Here are 26 books that September in the Rain fans have personally recommended if you like
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I’ve been interested in classic Hollywood movies for as long as I can remember, starting especially with the MGM musicals, the comedies of Abbott and Costello, and anything by Alfred Hitchcock. When I became a musicologist, I started to understand more about how the music of these films contributed to my interest in them, so it seemed like a natural research project for me to explore the music in more depth. I slowly realized that what made the films of the 1950s unique was the combination of new styles of acting with new styles of music. The films continued to suck me in and now my interest has resulted in this book.
Smith’s comprehensive biography of one of film history’s most prolific composers is a must-read for anyone interested in golden-age Hollywood.
Steiner worked on a vast array of films, such as King Kong, Gone with the Wind, and The Big Sleep, and Smith goes through the production of all of them. He explores Steiner’s life in detail, as well as his production process with his collaborators. Reading this book provides not just the life story of one composer, but an understanding of how film music worked in Hollywood in the 1930s through ‘50s.
During a seven-decade career that spanned from 19th century Vienna to 1920s Broadway to the golden age of Hollywood, three-time Academy Award winner Max Steiner did more than any other composer to introduce and establish the language of film music. Indeed, revered contemporary film composers like John Williams and Danny Elfman use the same techniques that Steiner himself perfected in his iconic work for such classics as Casablanca, King Kong, Gone with the Wind, The Searchers, Now, Voyager, the Astaire-Rogers musicals, and over 200 other titles. And Steiner's private life was a drama all its own. Born into a legendary…
I've been a working journalist for 50 years, and as a child of TV, especially in the 1960s, I grew up with some of the most memorable TV themes ever written. I started writing about TV in the 1980s, and since moving to Los Angeles in 1986, have used every opportunity to meet and interview all of my favorite composers of movie and TV music. The result is this book, which looks at the history of TV themes and, in a larger sense, music written for TV generally. Every genre of TV, from crime to sitcoms, westerns to adventure, has had fun, often compelling, and truly memorable music, and I've tried to celebrate it here.
Mancini wrote "Moon River," "Days of Wine and Roses," the Pink Panther theme and, for TV, music for Peter Gunn, Newhart, and The Thorn Birds.
He was the first film composer to become a household name in the 1960s and '70s. His cool jazz for Peter Gunn was so popular and influential that every cop and detective for the next 20 years was accompanied by "crime jazz," as it became known.
This is less about Mancini's personal life than about his career (the composer covered that already in his autobiography, Did They Mention the Music?), but I was captivated, particularly with Caps' ability to convey the essence of Mancini's music in descriptive words and phrases.
Through film composer Henry Mancini, mere background music in movies became part of pop culture--an expression of sophistication and wit with a modern sense of cool and a lasting lyricism that has not dated. The first comprehensive study of Mancini's music, Henry Mancini: Reinventing Film Music describes how the composer served as a bridge between the Big Band period of World War II and the impatient eclecticism of the Baby Boomer generation, between the grand formal orchestral film scores of the past and a modern American minimalist approach. Mancini's sound seemed to capture the bright, confident, welcoming voice of the…
I've been a working journalist for 50 years, and as a child of TV, especially in the 1960s, I grew up with some of the most memorable TV themes ever written. I started writing about TV in the 1980s, and since moving to Los Angeles in 1986, have used every opportunity to meet and interview all of my favorite composers of movie and TV music. The result is this book, which looks at the history of TV themes and, in a larger sense, music written for TV generally. Every genre of TV, from crime to sitcoms, westerns to adventure, has had fun, often compelling, and truly memorable music, and I've tried to celebrate it here.
Maybe the last of the great Viennese-born classical composers, Korngold enjoyed enormous success in Europe in the 1920s.
Invited to Hollywood in 1934, he began writing film music for the swashbucklers, costume dramas, and historical pageants of Warner Bros., often starring the likes of Errol Flynn, Olivia De Havilland, and Claude Rains: Captain Blood, The Adventures of Robin Hood, The Sea Hawk, Kings Row, and others.
Korngold thought of movies as "operas without singing" and wrote lavish, richly orchestrated scores filled with memorable melodies. Fleeing the Nazi tyranny in 1938, he became one of the greatest composers in the Golden Age of movies.
Carroll spent decades researching his life, it's a thorough and compelling read, and it saddens me that the book is now long out of print.
I've been a working journalist for 50 years, and as a child of TV, especially in the 1960s, I grew up with some of the most memorable TV themes ever written. I started writing about TV in the 1980s, and since moving to Los Angeles in 1986, have used every opportunity to meet and interview all of my favorite composers of movie and TV music. The result is this book, which looks at the history of TV themes and, in a larger sense, music written for TV generally. Every genre of TV, from crime to sitcoms, westerns to adventure, has had fun, often compelling, and truly memorable music, and I've tried to celebrate it here.
Bernard Herrmann is revered as one of the movies' greatest composers.
Imagine starting your Hollywood career with music for Citizen Kane!
He enjoyed a very productive 10-year relationship with director Alfred Hitchcock, which produced such masterpieces as Vertigo, Psycho, and North by Northwest; he also worked with Francois Truffaut on Fahrenheit 451, composed the original Twilight Zone theme, and capped his career with music for Martin Scorsese's Taxi Driver.
Yet he could be cantankerous and difficult, antagonizing both friends and colleagues with his temperamental behavior and insistence upon the highest standards of music and drama.
I love the fact that Smith writes as well about the music as he does about the composer, and the reader walks away knowing lots about both.
No composer contributed more to film than Bernard Herrmann, who in over 40 scores enriched the work of such directors as Orson Welles, Alfred Hitchcock, Francois Truffaut, and Martin Scorsese. In this first major biography of the composer, Steven C. Smith explores the interrelationships between Herrmann's music and his turbulent personal life, using much previously unpublished information to illustrate Herrmann's often outrageous behavior, his working methods, and why his music has had such lasting impact. From his first film ("Citizen Kane") to his last ("Taxi Driver"), Herrmann was a master of evoking psychological nuance and dramatic tension through music, often…
I’ve been an entrepreneur for over 40 years and now pass on that knowledge to mentees and university students. The key to success in business is being able to attract and then learn from mentors, who, in my opinion, always should provide their knowledge, wisdom, and connections free of charge. As an entrepreneur, it’s easy to go down ‘The Dark Side’, especially if the pursuit of money and power becomes overwhelming. Many famous billionaires are not especially nice people. But there are many nice businesspeople out there and I aspire to be one of those, hence my pursuit of a daily advancement in esoteric, hermetic, and other knowledge.
Nobody really knows what makes a video go viral on social media. Scott Bradlee is a jazz pianist who turned his love of 20s music into a YouTube phenomenon with over 4Bn hits: Postmodern Jukebox. He explains how you can turn this (often unexpected) instant attraction into a series of robust business models.
From the creator of the sensation Postmodern Jukebox--with millions of fans globally--comes an inspirational memoir about discovering what you love and turning it into a creative movement.
With student loan debt piling up and no lucrative gigs around the corner, Scott Bradlee found himself in a situation all too familiar to struggling musicians and creative professionals, unsure whether he should use the little income he had to pay the rent on his basement apartment on the fringes of New York City or to avoid defaulting on his loans.
It was in these desperate circumstances that Bradlee began experimenting, applying his…
I’ve been intrigued by drums, drummers, and drumming since the age of 12 when my sister gave me some brushes and told me to swish them around on a vinyl album sleeve. I was fortunate to begin my drumming career at the top, which gave me options as to how I could manage whatever came next. I spent 41 years playing the music I wanted with whom I wanted and where and when I wanted, in an endless search for the unusual and the unlikely. This brought me into contact with the great, the good, and the downright hopeless, from all of whom I learned that life isn’t about ‘finding’ things or ‘finding yourself,’ it’s about creating things and thus creating yourself.
This biography of a person that many consider to be the greatest drummer that we’ve had so far, is excellent on several fronts. First, it is written by a long-standing friend and roommate Mel Tormé. Tormé was there when it happened, and as a highly rated jazz singer experienced in Rich’s world, he is able to help us understand why it happened. Second, it speaks volumes about American music and entertainment in the context of the Swing era. Rich could be mean, prickly, and arrogant, and then turn on a dime into a sweetheart. It says much for their friendship that, despite periods of estrangement, it was able to withstand such vacillations. I interviewed the drummer in his Dorchester hotel suite in London in 1968 and I got the sweetheart. Finally, as Jerry Lewis says on the back cover, the book is “written by a champ about a champ”.
Mel Tormé is world renowned as a leading jazz vocalist. He has performed in MGM musicals, co-wrote one of the enduring Christmas classics, "The Christmas Song (Chestnuts Roasting on an Open Fire)," and was recently profiled in Life magazine as one of the greatest living jazz singers. But Tormé has also written five books, including The Other Side of the Rainbow, Tormé's account of his year working on the Judy Garland television show--considered the best portrait of Garland ever written. In this book, Tormé writes a brilliant biography of his friend of forty years--the drummer Buddy Rich. Buddy Rich was…
Lilian Terry’s background is quite out-of-the-ordinary. Born in Egypt in 1930 to Maltese and Italian parents, she undertook academic studies in Cairo and Florence. Terry studied classical piano until age 17, developing an interest in jazz in her early teens. She participated in a variety of ways with jazz in Europe, beginning in the 1950s. As a singer, she was an active performer and recording artist. At the same time, she produced radio and television shows for Italy’s RAI network, and this activity led to some of her encounters with major figures of American jazz. Seven of these interactions (most of which spanned decades) are the subject of Dizzy, Duke, Brother Ray, and Friends.
I have three main reasons to love this book: a) it is brilliantly written by Ellington himself; with his gentle-ironical sense of humour and his intention to put down on paper his magic musical world for the entertainment of all generations to come. b) I was fortunate to be “adopted” by him during the last nine years of his life, when “Uncle Eddie” would dictate to me any subject that came to his mind and I would make sure he had his copy, for later use in his book. c) to the last days of his life he was a constant inspiration; as a generous human being and as a universal musician.
}Music is my mistress, and she plays second fiddle to no one. This is the story of Duke Ellingtonthe story of Jazz itself. Told in his own way, in his own words, a symphony written by the King of Jazz. His story spans and defines a half-century of modern music.This man who created over 1500 compositions was as much at home in Harlems Cotton Club in the 20s as he was at a White House birthday celebration in his honor in the 60s. For Duke knew everyone and savored them all. Passionate about his music and the people who made…
I can’t imagine going through a day without listening to music. I remember buying my first Beatles album at eight years old. I saw Elvis on his last tour, Whitney Houston on her first, and Barbra Streisand on her comeback tour—twice. I remember listening to “Kind of Blue” the first time. I remember seeing Ella Fitzgerald late in her career at a club in Houston; her body was failing her—she had to sit in a chair to sing—but her voice was as beautiful as ever. Of all the artists I’ve admired over the years, the one whose work has consistently spoken to me most profoundly is Billie Holiday.
One of the important figures in the world of jazz for many years was Leonard Feather. He started his career as a jazz writer—writing the first profile of Billie Holiday—but eventually became a songwriter and producer. He produced Billie Holiday’s highly successful 1954 European Tour called Club USA.
Well into his career, he collected this book of essays about the jazz figures he knew well: Louis Armstrong, Billie Holiday, Ella Fitzgerald, Lester Young, Dizzy Gillespie, Miles Davis, and Ray Ellis, among others. I really like his essay on Billie, whom he knew so well she became his daughter’s godmother because he was able to relate events about which he knew because he was in the room with her when they happened.
If you want to meet jazz luminaires first-hand, trust Leonard Feather to provide the introduction.
Louis Armstrong, Duke Ellington, Billie Holiday, Ella Fitzgerald, Count Basie, Lester Young, Charlie Parker, Norman Granz, Oscar Peterson, Ray Charles, Don Ellis, and Miles Davis,these are the dozen jazz figures whom Leonard Feather chose to describe the development of jazz. This is the first Feather book to examine in-depth the innovative figures who have led the way throughout the music's history. As composer, producer, and for almost half-a-century one of its leading critics, Feather has a unique perspective of these jazz immortals. He has worked with and known all of them. "These are portraits of human beings first, analyses of…
Richard Niles was born in Hollywood but grew up in London where his 50-year professional career as a composer, arranger, record producer led to work with some of the most acclaimed artists of our time, including Paul McCartney, Ray Charles, James Brown, Tina Turner, Cher and jazz icon Pat Metheny. He has worked on 20 Gold and 28 Platinum records. He has published many books on music including The Pat Metheny Interviews, The Invisible Artist, From Dreaming to Gigging, Piano Grooves, Songwriting – The 11-Point Plan, Adventures in Arranging, Adventures in Jazz Composition, What is Melody?, and How to be an Employable Musician. Dr. Niles' PhD is from Brunel University and he has lectured internationally.
Frank Sinatra did not become the most influential artist in popular music because of the scandals that surrounded much of his life. It was his singing. It was ‘The Voice’.
One of my favorite authors about music, Will Friedwald, concentrates on the dedication it took to create that voice, revealing Sinatra’s craft and artistic conception that made him a masterful storyteller and an innovative vocalist. If you read one book about Sinatra, this should be it!
Frank Sinatra was the greatest entertainer of his age, invigorating American popular song with innovative phrasing and a mastery of drama and emotion. Drawing upon interviews with hundreds of his collaborators as well as with "The Voice" himself, this book chronicles, critiques, and celebrates his five-decade career. Will Friedwald examines and evaluates all the classic and less familiar songs with the same astute, witty perceptions that earned him acclaim for his other books about jazz and pop singing. Now completely revised and updated, and including an authoritative discography and rare photos of recording sessions and performances, Sinatra! The Song Is…
After publishing five books of poems, I found myself writing a long work I had no way of classifying. It involved the extensive use of facts but was also fiction. It read in part like a novel but was also lyrical. I decided to just write it and not worry about what genre it belonged to. It became A Monster’s Notes. I suspect in our internet age, the emergence of unclassifiable work is going to become more and more common. You can already see it happening. The web isn’t divided into sections the way a bookstore is; instead, it’s more like a spider’s web—you can follow this thread or that, but somehow they’re all connected.
Markson had early success writing traditional novels (one was even made into a movie starring Frank Sinatra) but his real body of work came after when he started writing novels that were criticized for not being novels. The first of these, This is Not a Novel, is narrated by a writer who asks whether it is possible to have a novel with no plot, no main character etc. In a form that visually resembles about 150 pages of tweets (but written before Twitter existed), Markson takes a spirited, enjoyable romp through the history of art, literature, and philosophy, with a sharp eye focused on how various creative people lived and loved, but especially on how they died.
David Markson was a writer like no other. In his novels, which have been called "hypnotic," "stunning," and "exhilarating" and earned him praise from the likes of Kurt Vonnegut and David Foster Wallace, Ann Beattie and Zadie Smith. Markson created his own personal genre. With crackling wit distilled into incantatory streams of thought on art, life, and death, Markson's work has delighted and astonished readers for decades.
Now for the first time, three of Markson's masterpieces are compiled into one page–turning volume: This Is Not a Novel, Vanishing Point, and The Last Novel. In This Is Not a Novel, readers…
