This book combines for the first time Carmichael's two autobiographies, "The Stardust Road" (1945) and "Sometimes I Wonder" (1965) with the addition of eight new pages of photos and a new introduction and select discography. of photos.

Georgia on My Mind, Rockin' Chair, Skylark, Lazybones, and of course the incomparable Star Dust--who else could have composed these classic American songs but Hoagy Carmichael? He remains, for millions, the voice of heartland America, eternal counterpoint to the urban sensibility of Cole Porter and George Gershwin. Now, trumpeter and historian Richard M. Sudhalter has penned the first book-length biography of the man Alec Wilder hailed as "the most talented, inventive, sophisticated and jazz-oriented of all the great songwriters--the greatest of the great craftsmen." Stardust Melody follows Carmichael from his roaring-twenties Indiana youth to bandstands and recording studios across the nation, playing piano and singing alongside jazz greats Jack Teagarden, Benny Goodman, Tommy and Jimmy Dorsey, and close friends Bix Beiderbecke and Louis Armstrong. It illuminates his peak Hollywood years, starring in such films as To Have and Have Not and The Best Years of Our Lives, and on radio, records and TV. With compassionate insight Sudhalter depicts Hoagy's triumphs and tragedies, and his mounting despair as rock-and-roll drowns out and lays waste to the last days of a brilliant career. With an insider's clarity Sudhalter explores the songs themselves, still fresh and appealing while reminding us of our innocent American yesterdays. Drawing on Carmichael's private papers and on interviews with family, friends and colleagues, he reveals that "The Old Music Master" was almost as gifted a wordsmith as a shaper of melodies. In all, Stardust Melody offers a richly textured portrait of one of our greatest musical figures, an inspiring American icon.

The definitive account of Louis Armstrong—his life and legacy—during the most creative period of his career. Nearly 100 years after bursting onto Chicago’s music scene under the tutelage of Joe "King" Oliver, Louis Armstrong is recognized as one of the most influential artists of the twentieth century. A trumpet virtuoso, seductive crooner, and consummate entertainer, Armstrong laid the foundation for the future of jazz with his stylistic innovations, but his story would be incomplete without examining how he struggled in a society seething with brutally racist ideologies, laws, and practices. Thomas Brothers picks up where he left off with the acclaimed Louis Armstrong's New Orleans, following the story of the great jazz musician into his most creatively fertile years in the 1920s and early 1930s, when Armstrong created not one but two modern musical styles. Brothers wields his own tremendous skill in making the connections between history and music accessible to everyone as Armstrong shucks and jives across the page. Through Brothers's expert ears and eyes we meet an Armstrong whose quickness and sureness, so evident in his performances, served him well in his encounters with racism while his music soared across the airwaves into homes all over America. Louis Armstrong, Master of Modernism blends cultural history, musical scholarship, and personal accounts from Armstrong's contemporaries to reveal his enduring contributions to jazz and popular music at a time when he and his bandmates couldn’t count on food or even a friendly face on their travels across the country. Thomas Brothers combines an intimate knowledge of Armstrong's life with the boldness to examine his place in such a racially charged landscape. In vivid prose and with vibrant photographs, Brothers illuminates the life and work of the man many consider to be the greatest American musician of the twentieth century.

Cuba, an island 750 miles long, with a population of about 11 million, lies less than 100 miles off the U.S. coast. Yet the island’s influences on America’s cultural imagination are extensive and deeply ingrained. In the engaging and wide-ranging Havana Habit, writer and scholar Gustavo Pérez Firmat probes the importance of Havana, and of greater Cuba, in the cultural history of the United States. Through books, advertisements, travel guides, films, and music, he demonstrates the influence of the island on almost two centuries of American life. From John Quincy Adams’s comparison of Cuba to an apple ready to drop into America’s lap, to the latest episodes in the lives of the “comic comandantes and exotic exiles,” and to such notable Cuban exports as the rumba and the mambo, cigars and mojitos, the Cuba that emerges from these pages is a locale that Cubans and Americans have jointly imagined and inhabited. The Havana Habit deftly illustrates what makes Cuba, as Pérez Firmat writes, “so near and yet so foreign.”

If Benny Goodman was the "King of Swing," then Fletcher Henderson was the power behind the throne. Now Jeffrey Magee offers a fascinating account of Henderson's musical career, throwing new light on the emergence of modern jazz and the world that created it. Drawing on an unprecedented combination of sources, including sound recordings and hundreds of scores that have been available only since Goodman's death, Magee illuminates Henderson's musical output, from his early work as a New York bandleader, to his pivotal role in building the Kingdom of Swing. He shows how Henderson, standing at the forefront of the New York jazz scene during the 1920s and '30s, assembled the era's best musicians, simultaneously preserving jazz's distinctiveness and performing popular dance music that reached a wide audience. Magee reveals how, in Henderson's largely segregated musical world, black and white musicians worked together to establish jazz, how Henderson's style rose out of collaborations with many key players, how these players deftly combined improvised and written music, and how their work negotiated artistic and commercial impulses. Whether placing Henderson's life in the context of the Harlem Renaissance or describing how the savvy use of network radio made the Henderson-Goodman style a national standard, Jeffrey Magee brings to life a monumental musician who helped to shape an era. "An invaluable survey of Henderson's life and music." --Don Heckman, Los Angeles Times "Magee has written an important book, illuminating an era too often reduced to its most familiar names. Goodman might have been the King of Swing, but Henderson here emerges as that kingdom's chief architect." --Boston Globe "Excellent.... Jazz fans have waited 30 years for a trained musicologist...to evaluate Henderson's strengths and weaknesses and attempt to place him in the history of American music." --Will Friedwald, New York Sun

Music Is My Life is the first comprehensive analysis of Louis Armstrong's autobiographical writings (including his books, essays, and letters) and their relation to his musical and visual performances. Combining approaches from autobiography theory, literary criticism, intermedia studies, cultural history, and musicology, Daniel Stein reconstructs Armstrong's performances of his life story across various media and for different audiences, complicating the monolithic and hagiographic views of the musician. The book will appeal to academic readers with an interest in African American studies, jazz studies, musicology, and popular culture, as well as general readers interested in Armstrong's life and music, jazz, and twentieth-century entertainment. While not a biography, it provides a key to understanding Armstrong's oeuvre as well as his complicated place in American history and twentieth-century media culture.

From roots to canopy, a lush, verdant history of the making of California. California now has more trees than at any time since the late Pleistocene. This green landscape, however, is not the work of nature. It’s the work of history. In the years after the Gold Rush, American settlers remade the California landscape, harnessing nature to their vision of the good life. Horticulturists, boosters, and civic reformers began to "improve" the bare, brown countryside, planting millions of trees to create groves, wooded suburbs, and landscaped cities. They imported the blue-green eucalypts whose tangy fragrance was thought to cure malaria. They built the lucrative "Orange Empire" on the sweet juice and thick skin of the Washington navel, an industrial fruit. They lined their streets with graceful palms to announce that they were not in the Midwest anymore. To the north the majestic coastal redwoods inspired awe and invited exploitation. A resource in the state, the durable heartwood of these timeless giants became infrastructure, transformed by the saw teeth of American enterprise. By 1900 timber firms owned the entire redwood forest; by 1950 they had clear-cut almost all of the old-growth trees. In time California’s new landscape proved to be no paradise: the eucalypts in the Berkeley hills exploded in fire; the orange groves near Riverside froze on cold nights; Los Angeles’s palms harbored rats and dropped heavy fronds on the streets below. Disease, infestation, and development all spelled decline for these nonnative evergreens. In the north, however, a new forest of second-growth redwood took root, nurtured by protective laws and sustainable harvesting. Today there are more California redwoods than there were a century ago. Rich in character and story, Trees in Paradise is a dazzling narrative that offers an insightful, new perspective on the history of the Golden State and the American West.