100 books like Rythm Oil

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.  

My interest in music takes its roots deep into Louisiana because the first music was vocal.

Not only music but all literature had its beginnings in the words of history and folk songs. This book brought light into my young life. It was the beginning to understand American culture through its clearly defined early music. I carried various printings of Gumbo Ya-Ya with me through my early travels through Memphis, Louisiana, Como, Mississippi, etc. The book opened my mind to the history, and because of the book, the traveling opened my mind to the music.

I lived in Memphis during the early 1960. I visited the Sun Recording Studios at 706 Union Avenue, and then 639 Madison Avenue. Sam Phillips created Sun Records. He was the first person to record, Howlin’ Wolf, Ike Turner, B. B. King, Elvis Presley, Johnny Cash, /Carl Perkins, Roy Orbison, Jerry Lee Lewis, and dozens of other musicians. Race didn’t matter to Sam, even though he lived and recorded in a deep, tough Jim Crow city.

Escott’s and Hawkins’ book captures the remarkable history of that small record label stuck in the depths of the time of mean southern roots. Vital book to dig into the creative, insightful mind of Sam Phillips, and his journey to bring rural, rough-hewed music to a wider, white audience.

Tight, vivid writing about the poorest people in America in the richest country in the world. There is dignity and warmth of two sons caring for their blind father, and there is God in also every life, for better or worse. I have to read this book at least once a year to remember what hard times and resolutions are. Every word seems to matter.

This is an absolute must for anyone interested in almost any musical genre.

Now in its fifth edition, it takes on the arduous task of sifting through the back stories of over 1,000 of the most familiar tunes through 500 years of musical history.

A more recent, albeit still antique reference, is the story of how “Jingle Bells” came to be, and the controversy regarding where it was actually, written; the snow-covered streets of Medford, Massachusetts, or the live oak-lined thoroughfares of Savanah, Georgia.

David Berkeley, a singer/songwriter, wrote this book of short stories, each one connected because the minor characters in one story are the major characters in another. David wrote a song for each story from the character’s point of view. The music album is called Cardboard Boat and you can find it on his homepage.

If you want to delve into how music functions in the human mind and how it helps support communities and groups, then Anthony Storr’s is the book for you. Eminent psychiatrist, Oxford professor, and proficient pianist and violist, Storr (author of Churchill's Black Dog) uses his deep knowledge of philosophy, psychology, and religion to address questions like “Where does music come from?”, “Is music a common language for all humanity?” “How does music trigger emotions?” “Are our encounters with music in any way comparable with encountering persons?” Drawing on the work of Jung, Nietzsche, and Schopenhauer, Storr argues that music, like religion, is a feature of all human cultures. Like religion, it offers solace and comfort from the hardships of life.

However, music is not universal—different cultures develop their own musical traditions and conventions, just as they develop different political systems and different languages. What is universal, and this… show more.

Carol Clerk was something of a rock star in her own right: a major force in music writing, Clerk’s tough, witty voice continues to resound years after her untimely passing. Her biography of countercultural hippy icons Hawkwind is fascinating, and she weaves together the voices, memories, tales, and travails with effortless brio. Like Nina Antonia, she had a kinship with the musicians she wrote about, garnering stories with ease because they trusted her, and rightly so.

I’ve spent a lot of time with this remarkable book over the years.

I suppose my greatest takeaway is the way Ward explores music’s meaning from a variety of angles and intersections: musical, economic, legal, racial, gender, class, and generational.

The airwaves could not be segregated; music gave insight into the Black freedom struggle and a shared sense of humanity that helped topple Jim Crow barriers nationwide. I particularly appreciate how Ward unpacks the ways Black audiences shaped the sounds of the era. Black music reflected an optimism and an assertion of racial pride, and you’ll find the modern Civil Rights Movement at the heart of his book.

Crossroads: African American freedom struggle, Postwar America, the South

Is music as universally positive and life-affirming as we think?

This book made me think twice about that idea. Yes, music lubricates our identities and can generate fellow feeling and a sense of well-being, but it can just as easily drive us apart. Think about pop’s repertoire of overtly sexist and racist songs, the booing of national anthems at sports events, and music reserved for the status acquisition practices of the elite, like opera.

What I like about David Hesmondhalgh’s exploration of why music matters is that it takes a balanced view of these questions. I use it a lot in teaching as an antidote to the somewhat lazy idea that music is *always* a force for social good. I also admire David’s ability to move from the somewhat abstract realms of moral philosophy to dancing bodies without losing sight of basic but important questions like social inequality.