In the winter of 1926, when everybody everywhere sees nothing but good things ahead, Joe Trace, middle-aged door-to-door salesman of Cleopatra beauty products, shoots his teenage lover to death. At the funeral, Joe’s wife, Violet, attacks the girl’s corpse. This passionate, profound story of love and obsession brings us back and forth in time, as a narrative is assembled from the emotions, hopes, fears, and deep realities of black urban life.
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DVD provides over three hours of audio and video demonstrations of rehearsal techniques and teaching methods for jazz improvisation, improving the rhythm section, and Latin jazz styles.
Many books have been written about Freemasonry. However, there has been very little written and published in the area of Royal Arch Masonry. To the best of my knowledge, there has only been three books published in the last one hundred and fifty years. (1) Sheville and Gould's Guide to the Royal Arch Chapter in 1867 and 1980; (2) Trunbull and Denslow's A History of Royal Arch Masonry published by the General Grand Chapter in 1956 and 1993; and (3) Steinmetz's The Royal Arch Its hidden Meaning in 1946 and 1979. This book, The History and Symbolism of Royal Arch Masonry fills this void with a clear and accurate analysis of Capitular Masonry. This book covers the world history, U.S. history, and the symbolic content of each of the four major Capitular degrees; the Mark Master, the Past Master, the Most Excellent Master, and Royal Arch, a degree considered by many to be the cope-stone of Masonry. It also covers the Order of Anointed High Priesthood. A chapter is devoted to the history and purposes of that fraternal body that is the mother lode of Capitular Masonry, the General Grand Chapter of Royal Arch Masons, International. A chapter is devoted to Royal Arch Masonry in England, Ireland, and Scotland. This book deals with facts, not myths. Historical quotes are used throughout the book in support of its historical analysis. Many original illustrations adorn the book. Comments by several leading Masons serve to illustrate the importance and strengths of this book. Larry E. Gray, General Grand Scribe, General Grand Chapter Arch Masons, International, writes, "It matters not whether the reader is a casual reader of Masonic materials, or a devout member of the fraternity seeking further light in Masonry; this book is uncomplicated reading, factual and written in layman's terms." Robert M. Seibel, M.W. Past Grand Master, Grand Lodge of F & A. Masons of Indiana writes, "The History and Symbolism of Royal Arch Masonry, will serve Royal Arch Masons throughout the English speaking world in their search for further light in Masonry. I recommend this scholarly expose in your Masonic adventures." Dennis J. Anness, Past Grand High Priest, Grand Chapter of Royal Arch of Indiana writes, "The author of this book writes in a clear and concise manner that serves all readers well. Whether you are a student of Masonic studies', or have an idle curiosity in the field, or have no knowledge of Masonry, this work is for you." Marion K. Crum, Past Illustrious Master, Grand Council of Cryptic Masons of Indiana writes, "In addition to being written in a clear, concise and understandable manner, he has eliminated many of the myths that have been attached to much of the writings of Freemasonry."
A guide to jazz singing offers advice on such topics as communicating through emotion, coloring the melody, and phrasing, along with information on preparing for a performance and creating an arrangement.
Jazz Theory and Practice is the most modern introduction to jazz theory ever published. Rich with examples from the repertoire, it gives performers, arrangers and composers an in-depth and practical knowledge of the theoretical foundations of jazz.
Traces the evolution of jazz from its African and West Indian roots to its contemporary forms and discusses the careers and styles of Leadbelly, Armstrong, Bessie Smith, and others
This classic study of jazz by renowned composer, conductor, and musical scholar Gunther Schuller was widely acclaimed on its first publication in 1968. The first of two volumes on the history and musical contribution of jazz, it takes us from the beginnings of jazz as a distinct musical style at the turn of the century to its first great flowering in the 1930's. Schuller explores the music of the great jazz soloists of the twenties--Jelly Roll Morton, Bix Beiderbecke, Bessie Smith, Louis Armstrong, and others--and the big bands and arrangers--Fletcher Henderson, Bennie Moten, and especially Duke Ellington--placing their music in the context of the other musical cultures and languages of the 20th century and offering original analyses of many great jazz recordings. Now reissued in paper, Early Jazz provides a musical tour of the early American jazz world for a new generation of scholars, students, and jazz fans.
The setting is the Royal Gardens Cafe. It's dark, smoky. The smell of gin permeates the room. People are leaning over the balcony, their drinks spilling on the customers below. On stage, King Oliver and Louis Armstrong roll on and on, piling up choruses, the rhythm section building the beat until tables, chairs, walls, people, move with the rhythm. The time is the 1920s. The place is South Side Chicago, a town of dance halls and cabarets, Prohibition and segregation, a town where jazz would flourish into the musical statement of an era. In Chicago Jazz, William Howland Kenney offers a wide-ranging look at jazz in the Windy City, revealing how Chicago became the major center of jazz in the 1920s, one of the most vital periods in the history of the music. He describes how the migration of blacks from the South to Chicago during and after World War I set the stage for the development of jazz in Chicago; and how the nightclubs and cabarets catering to both black and white customers provided the social setting for jazz performances. Kenney discusses the arrival of King Oliver and other greats in Chicago in the late teens and the early 1920s, especially Louis Armstrong, who would become the most influential jazz player of the period. And he travels beyond South Side Chicago to look at the evolution of white jazz, focusing on the influence of the South Side school on such young white players as Mezz Mezzrow (who adopted the mannerisms of black show business performers, an urbanized southern black accent, and black slang); and Max Kaminsky, deeply influenced by Armstrong's "electrifying tone, his superb technique, his power and ease, his hotness and intensity, his complete mastery of the horn." The personal recollections of many others--including Milt Hinton, Wild Bill Davison, Bud Freeman, and Jimmy McPartland--bring alive this exciting period in jazz history. Here is a new interpretation of Chicago jazz that reveals the role of race, culture, and politics in the development of this daring musical style. From black-and-tan cabarets and the Savoy Ballroom, to the Friars Inn and Austin High, Chicago Jazz brings to life the hustle and bustle of the sounds and styles of musical entertainment in the famous toddlin' town.