100 books like Jazz

Howard Goodall is one of those authors who explains things incredibly clearly.

I found this book an eye-opener, a way into a deeper understanding of music, and a book to have by my side, to dip into whenever I needed to get an idea straight of understand a concept. Because he writes in such an accessible manner, the complexity of music becomes clearer. There are eye-opening facts, historical stories, and facts alongside well written and informative passages.    

I love how the various writers in the book explore music and its effects on them and their lives.

I really enjoyed how they also include people they have known and been fond of, such as Maggie Nelson writing about her friend Lhasa. It also explores, through the series of essays, the reasons that inspire women to play and perform, but also other areas like fame and how this affects musicians.

The essays challenge the usual pattern of men writing about music and I love the view from the female musician’s standpoint. The essays vary in length, topics, and style but this is fine. I found the book inspirational, especially as the essays are there with only light edits.

Whether writing about what it is to be far from home on a journey, or defying expectations found the passion, consideration for music, and their motivation captivating. 

I loved this book because it spoke directly to me. Jost looks at jazz music and in particular the development of free jazz.

It all fits together and flows so easily. He includes discussions on different musicians, their impact on free jazz music and explains how different areas within America developed their own subgenres of music. This book contains so many ‘aha!’ moments which is why I recommend it. 

This was my ‘go to’ book for years when I first began to write about music and jazz music in particular.

Cooke explains many things that until then, I had only heard about. The history of jazz music is explained clearly. From Be-bop and hard bop to free jazz and the avante garde. His writing allowed me to put names to music styles I found fascinating and it was as if an author was truly speaking my language. He introduces some well-known jazz musicians and their impact on jazz music 

This is a story of Jazz by the musicians who made it. Hear Me Talkin' to Ya is a wide study of the Jazz at its source (New Orleans) through the era of Big Bands and into Modern Jazz, from Kid Ory to Dave Brubeck. This book doesn’t have a narrative or authors’ opinions. This book features passages quoted by Billie Holiday, Mary Lou Williams, Lil Harden Armstrong, Louis Armstrong, Jelly Roll Morton, Othello Tinsley, Dizzy Gillespie, and a hundred other musicians.

We’ve entered a second era of inclusion. Women now play an essential role in creating music. Add Lizzie Miles, Anita O’Day, Ethel Waters, Lena Horne, Mary Ann McCall, Alberta Hunter, and Leora Henderson and we get a different perspective of the evolution of music culture.  

Back when jazz was popular and popular music was jazz, Andy Razaf was born in Washington DC, a member of the royal family of Madagascar: one source says his name was Andriamanantena Paul Rezafinkarefo, his father a nephew of Queen Ranavalona III. Andy became one of the most successful lyricists of his era. By the time he and Fats Waller co-wrote the black broadway show Hot Chocolates in 1929, Louis Armstrong singing "Ain't Misbehavin'" from the pit, he was at the top of his game. He and Waller wrote "Honeysuckle Rose", "Keepin' Out Of Mischief Now", "Blue, Turning Grey Over You", "The Joint Is Jumpin'", and more; in the early years, they would sell their lead sheets to as many publishers as they could, knowing that the publishers were cheats too. But Razaf also wrote with Eubie Blake ("You're Lucky To Me", "Memories Of You"), James P. Johnson ("A Porter's… show more.

The epic life of French jazz guitarist Django Reinhart deserves a Spielbergian biopic treatment. After the cart fire where he damaged his hand and the personal epiphany of hearing a Louis Armstrong record, the Gypsy guitarist would bring jazz to Europe with his near magical musical improvisations. He lived a wild, carefree life, full of big cars, large dreams, and sensual pleasures. When the Nazis took over Paris, he returned to his homeland, opened one of the city’s most dazzling nightclubs, and made hit records that flooded the French airwaves during the Occupation. When the war was over, his career went out like a light switch and Django repaired to a quiet life in a remote riverfront village, spending his time fishing and painting nudes. 

It is not possible to have any serious grasp of America in the 20th century without knowing and understanding Louis Armstrong. His story covers a great deal of the Black experience, from the exodus out of the South to the racism of the North. His life exposes the homogenizing machine that is the entertainment industry. And it shows what happens when a genius refuses to accept tragedy. This is the definitive biography of a great American.

Throughout her career, Billie Holiday always gave credit for her unique singing style to Louis Armstrong, not just the way he played the trumpet, which clearly influenced her, but the vernacular approach he had to singing.

Armstrong’s musicality allowed him to enjoy a one-of-a-kind career in show business, which Ricky Riccardi lovingly captures in his book, at least the part covering the final years of Armstrong’s life. Riccardi is particularly good on “Hello Dolly!,” Armstrong’s swan song.

Another book about a Jewish man who led a life that reads like fiction.

Louis Bannet grew up in Rotterdam with an alcoholic father and no money. He became a child prodigy at the violin, but decided in the Twenties and Thirties that he wanted to be the next Louis Armstrong. He became a star in Europe, but was deported to Auschwitz-Birkenau in 1943. He was recognized by a SS-guard and he was forced to be the leader of the campband in Auschwitz-Birkenau.

The trumpet saved his life and ‘The Dutch Louis Armstrong’, as he was known by that time, traveled from subcamp to subcamp. He even played in the villa of Dr. Josef Mengele, the so-called Angel of Death.