Here are 100 books that The Monsters We Defy fans have personally recommended if you like
The Monsters We Defy.
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I have been writing and illustrating books for fifteen years, and I am passionate about the art of making picture books. I love music and dance too. While making this list, I was amazed by how different visual artists that I admire—and who have very different styles—were able to capture movement, rhythm, and energy. I was also fascinated by how the different authors crafted their stories and yet all of them managed to celebrate Black culture and resilience.
Bryan Collier’s watercolor and collage illustrations are amazing. They are warm and joyful, just like Troy Andrews’s story.
In the book, Andrews, aka “Trombone Shorty,” recalls growing up in the Tremé neighborhood of New Orleans. He remembers playing non-stop a broken trombone he found on the street and eventually—as a young kid—getting to play on stage with the legendary Bo Diddley at the city’s Jazz Festival. This is an inspiring story and a visual delight.
Hailing from the Treme neighborhood in New Orleans, Troy "Trombone Shorty" Andrews got his nickname by wielding a trombone twice as long as he was high. A prodigy, he was leading his own band by age six and today this Grammy-nominated artist headlines the legendary New Orleans Jazz Fest. Along with esteemed illustrator Bryan Collier, Andrews has created a lively picture book autobiography about how he followed his dream of becoming a musician, despite the odds, until he reached international stardom. Trombone Shorty is a celebration of the rich cultural history of New Orleans and the power of music.
It is April 1st, 2038. Day 60 of China's blockade of the rebel island of Taiwan.
The US government has agreed to provide Taiwan with a weapons system so advanced that it can disrupt the balance of power in the region. But what pilot would be crazy enough to run…
My father, a huge Ella Fitzgerald fan, had a bunch of her records, and took us to hear her live once. So I knew mid-century jazz, but I had yet to discover its early origins. From the first, I knew my trilogy was set in the 1920s and one of the main characters had to be a jazz musician. I began collecting dozens of recordings by early jazz and blues artists, reading books about them, and I developed an enthusiasm for these early musicians. I found that the original “jazz maniacs” had the same passion for their music that I felt about rock and roll in the early 1960s.
I highly value Condon’s ability to describe the daily anxiety and desperation of the poor jazz musicians, who constantly struggled to find work and pay the rent. He does so with great good humor. He tells a good story and he’s got a million of them, including a few about gangsters, but mostly about the many great jazz musicians like Bix Beiderbecke, whom he worked with and knew well. His many terse stories prove that brevity is the soul of wit. His dialogue is worthy of Ben Hecht—he’s good at wisecracks. I was sorry when the book came to an end.
Eddie Condon (1905-1973) pioneered a kind of jazz popularly known as Chicago-Dixieland, though musicians refer to it simply as Condon style. Played by small ensembles with driving beat, it was and is an informal, exciting music, slightly disjointed and often mischievous. The same could be said of Condon's autobiography, We Called It Music, a book widely celebrated for capturing the camaraderie of early jazz. Condon's wit was as legendary as the music he boosted. Here is Condon on modern jazz: "The boopers flat their fifths. We consume ours." On Bix Beiderbecke: "The sound came out like a girl saying yes."…
I am a musician and an author. Many of my mentors and collaborators are members of the Association for the Advancement of Creative Musicians (AACM), a collective organization of African American composers and performers founded on the South Side of Chicago in 1965. Their farthest-reaching innovation, a form known as “creative music,” transformed the fields of jazz and experimental music by breaking down the barriers that—prior to the advent of the AACM—had separated the disciplines of composition and improvisation. My book Sound Experimentsand the other books on the list give readers new insights into the members of the AACM and their groundbreaking music.
New Musical Figurations is a profile of AACM composer Anthony Braxton. One of the best-known AACM musicians, Braxton is also one of the most influential: while writing hundreds of compositions and touring the world with his many ensembles, he has also found time to teach some of the best composers and improvisers of the twenty-first century, including Taylor Ho Bynum, Mary Halvorson, Steve Lehman, and Tyshawn Sorey. Braxton continues to compose and perform today, and New Musical Figurations explores the ideas and philosophies that motivate his creative practices and draw new generations of listeners to his music.
By relating biography to the cultural and musical contours of contemporary American life, Ronald M. Radano observes jazz practice as part of the complex interweaving of postmodern culture - a culture that has eroded conventional categories defining jazz and the jazz musician. Radano accomplishes all this by analyzing the creative life of Anthony Braxton. Born in 1945, Braxton is not only a virtuoso jazz saxophonist but an innovative theoretician and composer of experimental art music. His refusal to conform to the conventions of official musical culture has helped unhinge the very ideologies on which definitions of "jazz", "black music," "popular…
A Duke with rigid opinions, a Lady whose beliefs conflict with his, a long disputed parcel of land, a conniving neighbour, a desperate collaboration, a failure of trust, a love found despite it all.
Alexander Cavendish, Duke of Ravensworth, returned from war to find that his father and brother had…
I can’t imagine going through a day without listening to music. I remember buying my first Beatles album at eight years old. I saw Elvis on his last tour, Whitney Houston on her first, and Barbra Streisand on her comeback tour—twice. I remember listening to “Kind of Blue” the first time. I remember seeing Ella Fitzgerald late in her career at a club in Houston; her body was failing her—she had to sit in a chair to sing—but her voice was as beautiful as ever. Of all the artists I’ve admired over the years, the one whose work has consistently spoken to me most profoundly is Billie Holiday.
One of the treasures of American show business is Hazel Scott. A child prodigy on piano who attended Julliard, a headliner at Café Society thanks to Billie Holiday’s mentorship, and eventually the wife of Adam Clayton Powell, Jr., she was the first African American to host her own television show, “The Hazel Scott Show,” in 1950.
A confrontation with the House Un-American Activities Committee prompted the cancellation of her network show, which led her to go into a kind of exile in Paris where she set up a salon that saw as guests everyone from Lester Young to the Beatles.
Karen Chilton vividly documents the life and times of the singer in this book. I love the book because it captures the artistry of a true original. In the future, more attention should be paid to Hazel Scott, who has become show business history’s forgotten genius.
Hazel Scott was an important figure in the later part of the Black renaissance onward. Even in an era where there was limited mainstream recognition of Black Stars, Hazel Scott's talent stood out and she is still fondly remembered by a large segment of the community. I am pleased to see her legend honored. ---Melvin Van Peebles, filmmaker and director""This book is really, really important. It comprises a lot of history---of culture, race, gender, and America. In many ways, Hazel's story is the story of the twentieth century."" ---Murray Horwitz, NPR commentator and coauthor ofAin't Misbehavin'""Karen Chilton has deftly woven…
Lilian Terry’s background is quite out-of-the-ordinary. Born in Egypt in 1930 to Maltese and Italian parents, she undertook academic studies in Cairo and Florence. Terry studied classical piano until age 17, developing an interest in jazz in her early teens. She participated in a variety of ways with jazz in Europe, beginning in the 1950s. As a singer, she was an active performer and recording artist. At the same time, she produced radio and television shows for Italy’s RAI network, and this activity led to some of her encounters with major figures of American jazz. Seven of these interactions (most of which spanned decades) are the subject of Dizzy, Duke, Brother Ray, and Friends.
For the same reason I would recommend attending any musical performance by John Birks ‘Dizzy’ Gillespie: Sheer entertainment, surprisingly touching aspects of his personality, instant feelings of friendship shared, and his unbreakable optimism, with which to face and endure whatever life had in store for him. In Italy he was a beloved “Italian,” officially elected honorary citizen of Bassano del Grappa, where we had opened the “Dizzy Gillespie Popular School of Music” that carried an integrated section for blind students. When his memoirs were published he asked me to translate the book into Italian, therefore I had to read it with particular concentration. Many were the moments I would have to shut the book and laugh out loud! Oh yes, Diz the Wiz, or The Joyous Soul of Jazz!
You don't have to know John Birks "Dizzy" Gillespie's songs to feel his influence. The self-taught trumpet player rose from a poor but musically driven upbringing to become a jazz mastermind, founding the bebop movement and giving rise to Afro-Cuban music.
This extensive biography is intertwined with reflections from famous Gillespie associates Cab Calloway, Count Basie, Miles Davis, Thelonious Monk, Mary Lou Williams, Ella Fitzgerald, and many others. They provide numerous perspectives of Gillespie's early start on the road to fame and the spirited times that would follow.
I grew up hearing jazz thanks to my dad, a big swing fan who allegedly played Duke Ellington for me in the crib. My father couldn’t believe it when I developed a taste for “modern jazz,” bebop, even Coltrane, but he never threw me out. Fifty years later I still love to play jazz on drums and listen to as much as I can. But along the way, I realized the world might be better served by me writing about the music than trying to make a living performing it. I had the great privilege of studying jazz in graduate school and wrote about big-band jazz for my first book, which helped launch my career.
Space Is the Place opened so many windows for me into a world of esoteric spirituality fused with mind-blowing musical and theatrical creativity. John Szwed was a member of my PhD dissertation committee, although it was pretty hard to track him down, and he was wrapping up this book as I finished my own. I’d seen Sun Ra at my college and thought of the Arkestra as a kind of spaced-out novelty act, not knowing anything about Ra’s history: his celestial epiphanies; his long immersion in big-band jazz, including his stint with the great Fletcher Henderson; the cadre of stellar musicians he recruited and molded for the Arkestra; his entrepreneurial streak. When I turned to the study of music and spirituality, Szwed’s biography became an indispensable source. Afrofuturism has become a very hot topic in contemporary cultural studies, and there’s no better way into its arcane mysteries than through this…
Considered by many to be a founder of Afrofuturism, Sun Ra-aka Herman Blount-was a composer, keyboardist, bandleader, philosopher, entrepreneur, poet, and self-proclaimed extraterrestrial from Saturn. He recorded over 200 albums with his Arkestra, which, dressed in Egypto-space costumes, played everything from boogie-woogie and swing to fusion and free jazz. John Szwed's Space is the Place is the definitive biography of this musical polymath, who was one of the twentieth century's greatest avant-garde artists and intellectuals. Charting the whole of Sun Ra's life and career, Szwed outlines how after years in Chicago as a blues and swing band pianist, Sun Ra…
The Duke's Christmas Redemption
by
Arietta Richmond,
A Duke who has rejected love, a Lady who dreams of a love match, an arranged marriage, a house full of secrets, a most unneighborly neighbor, a plot to destroy reputations, an unexpected love that redeems it all.
Lady Charlotte Wyndham, given in an arranged marriage to a man she…
I can’t imagine going through a day without listening to music. I remember buying my first Beatles album at eight years old. I saw Elvis on his last tour, Whitney Houston on her first, and Barbra Streisand on her comeback tour—twice. I remember listening to “Kind of Blue” the first time. I remember seeing Ella Fitzgerald late in her career at a club in Houston; her body was failing her—she had to sit in a chair to sing—but her voice was as beautiful as ever. Of all the artists I’ve admired over the years, the one whose work has consistently spoken to me most profoundly is Billie Holiday.
One of the important figures in the world of jazz for many years was Leonard Feather. He started his career as a jazz writer—writing the first profile of Billie Holiday—but eventually became a songwriter and producer. He produced Billie Holiday’s highly successful 1954 European Tour called Club USA.
Well into his career, he collected this book of essays about the jazz figures he knew well: Louis Armstrong, Billie Holiday, Ella Fitzgerald, Lester Young, Dizzy Gillespie, Miles Davis, and Ray Ellis, among others. I really like his essay on Billie, whom he knew so well she became his daughter’s godmother because he was able to relate events about which he knew because he was in the room with her when they happened.
If you want to meet jazz luminaires first-hand, trust Leonard Feather to provide the introduction.
Louis Armstrong, Duke Ellington, Billie Holiday, Ella Fitzgerald, Count Basie, Lester Young, Charlie Parker, Norman Granz, Oscar Peterson, Ray Charles, Don Ellis, and Miles Davis,these are the dozen jazz figures whom Leonard Feather chose to describe the development of jazz. This is the first Feather book to examine in-depth the innovative figures who have led the way throughout the music's history. As composer, producer, and for almost half-a-century one of its leading critics, Feather has a unique perspective of these jazz immortals. He has worked with and known all of them. "These are portraits of human beings first, analyses of…
My father, a huge Ella Fitzgerald fan, had a bunch of her records, and took us to hear her live once. So I knew mid-century jazz, but I had yet to discover its early origins. From the first, I knew my trilogy was set in the 1920s and one of the main characters had to be a jazz musician. I began collecting dozens of recordings by early jazz and blues artists, reading books about them, and I developed an enthusiasm for these early musicians. I found that the original “jazz maniacs” had the same passion for their music that I felt about rock and roll in the early 1960s.
I have so many reasons why this is one of my all-time favorite books. Berton’s descriptions of music, specifically jazz or music in general, are superb. Ralph Berton describes himself as a precocious 13-year-old (an understatement!), when in 1924 he meets Bix Beiderbecke, seven years his senior, and idolizes him. This relationship is a great part of the book’s charm. The Berton family—with its vaudeville background, two famous musical brothers (besides the child genius Ralph), and a Jewish mother—is another part of the appeal. But the heart of the book is his affectionate, penetrating portrait of Bix, derived from personal experience. He examines the myths and legends, sometimes debunking and sometimes reinforcing them. A magical, bittersweet book that often brought me to tears. Exceptional writing.
As Nat Hentoff says, "Hearing Bix for the first time was like waking up to the first day of spring." Bix has always inspired such acclaim, for he was an unmatched master of the cornet. Ralph Berton was privileged enough to have been a fan,and younger brother of Bix's drummer,just as Beiderbecke's genius was flowering, before he died in 1931 at age twenty-eight. Listening from behind the piano, tagging along to honky-tonks and jam sessions, Berton heard some of the most extraordinary music of the century, and he brings Bix and his era alive with a remarkable combination of the…
I was born in 1970. From my earliest memory there was music. But it’s never been just about the music, I have a natural curiosity for the people who make that music. The artist on the album cover, but also the side musicians, the producers, engineers, and promoters. I’m also fascinated by the roadmap from blues to rock to Laurel Canyon to disco to punk and on and on. Real music infuses and informs the fiction I write — by reading real-life accounts and listening to the songs, I’m put in the world from which it was all born.
Quincy Jones knows everybody. He’s worked with everybody. To study the life of Quincy Jones is to study popular music as we know it today. From jazz to soul to R&B to pop, Q has had a hand and a tapping toe in all genres and the lives of those who produced it. His love and passion for music of any genre are infectious. I’ve always been interested in not just the music itself, but in how it’s made, why it’s made, and who makes it, and this autobiography pulls back the curtain on it all.
Musician, composer, producer, arranger, and pioneering entrepreneur Quincy Jones has lived large and worked for five decades alongside the superstars of music and entertainment -- including Frank Sinatra, Michael Jackson, Steven Spielberg, Oprah Winfrey, Ray Charles, Will Smith, and dozens of others. Q is his glittering and moving life story, told with the style, passion, and no-holds-barred honesty that are his trademarks.
Quincy Jones grew up poor on the mean streets of Chicago’s South Side, brushing against the law and feeling the pain of his mother’s descent into madness. But when his father moved the family west to Seattle, he…
This book follows the journey of a writer in search of wisdom as he narrates encounters with 12 distinguished American men over 80, including Paul Volcker, the former head of the Federal Reserve, and Denton Cooley, the world’s most famous heart surgeon.
In these and other intimate conversations, the book…
My prime credential for writing these books is my own humanity, as someone who's felt the deep power of music on the human spirit since childhood. The stories I tell in these books are about musicians and artists, people who had a passion for creating something out of thin air with patience and many years of hard work. I highlight their lives to give kids (and adults) examples of passion coupled with persistence because Life is often very challenging.
Winner of the prestigious Schneider Award, Parker's text and artwork celebrate the genius of the great Art Tatum - who just happened to be blind. The words are poignant and effective, but it is Parker's watercolor paintings that glow and amaze with a balance of sophistication and childlike elegance. In short, a master of one medium is being honored by another.
Regardless of whether they’ve heard of jazz or Art Tatum, young readers will appreciate how Parker uses simple, lyrical storytelling and colorful, energetic ink-and-wash illustrations to show the world as young Art Tatum might have seen it. Tatum came from modest beginnings and was nearly blind, but his passion for the piano and his acute memory for any sound that he heard drove him to become a virtuoso who was revered by both classical and jazz pianists alike. Included in the back matter is a biography and bibliography.
