(Piano/Vocal/Guitar Songbook). Get your Dixieland on with this foot-stompin' collection of 90 favorites. Includes: Alabama Jubilee * Ballin' the Jack * Basin Street Blues * Dinah * Kansas City Stomp * Lazy River * Maple Leaf Rag * St. Louis Blues * Shreveport Stomps * When the Saints Go Marching In * and more!

(Fake Book). You don't have to be from below the Mason-Dixon line to enjoy this primo collection for B-flat instruments of nearly 250 Dixieland tunes: Ain't Misbehavin' * Alexander's Ragtime Band * Bill Bailey, Won't You Please Come Home * California, Here I Come * Dinah * Down by the Riverside * Georgia on My Mind * Hard Hearted Hannah (The Vamp of Savannah) * Honeysuckle Rose * I'm Gonna Sit Right down and Write Myself a Letter * It Don't Mean a Thing (If It Ain't Got That Swing) * Jelly Roll Blues * Lazy River * Makin' Whoopee! * My Baby Just Cares for Me * Nobody Knows You When You're down and Out * Puttin' on the Ritz * St. Louis Blues * Smile * Stompin' at the Savoy * Tiger Rag (Hold That Tiger) * When the Saints Go Marching In * and many more. All the Real Books feature accurate arrangements in the famous easy-to-read, hand-written notation.

(Banjo). Tenor and plectrum banjos are key ingredients of Dixieland jazz music. The bright percussive chord strums and flashy tremolo picking glissandos help define the genre. In the 1920s, when Dixieland jazz was at its zenith, the four-string banjo was the fretted instrument of choice because it could easily be heard above the simultaneous improv of the band's clarinet, cornet, saxophone, and trombone frontline. (Electric guitars were not invented until a decade later.) The chord voicings in these expertly crafted arrangements were selected so that the melody notes were always within reach to enable the user to play chord/melody style if desired. The lead sheets consist of lyrics and two sets of chord diagrams tenor and plectrum positioned throughout the arrangements. This collection of 45 songs includes: Ain't Misbehavin' * Alexander's Ragtime Band * Basin Street Blues * Bill Bailey, Won't You Please Come Home * Honeysuckle Rose * I Got Rhythm * Lazy River * St. Louis Blues * Sweet Georgia Brown * 'Way down Yonder in New Orleans * and more.

"This unique history of jazz in New York examines its many scenes, stages, styles, and sponsors. With one of the most sophisticated black populations anywhere, a vibrant bohemian subculture, a class of entertainment entrepreneurs, and a 24-hour nightlife, New York has long been home for jazz and jazz musicians. Samuel Charters and Leonard Kunstadt have delved through archives of newspapers and stagebills to provide a wider view of New York's jazz scene than ordinarily reported. Record sales, attendance figures, media trends are included along with assessments of musical importance. Duke Ellington, Fletcher Henderson, Chick Webb, the Savoy Ballroom, the Apollo Theatre, the Cotton Club all get extended treatment, as do less heralded figures and nightspots. Every jazz musician of note eventually plays in New York and will be found in this book, which chronicles not only their lives but the growth of New York as the world's jazz capital." --

This historic book may have numerous typos and missing text. Purchasers can usually download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1900 edition. Excerpt: ...me--all fun--An' I git one on Bill! WHEN SALLY PLAYED THE BANJO WHEN Sally played the banjo an' I danced--danced away, Thar' wuz not a happier feller in the settlement that day! Her cheeks, I know, wuz redder than the roses o' the spring, An' I danced the "double-shuffle," an' I cut the "pigeon-wing"! When Sally played the banjo, I kivered all the groun'; She could hardly play fer laughin' at the way I hopped eroun'! I never did git tired, ner ever stopped fer breath, Till I heard the shingles shakin' an' danced the floor to death! WHEN SALLY PLAYED THE BANJO When Sally played the banjo--that time I can't fergit, Fer me an' her is married, an' she's playin' of it 'yit! No matter how I'm feelin' now, I don't stan' any chance, Fer when Sally plays the banjo, please God, I've got to dance I CHRISTMAS TIMES IN BILL 'ain't no times like ol' times, boys, no matter what they say--No times that's ever goin' to come like them that's gone away; An' so, that takes me back ag'in to valley, plain an' hill, An' all the frosty fields we knowed, an' Christmas times in Bill! Thar' warn't a single county--an' thar wuz lots, you know--Could show up finer 'taters, or a fuller cotton row; An' as fer juicy Mountain Dew--it flowed from ever' still, An' thar' warn't no purtier women than the gals we sparked in Bill! CHRISTMAS TIMES IN BILL Thar' ain't no times like ol' times, boys! I min' one Christmas night, When the court-house floor wuz sanded, an' the fiddles goin' right, How we whirled our rosy pardners in the liveliest kind o' way, An' kissed 'em in the corners, an' danced into the day! An' how thar' come six weddin's from that Christmas dance, an' how (I tell you, I kin feel it whar' my heart's a-beatin'.now) I didn't mind the slippery...

The most valuable and moving of all jazz biographies. -Nat Hentoff