Bands and Ensembles Books

If you've ever seen the magnificent, nationally famous Texas A&M University Band perform during half-time, you will want to own this fine volume. It offers a comprehensive history of the first 100 years of a college organization that has become, literally, a state institution. Being in the Aggie Band is not simply membership in a music outfit; rather, it is a comprehensive, fully consuming Way of Life. Rich with details about how the present-day Band evolved, the Powells' account also grandly illuminates other facets of Texas Aggie history - the Corps of Cadets, A&M athletics, campus development, memorable faculty folks and general local color (in native lingo, "good bull."). Numerous photos trace Aggie traditions from their earliest days to the present. It was startling to this reader how some campus/Corps images are practically ageless. Many of the pictures - fish standing on the wall, Elephant Walk, Ags working on the Bonfire, meals in Duncan Dining Hall - could have been taken in 1930 or 1950 or 1975 OR 1995, since the traditions, and the scenes they propagate, are so firmly embedded at A&M.

This book definitely needs to be made into a movie. Not only would it offer remarkable settings, dramatic events, dynamic characters, stupendous role models, intricate Band drills and tantalizing college-life plots, but it would feature, without a doubt, the very best film soundtrack in the history of the world.

I was the drum major at my little high school in Louisiana a long long time ago, and I never heard anything about the Texas Aggie Band until almost three decades later, when I saw them at a parade in San Antonio. Soon after that, I visited the A&M campus one football weekend and got to see them rehearse their pre-game Saturday morning drill performance. They are absolutely stupendous, the best in the world. No one else compares or even comes close. I found this book at A&M's Memorial Student Center and bought it immediately. You simply MUST go see the Aggie Band.

One of my life's greatest regrets, now, is that I knew nothing about this organization when I was eligible to march in it. Musically, and personally, I can imagine no higher achievement. Everything about this precision machine exudes excellence, from their music, to their marching, to the striking friendly politeness of all the members I was fortunate to meet. These fine kids are motivated beyond belief, and they welcome you into their world -- they know they are a part of something special, and they generously share with you the admiration for their Aggie heritage.

Their drum cadence (I was a drummer) is absolutely captivating. It has five "verses," and is militarily simple but, once you've heard it, the beat stays with you wherever you walk, any time you are walking -- you wish that you were marching with the Fightin Texas Aggie Band, every time you put one foot in front of the other.

I got to see the film, "We've Never Been Licked," a 1943 World War II story, and became a permanent Aggie "groupie." From now forward, I will always be a Texas Aggie in my heart. As Pop Lambert said in the movie, "God bless the Aggies." The Spirit of Aggieland is now an forever. World Without End, A&M.

Gig 'em. And Beat The Hell Outta t.u. !!!

Jazz Pedagogy: The Jazz Educator's Handbook and Resource Guide
by J. Richard Dunscomb is an outstanding resource for new music teachers and experienced professionals as well. It contains detailed well thought out articles by leading jazz educators in their fields of expertise...clearly outlined and easily understood examples descriptions. A must have guide for learning or for remebering things you already knew but needed a fresh perspective.

Another book with a great concept: include a DVD which shows what's inside the book. Here Dr. Willie Hill is shown in a clinic type format demonstrating to high school jazz band participants how to play jazz standards. The DVD is a documentary format of a live classroom setting of real students being taught how to solo. Dr. Hill also instructs the 4-piece rhythm section, telling the musicians to listen to the drummer's accents. Both a high school ensemble and a college ensemble are represented. This book also ties in with a great video set that shows the role of the drums, bass, guitar, and keyboards in the rhythm section called "Drums In the Rhythm Section" (also Piano, Bass, Guitar) with top caliber players like Steve Houghton.

The book does a good job of presenting jazz in a methodical way. It starts with jazz history and influential players. It then moves on to the development of jazz instrumentation and jazz styles. As to not overwhelm the novice, a blues tunes, "Billie's Bounce", is used as a starting point. Helpful pointers like scales, modes, and arpeggios are explained and written out. Since classical musicians will only be familiar with standard grand staff notation and unfamiliar with simplified jazz charts, time is taken to explain the anatomy of a chart. The book's expensive but one you'll keep in the library for reference, especially if you plan on being a jazz band director. Also, as a supplemental addition, get "Approaching The Standards" by the same author to practice what you've learned here.

This book really captures the spirit and essence of what is the Penn State Blue Band. I've marched in the band for 3 seasons and have, at times, tried to describe the exhiliration of the pregame show, or the dedication and pride I felt when I donned the uniform. This book does that perfectly. As years pass, and my memories fade of my experiences in The Blue Band, I will have this book to call upon, and help relive some of thos moments.

A fascinating and easy to read history of the Penn State Blue Band. There are some truly amazing photographs. I highly recommend this book!

Painstakingly researched, compiled and written by three world-class wind ensemble authorities. With the combined experiences and vast international wind ensemble literature knowledge of these highly-regarded and well-respected American bandmasters Robert Grechecky, Thomas Dvorak, and Gary Ciepluch, you can be sure - no, you can be GUARANTEED! - that works included in this unique, expansive repertoire collection are not only suitable, but perfect for your programming needs as a band director. A must on the shelf (and on the desk!) of every band director, music educator, and music library around the world.

The low-key, down home alternative to George Simon's often-lauded "Big Bands," this has a charming, almost DIY, quality to it. The graphic layout is pretty funky, but there are more and better photographs than in Simon's book. Also the writing is less jaded and more breathless, conveying the author's continued enthusiasm for his favorite artists of year gone by. Most significantly, Walker puts all the artists on an equal footing, listing them from A to Z, whereas Simon makes a big distinction between "major" artists, and lesser or non-swing musicians, shunting them to separate sections in the back of the book. Both books are informative, but I have more of a soft spot in my heart for this one -- I'd recommend it first!

This reference to the songs, orchestras and individuals of the big band music era will prove an indispensable reference to any student of swing or jazz big band music: it covers songs favored by swing era orchestras and provides an excellent examination of both the roots of the songs and those orchestras which made them famous.

This is a very good book on one of the most enduring musical ensembles of the past 30-years. I found how they got the group started and how they kept on going while many others music ensembles have folded after about ten years to be very interesting. In my opinion the book is written in a style much like personality of the group, fun, interesting and informative.

Professor Musiker is badly and sadly mistaken when he disparages Andre Kostelanetz' outstanding stereo recordings of popular music during the 1960s and '70s. (See final paragraph of entry on Maestro Kostelanetz) These superb sides sparkle even more brilliantly today when heard via the magic of CD and Dolby digital Pro-Logic, dts, Surround-Sound.) Furthermore, to state that Kosty's stereo recordings are "unrecognizable" is total nonsense. Anyone familiar with the Beautiful Music boom of the '60s and '70s can verify that the Kostelanetz sound was identifiable, recognizable and unmistakable. The popular music recordings of Andre Kostelanetz, Percy Faith, Mantovani and Henry Mancini (in that order) formed the earthquake-proof foundation upon which was built the Beautiful Music stereo FM radio format that was the most popular radio format in the U.S. during the 1970s. Also, Prof. Musiker is incorrect when he states that Andre (the GIANT of Beautiful Music) Kostelanetz succumbed to a "commercialized syndrome" when he recorded these magnificent albums of popular music. If the Professor is suggesting that Kosty really didn't like the music that bore his name, he has not done his homework. He should contact legendary producer Teo Macero in New York, as I have done, and learn the facts, which I will relate in great detail on my future website now under construction. (Teo Macero produced most of The Maestro's extraordinary Columbia recordings after the dawn of stereophonic sound in 1958) Yes, the final paragraph of this book's entry on Andre Kostelanetz does a tremendous disservice to The Maestro's mighty contributions to quality pop music during the last two decades of Kosty's spectacular life. I call for nothing less than a full retraction and correction of the said final paragraph in the Musikers' otherwise excellent and extremely useful sourcebook. Finally, though Prof. Musiker does not explicitly state this, there are allegations in other circles that Maestro Kostelanetz had little or nothing to do with the arrangements of these recordings. That he merely "waved his arms." Your humble reviewer intends to address this issue in depth when my website is "up and running." This should be by the end of the year -- just in time to celebrate the 100th anniversary of the birth of a great American conductor and patriot, The Magnificent Maestro Andre Kostelanetz. In the meantime, I encourage all readers of this review to enjoy Kosty's Wonderland Of Sound recordings.

This was part of a comprehensive 3 vol. history of British military bands. The purpose was to document the history and pictures of these bands before many were downsized and amalgamated in the early 1990s. The book succeeds very well in accomplishing this goal. Lovers of military music will be saddened by how many of these bands are no more. Still, there is a lot here to enjoy. This volume covered mostly cavalry bands and staff bands. The color photos are great. Each band has its history, showing regimental music played, noteable events, famous bandmasters, etc. Considering how sketchy much of this history is, the author has done a fine job collecting what info. is available. Since these are out of print now the price tends to be high, but they are well worth collecting. The accompanying audio CD played by the band of the Royal Signals provides some of the appropriate regimental music for many of the bands listed. A true gem for the military music buff. The cover shows the massed bands of the Royal Armored Corps at one of their last occasions together during the Royal Tournament of 1991.

This was the 3rd and final volume of this remarkable series. With the demise of so many fine old regimental bands from the British army, Gordon Turner with help from Kneller Hall, the army school of music, attempted to chronicle the fascinating history of these bands. Included are many fine photos, past and present. Extensive band histories are referenced throughout, with listings of bandmasters and directors of music, as well as regimental music played, and just general info. of importance. Many fine, rich stories are to be found here. The emphasis of this volume was on the bands of the Light Division and the Irish Regiments. Many others are included as well. All have colorful histories included with many references to bands and units long gone from the British army list. Included is a special CD played by the Band of the Royal Signals Corps which includes many of the regimental music listed in this work. The cover is a recent picture of the Band of the Light Division, now a single 47 piece band. All that remains of the bands of the Royal Green Jackets and Light Infantry. Soon this band will be changed yet again as the recent cuts will reduce it to a staff band of just 35. The title will be changed to the Band of the Rifles. A bland sounding title for sure! A sad loss for the many fans of this band over the years. This is niche book, highly recommended for those into military music, and British regimental bands in particular.