Alyn Shipton – författare

Paul McCartney and John Lennon described him as the Beatles' "favorite group," he won Grammy awards, wrote and recorded hit songs, and yet no figure in popular music is as much of a paradox, or as underrated, as Harry Nilsson. In this first ever full-length biography, Alyn Shipton traces Nilsson's life from his Brooklyn childhood to his Los Angeles adolescence and his gradual emergence as a uniquely talented singer-songwriter. With interviews from friends, family, and associates, and material drawn from an unfinished autobiography, Shipton probes beneath the enigma to discover the real Harry Nilsson. A major celebrity at a time when huge concerts and festivals were becoming the norm, Nilsson shunned live performance. His venue was the studio, his stage the dubbing booth, his greatest triumphs masterful examples of studio craft. He was a gifted composer of songs for a wide variety of performers, including the Ronettes, the Yardbirds, and the Monkees, yet Nilsson's own biggest hits were almost all written by other songwriters. He won two Grammy awards, in 1969 for "Everybody's Talkin'" (the theme song for Midnight Cowboy), and in 1972 for "Without You," had two top ten singles, numerous album successes, and wrote a number of songs--"Coconut" and "Jump into the Fire," to name just two--that still sound remarkably fresh and original today. He was once described by his producer Richard Perry as "the finest white male singer on the planet," but near the end of his life, Nilsson's career was marked by voice-damaging substance abuse and the infamous deaths of both Keith Moon and Mama Cass in his London flat.Drawing on exclusive access to Nilsson's papers, Alyn Shipton's biography offers readers an intimate portrait of a man who has seemed both famous and unknowable--until now.

Dizzy Gillespie was one of the most important and best-loved musicians in jazz history. With his horn-rimmed glasses, goatee, jive talk, and upraised trumpet bell, he was the hipster who most personified bebop. The musical heir to Louis Armstrong, he created the modern jazz trumpet-playing style and dazzled aficionados and popular audiences alike for over 50 years. In this first full biography, Alyn Shipton covers all aspects of Dizzy''s remarkable life and career, taking us through his days as a flashy trumpet player in the swing bands of the 1930s, his innovative bebop work in the 1940s, the worldwide fame and adoration he earned through his big band tours in the 1950s, and the many recordings and performances which defined a career that extended into the early 1990s. Along the way, Shipton convincingly argues that Gillespie--rather than Charlie Parker as is widely believed--had the greatest role in creating bebop, playing in key jazz groups, teaching the music to others, and helping to develop the first original bebop repertory. Shipton also explores the dark side of Dizzy''s mostly sunny personal life, his womanizing, the illegitimate daughter he fathered and supported--now a respected jazz singer in her own right--and his sometimes needless cruelty to others. For anyone interested in jazz and one of its most innovative and appealing figures, Groovin'' High is essential reading.

Dizzy Gillespie was one of the most important and best-loved musicians in jazz history. With his horn-rimmed glasses, goatee, jive talk, and upraised trumpet bell, he was the hipster who most personified bebop. The musical heir to Louis Armstrong, he created the modern jazz trumpet-playing style and dazzled aficionados and popular audiences alike for over 50 years. In this first full biography, Alyn Shipton covers all aspects of Dizzy''s remarkable life and career, taking us through his days as a flashy trumpet player in the swing bands of the 1930s, his innovative bebop work in the 1940s, the worldwide fame and adoration he earned through his big band tours in the 1950s, and the many recordings and performances which defined a career that extended into the early 1990s. Along the way, Shipton convincingly argues that Gillespie--rather than Charlie Parker as is widely believed--had the greatest role in creating bebop, playing in key jazz groups, teaching the music to others, and helping to develop the first original bebop repertory. Shipton also explores the dark side of Dizzy''s mostly sunny personal life, his womanizing, the illegitimate daughter he fathered and supported--now a respected jazz singer in her own right--and his sometimes needless cruelty to others. For anyone interested in jazz and one of its most innovative and appealing figures, Groovin'' High is essential reading.

The Gerry Mulligan Quartet, founded in Los Angeles in 1952, was widely acclaimed as the first small ensemble in jazz that did not include a chordal instrument such as a piano or guitar. Using original scores and detailed transcriptions of Mulligan's work, The Gerry Mulligan 1950s Quartets offers an intimate look at Mulligan's musical development from the initial quartet with Chet Baker to its successors with Bob Brookmeyer, Jon Eardley, and Art Farmer. The backdrop is an unparalleled account of his musical life from his teen- age years to adulthood, analyzing the ways in which his compositions and arrangements evolved through collaborations with Elliot Lawrence, Gene Krupa, and Claude Thornhill, culminating with Miles Davis's Birth of the Cool nonet. Featuring original interviews with many of Mulligan's associates, author Alyn Shipton presents a fresh take on Mulligan's harmonic creativity, in the process tracing the ups and downs of Mulligan's heroin addiction, imprisonment, sobriety, and eventual musical triumph.

The Gerry Mulligan Quartet, founded in Los Angeles in 1952, was widely acclaimed as the first small ensemble in jazz that did not include a chordal instrument such as a piano or guitar. Using original scores and detailed transcriptions of Mulligan's work, The Gerry Mulligan 1950s Quartets offers an intimate look at Mulligan's musical development from the initial quartet with Chet Baker to its successors with Bob Brookmeyer, Jon Eardley, and Art Farmer. The backdrop is an unparalleled account of his musical life from his teen- age years to adulthood, analyzing the ways in which his compositions and arrangements evolved through collaborations with Elliot Lawrence, Gene Krupa, and Claude Thornhill, culminating with Miles Davis's Birth of the Cool nonet. Featuring original interviews with many of Mulligan's associates, author Alyn Shipton presents a fresh take on Mulligan's harmonic creativity, in the process tracing the ups and downs of Mulligan's heroin addiction, imprisonment, sobriety, and eventual musical triumph.

The Gerry Mulligan Quartet, founded in Los Angeles in 1952, was widely acclaimed as the first small ensemble in jazz that did not include a chordal instrument such as a piano or guitar. Using original scores and detailed transcriptions of Mulligan''s work, The Gerry Mulligan 1950s Quartets offers an intimate look at Mulligan''s musical development from the initial quartet with Chet Baker to its successors with Bob Brookmeyer, Jon Eardley, and Art Farmer. The backdrop is an unparalleled account of his musical life from his teen- age years to adulthood, analyzing the ways in which his compositions and arrangements evolved through collaborations with Elliot Lawrence, Gene Krupa, and Claude Thornhill, culminating with Miles Davis''s Birth of the Cool nonet. Featuring original interviews with many of Mulligan''s associates, author Alyn Shipton presents a fresh take on Mulligan''s harmonic creativity, in the process tracing the ups and downs of Mulligan''s heroin addiction, imprisonment, sobriety, and eventual musical triumph.

The Gerry Mulligan Quartet, founded in Los Angeles in 1952, was widely acclaimed as the first small ensemble in jazz that did not include a chordal instrument such as a piano or guitar. Using original scores and detailed transcriptions of Mulligan''s work, The Gerry Mulligan 1950s Quartets offers an intimate look at Mulligan''s musical development from the initial quartet with Chet Baker to its successors with Bob Brookmeyer, Jon Eardley, and Art Farmer. The backdrop is an unparalleled account of his musical life from his teen- age years to adulthood, analyzing the ways in which his compositions and arrangements evolved through collaborations with Elliot Lawrence, Gene Krupa, and Claude Thornhill, culminating with Miles Davis''s Birth of the Cool nonet. Featuring original interviews with many of Mulligan''s associates, author Alyn Shipton presents a fresh take on Mulligan''s harmonic creativity, in the process tracing the ups and downs of Mulligan''s heroin addiction, imprisonment, sobriety, and eventual musical triumph.

Paul McCartney and John Lennon described him as the Beatles'' "favorite group," he won Grammy awards, wrote and recorded hit songs, and yet no figure in popular music is as much of a paradox, or as underrated, as Harry Nilsson. In this first ever full-length biography, Alyn Shipton traces Nilsson''s life from his Brooklyn childhood to his Los Angeles adolescence and his gradual emergence as a uniquely talented singer-songwriter. With interviews from friends, family, and associates, and material drawn from an unfinished autobiography, Shipton probes beneath the enigma to discover the real Harry Nilsson. A major celebrity at a time when huge concerts and festivals were becoming the norm, Nilsson shunned live performance. His venue was the studio, his stage the dubbing booth, his greatest triumphs masterful examples of studio craft. He was a gifted composer of songs for a wide variety of performers, including the Ronettes, the Yardbirds, and the Monkees, yet Nilsson''s own biggest hits were almost all written by other songwriters. He won two Grammy awards, in 1969 for "Everybody''s Talkin''" (the theme song for Midnight Cowboy), and in 1972 for "Without You," had two top ten singles, numerous album successes, and wrote a number of songs--"Coconut" and "Jump into the Fire," to name just two--that still sound remarkably fresh and original today. He was once described by his producer Richard Perry as "the finest white male singer on the planet," but near the end of his life, Nilsson''s career was marked by voice-damaging substance abuse and the infamous deaths of both Keith Moon and Mama Cass in his London flat. Drawing on exclusive access to Nilsson''s papers, Alyn Shipton''s biography offers readers an intimate portrait of a man who has seemed both famous and unknowable--until now.

Paul McCartney and John Lennon described him as the Beatles'' "favorite group," he won Grammy awards, wrote and recorded hit songs, and yet no figure in popular music is as much of a paradox, or as underrated, as Harry Nilsson. In this first ever full-length biography, Alyn Shipton traces Nilsson''s life from his Brooklyn childhood to his Los Angeles adolescence and his gradual emergence as a uniquely talented singer-songwriter. With interviews from friends, family, and associates, and material drawn from an unfinished autobiography, Shipton probes beneath the enigma to discover the real Harry Nilsson. A major celebrity at a time when huge concerts and festivals were becoming the norm, Nilsson shunned live performance. His venue was the studio, his stage the dubbing booth, his greatest triumphs masterful examples of studio craft. He was a gifted composer of songs for a wide variety of performers, including the Ronettes, the Yardbirds, and the Monkees, yet Nilsson''s own biggest hits were almost all written by other songwriters. He won two Grammy awards, in 1969 for "Everybody''s Talkin''" (the theme song for Midnight Cowboy), and in 1972 for "Without You," had two top ten singles, numerous album successes, and wrote a number of songs--"Coconut" and "Jump into the Fire," to name just two--that still sound remarkably fresh and original today. He was once described by his producer Richard Perry as "the finest white male singer on the planet," but near the end of his life, Nilsson''s career was marked by voice-damaging substance abuse and the infamous deaths of both Keith Moon and Mama Cass in his London flat. Drawing on exclusive access to Nilsson''s papers, Alyn Shipton''s biography offers readers an intimate portrait of a man who has seemed both famous and unknowable--until now.

Clad in white tie and tails, dancing and scatting his way through the "Hi-de-ho" chorus of "Minnie the Moocher," Cab Calloway exuded a sly charm and sophistication that endeared him to legions of fans. In Hi-de-ho, author Alyn Shipton offers the first full-length biography of Cab Calloway, whose vocal theatrics and flamboyant stage presence made him one of the highest-earning African American bandleaders. Shipton sheds new light on Calloway''s life and career, explaining how he traversed racial and social boundaries to become one of the country''s most beloved entertainers. Drawing on first-hand accounts from Calloway''s family, friends, and fellow musicians, the book traces the roots of this music icon, from his childhood in Rochester, New York, to his life of hustling on the streets of Baltimore. Shipton highlights how Calloway''s desire to earn money to support his infant daughter prompted his first break into show business, when he joined his sister Blanche in a traveling revue. Beginning in obscure Baltimore nightclubs and culminating in his replacement of Duke Ellington at New York''s famed Cotton Club, Calloway honed his gifts of scat singing and call-and-response routines. His career as a bandleader was matched by his genius as a talent-spotter, evidenced by his hiring of such jazz luminaries as Ben Webster, Dizzy Gillespie, and Jonah Jones. As the swing era waned, Calloway reinvented himself as a musical theatre star, appearing as Sportin'' Life in "Porgy and Bess" in the early 1950s; in later years, Calloway cemented his status as a living legend through cameos on "Sesame Street" and his show-stopping appearance in the wildly popular "The Blues Brothers" movie, bringing his trademark "hi-de-ho" refrain to a new generation of audiences. More than any other source, Hi-de-ho stands as an entertaining, not-to-be-missed portrait of Cab Calloway--one that expertly frames his enduring significance as a pioneering artist and entertainer.

Clad in white tie and tails, dancing and scatting his way through the "Hi-de-ho" chorus of "Minnie the Moocher," Cab Calloway exuded a sly charm and sophistication that endeared him to legions of fans. In Hi-de-ho, author Alyn Shipton offers the first full-length biography of Cab Calloway, whose vocal theatrics and flamboyant stage presence made him one of the highest-earning African American bandleaders. Shipton sheds new light on Calloway''s life and career, explaining how he traversed racial and social boundaries to become one of the country''s most beloved entertainers. Drawing on first-hand accounts from Calloway''s family, friends, and fellow musicians, the book traces the roots of this music icon, from his childhood in Rochester, New York, to his life of hustling on the streets of Baltimore. Shipton highlights how Calloway''s desire to earn money to support his infant daughter prompted his first break into show business, when he joined his sister Blanche in a traveling revue. Beginning in obscure Baltimore nightclubs and culminating in his replacement of Duke Ellington at New York''s famed Cotton Club, Calloway honed his gifts of scat singing and call-and-response routines. His career as a bandleader was matched by his genius as a talent-spotter, evidenced by his hiring of such jazz luminaries as Ben Webster, Dizzy Gillespie, and Jonah Jones. As the swing era waned, Calloway reinvented himself as a musical theatre star, appearing as Sportin'' Life in "Porgy and Bess" in the early 1950s; in later years, Calloway cemented his status as a living legend through cameos on "Sesame Street" and his show-stopping appearance in the wildly popular "The Blues Brothers" movie, bringing his trademark "hi-de-ho" refrain to a new generation of audiences. More than any other source, Hi-de-ho stands as an entertaining, not-to-be-missed portrait of Cab Calloway--one that expertly frames his enduring significance as a pioneering artist and entertainer.

Paul McCartney and John Lennon described him as the Beatles' "favorite group," and yet no figure in popular music is as much of a paradox as Harry Nilsson. A major celebrity at a time when stadium rock was in its infancy and huge concerts and festivals were becoming the norm, Nilsson's instrument was the studio, his stage the dubbing booth, his greatest technical triumphs were masterful examples of studio craft, and he studiously avoided live performance. He was a gifted composer of songs for a wide variety of performers, having created vivid flights of imagination for the Ronettes, the Yardbirds and the Monkees, yet Nilsson's own biggest hits were almost all written, ironically, by other composers and lyricists. He won two Grammies, had two top ten singles, and numerous album successes. Once described by his producer Richard Perry as "the finest white male singer on the planet," near the end of his life, his career was marked by voice-damaging substance abuse and the infamous deaths of both Keith Moon and Mama Cass in his London flat. His music remains prevalent today, through the 1995 tribute album For the Love of Harry: Everybody Sings Nilsson (featuring performances of Nilsson's hits by Ringo Starr, Stevie Nicks, Fred Schneider and others) and recent covers, such as Aimee Mann's recording of "One" (popularized as the main track on the Magnolia soundtrack) and Neko Case's arrangement of "Don't Forget Me" on her album, Middle Cyclone. In this first ever full-length biography of Nilsson, author Alyn Shipton traces Nilsson's life from his Brooklyn childhood to his Los Angeles adolescence, and charts his gradual move into the spotlight as a talented songwriter. With interviews from Nilsson's friends, family and associates, and material drawn from an unfinished draft autobiography Nilsson was writing prior to his death, Shipton probes beneath the enigma and the paradox to discover the real Harry Nilsson, and thereby reveals one of the most creative talents in 20th century popular music.

Clad in white tie and tails, dancing and scatting his way through the "Hi-de-ho" chorus of "Minnie the Moocher," Cab Calloway exuded a sly charm and sophistication that endeared him to legions of fans. In Hi-de-ho, author Alyn Shipton offers the first full-length biography of Cab Calloway, whose vocal theatrics and flamboyant stage presence made him one of the highest-earning African American bandleaders. Shipton sheds new light on Calloway's life and career, explaining how he traversed racial and social boundaries to become one of the country's most beloved entertainers. Drawing on first-hand accounts from Calloway's family, friends, and fellow musicians, the book traces the roots of this music icon, from his childhood in Rochester, New York, to his life of hustling on the streets of Baltimore. Shipton highlights how Calloway's desire to earn money to support his infant daughter prompted his first break into show business, when he joined his sister Blanche in a traveling revue. Beginning in obscure Baltimore nightclubs and culminating in his replacement of Duke Ellington at New York's famed Cotton Club, Calloway honed his gifts of scat singing and call-and-response routines. His career as a bandleader was matched by his genius as a talent-spotter, evidenced by his hiring of such jazz luminaries as Ben Webster, Dizzy Gillespie, and Jonah Jones. As the swing era waned, Calloway reinvented himself as a musical theatre star, appearing as Sportin' Life in "Porgy and Bess" in the early 1950s; in later years, Calloway cemented his status as a living legend through cameos on "Sesame Street" and his show-stopping appearance in the wildly popular "The Blues Brothers" movie, bringing his trademark "hi-de-ho" refrain to a new generation of audiences. More than any other source, Hi-de-ho stands as an entertaining, not-to-be-missed portrait of Cab Calloway--one that expertly frames his enduring significance as a pioneering artist and entertainer.

This first biography of Jimmy McHugh captures a lively and significant contributor to American songwriting. Creator of favorite tunes such as "I'm in the Mood for Love" and "On the Sunny Side of the Street," McHugh was a one-man history of twentieth-century popular music: in his prolific composing career, he wrote songs for Duke Ellington, Shirley Temple, Bobby Breen, Carmen Miranda, Deanna Durbin, Frank Sinatra, Ethel Waters, Adelaide Hall, and scores of other entertainers, and his last works were turned into smash hits by Pat Boone and Fats Domino. Following McHugh from humble Irish-American beginnings in Boston to eventual success in New York, Europe, and Los Angeles, Alyn Shipton deftly evokes the lively milieus of Tin Pan Alley, the Cotton Club, Broadway, and Hollywood. McHugh crossed the color line frequently, writing revues for both black and white entertainers, and he and his songwriting partner Dorothy Fields were also among the first to create Hollywood musical films. In the 1940s, he waged heroic fundraising efforts for the war effort and the crusade against polio. He continued to write songs for shows, movies, and revues and managed up-and-coming singers late in his life.

Pianist George Shearing is that rare thing, a European jazz musician who became a household name in the US, as a result of the 'Shearing sound' - the recordings of his historic late 1940s quintet. Together with his unique 'locked hands' approach to playing the piano, Shearing's quintet with guitar and vibraphone in close harmony to his own playing revolutionised small group jazz, and ensured that after seven years as Melody Maker's top British pianist, he achieved even greater success in America. His compositions have been recorded by everyone from Sarah Vaughan to Miles Davis, and his best known pieces include Lullaby of Birdland, She and Conception. His story is all the more remarkable because Shearing was born blind. As a teenager he joined Claude Bampton's orchestra, and he recounts hilarious anecdotes about the trials and tribulations of this all blind group. By the start of the war years, Shearing was established as one of Britain's most popular and impressive jazz pianists - broadcasting regularly and playing and recording with Stephane Grappelli.In 1947 he emigrated to the US and started his landmark series of records with his quintet as well as performing classical pieces with several leading symphony orchestras. His candid reminiscences include a behind the scenes experience of New York's 52nd Street in its heyday, as well as memories of a vast roll-call of professional colleagues that includes all the great names in jazz.

The first volume of Barker's memoirs, A Life in Jazz, followed him from New Orleans into the big bands of Cab Calloway and Benny Carter. He was working on this-the second volume-for some years before his death in 1994. Beginning with an extended portrait of Buddy Bolden as recalled by the likes of Jelly Roll Morton and Bunk Johnson as well as Barker himself, this book draws together a lifetime of stories and the vivid characters who populated "Storyville."Danny Barker (1909-1994) sang and played the guitar and banjo on over 1,000 jazz, swing, blues, and bebop records. He is a member of the Jazz Hall of Fame and recipient of the National Endowment for the Arts Music Master Award. Alyn Shipton is a writer and broadcaster on jazz. He is the editor of A Life in Jazz, the first volume of Danny Barker's memoirs.

In 1986, jazz guitarist, banjoist, singer and composer Danny Barker (who died in 1994) published the first volume of his memoirs "A Life in Jazz," which was widely praised as an addition to the history of jazz. This is a further selection of Barker's writings (beginning with a long portrait of Buddy Bolden, the "first man of jazz") drawn from conversations and interviews with the generation of jazzmen that invented the music. Many of those interviewed were musicians Danny Barker knew and worked with. The book also contains Barker's own recollections of Storyville in its dying days, plus more material dating from his pioneering period of work in the big bands, with a memoir of trombonist Charlie Green, and of life on the road with Cab Calloway

Fats Waller (1904-1943) was an outsize man in all respects: five feet, eleven inches tall, he weighed 285 pounds. The greatest of the Harlem "stride" pianists, he composed hundreds of songs, he led a band that made over 400 recordings, and he wrote several Broadway shows. Waller's gargantuan appetites have been celebrated in anecdotes and earlier biographies. He is seen by jazz historians as a man of immense musical talent that was never fulfilled. In this fully revised and updated biography of Waller, Alyn Shipton re-examines his career, arguing that his talents as a songwriter, show composer, and brilliant recording and broadcasting artist have not been fully appreciated. In a newly written final chapter, there is a comprehensive survey of Waller's recordings as they have been reissued for the CD era.

Fats Waller (1904-1943) was an outsize man in all respects: five feet eleven inches tall, he weighed 285 pounds. He was the greatest of the Harlem "stride" pianists, he composed hundreds of songs, he led a band which made over 400 recordings and he wrote several Broadway shows. Waller is seen by jazz historians as a man of immense musical talent which was never fulfilled, in the interests of his career as a popular and humorous entertainer. In this fully revised and updated biography of Waller, Alyn Shipton re-examines his career, arguing that his talents as a songwriter, show composer and brilliant recording and broadcasting artist have not been fully appreciated. A new final chapter, provides a comprehensive survey of Waller''s recordings as they have been reissued for the CD era

Few musical genres inspire the passionate devotion of jazz. Its mystique goes far beyond the melodies and rhythms, with its key players and singers discussed by aficionados with a respect that borders on reverence. Some books on jazz offer little more than theory or dry facts, thereby relinquishing the 'essence' of the music. This book is different. One of the most influential and internationally known writers on the subject describes, through vivid personal contacts, reminiscences and zesty anecdotes, his life in jazz as a player, broadcaster and observer. Alyn Shipton recalls friendships with legendary musicians, while revealing fresh discoveries about such luminaries as Fats Waller, Louis Armstrong, Count Basie, Duke Ellington, Charlie Parker, Abbey Lincoln and Geri Allen. On Jazz powerfully evokes the atmosphere of clubs and dancehalls, and takes us behind the scenes and up onto the stage, so that this electrifying world is unforgettably spotlighted as never before.

Few musical genres inspire the passionate devotion of jazz. Its mystique goes far beyond the melodies and rhythms, with its key players and singers discussed by aficionados with a respect that borders on reverence. Some books on jazz offer little more than theory or dry facts, thereby relinquishing the ''essence'' of the music. This book is different. One of the most influential and internationally known writers on the subject describes, through vivid personal contacts, reminiscences and zesty anecdotes, his life in jazz as a player, broadcaster and observer. Alyn Shipton recalls friendships with legendary musicians, while revealing fresh discoveries about such luminaries as Fats Waller, Louis Armstrong, Count Basie, Duke Ellington, Charlie Parker, Abbey Lincoln and Geri Allen. On Jazz powerfully evokes the atmosphere of clubs and dancehalls, and takes us behind the scenes and up onto the stage, so that this electrifying world is unforgettably spotlighted as never before.

Few musical genres inspire the passionate devotion of jazz. Its mystique goes far beyond the melodies and rhythms, with its key players and singers discussed by aficionados with a respect that borders on reverence. Some books on jazz offer little more than theory or dry facts, thereby relinquishing the ''essence'' of the music. This book is different. One of the most influential and internationally known writers on the subject describes, through vivid personal contacts, reminiscences and zesty anecdotes, his life in jazz as a player, broadcaster and observer. Alyn Shipton recalls friendships with legendary musicians, while revealing fresh discoveries about such luminaries as Fats Waller, Louis Armstrong, Count Basie, Duke Ellington, Charlie Parker, Abbey Lincoln and Geri Allen. On Jazz powerfully evokes the atmosphere of clubs and dancehalls, and takes us behind the scenes and up onto the stage, so that this electrifying world is unforgettably spotlighted as never before.

In this collection, Shipton has drawn together conversations with some of the key jazz pianists. Spanning the period from the birth of bebop to the present, their collective experience is a major part of jazz piano history. Shipton''s sympathetic yet probing interviews uncover the fascinating life stories of these legendary jazz performers. He also probes their technique, allowing them to describe how they developed their individual playing styles. This book will fascinate all fans of jazz, as well as students of jazz piano and performance.

In this collection, Shipton has drawn together conversations with some of the key jazz pianists. Spanning the period from the birth of bebop to the present, their collective experience is a major part of jazz piano history. Shipton''s sympathetic yet probing interviews uncover the fascinating life stories of these legendary jazz performers. He also probes their technique, allowing them to describe how they developed their individual playing styles. This book will fascinate all fans of jazz, as well as students of jazz piano and performance.

As a musician who grew up in New Orleans, and later worked in New York with the major swing orchestras of Lucky Millinder and Cab Calloway, Barker is uniquely placed to give an authoritative but personal view of jazz history. In this book he discusses his life in music, from the children''s ''spasm'' bands of the seventh ward of New Orleans, through the experience of brass bands and jazz funerals involving his grandfather, Isidore Barbarin, to his early days on the road with the blues singer Little Brother Montgomery. Later he goes on to discuss New York, and the jazz scene he found there in 1930. His work with Jelly Roll Morton, as well as the lesser-known bands of Fess Williams and Albert Nicholas, is covered before a full account of his years with Millinder, Benny Carter and Calloway, including a description of Dizzy Gillespie''s impact on jazz, is given. The final chapters discuss Barker''s career from the late 1940s. Starting with the New York dixieland scene at Ryan''s and Condon''s he talks of his work with Wilbur de Paris, James P. Johnson and This is Jazz, before discussing his return to New Orleans and New Orleans Jazz Museum. A collection of Barker''s photographs,

Fats Waller (1904-1943) was an outsize man in all respects: five feet, eleven inches tall, he weighed 285 pounds. The greatest of the Harlem "stride" pianists, he composed hundreds of songs, he led a band that made over 400 recordings, and he wrote several Broadway shows. Waller's gargantuan appetites have been celebrated in anecdotes and earlier biographies. He is seen by jazz historians as a man of immense musical talent that was never fulfilled. In this fully revised and updated biography of Waller, Alyn Shipton re-examines his career, arguing that his talents as a songwriter, show composer, and brilliant recording and broadcasting artist have not been fully appreciated. In a newly written final chapter, there is a comprehensive survey of Waller's recordings as they have been reissued for the CD era.

Jazz trombonist Chris Barber formed his first band in the late 1940s, but it is the band that he has led from 1954, after parting company with trumpeter Ken Colyer, that has established all kinds of records for success and longevity. The 54 year partnership with trumpeter Pat Halcox is the longest continuous association in jazz history. The Barber band achieved chart success on both sides of the Atlantic, with "Petite Fleur", and from the middle to late 1950s it was the most popular music act in the UK. The band was one of the first British jazz groups to tour extensively in the United States. It has remained one of the most popular and widely imitated jazz bands in Europe for over half a century. In this candid account of his life and music, Barber tells the story of his band, but also of his many other contributions to music in Britain. He and his guitarist and singer Lonnie Donegan began the skiffle movement. His band pioneered touring with authentic American blues and gospel musicians, including Big Bill Broonzy, Sister Rosetta Tharpe, Muddy Waters, Sonny Terry and Brownie McGhee. There were also tours with American jazz soloists, including John Lewis, Trummy Young, Ray Nance and many others. Barber and his colleague Harold Pendleton also launched the Marquee Club in London, which became a legendary jazz and rock venue, as well as becoming the launchpad for the Richmond and Reading Festivals. Barber's band has always been devoted to both jazz and blues, touring for many years with the charismatic Northern Irish singer Ottilie Patterson, (who became Barber's wife) and also including the blues guitarist John Slaughter in the line-up. In 2001 the band became the Big Chris Barber Band, allowing him to continue to play the New Orleans jazz he has always loved, but also to play the big band repertoire of musicians such as Duke Ellington.