Fans pick 100 books like Six Days at Ronnie Scott's

If you want to know about drummers, Brennan’s book will guide you through the cultural, psychological, economic, technological, and entrepreneurial shifts which have collectively drawn the perimeter of the ballpark on which today’s drummers must perform. Now that we can all agree that drums are real instruments, that drummers are real musicians, and drumming is a real art form, this book provides an instrument-led social history that accords the subject an appropriate level of dignity and respect. Compulsory reading for the inquisitive citizen.

When I read Werner's Effortless Mastery, the first thing that happened was that my style of piano playing and composing transformed. What was once very methodical became free-flowing. Secondly, whatever I learned at the piano, then seemed to transfer to my writing and other projects. An absolute unsung hero of both mastery and productivity, Werner does a fantastic job of describing the work of getting your mind into that state of play where learning and creating happen best. 

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”.

How do jazz musicians think about what they are doing when they are improvising within a group? How do they learn to do such a thing in the first place – going their own way, but still going there together?

This is an immersion into the minds of musicians, starting with their earliest days and going through the rigors of learning their craft and then mastering it. The combination of discipline and freedom, hard work and wild inventive joy, finding an individual voice, and being part of the larger whole – the things that make improvisation a breath-taking artistic high-wire act – come together in this book.

I can’t carry a tune in a bucket, but this book made me wish I was a jazz musician.

This jive-tongued jazz cat really knows how to use language! His use of slang is evidenced by the ten-page glossary at the end of the book. Raw and gritty, Mezzrow’s memoir describes how he learned to play jazz and blues in a juvenile reformatory, where he developed his love for the Black “race” and its culture. He often riffs on race. In 1920s Chicago he rubbed elbows with Black and White jazz luminaries, plus gangsters, prostitutes, and drug dealers. During a side trip to Paris, France, he spread the gospel of jazz to Europe. In the 30s he lived in New York City’s Harlem, inhabiting a milieu similar to that in Chicago, peddling marijuana to jazz greats and others. His extraordinary writing inspired Jack Kerouac and the Beat writers.

This is a fun-filled mystery set in 1920s London. Cozies are not usually my thing, but I recently gave this a go as I am also writing a series in that exact time period and thought I’d see how Kinsey set about it. The historical beautifully captures the exuberance of the time period after World War I. Women have emerged from behind closed doors to interact on equal status as men, jazz music parades the pages with wild abandon, and the slang of the characters is spot on. The twists, turns, and action are blended in with the rich description to make this a delightful read.  

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.  

In The Freedom Principle, Chicago music critic John Litweiler examines the AACM’s connections to the experimental styles of jazz that emerged in the late 1950s and early 1960s. Figures such as Ornette Coleman and John Coltrane were important early influences on the AACM, and Litweiler shows how their work became the foundation for the even more radical advances of AACM composers and improvisers. The Freedom Principle is also replete with wonderful stories from the AACM’s first two decades, including Henry Threadgill’s account of how he created the hubkaphone, a percussion instrument made from salvaged hubcaps.

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.

Jazz Baby is one of the best books I've read in a while. It easily takes the reader back in time to the days of prohibition and speakeasies. Emily Ann, Jazz Baby, just wants to sing. That's all. But it seems everything and everyone is against her. Family, friends, and the culture of the day conspire to keep her from her dream. On the other hand, Emily Ann is not really innocent in the matter. She constantly flirts with danger, embraces it, and even thrives on it. And in the end... sorry, can't give that away.