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Jazz St. Louis Book Club
Jazz St. Louis Book Club

Hosted by Dr. Gerald Early, Merle King Professor of Modern Letters at Washington University, this monthly club is free and open to anyone interested in exploring jazz through literature.

 

The Jazz St. Louis Book Club will meet the second Tuesday of each month at 7pm in Nancy’s Jazz Lounge at the Harold and Dorothy Steward Center for Jazz.

 

The book club is free and open to anyone willing to read the month’s book, show up, participate, and have a good time! Light refreshments will be provided at the conclusion of each book club meeting.



March 13: Traps: The Drum Wonder, The Life of Buddy Rich

     by Mel Torme

 

Now back in print, this bestseller by Mel Torme is a brilliant biography of his friend for forty years, Buddy Rich, who was one of the most famous drummers of the Swing Era, having starred in the Artie Shaw and Tommy Dorsey bands. His career started when he was two years old in his parents' Vaudeville act, and by the time he was four he was the highest paid child performer in the world. The Buddy Rich story is a fascinating one, as much for what it says about the world of American music and entertainment as for the remarkable life it portrays. Drawing from interviews and many personal reminiscences, Torme packs this biography with vivid, often funny, anecdotes. His personal touch and his in-depth knowledge of jazz make for a moving, insightful, and often hilarious biography.

A native of St. Louis, bass trombonist James A. Martin hasdistinguished himself as a musician of great range and flexibility. A member of the Buddy RichBand from 1985-87 and with the Orchestra del Maggio Musical of Florence, Italyunder Zubin Mehta in 1989 and 1990, Martin has played bass and contrabass tromboneas an extra performer with the Saint Louis Symphony Orchestra, including severalperformances at Carnegie Hall, the 1995 tour of Japan and several recordings. He hasalso performed with the Chicago Symphony Orchestra, Rochester Philharmonic Orchestra, Minnesota Orchestra, Opera Theatre of Saint Louis, and theSaint Louis Pops Orchestra on bass trombone, contrabass trombone, tuba, cimbasso,euphonium and bass trumpet. An active freelancer, he performs regularly at theFox Theater and The Muny, and is a member of the St. Louis Brass Ensemble.

Martin is Associate Professor of Instrumental Studies at St. CharlesCommunity
College, where he directs the Concert Band and Jazz Band, teaches lowbrass and courses in brass methods as well as music literature.

Jim received undergraduate degrees in Mathematics and Music Educationfrom St. Louis University and the Master of Music in Trombone Performance fromthe Eastman School of Music, with additional study at the doctoral level. His majorprofessors include John Marcellus, Edward Kleinhammer, Arnold Jacobs, and JeffreyReynolds.


April 10: Freedom of Expression: 
                Interviews with Women in Jazz
by Chris Becker

 

 

Since the arrival of the 21st century, jazz has evolved into a truly cross-generational, multicultural musical art form that is assimilating an unprecedented array of musical styles and techniques. At the same time, the male-dominated paradigm that has defined the historical narrative of jazz is no more. Women are shaking up the music industry while the general public is becoming much more aware of the contributions female musicians have made to jazz. "Freedom ofExpression: Interviews With Women in Jazz," a collection of interviews with 37 female musicians, musicians of all ages, nationalities, and races, and representing nearly every style of jazz one can imagine, provides evidence of this profound evolution. The interviewees, including Terri Lyne Carrington, Dee Dee Bridgewater, Eliane Elias, Carmen Lundy, Anat Cohen, Diane Schuur, and Sherrie Maricle, speak about their earliest experiences playing music, the years of practice required to become a professional musician, and what jazz means in the new millennium. These interviews will inform and inspire both casual and seasoned fans of this music, as well as young musicians taking their first steps in the journey to master their craft. “At long last, an in-depth recognition of the female contributions to jazz. As Dr. Billy Taylor said about the lack of awareness of female musicians: ‘If it isn’t written down, it didn’t happen.’ Now everyone will know that it did happen and continues to happen. What a great gift to the history of women and music.” — Judy Chaikin, director of "The Girls in the Band." The interviewees: Mindi Abair -Saxophones Cheryl Bentyne - Voice Jane Ira Bloom - Soprano Saxophone Samantha Boshnack - Trumpet Dee Dee Bridgewater - Voice Terri Lyne Carrington - Drums Sharel Cassity - Saxophones Anat Cohen - Clarinet, Saxophones Jean Cook -Violin Connie Crothers - Piano Eliane Elias - Piano, Voice Ayelet Rose Gottlieb- Voice Lenae Harris- Cello Val Jeanty - Electronics, Percussion Jan Leder -Flute Jennifer Leitham - Double Bass Carmen Lundy - Voice Sherrie Maricle -Drums Jane Monheit - Voice Jacqui Naylor - Voice Aurora Nealand - Saxophones, Clarinet Iris Ornig - Double Bass Alisha Pattillo - Tenor Saxophone Roberta Piket - Piano Cheryl Pyle - Flute Nicole Rampersaud - Trumpet Sofia Rei - Voice Patrizia Scascitelli - Piano Diane Schuur - Voice Ellen Seeling - Trumpet Helen Sung - Piano Jacqui Sutton - Voice Mazz Swift - Violin, Voice Nioka Workman -Cello Pamela York - Piano Brandee Younger - Harp Malika Zarra – Voice


May 8: Whisper Not: Thy Autobiography of Benny Golson 
             by Benny Golson


Born during the de facto inaugural era of jazz, saxophonist Benny Golson learned his instrument and the vocabulary of jazz alongside John Coltrane while Golson was still in high school in Philadelphia. Quickly establishing himself as an iconic fixture on the jazz landscape, Golson performed with dozens of jazz greats, from Sonny Rollins, Coleman Hawkins, and Jimmy Heath to Dizzy Gillespie, Freddie Hubbard, and many others. An acclaimed composer, Golson also wrote music for Hollywood films and television and composed such memorable jazz standards as “Stablemates,” “Killer Joe,” and “Whisper Not.”

An eloquent account of Golson’s exceptional life—presented episodically rather than chronologically—Whisper Not includes a dazzling collection of anecdotes, memories, experiences, and photographs that recount the successes, the inevitable failures, and the rewards of a life eternally dedicated to jazz.


June 12: Duke Ellington's America by Harvey G. Cohn

Few American artists in any medium have enjoyed the international and lasting cultural impact of Duke Ellington. From jazz standards such as “Mood Indigo” and “Don’t Get Around Much Anymore,” to his longer, more orchestral suites, to his leadership of the stellar big band he toured and performed with for decades after most big bands folded, Ellington represented a singular, path-breaking force in music over the course of a half-century. At the same time, as one of the most prominent black public figures in history, Ellington demonstrated leadership on questions of civil rights, equality, and America’s role in the world.

With Duke Ellington’s America, Harvey G. Cohen paints a vivid picture of Ellington’s life and times, taking him from his youth in the black middle class enclave of Washington, D.C., to the heights of worldwide acclaim. Mining extensive archives, many never before available, plus new interviews with Ellington’s friends, family, band members, and business associates, Cohen illuminates his constantly evolving approach to composition, performance, and the music business—as well as issues of race, equality and religion. Ellington’s own voice, meanwhile, animates the book throughout, giving Duke Ellington’s America an intimacy and immediacy unmatched by any previous account.

By far the most thorough and nuanced portrait yet of this towering figure, Duke Ellington’s America highlights Ellington’s importance as a figure in American history as well as in American music.


Jazz St. Louis is proud to partner again with Left Bank Books for our book club. Most of the books discussed in the Jazz St. Louis Book Club are offered at a 20% discount through LBB, although not every book will beeligible for a discount. All books can be purchased at their Central West End Location or on the LBB website,
http://www.left-bank.com/jazz-st-louis.

To RSVP, please contact the Jazz St. Louis Box Office at (314) 571-6000. You may also RSVP through jazzstl.org.

For more details, or if you have any questions, please contact Director of Education and Community Outreach, Phil Dunlap, at
phil@jazzstl.org.