For some years now, Barcelona has capitalized on a significant number of entrepreneurs who have distinguished themselves in creating publishing houses specialized in musical literature. The success, no longer so limited, of the initiative has attracted the attention of readers, which allows for buying international works and investing in good translations, even in publishing national authors.
This interest has also reached the country's large publishing groups, which have also created their specific imprints for musical literature. This new scenario reflects a surge of new readers in the field of musical publications. It is still necessary to take the step of presenting international titles in Catalan, which do exist in Spanish, as well as disseminating themes specific to the country, presented in careful and attractive editions. This year, the festive and cultural event that is Sant Jordi has a more solid and diverse musical publishing catalog than in previous editions, hoping to awaken the interest and enjoyment of the reader.
- Bob Dylan. Mixing Up the Medicine, Mark Davidson y Parker Fishel (Planeta)
Unappealable. Bob Dylan (1941) is an example of someone who fully understands the cultural importance of his legacy, which he has carefully managed since the 1980s. With the sale of his masters to Columbia/Sony, the singer demonstrates absolute control. If, in addition, he has his poetic and literary work, he only has to think about the donation of the funds and memorabilia that comes with it. The culmination has been the transfer of his archives to the Bob Dylan Center in Tulsa, Oklahoma, which already holds the legacy of Woody Guthrie (1912-1967), Dylan's spiritual father via folk. This impressive and delicate volume is the official publication of the institution, a collection of very diverse documents, profusely illustrated, meticulously edited by Mark Davidson and Parker Fishel. The author of Girl from the North Country trusts that his work will endure over time.
- L'era dels àlbums, Àlex Torío (Columna Edicions)
The musician and math professor oozes vinyl through his veins. Based on a selection of 40 references that have marked his musical education, the author unravels the emotional process of creation and the context of the reviewed titles, between 1961 and 1997, that have captivated pop and rock, whose importance leads to recommending other albums. Many are inevitable. Torío grew up with this soundtrack. The selection is so sincere as debatable, since it dispenses with genres of black roots. However, it contains some interesting surprises, such as In the We Small Hours, by Sinatra; Modern Sounds in Country & Western Music, by Ray Charles; Dr. John's Gumbo, by Dr. John; Young Americans, of Bowie or Easter, by Patti Smith Group. Albums that tell stories and tunes, and do not deserve to be fractionated or chopped up by platforms.
Cover of 'Ella Fitzgerald' (Libros del Kultrum), by Judy Tich. - Ella Fitzgerald, Judy Tich (Libros del Kultrum)
Ella Fitzgerald (1917-1996) is probably the best cantante de jazz of all time. Her technique of scat gave a very personal meaning to the bebop of the 50s. Europe was more than a refuge for an interpreter stigmatized, but not defeated by segregationism. Gifted to interpret any melody, she insisted and worked hard to record eight splendid albums, later known as The Complete Ella Fitzgerald Song Books, published between 1957 and 1964. Tick focuses on this period to explain from start to finish the value of popular songs, coming from musical theater, Hollywood, Broadway, ballads or jazz. Surrounded by splendid musicians and arrangers, Fitzgerald canonizes the compositional and musical talent of Cole Porter; Rodgers & Hart; Duke Ellington, Irving Berlin; George and Ira Gershwin; Harold Arden; Jerome Kern, and Johnny Mercer. The essayist does not forget the singer's foray into pop and soul. She also observes her activism, not well known, such as her suffering from not being home, given that she spent her life on the road to entertain and cheer others, whether in a club or a concert hall.
Cover of Eamonn Forde's book 'Royalties from the Grave' (Liburuak). - Royalties from the Grave, Eamonn Forde (Liburuak)
Elvis Presley and Michael Jackson continue to sell much more than those who still fill stadiums. Based on interviews with those responsible for musical estates, as well as lawyers, record company executives and other agents, the book reveals how the music industry strives to perfect the business of deceased musicians. The Northern Irish author illustrates the cases of Freddy Mercury and David Bowie and their estate planning models. On the contrary, James Brown, Prince or Aretha Franklin seem not to have taken the most appropriate measures. Instead, Bob Dylan and Neil Young opt for the sale of their musical assets, avoiding problems for their families. "Often the legitimate heirs venture into a business world for which they are not trained and which overwhelms them", indicates Eamonn Forde.
'By Her Own Hand' (Libros del Kultrum), which compiles documents from Amy Winehouse as a scrapbook. - By Her Own Hand, Amy Winehouse (Libros del Kultrum)
The unfortunate British singer, only 27 years old, of whom it will be difficult to know if she died by accident or really wanted to leave forever, left behind a string of hustles, misunderstandings, squabbles and an immense feeling of vulnerability and lack of self-esteem ---"is it worth being besieged by friends?", he wondered---, plus a few good songs. As could not be otherwise, the post-mortem idealization arrives, so common in music, in the form of a memory book, in this case, from his own hand. Unpublished cuts of little-known images and photographs, notes and letters, school reports, among others. There are also clippings and comments about her creative process. One could say that Amy Winehouse offers an unfiltered look at her musical ability. A different book, in which the parents participate, splendidly edited that captures an caged spirit. Coda
We would not want to end the selection without mentioning other interesting titles. Such as, for example, the critical thinking, regarding the composition and the role of music within society, of a conductor like Daniel Barenboim in Music Awakens Time (Acantilado). Jordi Puntí in Confeti (Proa) deals with a singular staging of a man who was better known for his eagerness to be famous than for his musical legacy, which he also had, like Xavier Cugat. La copla queer. From the Phoenicians to Rocío Jurado (Almuzara) encapsulates a sharp and pertinent analysis by the philologist Carmen Moreno, who explores the constant presence of sexual diversity in the history of this genre. Antoni Batista returns to the Nova Cançó, from a perspective that observes the antecedents and the pertinent subsequent influences, in the country's music, in Our Song (Pòrtic). Finally, a notable figure from the Catalan scene, Ricky Gil, who explains four decades of concerts in Barcelona and elsewhere, as a vital journey and stylistic evolution in Who's Playing Tonight? A History of Rock in 64 Concerts (La Rosa dels Vents).