Texan Jazz

While Texans Jazz includes Anglo Texan and Latino Texan musicians, its great strength is its record of the historic contributions to jazz made by African-American Texans.

"The richly diverse ethnic heritage of the Lone Star State has brought to the Southwest a remarkable array of rhythms, instruments, and musical styles that have blended here in unique ways and, in turn, have helped shape the music of the nation and the world." "Historian Gary Hartman writes knowingly and lovingly of the Lone Star State's musical traditions. In the first thorough survey of the vast and complex cultural mosaic that has produced what we know today as "Texas music," he paints a broad, panoramic view, offers analysis of the origins of and influences on specific genres, profiles key musicians, and provides guidance to additional sources for further information." "A musician himself, Hartman draws on both academic and non-academic sources to give a more complete understanding of the state's remarkable musical heritage. He combines scholarly training in music history and ethnic community studies with his first-hand knowledge of how important music is as a cultural medium through which human beings communicate information, ideas, emotions, values, and beliefs, and bond together as friends, families, and communities." "The History of Texas Music incorporates a selection of well-chosen photographs of both prominent and less-well-known artists and describes not only the ethnic origins of much of Texas music but also the cross-pollination among various genres. Today, the music of Texas - which includes Native American music, gospel, blues, ragtime, swing, jazz, rhythm and blues, conjunto, Tejano, cajun, zydeco, western swing, honky tonk, polkas, schottisches, rock & roll, rap, hip hop, and more - reflects the unique cultural dynamics of the Southwest."--Jacket

At 102 years of age, Louise Tobin is one of the last surviving musicians of the Swing Era. Born in Aubrey, Texas, in 1918, she grew up in a large family that played music together. She once said that she fell out of the cradle singing and all she ever wanted to do was to sing. And sing she did. She sang with Benny Goodman and also performed vocals for such notables as Will Bradley, Bobby Hackett, Harry James (her first husband), Johnny Mercer, Lionel Hampton, the Glenn Miller Orchestra, Peanuts Hucko (her second husband), and Fletcher Henderson. Based on extensive oral history interviews and archival research, Texas Jazz Singer recalls both the glamour and the challenges of life on the road and onstage during the golden age of swing and beyond. As it traces American music through the twentieth century, Louise Tobin's story provides insight into the challenges musicians faced to sustain their careers during the cultural revolution and ever-changing styles and tastes in music. In this absorbing biography, music historian Kevin Edward Mooney offers readers a view of a remarkable life in music, told from the vantage point of the woman who lived it. Rather than simply making Tobin an emblem for women in jazz of the big band era, Mooney concentrates instead on Tobin's life, her struggles and successes, and in doing so captures the particular sense of grace that resonates throughout each phase of Tobin's notable career.

Jazz is one of America's greatest gifts to the arts, and native Texas musicians have played a major role in the development of jazz from its birth in ragtime, blues, and boogie-woogie to its most contemporary manifestation in free jazz. Dave Oliphant began the fascinating story of Texans and jazz in his acclaimed book Texan Jazz, published in 1996. Continuing his riff on this intriguing musical theme, Oliphant uncovers in this new volume more of the prolific connections between Texas musicians and jazz. Jazz Mavericks of the Lone Star State presents sixteen published and previously unpublished essays on Texans and jazz. Oliphant celebrates the contributions of such vital figures as Eddie Durham, Kenny Dorham, Leo Wright, and Ornette Coleman. He also takes a fuller look at Western Swing through Milton Brown and his Musical Brownies and a review of Duncan McLean's Lone Star Swing. In addition, he traces the relationship between British jazz criticism and Texas jazz and defends the reputation of Texas folklorist Alan Lomax as the first biographer of legendary jazz pianist-composer Jelly Roll Morton. In other essays, Oliphant examines the links between jazz and literature, including fiction and poetry by Texas writers, and reveals the seemingly unlikely connection between Texas and Wisconsin in jazz annals. All the essays in this book underscore the important parts played by Texas musicians in jazz history and the significance of Texas to jazz, as also demonstrated by Oliphant's reviews of the Ken Burns PBS series on jazz and Alfred Appel Jr.'s Jazz Modernism.

The musical voice of Texas presents itself as vast and diverse as the Lone Star State’s landscape. According to Casey Monahan, “To travel Texas with music as your guide is a year-round opportunity to experience first-hand this amazing cultural force….Texas music offers a vibrant and enjoyable experience through which to understand and enjoy Texas culture.” Building on the work of The Handbook of Texas Music that was published in 2003 and in partnership with the Texas Music Office and the Center for Texas Music History (Texas State University-San Marcos), The Handbook of Texas Music, Second Edition, offers completely updated entries and features new and expanded coverage of the musicians, ensembles, dance halls, festivals, businesses, orchestras, organizations, and genres that have helped define the state’s musical legacy. · More than 850 articles, including almost 400 new entries· 255 images, including more than 170 new photos, sheet music art, and posters that lavishly illustrate the text· Appendix with a stage name listing for musicians Supported by an outstanding team of music advisors from across the state, The Handbook of Texas Music, Second Edition, furnishes new articles on the music festivals, museums, and halls of fame in Texas, as well as the many honky-tonks, concert halls, and clubs big and small, that invite readers to explore their own musical journeys. Scholarship on many of the state’s pioneering groups and the recording industry and professionals who helped produce and promote their music provides fresh insight into the history of Texas music and its influence far beyond the state’s borders. Celebrate the musical tapestry of Texas from A to Z!

Provides information on the history of Texas music from the 1920s to the present.

Although the Handbook of Texas Music devotes separate biographical articles only to deceased musicians, important living artists such as Willie Nelson are treated in overview articles on topics such as "Country and Western Music," "Willie Nelson's Fourth of July Picnic," and others."--Jacket.

Contains nine essays in which the authors examine various aspects of Texas music from its beginnings to 1950, providing an overview of Texas music history, and discussing Texan jazz, country music, early Texas bluesmen, classical and religious music, and various ethnic genres.

Written in tightly constructed rhymed quatrains, this is the first biography of internationally acclaimed Texas jazz trumpeter Kenny Dorham. Beginning in 1963 with Dorham's recordings in Denmark, this book-length poem traces the story of the Texan's career performing with the greatest musicians of the bop and hard bop eras in jazz history--including Charlie Parker, Dizzy Gillespie, Bud Powell, Sonny Rollins, and John Coltrane. Also discussing extensive traveling as a musician and his lamentably short-lived group the Jazz Prophets, this account demonstrates why Dorham remains something of a cult figure despite his premature death at age 48.

They may wear cowboy hats and boots and sing about "faded love," but western swing musicians have always played jazz! From Bob Wills and the Texas Playboys to Asleep at the Wheel, western swing performers have played swing jazz on traditional country instruments, with all of the required elements of jazz, and some of the best solo improvisation ever heard. In this book, Jean A. Boyd explores the origins and development of western swing as a vibrant current in the mainstream of jazz. She focuses in particular on the performers who made the music, drawing on personal interviews with some fifty living western swing musicians. From pioneers such as Cliff Bruner and Eldon Shamblin to current performers such as Johnny Gimble, the musicians make important connections between the big band swing jazz they heard on the radio and the western swing they created and played across the Southwest from Texas to California. From this first-hand testimony, Boyd re-creates the world of western swing-the dance halls, recording studios, and live radio shows that broadcast the music to an enthusiastic listening audience. Although the performers typically came from the same rural roots that nurtured country music, their words make it clear that they considered themselves neither "hillbillies" nor "country pickers," but jazz musicians whose performance approach and repertory were no different from those of mainstream jazz. This important aspect of the western swing story has never been told before.