Alyn Shipton

When Billy J. Kramer’s record of Lennon and McCartney’s “Do You Want To Know A Secret?” topped the New Musical Express charts in 1963, he became the first singer in the world to have a number one hit with a Beatles song, apart from the Fab Four themselves. This success propelled the teenage Kramer into the fast lane, and he followed it with another five top twenty singles within the space of two years. In this autobiography Billy J. Kramer (born William Ashton) tells his rags to riches story, from his working class childhood in Liverpool, via a British Rail engineering apprenticeship in the dying days of steam, to the racy world of international pop music. Managed by Brian Epstein, produced by George Martin, engineered by Hurricane Smith, and friend, confidante and colleague of the Beatles, Kramer gives a definitive insider’s account of the birth of the Liverpool sound and also the “British Invasion” of the US. We follow him to the Star Club in Hamburg, to Abbey Road, into the BBC studios, and onto package tours and stage shows with the Beatles, Cilla Black, Gerry and the Pacemakers, Tommy Quickly and other stars of the age. He shares a dressing room with James Brown, and appears alongside other 1960s giants of the American music business. Kramer also brilliantly evokes the world of variety, as he goes behind the scenes with comedian Tommy Cooper, and learns about the stagecraft of artistes from another era. On the surface, Kramer’s career seems like a dream come true, but there are dark secrets in the Kramer story. Even before he’d reached his twenties, he was already in the grip of drugs and alcohol, and there were constant tensions between him and his Mancunian backing band, The Dakotas. When the screaming stopped, he reinvented himself as a cabaret performer, and some of his best records were made during the years he was out of the limelight. He brought up a young family, but the drink and pills made his domestic life, and eventually his professional life, a struggle. In this no-holds-barred account of his life, Kramer evokes the vibrancy of the sixties and reveals how he exorcised his demons and forged a new career in the US. He assembles his current band, shows a growing mastery of songwriting and recording, and returns to national tours, keeping the flame of the Mersey sound alive. The lifetime of experience he brings to his new songs infuses every page of this enthralling read.

The Gerry Mulligan Quartet, founded in Los Angeles in 1952, was widely acclaimed as the first small ensemble in jazz that did not include a chordal instrument such as a piano or guitar. Using original scores and detailed transcriptions of Mulligan's work, The Gerry Mulligan 1950s Quartets offers an intimate look at Mulligan's musical development from the initial quartet with Chet Baker to its successors with Bob Brookmeyer, Jon Eardley, and Art Farmer. The backdrop is an unparalleled account of his musical life from his teen- age years to adulthood, analyzing the ways in which his compositions and arrangements evolved through collaborations with Elliot Lawrence, Gene Krupa, and Claude Thornhill, culminating with Miles Davis's Birth of the Cool nonet. Featuring original interviews with many of Mulligan's associates, author Alyn Shipton presents a fresh take on Mulligan's harmonic creativity, in the process tracing the ups and downs of Mulligan's heroin addiction, imprisonment, sobriety, and eventual musical triumph.

The Gerry Mulligan Quartet, founded in Los Angeles in 1952, was widely acclaimed as the first small ensemble in jazz that did not include a chordal instrument such as a piano or guitar. Using original scores and detailed transcriptions of Mulligan's work, The Gerry Mulligan 1950s Quartets offers an intimate look at Mulligan's musical development from the initial quartet with Chet Baker to its successors with Bob Brookmeyer, Jon Eardley, and Art Farmer. The backdrop is an unparalleled account of his musical life from his teen- age years to adulthood, analyzing the ways in which his compositions and arrangements evolved through collaborations with Elliot Lawrence, Gene Krupa, and Claude Thornhill, culminating with Miles Davis's Birth of the Cool nonet. Featuring original interviews with many of Mulligan's associates, author Alyn Shipton presents a fresh take on Mulligan's harmonic creativity, in the process tracing the ups and downs of Mulligan's heroin addiction, imprisonment, sobriety, and eventual musical triumph.

Few musical genres inspire the passionate devotion of jazz. Its mystique goes far beyond the melodies and rhythms, with its key players and singers discussed by aficionados with a respect that borders on reverence. Some books on jazz offer little more than theory or dry facts, thereby relinquishing the 'essence' of the music. This book is different. One of the most influential and internationally known writers on the subject describes, through vivid personal contacts, reminiscences and zesty anecdotes, his life in jazz as a player, broadcaster and observer. Alyn Shipton recalls friendships with legendary musicians, while revealing fresh discoveries about such luminaries as Fats Waller, Louis Armstrong, Count Basie, Duke Ellington, Charlie Parker, Abbey Lincoln and Geri Allen. On Jazz powerfully evokes the atmosphere of clubs and dancehalls, and takes us behind the scenes and up onto the stage, so that this electrifying world is unforgettably spotlighted as never before.

The Art of Jazz explores how the expressionism and spontaneity of jazz spilled onto its album art, posters, and promotional photography, and even inspired standalone works of fine art. Everyone knows jazz is on the cutting edge of music, but how much do you know about its influence in the visual arts? With album covers that took inspiration from the avant-garde, jazz's primarily African American musicians and their producers sought to challenge and inspire listeners both musically and visually. Arranged chronologically, each chapter covers a key period in jazz history, from the earliest days of the twentieth century to today's postmodern jazz. Chapters begin with substantive introductions and present the evolution of jazz imagery in all its forms, mirroring the shifting nature of the music itself. With two authoritative features per chapter and over 300 images, The Art of Jazz is a significant contribution to the literature of this intrepid art form.

In this autobiography Billy J. Kramer (born William Ashton) tells his rags to riches story, from his working class childhood in Liverpool to the racy world of international pop music. Managed by Brian Epstein, produced by George Martin, and friend, confidante and colleague of the Beatles, Kramer gives a definitive insider's account of the birth of the Liverpool sound and also the "British Invasion" of the USA. But there are dark secrets in the Kramer story. Before he reached his twenties, he was in the grip of drugs and alcohol, and there were constant tensions between him and his backing band, the Dakotas. When the screaming stopped, he reinvented himself as a cabaret performer, and some of his best records were made in the years he was out of the limelight. With a young family, drink and pills made his domestic life, and eventually his professional life, a struggle. In this no-holds-barred account, Kramer brings to life the vibrancy of the sixties. He then reveals how he exorcised his demons and forged a new career in the United States. He assembles his current band, shows a growing mastery of songwriting, and returns to national tours of Britain and the USA, keeping the flame of the Mersey sound alive. The lifetime of experience he brings to his new songs infuses every page of this enthralling read.

This first biography of Jimmy McHugh captures a lively and significant contributor to American songwriting. Creator of favorite tunes such as "I'm in the Mood for Love" and "On the Sunny Side of the Street," McHugh was a one-man history of twentieth-century popular music: in his prolific composing career, he wrote songs for Duke Ellington, Shirley Temple, Bobby Breen, Carmen Miranda, Deanna Durbin, Frank Sinatra, Ethel Waters, Adelaide Hall, and scores of other entertainers, and his last works were turned into smash hits by Pat Boone and Fats Domino. Following McHugh from humble Irish-American beginnings in Boston to eventual success in New York, Europe, and Los Angeles, Alyn Shipton deftly evokes the lively milieus of Tin Pan Alley, the Cotton Club, Broadway, and Hollywood. McHugh crossed the color line frequently, writing revues for both black and white entertainers, and he and his songwriting partner Dorothy Fields were also among the first to create Hollywood musical films. In the 1940s, he waged heroic fundraising efforts for the war effort and the crusade against polio. He continued to write songs for shows, movies, and revues and managed up-and-coming singers late in his life.

Few British jazz musicians have been at the cutting edge of as many movements as Ian Carr. A pioneer bebop player in his youth, a colleague of Eric Burdon and John McLaughlin in the R'n'B explosion of the 60s, co-leader of one of Britain's most innovative jazz groups - the Rendell-Carr Quintet, a free-jazz colleague of John Stevens and Trevor Watts, and the founding father of jazz rock in the UK, with his band Nucleus, Carr's musical career alone is truly remarkable, and a one-man history of British jazz in the 60s and 70s. Add to that his work as a member of the United Jazz and Rock Ensemble, and with such distinguished leaders as George Russell, Stan Tracey and Mike Gibbs, and his work as a player seems even more remarkable. Yet Ian Carr is also one of the most perceptive critical writers and broadcasters about jazz, being not only the co-author of the "Rough Guide", but also the celebrated biographer of Keith Jarrett and Miles Davis. In recent years, he has transformed his writing talents into making innovative and prizewinning films on the music he loves, for which he has always been a fearless and outspoken advocate, from the time of his 1973 book, "Music Outside". As a teacher, his pupils have included such stellar British talents as Julian Joseph, the Mondesir brothers and Nikki Yeoh. He has been a professor of jazz at London's Guildhall School of Music since the 1980s and was founder of the jazz workshop at the Interchange arts scheme. In this full length biography, Alyn Shipton examines the fascinating mix of ingredients that comprise the man and his music, and in the process draws a vivid picture of Carr's home region, the North-East of England, of National Service, of such literary influences as W. Somerset Maughan, of post-war continental Europe and its Bohemian arts scene, and of the London jazz world from the 1960s onwards. The book shows that jazz does not have to have an American accent to be original and innovative, and to inspire audiences all around the world.

Pianist George Shearing is that rare thing, a European jazz musician who became a household name in the US, as a result of the 'Shearing sound' - the recordings of his historic late 1940s quintet. Together with his unique 'locked hands' approach to playing the piano, Shearing's quintet with guitar and vibraphone in close harmony to his own playing revolutionised small group jazz, and ensured that after seven years as Melody Maker's top British pianist, he achieved even greater success in America. His compositions have been recorded by everyone from Sarah Vaughan to Miles Davis, and his best known pieces include Lullaby of Birdland, She and Conception. His story is all the more remarkable because Shearing was born blind. As a teenager he joined Claude Bampton's orchestra, and he recounts hilarious anecdotes about the trials and tribulations of this all blind group. By the start of the war years, Shearing was established as one of Britain's most popular and impressive jazz pianists - broadcasting regularly and playing and recording with Stephane Grappelli. In 1947 he emigrated to the US and started his landmark series of records with his quintet as well as performing classical pieces with several leading symphony orchestras. His candid reminiscences include a behind the scenes experience of New York's 52nd Street in its heyday, as well as memories of a vast roll-call of professional colleagues that includes all the great names in jazz.

Fats Waller (1904-1943) was an outsize man in all respects: five feet, eleven inches tall, he weighed 285 pounds. The greatest of the Harlem "stride" pianists, he composed hundreds of songs, he led a band that made over 400 recordings, and he wrote several Broadway shows. Waller's gargantuan appetites have been celebrated in anecdotes and earlier biographies. He is seen by jazz historians as a man of immense musical talent that was never fulfilled. In this fully revised and updated biography of Waller, Alyn Shipton re-examines his career, arguing that his talents as a songwriter, show composer, and brilliant recording and broadcasting artist have not been fully appreciated. In a newly written final chapter, there is a comprehensive survey of Waller's recordings as they have been reissued for the CD era.

In this collection, Shipton has drawn together conversations with some of the key jazz pianists. Spanning the period from the birth of bebop to the present, their collective experience is a major part of jazz piano history. Shipton's sympathetic yet probing interviews uncover the fascinating life stories of these legendary jazz performers. He also probes their technique, allowing them to describe how they developed their individual playing styles. This book will fascinate all fans of jazz, as well as students of jazz piano and performance.

Serien Upptäck Musik skildrar olika instrument. I Upptäck Sång berättas om stämman som instrument och om olika sorter och genrer av sång genom tiderna.

Jazz pianists occupy a unique place in the story of jazz, and the development of the solo piano tradition can be traced independently from that of instrumental ensemble jazz. Above all, piano jazz is about the individuals who have made their own individual contributions to the style, and in this collection, Alyn Shipton draws together conversations with many of the key practitioners. Spanning the period from the birth of bebop to the present, their collective experience is a major part of jazz piano history. Sir Charles Thompson and Gerald Wiggins recall the days of Harlem clubs when bebop was being forged there. Their personal memories of bebop giants such as Charlie Parker and Dizzy Gillespie bring the era vividly to life as do the 52nd Street experiences of Dr. Billy Taylor. Horace Silver and Junior Mance were both part of the hard bop and soul jazz revolution, recalling such colleagues as Stan Getz, Cannonball Adderley and Lou Donaldson, while Dave Brubeck was more identified with the cooler West Coast School. British-born Marian McPartland has become synonymous with piano jazz in the United States through her long, running radio show, but here she tells her own story. As she was establishing herself in the United States, Mal Waldron was Billie Holiday's accompanist, and in one of the last interviews he gave before his death, he reflects on his time with Lady Day was well as his subsequent move to Europe, before looking back on his hectic early career as house pianist for Prestige records. There are memories of Art Blakey from JoAnne Brackeen, tales of Coltrane from Tommy Flanagan, and many memories from Chick Corea, Herbie Hancock and Keith Jarrett. Meanwhile more recent trends are reflected by Diana Krall, Uri Caine and iconoclastic bandleader Carla Bley.

Declared a "national treasure" by the White House in 1990, John Birks "Dizzy" Gillespie was a not only a great musician but also a major innovator in the jazz world. While his first and foremost claim to fame is helping to create the style known as bebop, Gillespie also did much to establish the inclusion of Latin American elements in jazz and was partially responsible for the inception of both Afro-Cuban jazz and bossa nova. Covering Dizzy's days as a flashy trumpetplayer in the swing bands of the 1930s, the worldwide fame and adoration he earned through a State Department-backed tour of his big band in the 1950s, and the many recordings and performances which defined a career that ran clear up to the early 1990s, this book fully traces the path and progressof an extraordinary-and most exploratory-American musician.