What is a Play-Along? Living Waters Jazz play-alongs consist of a music book with 8 songs (melody + chords) where an instrumentalist plays along with accompaniment tracks (mp3s - CD is available, see below) you download (approximately 70 megabyte zipped file). Great fun and an excellent form of practice for instrumentalists wanting to supplement their practice time or performance. For all instruments (key of C Treble & Bass Clef), Bb and Eb. You and "your band," that is, the accompaniment tracks - in 8 new and completely original jazz compositions. Mixed hot and to sound as if the band is right there with you! And the songs are short enough in length (you solo for 32 or 64 measures) so you can play all eight songs in one sitting. These play-alongs are meant for fun; either to supplement practice time or for performance, or even to use as band material for a small group. CD is available as a separate purchase. Search title ID: 2294191 or use this link: http: //www.createspace.com/2294191 Full demo versions of each track included in this book is available for listening at: http: //www.livingwatersjazz.com Sign up for the Living Waters Jazz newsletter as more books are completed. Living Waters Jazz is a Christian based company creating faith inspired instrumentals for everyone! While Jazz is the name, Living Waters Jazz also produces play-alongs in a wide variety of genres.

This contemporary classic gets a limited edition makeover with movie art and a new preface from Donald Miller. In print for nearly a decade, Blue Like Jazz has earned a coveted spot on readers' shelves and in their hearts. Many have said that Donald Miller expressed exactly what they were feeling but couldn't find the words to say themselves. In this landmark book that changed what people expected from Christian writers, that changed what people needed for their spiritual journeys, Donald Miller takes readers through a real life striving to understand relationship with God. Heartwarming and hilarious, poignant and unexpected, Blue Like Jazz has become a contemporary classic. For anyone wondering if the Christian faith is still relevant in a postmodern culture, thirsting for a genuine encounter with a God who is real, or yearning for a renewed sense of passion in life . . . Blue Like Jazz is a fresh and original perspective on life, love, and redemption.

Between the world wars, Paris welcomed not only a number of glamorous American expatriates, including Josephine Baker and F. Scott Fitzgerald, but also a dynamic musical style emerging in the United States: jazz. Roaring through cabarets, music halls, and dance clubs, the upbeat, syncopated rhythms of jazz soon added to the allure of Paris as a center of international nightlife and cutting-edge modern culture. In Making Jazz French, Jeffrey H. Jackson examines not only how and why jazz became so widely performed in Paris during the 1920s and 1930s but also why it was so controversial. Drawing on memoirs, press accounts, and cultural criticism, Jackson uses the history of jazz in Paris to illuminate the challenges confounding French national identity during the interwar years. As he explains, many French people initially regarded jazz as alien because of its associations with America and Africa. Some reveled in its explosive energy and the exoticism of its racial connotations, while others saw it as a dangerous reversal of France’s most cherished notions of "civilization." At the same time, many French musicians, though not threatened by jazz as a musical style, feared their jobs would vanish with the arrival of American performers. By the 1930s, however, a core group of French fans, critics, and musicians had incorporated jazz into the French entertainment tradition. Today it is an integral part of Parisian musical performance. In showing how jazz became French, Jackson reveals some of the ways a musical form created in the United States became an international phenomenon and acquired new meanings unique to the places where it was heard and performed.

JAZZ: THE FIRST 100 YEARS explores the development of jazz from its nineteenth-century roots in blues and ragtime, through swing and bebop, to fusion and contemporary jazz styles. Unique in its up-to-date coverage, the 3rd edition devotes a full third of its length to performers of the 1960s to the present day. The book’s flexible organization and clear, vibrant presentation appeal to both music majors and general students. Biographies and social history put music in context. Extensive, accessible listening guides tie the history of jazz music directly to the CD selections, giving newcomers and aficionados alike a true feel for the ever-changing sound of jazz. Non-majors will find the new Introduction to Jazz Basics a useful preview tool on jazz fundamentals. Important Notice: Media content referenced within the product description or the product text may not be available in the ebook version.

AN INTERACTIVE, SWING-ALONG PICTURE BOOK—WITH 12 SOUND CHIPS! Are you ready to swing? Discover the wonders of jazz: How to get in the groove, what it means to play a solo, and the joy of singing along in a call-and-response. In this interactive swing-along picture book with 12 sound chips, you’ll hear the instruments of jazz—the rhythm section with its banjo, drums, and tuba, and the leads, like the clarinet, trumpet, and trombone. And you’ll hear singers scat, improvising melodies with nonsense syllables like be-bop and doo-we-ah! Along the way, you’ll learn how this unique African American art form started in New Orleans, and how jazz changed over time as innovative musicians like King Oliver, Louis Armstrong, Duke Ellington, and Billie Holiday added their own ideas to it. Press the buttons to hear the band, the rhythms, and the singer calling out: “OH WHEN THE SAINTS—oh when the saints…”

Before John Was a Jazz Giant is a 2009 Coretta Scott King Illustrator Honor Book.

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