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Johnny Ace's crooning style and stirring ballads made him the first postwar African American artist to cross over to a white audience. After a string of R&B hits, Ace released the million-selling "Pledging My Love," a song headed to the top of the charts when the singer accidentally shot himself in his dressing room between sets at a show. 

James M. Salem captures the enigmatic, captivating, and influential R&B legend. Venturing from raucous Beale Street to Houston's vibrant Fourth Ward, Salem places Johnny Ace within a multifaceted world of postwar rhythm and blues that included B. B. King, Johnny Otis, Big Mama Thornton, and Gatemouth Brown. Salem also examines how entrepreneur Don D. Robey and his wife Evelyn Johnson promoted Ace to the top of the charts. Yet fame, as always, had a price. Ace's tours on the Chitlin' Circuit meant endless one-night stands and a grueling schedule that kept him on the road 340 days per year. 

Comprehensive and filled with anecdotes, The Late Great Johnny Ace and the Transition from R&B to Rock 'n' Roll tells the story of the star who fused black and white styles and changed American popular music forever.

The first book to trace the vast influence of Chicago jazz from its origins to today—from Louis Armstrong and Jelly Roll Morton to Anita O’Day, Herbie Hancock, and the AACM.

Author and Chicago native Howard Reich gives readers a front-row seat to the history of Chicago jazz as it roared forth in jazz clubs, concert halls, and festivals. Reich covered Chicago jazz for more than thirty years as the Chicago Tribune’s staff critic, and in this collection, he argues that jazz as an art form is inconceivable without Chicago. Carefully choosing from among his thousands of articles on jazz, Reich highlights twenty-five of the most important Chicago jazz artists who pushed the art form forward.

The Majesty of Chicago Jazz begins with two New Orleans visionaries who achieved their artistic pinnacles in Chicago in the Roaring Twenties: Jelly Roll Morton and Louis Armstrong. In the decades that followed, Chicago produced an uninterrupted line of innovators: revolutionaries Ahmad Jamal and Sun Ra, iconoclasts Von Freeman and Fred Anderson, populists Herbie Hancock and Ramsey Lewis, chameleons Patricia Barber and Kurt Elling, and the breakthrough band of the Association for the Advancement of Creative Musicians (AACM), among others. Reich offers two pieces on each of the book’s twenty-five visionaries, including profiles, reviews, appreciations, and obituaries. The book concludes with a beginner-friendly discography, perfect for those looking to listen along.

The Majesty of Chicago Jazz is captivating for jazz newcomers and aficionados alike—all are guaranteed to learn something surprising here. With a musician’s ear and a journalist’s expertise, Reich offers listeners a valuable guide to the groundbreaking jazz that has come out of Chicago, a city that remains a fertile breeding ground for musical experimentation. 

In the early 1980s, the scrappy radio station 93.3 WMMR was on the verge of a major takeover of the Philadelphia airwaves. Erin Riley, who had her finger on the pulse of new artists like Bon Jovi, whose music would define a generation, was hired as the station’s Music Director in 1983.

The Mighty WMMR is Riley’s affectionate and nostalgic oral history of the station’s early years, especially its 1980s heyday, covering everything from the pioneering influence of The Marconi Experiment and the success of The Morning Zoo to how WMMR broke artists like Bruce Springsteen, Billy Joel, and local favorites The Hooters onto the national scene. Featuring anecdotes and memories by beloved on-air personalities including John DeBella, Pierre Robert, and Michael Tearson, Riley chronicles the memorable songs and musicians; concerts, contests, and clubs; and the live broadcasts that marked the height of an unforgettable era in Philadelphia radio.

Riley breezily captures the station’s impact on listeners, which made WMMR a perfect storm of the times, the culture, and the counterculture. The Mighty WMMR is a captivating look back at Philadelphia’s rock history and the station that shaped a city and a generation.

The second part of each chapter presents the discography. Information here includes the session’s place, date, time, and producer; master/matrix numbers, song/tune titles, composer credits, personnel, instruments, and vocals; and catalog/release numbers and reissue data.

The only complete bio-discography of this American musical icon, The Music of Bill Monroe is the starting point for any study of Monroe’s contributions as a composer, interpreter, and performer.

Monumental and indispensable, The Music of the Stanley Brothers provides fans and scholars alike with a guide for immersion in the long career and breathtaking repertoire of two legendary American musicians.

Though some dismiss opera as old-fashioned, it shows no sign of disappearing from the world’s stage. So why do audiences continue to flock to it? Given its association with wealth, one might imagine that opera tickets function as a status symbol. But while a desire to hobnob with the upper crust might motivate the occasional operagoer, for hardcore fans the real answer, according to The Opera Fanatic, is passion—they do it for love.

Opera lovers are an intense lot, Claudio E. Benzecry discovers in his look at the fanatics who haunt the legendary Colón Opera House in Buenos Aires, a key site for opera’s globalization. Listening to the fans and their stories, Benzecry hears of two-hundred-mile trips for performances and nightlong camp-outs for tickets, while others testify to a particular opera’s power to move them—whether to song or to tears—no matter how many times they have seen it before. Drawing on his insightful analysis of these acts of love, Benzecry proposes new ways of thinking about people’s relationship to art and shows how, far from merely enhancing aspects of everyday life, art allows us to transcend it.

Eloquently extolled by President John F. Kennedy, the idea that only artists in free societies can produce great art became a bedrock assumption of the Cold War. That this conviction defied centuries of historical evidence--to say nothing of achievements within the Soviet Union--failed to impact impregnable cultural Cold War doctrine.

Joseph Horowitz writes: “That so many fine minds could have cheapened freedom by over-praising it, turning it into a reductionist propaganda mantra, is one measure of the intellectual cost of the Cold War.” He shows how the efforts of the CIA-funded Congress for Cultural Freedom were distorted by an anti-totalitarian “psychology of exile” traceable to its secretary general, the displaced Russian aristocrat/composer Nicolas Nabokov, and to Nabokov’s hero Igor Stravinsky.

In counterpoint, Horowitz investigates personal, social, and political factors that actually shape the creative act. He here focuses on Stravinsky, who in Los Angeles experienced a “freedom not to matter,” and Dmitri Shostakovich, who was both victim and beneficiary of Soviet cultural policies. He also takes a fresh look at cultural exchange and explores paradoxical similarities and differences framing the popularization of classical music in the Soviet Union and the United States. In closing, he assesses the Kennedy administration’s arts advocacy initiatives and their pertinence to today’s fraught American national identity.

Challenging long-entrenched myths, The Propaganda of Freedom newly explores the tangled relationship between the ideology of freedom and ideals of cultural achievement.

The Real Philadelphia Book, compiled by Jazz Bridge and editors David Dzubinski and Suzanne Cloud, is a collection of more than 200 original jazz and blues compositions. Arranged alphabetically by song title, the sheet music showcases work by generations of Philadelphia musicians. This volume, which is “what every aspiring jazz musician needs to know,” features tunes from Grammy Award-winners Jimmy Heath, Grover Washington, Jr., and Christian McBride, as well as legends such as Joey DeFrancesco, Ray Bryant, and Robin and Duane Eubanks. Also included are rare compositions by jazz greats Bobby Timmons, Hank Mobley, and Lee Morgan, in addition to music by local luminaries, Rhenda Fearrington, Monnette Sudler, and Kaylé Brecher.

The aim of The Real Philadelphia Book is to help the jazz community make deeper, stronger connections while also formally documenting much of the important music created in the Philadelphia metro area by both well- and lesser-known musicians.

Including an index of composers, The Real Philadelphia Bookwill enhance and add to the rich Philadelphia jazz and blues tradition and make the Philly jazz catalogue more easily available to musicians, jazz students and educators around the world.

2022 Belmont Award for the Best Book on Country Music, International Country Music Conference/Belmont University

New and expanded biography of one of country music’s most celebrated singer-songwriters.

Merle Haggard enjoyed numerous artistic and professional triumphs, including more than a hundred country hits (thirty-eight at number one), dozens of studio and live album releases, upwards of ten thousand concerts, induction into the Country Music Hall of Fame, and songs covered by artists as diverse as Lynryd Skynyrd, Elvis Costello, Tammy Wynette, Bobby "Blue" Bland, Willie Nelson, the Grateful Dead, and Bob Dylan.

In The Running Kind, a new edition that expands on his earlier analysis and covers Haggard's death and afterlife as an icon of both old-school and modern country music, David Cantwell takes us on a revelatory journey through Haggard’s music and the life and times out of which it came. Covering the breadth of his career, Cantwell focuses especially on the 1960s and 1970s, when Haggard created some of his best-known and most influential music: songs that helped invent the America we live in today. Listening closely to a masterpiece-crowded catalogue (including “Okie from Muskogee,” “Sing Me Back Home,” “Mama Tried,” and “Working Man Blues,” among many more), Cantwell explores the fascinating contradictions—most of all, the desire for freedom in the face of limits set by the world or self-imposed—that define not only Haggard’s music and public persona but the very heart of American culture.

Marie Sumner Lott examines the music available to musical consumers in the nineteenth century, and what that music tells us about their tastes, priorities, and activities. Her social history of chamber music performance places the works of canonic composers such as Schubert, Brahms, and Dvoøák in relation to lesser-known but influential peers. The book explores the dynamic relationships among the active agents involved in the creation of Romantic music and shows how each influenced the others' choices in a rich, collaborative environment. In addition to documenting the ways companies acquired and marketed sheet music, Sumner Lott reveals how the publication and performance of chamber music differed from that of ephemeral piano and song genres or more monumental orchestral and operatic works. Several distinct niche markets existed within the audience for chamber music, and composers created new musical works for their use and enjoyment.

Insightful and groundbreaking, The Social Worlds of Nineteenth-Century Chamber Music revises prevailing views of middle-class influence on nineteenth-century musical style and presents new methods for interpreting the meanings of musical works for musicians both past and present.

Wide-ranging and astute, The Sounds of Place explores high art music's role in the making of national myth and memory.

Mwenda Ntarangwi explores the Kenyan hip hop scene through the lens of Juliani's life and career. A born-again Christian, Juliani produces work highlighting the tensions between hip hop's forceful self-expression and a pious approach to public life, even while contesting the basic presumptions of both. In The Street Is My Pulpit, Ntarangwi forges an uncommon collaboration with his subject that offers insights into Juliani's art and goals even as Ntarangwi explores his own religious experience and subjective identity as an ethnographer. What emerges is an original contribution to the scholarship on hip hop's global impact and a passionate study of the music's role in shaping new ways of being Christian in Africa.

Around 1930, a highly popular and distinctive type of accordion music, commonly known as conjunto, emerged among Texas-Mexicans. Manuel Peña's The Texas-Mexican Con;unto is the first comprehensive study of this unique folk style. The author's exhaustive fieldwork and personal interviews with performers, disc jockeys, dance promoters, recording company owners, and conjunto music lovers provide the crucial connection between an analysis of the music itself and the richness of the culture from which it sprang.

Using an approach that integrates musicological, historical, and sociological methods of analysis, Peña traces the development of the conjunto from its tentative beginnings to its preeminence as a full-blown style by the early 1960s. Biographical sketches of such major early performers as Narciso Martínez (El Huracán del Valle), Santiago Jiménez (El Flaco), Pedro Ayala, Valerio Longoria, Tony de la Rosa, and Paulino Bernal, along with detailed transcriptions of representative compositions, illustrate the various phases of conjunto evolution.

Peña also probes the vital connection between conjunto's emergence as a powerful symbolic expression and the transformation of Texas-Mexican society from a pre-industrial folk group to a community with increasingly divergent socioeconomic classes and ideologies. Of concern throughout the study is the interplay between ethnicity, class, and culture, and Peña's use of methods and theories from a variety of scholarly disciplines enables him to tell the story of conjunto in a manner both engaging and enlightening. This important study will be of interest to all students of Mexican American culture, ethnomusicology, and folklore.