The Blues Don T Care

Bobby Saxon lives in a world that isn’t quite ready for him. He’s the only white musician in an otherwise all-black swing band at the famous Club Alabam in Los Angeles during World War II—and that isn’t the only unique thing about him... And if that isn’t enough to deal with, in order to get a permanent gig with the band, Bobby must first solve a murder that one of the band members is falsely accused of in that racially prejudiced society. Praise for THE BLUES DON’T CARE: “Award-winning author Paul D. Marks hits it out of the park with his latest, The Blues Don’t Care. On one level it’s a mystery where a white musician, Bobby Saxon, in an all-black jazz band, works to solve a murder and clear his name under extraordinary racially-tinged circumstances. But this finely-written novel takes place in World War II-era Los Angeles, and Marks brings that long-gone era alive with memorable characters, scents, descriptions, and most of all, jazz. Highly recommended.” —Brendan DuBois, award-winning and New York Times bestselling author “Paul D. Marks finds new gold in 40’s L.A. noir while exploring prejudices in race, culture, and sexual identity. There’s sex, drugs, and jazz and an always surprising hero who navigates the worlds of gambling, music, war profiteers, Jewish mobsters, and a lonely few trying to do the right thing. Marks has an eye for the telling detail, and an ear that captures the music in the dialogue of the times. He is one helluva writer.” —Michael Sears, award-winning author of Tower of Babel, and the Jason Stafford series “In The Blues Don’t Care, Paul D. Marks deftly portrays the colors and contradictions of World War II era L.A. as navigated by unlikely sleuth Bobby Saxon whose disparate worlds collide in this impressive series debut.” —Dianne Emley, L.A. Times bestselling author of the Nan Vining mysteries “This story was a breath of fresh air, set in a familiar period, thanks to Sunday afternoon TV movies. Which means the author had to get his world-building right. The good news is—he did, and did it very well indeed.” —Discovering Diamonds Reviews “With World War II era Los Angeles as the backdrop Paul D. Marks paints a gritty picture with a tense story and takes on tough subject matters all while keeping the gas pedal to the floor of the mystery. As a drummer of forty plus years I could hear Max Roach, Gene Krupa and Art Blakey all thundering away as the soundtrack to this face paced book! Simply Superb!” —Jonathan Brown author of the Lou Crasher and Doug “Moose” McCrae series “Paul D. Marks delivers a well-told tale of jazz and murder. The Blues Don’t Care is written in a flowing style with a moving pace. Marks does a very convincing job transporting readers back in time to 1940s’ L.A., and he’s managed to pack in plenty of tension, along with some unexpected twists along the way.” —Dietrich Kalteis, award-winning author of Ride the Lightning and House of Blazes

The devil is the most charismatic and important figure in the blues tradition. He's not just the music's namesake ("the devil's music"), but a shadowy presence who haunts an imagined Mississippi crossroads where, it is claimed, Delta bluesman Robert Johnson traded away his soul in exchange for extraordinary prowess on the guitar. Yet, as scholar and musician Adam Gussow argues, there is much more to the story of the devil and the blues than these cliched understandings. In this groundbreaking study, Gussow takes the full measure of the devil's presence. Working from original transcriptions of more than 125 recordings released during the past ninety years, Gussow explores the varied uses to which black southern blues people have put this trouble-sowing, love-wrecking, but also empowering figure. The book culminates with a bold reinterpretation of Johnson's music and a provocative investigation of the way in which the citizens of Clarksdale, Mississippi, managed to rebrand a commercial hub as "the crossroads" in 1999, claiming Johnson and the devil as their own.

An encyclopedia about various methods of qualitative research.

(Fake Book). Since the 1970s, The Real Book has been the most popular book for gigging jazz musicians. Hal Leonard is proud to publish completely legal and legitimate editions of the original volumes as well as exciting new volumes to carry on the tradition to new generations of players in all styles of music! All the Real Books feature hundreds of time-tested songs in accurate arrangements in the famous easy-to-read, hand-written notation. 300 blues essentials are included in this collection: All Your Love (I Miss Loving) * Baby Please Don't Go * Big Boss Man * Blues Before Sunrise * The Blues Is Alright * Boom Boom * Born Under a Bad Sign * Cheaper to Keep Her * Come on in My Kitchen * Crosscut Saw * Damn Right, I've Got the Blues * Dust My Broom * Every Day I Have the Blues * Evil * Five Long Years * Further on up the Road * Gangster of Love * Give Me Back My Wig * Good Morning Little Schoolgirl * Got My Mo Jo Working * Have You Ever Loved a Woman * Hide Away * How Long, How Long Blues * I Ain't Got You * I Got Love If You Want It * I'm Tore Down * I'm Your Hoochie Coochie Man * It Hurts Me Too * Juke * Key to the Highway * Killing Floor * Let Me Love You Baby * Look on Yonder's Wall * Mama Talk to Your Daughter * Master Charge * Messin' with the Kid * My Babe * Phone Booth * Pride and Joy * Reconsider Baby * Rock Me Baby * Rock Me Right * Smokestack Lightning * Somebody Loan Me a Dime * Statesboro Blues * (They Call It) Stormy Monday (Stormy Monday Blues) * Sweet Home Chicago * Texas Flood * The Things That I Used to Do * The Thrill Is Gone * Wang Dang Doodle * and more.

Born in African American work songs, field hollers, and the powerful legacy of the spirituals, the blues traveled the country from the Mississippi delta to “Sweet Home Chicago,” forming the backbone of American music. In this anthology–the first devoted exclusively to blues poems–a wide array of poets pay tribute to the form and offer testimony to its lasting power. The blues have left an indelible mark on the work of a diverse range of poets: from “The Weary Blues” by Langston Hughes and “Funeral Blues” by W. H. Auden, to “Blues on Yellow” by Marilyn Chin and “Reservation Blues” by Sherman Alexie. Here are blues-influenced and blues-inflected poems from, among others, Gwendolyn Brooks, Allen Ginsberg, June Jordan, Richard Wright, Nikki Giovanni, Charles Wright, Yusef Komunyakaa, and Cornelius Eady. And here, too, are classic song lyrics–poems in their own right–from Bessie Smith, Robert Johnson, Ma Rainey, and Muddy Waters. The rich emotional palette of the blues is fully represented here in verse that pays tribute to the heart and humor of the music, and in poems that swing with its history and hard-bitten hope.

This masterful explorationof American roots music--country, rockabilly, and the blues--spotlights the artists who created a distinctly American sound, including Ernest Tubb, Bobby "Blue" Bland, Elvis Presley, Merle Haggard, and Sleepy LaBeef. In incisive portraits based on searching interviews with these legendary performers, Peter Guralnick captures the boundless passion that drove these men to music-making and that kept them determinedly, and sometimes almost desperately, on the road. This enhanced edition includes: Exclusive video footage prepared specifically for the enhanced eBook that has never been seen before. Rare audio clips.

Here is Gayl Jones's classic novel, the tale of blues singer Ursa, consumed by her hatred of the nineteenth-century slave master who fathered both her grandmother and mother.