First-ever book dedicated to Snoozer Quinn sheds light on the virtuosic jazz guitarist, with a biography, interviews, photographs, and musical transcriptions.
(May 23, , New Orleans, LA)— For the first time ever, a book devoted to exploring the biography and musicianship of the enigmatic early jazz musician Snoozer Quinn has been made available to the public. Snoozer Quinn: Fingerstyle Jazz Guitar Pioneer, written by Katy Hobgood Ray and Dan Sumner, with a forward by Steve Howell, publishes on June 6, , by Out Of The Past Music, LLC and BookBaby. Available in paperback ( pages) and eBook, the book is available at and on Book Baby and other online retailers. For bulk orders, contact Baker & Taylor.
A legendary figure
Since his passing in , the legend of Edward “Snoozer” Quinn and copies of his rare deathbed recordings have been passed along through generations of serious guitarists like treasured secrets of an exclusive society. Truly a musician&#;s musician, Snoozer&#;s marvelous abilities have been extolled by his contemporaries who heard him play, and those who came after &#; including such luminaries as Les Paul, Eddie Lang, Danny Barker, Frankie Trumba
Paul Whiteman
Whiteman started as classical viola player. He played with the San Francisco Symphony and he led a band for the Navy during World War One. After the war, he formed the Paul Whiteman Orchestra at the Fairmont Hotel (corner of California and Mason Streets in San Francisco). He moved to New York in and made his first record Whispering / The Japanese Sandman which sold over two million copies and made Whiteman a star. In he secured his place in history when he commissioned and introduced George Gershwin's Rhapsody In Blue. The song became the band's signature tune.
Whiteman hired a virtual who's who of White Jazz musicians of the s for his orchestra, such as Red Nichols, Tommy Dorsey, Fran
Paul Whiteman ():
Influential Bandleader of American Popular Music and Jazz
Paul Whiteman is among the greats in terms of his contribution to American music of the early 20th century. His influence can be heard in jazz and popular dance music of his day, mostly via his never-ending search for new talent and exciting sounds. During the Jazz Age (loosely placed in the s) his band was so popular that it performed almost every day of the year in clubs and concert halls, touring both the U.S. and Europe several times in a decade. He employed many of the top jazz performers of the era, including Jimmy and Tommy Dorsey, Joe Venuti, Eddie Lang, and Bix Beiderbecke. He launched the career of crooner Bing Crosby and singer Mildred Bailey, featuring them as vocalists with his dance band. Whiteman's band furthered the exposure of jazz to a white, middle-class audience that had resisted what was seen as the music of uncultivated blacks; his Aeolian Hall concert gave those sounds an unprecedented legitimacy. The concert was billed as "An Experiment in Modern Music" for which Whiteman commissioned George Gershwin to compose a "jazz concerto." Gershwin himself was at t
Whiteman, Paul
Violinist, bandleader
Came from Musical Family
Impressed Titans of Serious Music
Popularity Eclipsed by Swing Bands
Selected discography
Selected compositions
Selected writings
Sources
Dubbed the King of Jazz in the s, Paul Whiteman was credited with bringing jazz music into the mainstream during the decade after World War I. He was the first to arrange music for jazz orchestra, creating a symphonic jazz sound that was especially popular with youthful audiences because it was so dance-able. His bands featured some of the top musicians of his day, among them Bix Beiderbecke, Jack Teagar-den, Bunny Berigan, Eddie Lang, Red Norvo, and the Dorsey brothers. Whiteman also helped popularize the notion of a vocalist with an orchestra&#x;a rare combination before he came on the scene. Over the years Whiteman introduced many singers who went on to great success, including Bing Crosby, Dinah Shore, Mildred Bailey, and Morton Downey.
By smoothing over jazz&#x;s rough edges, Whiteman made the genre more respectable to the average listener while at the same time inviting the scorn of jazz purists. He even added jazz elements to classic
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