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And All That Motive: A Casey McKie Mystery

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The following is an excerpt from the first chapter of And All That Motive: A Casey McKie Mystery by Joan Merrill (CreateSpace, 2014). Who the hell was calling me this early on a Sunday morning? After a night of music and drinking. Jesus. “Casey McKie," I mumbled, not hiding my annoyance. “Casey, Casey, can you hear me? I need you to come over--shee-it--how do you work this goddamned thing--fuck it." And then silence. It was Dee. I'd got her a disposable cell phone for the week-end, but she couldn't figure it ...

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On Highway 61: Music, Race, and the Evolution of Cultural Freedom

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The following is an excerpt from the “Spirituals to Swing" chapter of On Highway 61: Music, Race, and the Evolution of Cultural Freedom by Dennis McNally (Counterpoint Press, Berkeley, 2014). Danny Barker, who in the 1930s was Cab Calloway's guitarist, told a particularly revealing story of working at the Nest Club, a Harlem after-hours joint. Business would be dead when the doorman buzzed three loud rings to indicate that they had prospects coming. The band would strike up “Oh, Lady Be Good," the waiters, all smiles and movement, would start beating on their trays, and the unsuspecting ...

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For the Artists: Critical Writing, Volume 2

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Miles Davis: The Complete On the Corner Sessions Sony-Legacy Music, October 2007 “There is no architecture and no build-up. Just a vivid, uninterrupted succession of colors, rhythms and moods." --Arnold Schoenberg, describing his Five Pieces for Orchestra in a letter to Richard Strauss, 1909, quoted in The Rest is Noise, Alex Ross (Farrar, Straus and Giroux, 2007) The music Miles Davis forged in the first half of the 1970s, his so-called “electric period," is not jazz. In a determined effort to keep his sound fresh, he took the audacious step of leaving behind all ...

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Bathed In Lightning: John McLaughlin, the 60s and the Emerald Beyond by Colin Harper

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Exclusive extract adapted from Bathed In Lightning: John McLaughlin, the 60s and the Emerald Beyond By Colin Harper. Published (UK and US) March 26, 2014 by Jawbone Press “British jazz is awash with young talent which, given a healthy set of circumstances and a fair share of work, could produce a generation of outstanding musicians." --Bob Houston, Melody Maker, January 1967 “As a job with security and prospects, being a jazz musician is just about on a par with shooting Niagara Falls in a barrel. Worse, in fact, because one of the greatest problems for ...

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Social Intrapreneurism and All That Jazz

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The power of great jazz musicians to connect with others and convey musical “stories" is the centrepiece of a new book on business innovators addressing global social problems. Social Intrapreneurism and All That Jazz (Greenleaf Publishing, March 2014) by Prof. David Grayson, Melody McLaren and Prof. Heiko Spitzeck uses the language and lessons of jazz improvisation to bring to life a rich array of stories, insights and practical tips collected from interview research with “social intrapreneurs"--corporate innovators who are developing new products, services and business models that address a range of social and environmental problems around the world ...

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The Blue Note: Seattle’s Black Musicians' Union A Pictorial History

The following is an excerpt from the preface of The Blue Note: Seattle's Black Musicians' Union A Pictorial History by David Keller (Our House Publishing, 2013). This is a story about the hopes and dreams of a small group of African American men and women. They ran their own union in jny: Seattle beginning in the early 1900s. This union was the American Federation of Musicians' Union Local 493. Its members had a dream that they should be able to play their own brand of jazz music and receive a fair wage for this service. They should ...

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Don Drummond: The Genius and Tragedy of the World's Greatest Trombonist

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The following is an excerpt from the “The Known and Unknown" chapter of Don Drummond: The Genius and Tragedy of the World's Greatest Trombonist by Heather Augustyn (Foreword by Delfeayo Marsalis) (McFarland, 2013). Late one evening in 1985, I was returning to the Brooklyn residence of my eldest brothers Branford and Wynton from a sojourn in Manhattan. As fate would have it, the Jamaican taxi driver recognized my slide trombone and proclaimed, “You know about Don Drummond and the Skatalites?" At that point it occurred to me that I had indeed seen in Branford's collection several albums by ...



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