POSTMODERN JAZZ
In the 2020s, jazz history is revised by postmodernists for influence and control. Essays in Postmodern Jazz: The Revisionist Lens explore this practice (and its motivation) with a direct, unwavering approach.




JAZZ RANTS
Tom Smith believes that in the 2020s, jazz has sacrificed its principles to embrace social conformity. In six volumes of criticism, he explained those concerns with hundreds of essays. But still the lost cried out: “Please don’t chase so many tangents. Let us have your rants and nothing more. Explain simply (but intelligently) what is wrong, so jazz may ascend beyond niches that imprison it.”
And, so it is done... a stubby red volume of digestible shards... so you may never again be led astray.

JAZZ ACCORDING TO ME: SELECTED WORKS
Tom Smith is arguably the most controversial reporter of twenty-first century jazz. He is a world class performer, educator and researcher, who believes jazz is imprisoned by socio-political factions uncaring of art in and of itself. He also rebels against historical revision, political opportunism, and the stifling of innovation. *** This 'best of' collection is extracted from the six books Tom has written for Bunk Johnson Publishing, and will (as always) reveal much of what is seldom told.

CRITICAL JAZZ THEORY
For over a hundred years, jazz embodied non-musical agendas. But recently, the social importance assigned to a jazz definition has been all encompassing. While postmodernists gaslight revision and skewer the market place, others like Tom Smith bemoan dilution of art for art’s sake and derailment of newer forms. Like Smith’s previous works, Critical Jazz Theory examines this and related topics with a headstrong approach. 

THE STEALTH JAZZ ABBREVIATED GUIDE TO MEDIA
In contemporary times, jazz appreciation boils down to a conflict between informed music lovers (dubbed snobs) and ‘reachers,’ who deconstruct music while feigning altruism. This third and final book in the 'Stealth Jazz' trilogy is neither history or critique (per se), but a celebration of the open mindedness that once made jazz popular. Like its predecessors, 'The Stealth Jazz Abbreviated Guide to Media' is written in the non-repentant style that labeled its author “The Hunter S. Thompson of Jazz Criticism.” Drawing on more than four decades as a world class musician/ educator/ historian, Smith lures readers into accepting his snobbery, while deriding those purposefully ignorant.

STEALTH JAZZ PART II: EDUCATIONAL DYSTOPIA
According to ‘DownBeat' Hall of Fame inductee Tom Smith, education almost single-handedly rescued jazz, then neutered it for reasons having little to do with music. In his opinion, twenty-first century jazz is a misguided art form lacking the willingness to innovate, while some educators favor appeasement through membership in academic tribes, that stifle creativity, amid environments equally divided between ‘hucksterism’ and sincerity. All the while, university tuitions rise, high school programs lose funding, and a larger number ask, “What’s the point?” Still, despite conflict and unnecessary travails, jazz education fights to persevere in muddled and uncertain times. Like its predecessor Stealth Jazz: Behind the Curtain, Stealth Jazz Part II offers largely anecdotal/ opinionated essays, that reject conformity with the same indignation that labeled its author “The Hunter S. Thompson of jazz criticism.” 

ROYAL HIPSTERS OF JAZZ: ROMANIA'S SURPRISING JAZZ ORIGINS, ITS CULTURAL INFLUENCES, AND ANALYSIS OF ITS WRITTEN HISTORIES
Jazz was burned into Romania’s psyche around 1918, after a great war unified its kingdoms amid totemic change. But through negotiation of multi-veiled alliances, a nation of Romantics gave birth to a jazz subclass directly linked with its classical music. From its juxtaposition with an American hybrid, Romanian jazz revealed a cosmopolitanism different, but equal to what had been found in its literature, architecture and visual arts, eventually aligning with a school of avant-garde fused with patronage. More than a standard accounting, this short tome examines how and why jazz histories are written, influences of race, ethnicity, globalization and revision, and why reporting jazz is so difficult. Forward by Sarah A. Smith

STEALTH JAZZ: BEHIND THE CURTAIN
"If strong intellectual opponents asked me about jazz music, these would be some of my answers." According to Jazz Education Hall of Fame inductee Tom Smith, jazz music's intellectual properties are the sole reason it's unpopular. According to him, the great falsehood about jazz is that its direction is natural, while arguing that all music is susceptible to control, linked to societal concerns we all face. 


BLUES AND JAZZ IN BANAT 
By Johnny Bota (Tom Smith, English Editor)
As Western Romania's busiest jazz and blues musician, Bota is uniquely qualified to write the history of one of Europe's most fascinating regions. English edits and perspectives are furnished by DownBeat Jazz Education Hall of Fame recipient Tom Smith.




TAHCHEE RETURNS: THE CHRONICLE REWRITES
When TH Smith first penned "The Tahchee Chronicles" in 2001, it instantly became a cult favorite with aficionados of Science Fiction and New Age/Spirituality. It reached every corner of the world, and garnered favorable reviews, while Smith appeared on over fifty radio programs. Still, the author was never entirely satisfied with the publisher's final edits and yearned for the book to appear as originally intended. Now for the first time this story of a real life Cherokee chief's forty thousand year history and Smith's own amazing interaction has been properly rewritten... bringing closure to a story of sunken continents, totemic migrations, epic betrayals and a future yet to be told.