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(REH Publications). Examine the solo concepts of the jazz-rock masters in this comprehensive book/CD package! You'll get phrase-by-phrase performance notes, plus tips on: improvising with triads; blues fusion; lines for static chords and vamps; atmospheric jazz; double stop improvising; and much more. The book includes standard notation and tab, and the CD features both full-demonstration and rhythm-only tracks.

This introductory volume offers an elegant analysis of the enduring appeal of the cinematic vampire. From Georges Méliès' early cinematic experiments to Twilight and Let the Right One In, the history of vampires in cinema can be organized by a handful of governing principles that help make sense of this movie monster's remarkable fecundity. Among these principles are that the cinematic vampire is invariably about sex and the vexed human relationship with technology, and that the vampire is always an overdetermined body condensing what a culture considers other. This volume includes in-depth studies of films including Powell's A Fool There Was, Franco's Vampyros Lesbos, Cronenberg's Rabid, Kümel's Daughters of Darkness, and Merhige's Shadow of the Vampire.

What provoked the fierce and systematic "will to experiment" that was Modernism? Seeking an answer to this question, David Trotter examines the careers of Ford Madox Ford, D. H. Lawrence, and Wyndham Lewis as well as the early psychiatric literature and case-histories of paranoia. The result is a new and unexpected approach to the preoccupations with gender and with the politics of culture that currently characterize the study of the period.

What provoked the fierce and systematic "will to experiment" that was Modernism? Seeking an answer to this question, David Trotter examines the careers of Ford Madox Ford, D. H. Lawrence, and Wyndham Lewis as well as the early psychiatric literature and case-histories of paranoia. The result is a new and unexpected approach to the preoccupations with gender and with the politics of culture that currently characterize the study of the period.

10-15261958 Guild Big beautiful jazz box ready for bee bop to western swing to blues. Three pickups give you lots of tone options with this push-bu...

First contact between the musicians of Inwardness is established at a concert in Morocco. A year later, they meet again, this time in the South of France. Months are spent in isolation, in search of new forms of interaction. The trio experiment with different playing modes: playing blindfolded, in the midst of nature or during rush hour in the city centre. The result is a free floating sound.

Ornette Coleman's discovery some thirty years ago that his band's music was indeed a "free thing" marked the beginning of a revolution in jazz. From the early free-form experiments, Coleman's dancing blues, and John Coltrane's saxophone cries and sheets of sound, to the brittle, melancholy modes of Miles Davis, vibrant, sophisticated new jazz idioms proliferated. In this critical and historical survey of today's jazz, noted critic John Litweiler traces the evolution of the new music through such artists as Coleman, Coltrane, Davis, Cecil Taylor, Eric Dolphy, Sun Ra, Albert Ayler, Anthony Braxton, and others. He also addresses questions such as: Is Free jazz a rejection of the jazz tradition? Are European folk classical musics altering this essentially Afro-American art? Do the principles of Free jazz provide real emotional liberation for the creative musician? This is a solid, informed guide—for new jazz fans and serious listeners alike—to what has, in many ways, been the most productive and most controversial period in the history of jazz.

Ornette Coleman's discovery some thirty years ago that his band's music was indeed a "free thing" marked the beginning of a revolution in jazz. From the early free-form experiments, Coleman's dancing blues, and John Coltrane's saxophone cries and sheets of sound, to the brittle, melancholy modes of Miles Davis, vibrant, sophisticated new jazz idioms proliferated. In this critical and historical survey of today's jazz, noted critic John Litweiler traces the evolution of the new music through such artists as Coleman, Coltrane, Davis, Cecil Taylor, Eric Dolphy, Sun Ra, Albert Ayler, Anthony Braxton, and others. He also addresses questions such as: Is Free jazz a rejection of the jazz tradition? Are European folk classical musics altering this essentially Afro-American art? Do the principles of Free jazz provide real emotional liberation for the creative musician? This is a solid, informed guide—for new jazz fans and serious listeners alike—to what has, in many ways, been the most productive and most controversial period in the history of jazz.

For group or individual instruction, this book covers lead playing as well as back-up. It allows the student to experiment in jazz styles on the elementary level.

For all instrumentalists wishing to improve their "time," sharpen their harmonic awareness, or just experiment with different rhythm section configurations. The best way to develop "good time" is to play with musicians who have good time; musicians like Adam Nussbaum and Jay Anderson. This 4-CD set includes 15 play-along tracks of various tempos and styles based on the changes to well-known standards. Bassists will love playing with drums-only CD. Pianists and Guitarists will enjoy soloing or comping with any of the first three mixes. Horn Players will enjoy playing with any of the CDs. This versatile, first-of-its-kind play along is sure to become a favorite. Titles: Relaxin' (F Blues) * Runnin' & Gunnin' (I Got Rhythm) * Soulful Times (Old Folks) * Mr. Alex (Cantaloupe Island Type Tune) * Peaceful Ideas (Soul Eyes) * A Little Stop-time (Blues w/bridge) * A Blessing In Disguise (Body & Soul) * I Remember Grant (Grant Green Bossa) * An April Recall (Medium tempo) (I Remember April) * What's Your Hurry (Elvinish Pedal) * No Smokin' In Here (B-flat Blues w/new changes) * Catchy Waltz (Stella by Starlight in 3/4) * Double Trouble (Fast tempo) (Modal in D-) * Clear As A Bell (Impressions). Each CD has a different mix, allowing maximum versatility as follows:* CD 1 is a split track with bass on one channel and drums on the other. * CD 2 is Bass Only on both channels. * CD 3 is Drums Only on both channels. * CD 4 is Piano on both channels, bass on the left, and drums on the right.

(Guitar Recorded Versions). Iconic jazz/blues guitarist Robben Ford has played with a wide range of artists including Miles Davis, Joni Mitchell, The Yellowjackets, George Harrison, and many more. This collection features guitar tab for 17 of his best-known songs, including: Busted Up * Chevrolet * Get Away * Homework * I Ain't Got Nothin' but the Blues * Mama Talk to Your Daughter * Nothing to Nobody * Revelation * Step on It * Tell Me I'm Your Man * You Cut Me to the Bone * and more.

This book begins with basic blues concepts such as the pentatonic, mixolydian and blues scales and builds on them, progressively incorporating more sophisticated scales and chord voicings. With lots of transcriptions and music examples, the book moves from basic 12-bar blues through gospel, jazz and modal feels.

(Guitar Recorded Versions). Iconic jazz/blues guitarist Robben Ford has played with a wide range of artists including Miles Davis, Joni Mitchell, The Yellowjackets, George Harrison, and many more. This collection features guitar tab for 17 of his best-known songs, including: Busted Up * Chevrolet * Get Away * Homework * I Ain't Got Nothin' but the Blues * Mama Talk to Your Daughter * Nothing to Nobody * Revelation * Step on It * Tell Me I'm Your Man * You Cut Me to the Bone * and more.

(Guitar Recorded Versions). 15 songs from this Californian jazz guitarist: Cannonball Shuffle * Indianola * Life Song (One for Annie) * Misdirected Blues * Prison of Love * Rugged Road * Start It Up * Tired of Talkin' * When I Leave Here * and more.

Iconic jazz/blues guitarist Robben Ford has played with a wide range of artists including Miles Davis, Joni Mitchell, The Yellowjackets, George Har...

Attempting to create life through dreadful experiments, Henry Frankenstein and Dr. Pretorius instead created unspeakable horror: two misshapen monsters, a brutish male and his female mate, stitched together from the bodies of cadavers. Crafted to be the monster's bride - an undead Eve to an equally accursed Adam - the female creature was destroyed mere minutes after taking its first breath - or was it? This new novel by the critically acclaimed Elizabeth Hand reinterprets the memorable characters from Universal Picture's classic 1935 film for a new generation of horror fans. Detailing the bride of Frankenstein's secret history, from the shadows of forgotten laboratories to the streets of Weimar Germany, Hand creates a richly atmospheric tale of horror, mystery, and tragedy as chilling as the creature itself. Elizabeth Hand's novels and short story collections include Mortal Love, Black Light, Bibliomancy and the cult classic Waking the Moon. A longtime contributor to the Washington Post Book World and the Village Voice Literary Supplement, she lives in Maine.

Combat medic and biochemist Rebecca Chambers, the sole survivor of Bravo Team, joins a new S.T.A.R.S. strike force when rumor comes of another Umbrella experiment. Hidden beneath the rocky cliffs of Caliban Cove, Maine, someone is building an army of the undead. Now the S.T.A.R.S. must battle more unspeakable horrors and stop a madman from unleashing the biohazard upon the world.

Undersized, Undead and Angry. Dracula. Frankenstein. The Werewolf. The Mummy. In an experiment of the maddest kind of science, these four classic monsters of film and literature are brought back to life...but something goes wrong. Though they look and act exactly as they you'd think they'd look, the creepy quartet emerge as half their normal size. Now, they're three feet tall...and not happy at all. From Full Moon founder, producer and director Charles Band, comes 1997's THE CREEPS (aka DEFORMED

David Shea presents Piano 1. From David Shea: "The piano has been an instrument that has woven it's way in and out of my life since I was a child. I grew up listening to great classical and jazz players, prepared piano and electronic experiments, extended techniques and later the incredible works of Boulez, Stockhausen, Cage, Ligeti, Ferrari, Feldman, Xenakis and Scelsi. I had written for and worked with many great pianists and created ensemble works with piano and electronics where I was given

Select Jazz reed sampler packs allow the player to experiment with various reed cuts and strengths before committing to a full box. Each saxophone ...