This is a true story of a boy born to farming parents during the later stage of World War II. Don Pannan's early childhood memories include talk of the war and fear of invasion by the Japanese. His early years were spent in the farming community of Binya near Griffith in southern New South Wales. At age 12 he was sent to a boarding hostel at Hay for secondary education. His mother moved into Griffith and he became a student at Griffith High School. He gained employment in a Public Service organisation and at around age 17, started a band with two friends. The band became a very popular band and played all around Griffith and surrounds all through the nineteen sixties. The sixties was a very exciting time for these young men and, indeed, for anyone who grew up through this great decade. He spent time in Sydney and Wagga before moving to Tamworth in 1979. He worked for Insurance Companies and eventually bought into a small insurance business which became a large and respected insurance business in Tamworth. The story is sprinkled with original poetry, which is something that comes easily to this Author, there is an addendum with many poems overall there are more than seventy original poems in this book. The story is about the life and times of Don Pannan, the Author, his life as a boy, his times at Hay, Griffith, Wagga, Sydney and Tamworth - a farm boy, a sixties Musician, a Public Servant, Insurance man, a Father, a Poet and a Grey Nomad.

The story of the final recordings of one of the greatest jazz musicians of the twentieth century

Presents an in-depth exploration of the musician's controversial electric period and the impact it had on the jazz community, as drawn from firsthand recollections about his artistic and personal life. Reprint.

Third Day guitarist Mark Lee is no stranger to heartache and hopes deferred; the road to success is never traveled without missteps along the way. Life is messy and uncertain and full of surprises. And one of the best things he's ever done is let go of his expectations about how life should be in order to embrace life as it is: a moment-by-moment walk with God. Hurt Road is the engaging true story of a man who, as a teen, found in music a refuge from the uncertainties of life. Who set out to discover a better way to live than constantly struggling to make sure life turned out the way he planned it. Who stopped substituting what's next for what's now and learned the truth--that coming or going, God's got us. Poignant, funny, and thoughtful, Hurt Road dares anyone feeling knocked down or run over by their circumstances to give up control to the One who already has the road all mapped out. Includes black and white photos.

The many thoughts and gratifying memories recounted in this volume began in 1924 and ended in 2013. The memories are of the author’s development as a songwriter and the many talented and likeable people he got to know. The locale is mainly New York City, with important time spent as a composer at a Catskill Mountain resort. Many of the thoughts are about the changing popular music scene in America.

Winner of the ASCAP Deems Taylor Award for Popular Music Books (2002) Winner of the Society for Ethnomusicology's (SEM) Alan P. Merriam Prize (2003) Salsa is a popular dance music developed by Puerto Ricans in New York City during the 1960s and 70s, based on Afro-Cuban forms. By the 1980s, the Colombian metropolis of Cali emerged on the global stage as an important center for salsa consumption and performance. Despite their geographic distance from the Caribbean and from Hispanic Caribbean migrants in New York City, Caleños (people from Cali) claim unity with Cubans, Puerto Ricans and New York Latinos by virtue of their having adopted salsa as their own. The City of Musical Memory explores this local adoption of salsa and its Afro-Caribbean antecedents in relation to national and regional musical styles, shedding light on salsa's spread to other Latin American cities. Cali's case disputes the prevalent academic notion that live music is more "real" or "authentic" than its recorded versions, since in this city salsa recordings were until recently much more important than musicians themselves, and continued to be influential in the live scene. This book makes valuable contributions to ongoing discussions about the place of technology in music culture and the complex negotiations of local and transnational cultural identities.