Changing The Tune

Even though the potential passage of the Equal Rights Amendment had cracked glass ceilings across the country, in 1978 jazz remained a boys’ club. Two Kansas City women, Carol Comer and Dianne Gregg, challenged that inequitable standard. With the support of jazz luminaries Marian McPartland and Leonard Feather, inaugural performances by Betty Carter, Mary Lou Williams, an unprecedented All-Star band of women, Toshiko Akiyoshi’s band, plus dozens of Kansas City musicians and volunteers, a casual conversation between two friends evolved into the annual Kansas City Women’s Jazz Festival (WJF). But with success came controversy. Anxious to satisfy fans of all jazz styles, WJF alienated some purists. The inclusion of male sidemen brought on protests. The egos of established, seasoned players unexpectedly clashed with those of newcomers. Undaunted, Comer, Gregg, and WJF’s ensemble of supporters continued the cause for eight years. They fought for equality not with speeches but with swing, without protest signs but with bebop. For the first book about this groundbreaking festival, Carolyn Glenn Brewer interviewed dozens of people and dove deeply into the archives. This book is an important testament to the ability of two friends to emphatically prove jazz genderless, thereby changing the course of jazz history.

Trill is tall, shy, and awkward. Only music makes her feel at ease. And she loves to create music on different types of instruments--like using cooking pots as drums. Full color.

After losing her panpipes, shy Trill convinces some other music-talent fairies to try less traditional instruments in the upcoming Oceanside Symphony concert.

After dropping out of art school Andy finds himself unemployed and living with his overbearing parents, but things become more interesting when he is offered an unknown job from two strange out of towners.

Violinist Victoria Pearson dreams of attending Johann Conservatory of Music in New York City for graduate school. As the oldest of five sisters, she hopes to escape her Midwestern college town and hectic family situation to fulfill her passion in life—music. But when she decides to participate in Belton University's Concerto competition to bolster her chances of acceptance, Victoria finds herself competing against her sister Adrienne and lifelong cellist friend Jerry Chang. This sets in motion a rivalry that questions the roles of sisterhood, friendship, and maybe love. Victoria wants to maintain the rigors required of a professional classical musician without losing her family and friends, not to mention her sanity, in the process. The demands of her large family might hinder her ability to achieve her dreams. What sacrifices will she make to reach her goals, and are they worth the cost? A new, twenty-first-century generation of little women takes the stage in A Change in Tune.

Drawing on a wealth of knowledge and experience and a background of more than 1,000 magazine articles on the subject, engine control expert Jeff Hartman explains everything from the basics of engine management to the building of complicated project cars. Hartman has substantially updated the material from his 1993 MBI book Fuel Injection (0-879387-43-2) to address the incredible developments in automotive fuel injection technology from the past decade, including the multitude of import cars that are the subject of so much hot rodding today. Hartman's text is extremely detailed and logically arranged to help readers better understand this complex topic.

Imogen Holst's Tune (Faber, 1962) is a searching enquiry into the invention of tune and at the same time a comprehensive anthology of tunes from folksong to the present day. Plainsong, street-cries, the songs of the English lutenists, Bach's dances, and Mozart's arias - whatever the origins and character of the tunes in question, Imogen Holst (daughter of the composer, Gustav Holst) has something fresh and revealing to say about them. And she does not confine herself to familiar ground. One of her most illuminating chapters is devoted to the music of India, where a raga can provide improvised 'tune' of several hours duration. This chapter is the result of her personal experience of studying music in India, and it is typical of her vivid approach to the subject. Her book is for everyone who likes to sing, play, whistle, hum or listen to a good tune.

From the author of the acclaimed Roll with It comes a moving novel about a girl with a sensory processing disorder who has to find her own voice after her whole world turns upside down. Lou Montgomery has the voice of an angel, or so her mother tells her and anyone else who will listen. But Lou can only hear the fear in her own voice. She’s never liked crowds or loud noises or even high fives; in fact, she’s terrified of them, which makes her pretty sure there’s something wrong with her. When Lou crashes their pickup on a dark and snowy road, child services separate the mother-daughter duo. Now she has to start all over again at a fancy private school far away from anything she’s ever known. With help from an outgoing new friend, her aunt and uncle, and the school counselor, she begins to see things differently. A sensory processing disorder isn’t something to be ashamed of, and music might just be the thing that saves Lou—and maybe her mom, too.

The last century has seen radical social changes in Ireland, which have impacted all aspects of local life but none more so than traditional Irish music, an increasingly important identity marker both in Ireland and abroad. The author focuses on a small village in County Clare, which became a kind of pilgrimage site for those interested in experiencing traditional music. He begins by tracing its historical development from the days prior to the influx of visitors, through a period called "the Revival," in which traditional Irish music was revitalized and transformed, to the modern period, which is dominated by tourism. A large number of incomers, locally known as "blow-ins," have moved to the area, and the traditional Irish music is now largely performed and passed on by them. This fine-grained ethnographic study explores the commercialization of music and culture, the touristic consolidation and consumption of "place," and offers a critique of the trope of "authenticity," all in a setting of dramatic social change in which the movement of people is constant.