* Books marked with an asterisk are illegal as the composers & publishersof the tunes included have not given their permission for the tunes tobe included, nor do they receive any royalties. For reasons of both legalityand musical quality we do not recommend that you should attempt to obtainany illegal books, nor do we know where you could get them from anyway.However, there was a time when some of these illegal books were the onlysource for much jazz material and for this historical reason there arecopies on many people's bookshelves. Their indexes are included here asthey may be helpful to these people. Please do not ask us about obtainingthem as you will not get any reply.
If Your Favourite Fake Book Is Missing From This IndexThen please email us to let us know. If the book you have in mind isrelevant to jazz musicians then we might very well be happy to add itto this index. Note, however, that we do not plan to add any more illegal booksas there are so many good legal books these days.
Hal Leonard Jazz Play Along Index
Download File: https://ssurll.com/2vHQIm
How important can a single episode of a major television drama series be to American history? If the year is 1961, and the subject is jazz, then one episode, featuring black characters and black music, can signal a surprising, if still complicated, shift in popular consciousness. "Good Night, Sweet Blues"1 was a jazz-and-blues-themed episode, aired on October 6, 1961, in the CBS television drama series Route 66 (1960-64). The episode appeared just after Ida Cox had released her comeback album, Blues for Rampart Street (recorded and reported on in the New Yorker in April 1961 and released in late summer), which featured the Coleman Hawkins Quintet. In the television show, the quintet backs the character of Jennie Henderson, played by the singer Ethel Waters. However, instead of replicating the true story of how the album Blues for Rampart Street was produced, the episode inverts the story, suggesting the contortion that black history often undergoes as it makes its way into the mainstream. "Good Night, Sweet Blues" is thus simultaneously progressive and retrograde: granting agency to an African American woman while softening her music and her story. The real singer--Ida Cox-debuted "Wild Women Don't Have the Blues" (1924), for example, as a salvo against respectability politics and as something of a manifesto for women's agency and the exercise of domestic power. But what happens when black history enters television? This reading examines these complications by looking at how the episode, for which Waters was nominated for an Emmy, both reveals and obscures a difficult and tragic history when its story is considered alongside the album. 2ff7e9595c
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