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In 1960, four young men went into a Chicago recording studio and revolutionized the sound of African American gospel music. When they made that groundbreaking recording, the Pilgrim Jubilees had been singing together for more than ten years. Today they are still singing, and they are still at the forefront of gospel music.
The Pilgrim Jubilees is their story, told in their words. From their beginnings in rural Houston, Mississippi, through the good times and the hard times of more than half a century traveling the "gospel highway" they have played a pivotal role in shaping an entire musical genre. Today, based in Chicago, they stand as senior statesmen of gospel music.
The Pilgrim Jubilees know the pitfalls and hardships of their calling. They tell of arriving in a distant town so short of money they can't afford to refuel the car, then discovering their concert has been canceled. They recall singing their hearts out, then finding that the promoter has absconded with the money. They remember the days when racism meant that even a gospel singer could land in jail simply for being in the wrong place at the wrong time. And they recount the joys of the gospel life--the elation of having a record at the top of the charts, the companionship within the group and with the people to whom they sing, and above all, the drive to keep spreading the Christian message that has sustained them through the hundreds of thousands of miles they have traveled.
And all of these elements--the highs, the lows; the successes, the failures; the spiritual, the worldly--are the subjects the Pilgrim Jubilees talked candidly and at length about to New Zealand journalist and gospel researcher Alan Young when he spent several weeks at home and on the road with them. The result--The Pilgrim Jubilees--is the first full-length book on an African American gospel quartet. It's an illuminating look at the lives of the singers and musicians in the Pilgrim Jubilees. For fifty years they have shone in a unique world where showbiz meets religion and the "Jubes" are stars.
Alan Young is a journalist in Auckland, New Zealand. He wrote Woke Me Up This Morning: Black Gospel Singers and the Gospel Life (University Press of Mississippi).
The Roni Stoneman Story
This book recounts the fascinating life of Roni Stoneman, the youngest_x000B_daughter of the pioneering country music family, and a girl who, in spite_x000B_of poverty and abusive husbands, eventually became The First Lady of_x000B_Banjo,? a fixture on the Nashville scene, and, as Hee Haws Ironing Board_x000B_Lady, a comedienne beloved by millions of Americans nationwide._x000B_Drawn from over seventy-five hours of recorded interviews, Pressing On reveals that Roni is also a master storyteller. In her own words and with characteristic spunk and candor, she describes her pooristic? (way beyond ˜poverty-stricken?) Appalachian childhood, and how she learned from her brother Scott to play the challenging and innovative three-finger banjo picking style developed by Earl Scruggs. She also warmly recounts Hee Haw-era adventures with Minnie Pearl, Roy Clark, and Buck Owens; her encounters as a musician with country greats including Loretta Lynn, Johnny Cash, June Carter, and Patsy Cline; as well as her personal struggles with shiftless and violent husbands, her relationships with her children, and her musical life after Hee Haw.
The Story of the Singing Hilltoppers
In 1953, the same year that Elvis Presley cut his first demo, Cash Box magazine named the Hilltoppers the top vocal group of the year. Hits such as “Trying” and “P.S. I Love You” raced up the charts and kept the group in Billboard’s Top 40. The four fresh-faced singers appeared on The Toast of the Town with Ed Sullivan, who introduced them to the nation. On weekends the Hilltoppers performed in cities across the country, but on Monday mornings they were better known as Western Kentucky State College students Jimmy Sacca, Seymour Spiegelman, Don McGuire, and Billy Vaughn. The Korean War, military drafts, and changing public tastes in music, however, cut short singing careers that should have lasted much longer. Sacca was drafted in 1953, mere months before the end of the war. Vaughn left the group shortly after that for a career at Dot Records and found fame elsewhere with his orchestra. McGuire and Spiegelman were drafted as well, and despite a set of temporary replacement members, the group eventually called it quits. Fifty years later, historian Carlton Jackson revisits the Kentucky college kids who made it big between classes. He follows the group from their first hit, recorded in Western’s Van Meter Auditorium, to their brief 1970s reunion. Their story recalls the nature of celebrity and youth in the early days of rock ’n’ roll.
His Life in Music
Quincy Jones (b. 1933) is one of the most prolific composers, arrangers, bandleaders, producers, and humanitarians in American music history and the recording and film industries. Among pop music fans he is perhaps most famous for producing Michael Jackson's album, Thriller. Clarence Bernard Henry focuses on the life, music, career, and legacy of Jones within the social, cultural, historical, and artistic context of American, African American, popular, and world music traditions.
Jones's career has spanned over sixty years, generating a substantial body of work with over five hundred compositions and arrangements. The author focuses on this material as well as many of Jones's accomplishments: performing as a young trumpeter in the bands of Lionel Hampton and Dizzy Gillespie, becoming the first African American to hold an executive position in the competitive white-owned recording industry, breaking racial barriers as a composer in the Hollywood film and television industries, producing the best-selling album of all time, and receiving numerous Grammy Awards.
The author also discusses many of Jones's compositions, arrangements, and recordings and his compositional study in France with legendary teacher Nadia Boulanger. In addition, details are provided about Jones's distinct ability as one of the most innovative composers and arrangers who incorporates many different styles of music, techniques, and creative ideas in his compositions, arrangements, and film scores. He collaborated with an array of musicians and groups such as Louis Armstrong, Duke Ellington, Miles Davis, Ella Fitzgerald, Sarah Vaughan, Frank Sinatra, Clifford Brown, Ray Charles, Michael Jackson, USA for Africa, and many others. Clarence Bernard Henry shows how Jones has, throughout his career, wholeheartedly embraced philosophies of globalization and cultural diversity in his body of work, collaborations, humanitarian projects, and musical creativity.
A Companion with Texts and Translations
Sergei Rachmaninoff--the last great Russian romantic and arguably the finest pianist of the late 19th and early 20th centuries--wrote 83 songs, which are performed and beloved throughout the world. Like German Lieder and French mélodies, the songs were composed for one singer, accompanied by a piano. In this complete collection, Richard D. Sylvester provides English translations of the songs, along with accurate transliterations of the original texts and detailed commentary. Since Rachmaninoff viewed these "romances" primarily as performances and painstakingly annotated the scores, this volume will be especially valuable for students, scholars, and practitioners of voice and piano.
How to Disappear Completely
How the British rock band Radiohead subverts the idea of the concept album in order to articulate themes of alienation and anti-capitalism is the focus of Marianne Tatom Letts's analysis of Kid A and Amnesiac. These experimental albums marked a departure from the band's standard guitar-driven base layered with complex production effects. Considering the albums in the context of the band's earlier releases, Letts explores the motivations behind this change. She places the two albums within the concept-album/progressive-rock tradition and shows how both resist that tradition. Unlike most critics of Radiohead, who focus on the band's lyrics, videos, sociological importance, or audience reception, Letts focuses on the music itself. She investigates Radiohead's ambivalence toward its own success, as manifested in the vanishing subject of Kid A on these two albums.
Voices of the Independent Rock 'n' Roll Pioneers
This volume is an engaging and exceptional history of the independent rock 'n' roll record industry from its raw regional beginnings in the 1940s through its peak in the 1950s and decline in the 1960s. John Broven combines narrative history with extensive oral history material from numerous recording pioneers including Joe Bihari of Modern Records; Marshall Chess of Chess Records; Jerry Wexler, Ahmet Ertegun, and Miriam Bienstock, of Atlantic Records; Sam Phillips of Sun Records; Art Rupe of Specialty Records; and many more._x000B_
The Life and Opinions of Papa Jo Jones
Finalist for Best Jazz Book of the Year Award from the Jazz Journalists Association
The things that I have, I’ll give to you. This is my legacy with you, Albert. This is my last hoo-rah. So begins the autobiography of Jonathan David Samuel Jones—or as the world better knows him, Papa Jo Jones. Playing with Count Basie and his orchestra when they exploded out of Kansas City in 1936 and took the world by storm, Jones went on to inspire generations of jazz drummers, but until now few have had access to his own remarkable story.
Rifftide presents Jones’s inimitable life and opinions, as originally told by Jones to the prominent jazz historian and novelist Albert Murray and now transcribed, arranged, and introduced by Paul Devlin. Drawn from fourteen tapes recorded over eight years beginning in 1977, Rifftide is an impressionistic series of riffs and tales by Jones: his life as a musician on the road in segregated America, his outstanding solo career following his years with the Basie band, and his interactions with iconic artists and cultural figures of the time, including Ralph Ellison, James Baldwin, Langston Hughes, Duke Ellington, Louis Armstrong, Bill “Bojangles” Robinson, and Satchell Paige.
A true American original and jazz luminary, Papa Jo Jones bedazzled and intrigued many with his outrageous, volatile personality and his innovative drumming—and nowhere does his fierce intellect and humor shine more marvelously than in his life’s telling. With a fascinating introduction and annotations by Paul Devlin and an afterword by Phil Schaap, jazz historian and longtime friend of Jones, Rifftide reveals a man at the forefront of both a whole new form of music and a country in the midst of incredible turmoil and opportunity. As Jones himself puts it: Listen man, I’ve had a hell of a time . . .
An Atchafalaya Story
Louisiana’s Atchafalaya River Basin, the heart and soul of Acadiana, or Cajun country, is the focus of this compelling narrative by Ann McCutchan. A masterful weaving of cultural and environmental history, River Music also tells the life story of Louisiana musician, naturalist, and sound documentarian Earl Robicheaux. With Robicheaux as her guide, McCutchan embarks on a musical, visual, literary, and historical tour of the Atchafalaya, where bayous, swamps, marshes, and river delta country have long sustained nature and culture, even as industry has changed both the landscape and the people. Along the way, she and Robicheaux pay homage to distinctive voices of the region’s singular soundscape, including Acadian and Native American elders, birds, frogs, alligators, wind, water, and weather, which Robicheaux chronicles in archival recordings and musical compositions for museum exhibits, radio programs, and repositories such as the Cornell Lab of Ornithology. A CD of Robicheaux's soundscapes is included with the book. In counterpoint, McCutchan recounts Robicheaux’s remarkable struggles as a jazz and classical artist, Katrina victim, cancer survivor, and steadfast son of the Basin devoted to remembering, preserving, and sounding out the ecological and cultural riches of his home. An original blend of nature writing, music history, biography, journalism, and memoir, River Music: An Atchafalaya Story eloquently celebrates the one-and-half-million watery acres that have shaped the lives of the people there—and been transformed by them in return. An epilogue written in the aftermath of the Deepwater Horizon explosion and the disastrous oil spill that followed provides a fitting and poignant coda to this memorable book.
This book explores the life and works of the pioneering opera composer Robert Ashley, one of the leading American composers of the post-Cage generation. Ashley's innovations began in the 1960s when he, along with Alvin Lucier, Gordon Mumma, and David Behrman, formed the Sonic Arts Union, a group that turned conceptualism toward electronics. He was also instrumental in the influential ONCE Group, a theatrical ensemble that toured extensively in the 1960s. During his tenure as its director, the ONCE Festival in Ann Arbor presented most of the decade's pioneers of the performing arts. Particularly known for his development of television operas beginning with Perfect Lives, Ashley spun a long series of similar text/music works, sometimes termed "performance novels." These massive pieces have been compared with Wagner's Ring Cycle for the vastness of their vision, though the materials are completely different, often incorporating noise backgrounds, vernacular music, and highly structured, even serialized, musical structures. _x000B__x000B_Drawing on extensive research into Ashley's early years in Ann Arbor and interviews with Ashley and his collaborators, Kyle Gann chronicles the life and work of this musical innovator and provides an overview of the avant-garde milieu of the 1960s and 1970s to which he was so central. Gann examines all nine of Ashley's major operas to date in detail, along with many minor works, revealing the fanatical structures that underlie Ashley's music as well as private references hidden in his opera librettos._x000B_