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A Canadian prairie girl, a free-spirited artist, Mitchell never wanted to be a pop star. And yet, she went on to become a talented self-taught musician and a brilliant bandleader, releasing album after album, each distinctly experimental, challenging, and revealing. As an artist whose work deftly balances narrative and musical complexity, she has been admired by such legendary lyricists as Bob Dylan and Leonard Cohen and beloved by such groundbreaking jazz musicians as Jaco Pastorius, Wayne Shorter, and Herbie Hancock.

Reckless Daughter is the story of an artist and an era that have left an indelible mark on American music. The songs cited represent a multitude of musical practices, cultures, and traditions, ranging from ehtnic to regional, from foreign to American, representing every type of song: popular, folk, children's, political, comic, advertising, protest, patriotic, military, and classical, as well as hymns, spirituals, ballads, arias, choral symphonies, and other larger works.

This comprehensive volume also includes a bibliography of the books indexed; an index of sources from which the songs originated; and an alphabetical composer index. In the framework of sexual difference and the gendered discourses of rock this immediately begs the questions: are Mitchell's songs specifically feminine and, if so, to what extent and why?

Anne Karppinen addresses this question focusing on the kind of music and lyrics Mitchell writes, the representation of men and women in her lyrics, how her style changes and evolves over time, and how cultural context affects her writing. Linked to this are the concepts of subjectivity and authorship: when a singer-songwriter sings a song in the first person, about whom are they actually singing? Mitchell offers a fascinating study, for the songs she writes and sings are intricately woven from the strands of her own life.

Using methods from critical discourse analysis, this book examines recorded performances of songs from Mitchell's first nine studio albums, and the contemporary reviews of these albums in Anglo-American rock magazines.

In one of the only books to discuss Mitchell's recorded performances, with a focus that extends beyond the seminal album Blue, Karppinen explores the craft of Mitchell's songwriting and her own attitudes towards it, as well as the dynamics and politics of rock criticism in the s and s more generally. Fusion never coalesced into a distinct genre; many artists and critics disparaged the music as amorphous and hard to define.

Kevin Fellezs contends that fusion's much-derided hybridity was its very reason for being. By mixing different musical and cultural traditions, fusion artists sought to disrupt generic boundaries, cultural hierarchies, and critical assumptions. Fellezs develops his argument through rigorous analysis of the music of four distinctive fusion artists. Interpreting the work of Tony Williams, John McLaughlin, Joni Mitchell, and Herbie Hancock, he explores the challenges that fusion posed to generic conventions and considers the extent to which a musician can be taken seriously as an artist across divergent musical traditions.

Fellezs concludesBirds of Firewith a look at the current activities of McLaughlin, Mitchell and Hancock; Williams's final recordings; and the legacy of the fusion made by the four artists in the s. Exploring a Musical Genre provides an overview of this diverse and complex musical genre for scholars of classic rock and curious novices alike, with a focus on 50 must-hear musicians, songwriters, bands, and albums.

Drawing on archival records, published memoirs, and previously conducted interviews, The Kind of Man I Am uses Mingus as a lens through which to craft a gendered cultural history of postwar jazz culture. An easy-to-use, step-by-step approach to basic theory is given as a foundation, and then the essential styles-and many styles within each style-are explored from the bass point of view.

Learn how the bass fits into the group, the important bass techniques for each style and even what tempos to expect. Bass players, arrangers and composers alike will love the hundreds of tips and sample bass lines. A CD demonstrating all the examples and for playing along is available. Featuring a mix of academics, musicians, and journalists, the book listens to the vibrant Latin American soundtracks of Los Angeles, from Hollywood film sets to recording studios, from vaudeville theaters to Sunset Strip nightclubs, and from Carmen Miranda to Perez Prado and Juan Garcia Esquivel.

The novelist, most famous for his book On the Road, admired the sounds of bebop and attempted to bring something of their original energy to his own writing, a torrent of semi-autobiographical stories he published between and his early death in Yet he was also drawn to American popular music of all kinds — from the blues to Broadway ballads — and when he came to record albums under his own name, he married his unique spoken word style with some of the most talented musicians on the scene.

Kerouac's musical legacy goes well beyond the studio recordings he made himself: his influence infused generations of music makers who followed in his work — from singer-songwriters to rock bands.

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