent provocation and poignant meditation on madness in black radical art. Bruce theorizes four overlapping meanings of madness: the lived experience of an unruly mind, the psychiatric category of serious mental illness, the emotional state also known as “rage,” and any drastic deviation from psychosocial norms. With care and verve, he explores the mad in the literature of Amiri Baraka, Gayl Jones, and Ntozake Shange; in the jazz repertoires of Buddy Bolden, Sun Ra, and Charles Mingus; in the comedic performances of Richard Pryor and Dave Chappelle; in the protest music of Nina Simone, Lauryn Hill, and Kendrick Lamar, and beyond. These artists activate madness as content, form, aesthetic, strategy, philosophy, and energy in an enduring black radical tradition. Joining this tradition, Bruce mobilizes a set of interpretive practices, affective dispositions, political principles, and existential orientations that he calls “mad methodology.” Ultimately, How to Go Mad without Losing Your Mind is both a study and an act of critical, ethical, radical madness.

Two young warriors become lost while on safari on the African plains. As the sun begins to set, they are surprised to find they are not alone. They hear the familiar laugh of a Hyena, and before long, she is hot on their trail. Who will save the warriors from the Dirty Stinkin' Hyena?

A full study of Buddy Bolden and Bunk Johnson confirming their roles in the real blues roots of New Orleans jazz