Author: Eric Porter
Publisher: Univ of California Press
Release Date: 2002-01-31
Despite the plethora of writing about jazz, little attention has been paid to what musicians themselves wrote and said about their practice. An implicit division of labor has emerged where, for the most part, black artists invent and play music while white writers provide the commentary. Eric Porter overturns this tendency in his creative intellectual history of African American musicians. He foregrounds the often-ignored ideas of these artists, analyzing them in the context of meanings circulating around jazz, as well as in relationship to broader currents in African American thought. Porter examines several crucial moments in the history of jazz: the formative years of the 1920s and 1930s; the emergence of bebop; the political and experimental projects of the 1950s, 1960s and 1970s; and the debates surrounding Jazz at Lincoln Center under the direction of Wynton Marsalis. Louis Armstrong, Anthony Braxton, Marion Brown, Duke Ellington, W.C. Handy, Yusef Lateef, Abbey Lincoln, Charles Mingus, Archie Shepp, Wadada Leo Smith, Mary Lou Williams, and Reggie Workman also feature prominently in this book. The wealth of information Porter uncovers shows how these musicians have expressed themselves in print; actively shaped the institutional structures through which the music is created, distributed, and consumed, and how they aligned themselves with other artists and activists, and how they were influenced by forces of class and gender. What Is This Thing Called Jazz? challenges interpretive orthodoxies by showing how much black jazz musicians have struggled against both the racism of the dominant culture and the prescriptive definitions of racial authenticity propagated by the music's supporters, both white and black.
Author: Batt Johnson
Release Date: 2000-12-26
Genre: Performing Arts
There is no better authority on jazz than the creators, educators, and writers who have made this enigmatic musical style a major force internationally as well as in American history. The answer to the question what is jazz? is as complex and diverse as those involved in it. This book takes the question to noted musicians, scholars, and composers, creating a documentary style of oral history that makes you feel as if you are actually in the room as they put the sounds they know as music into words. The ideas from these authentic, personal voices of authority provide a unique perspective that will enlighten the novice and stimulate the professional. Ron Carter, Bassist-Because they are improvising does not necessarily mean that it is jazz Buddy Rich,Drums-Trane to Bird, Diz to Miles, all in the family of jazz, just different children. Ray Charles, Singer/Pianist-Jazz is the freedom to do what you want within the confines of the chord structure. Milt Jackson, Vibraphonist-"The era of bebop represents jazz to me. Chet Baker, Trumpet-Paris Jazz is a hard swinging rhythm section with everybody playing with the same time feeling.
Author: Damani C. Phillips
Publisher: Peter Lang Incorporated, International Academic Publishers
Release Date: 2017
How does academic jazz education impact the Black cultural value of soulfulness and esthetic standards in contemporary jazz music? Through candid conversations with nine of the country's most highly respected jazz practitioners and teachers, What Is This Thing Called Soul explores the potential consequences of forcing the Black musical style of jazz into an academic pedagogical system that is specifically designed to facilitate the practice and pedagogy of European classical music. This work tests the belief that the cultural, emotional and esthetic elements at the very core of jazz's unique identity, along with the music's overt connection to Black culture, are effectively being "lost in translation" in traversing the divide between academic and non-academic jazz spheres. Each interviewee commands significant respect worldwide in the fields of jazz performance and jazz pedagogy. Noteworthy subjects include: Rufus Reid, Lewis Nash, Nicholas Payton and Wycliffe Gordon--along with the late jazz masters Marcus Belgrave and Phil Woods. Interviews are supplemented by original analysis of the nature and validity of these issues contributed by the author. What Is This Thing Called Soul offers a candid and objective look into pressing issues of race, culture and ethnic value in relation to both jazz music and jazz education. Sensitivity, marginalization and even a fear of offending others has limited open discussion of how the soul of jazz music can be lost in technical boundaries. What Is This Thing Called Soul is the first attempt to directly address such culturally urgent issues in jazz music.
Author: Ingrid Monson
Publisher: Oxford University Press
Release Date: 2007-10-18
Genre: Social Science
An insightful examination of the impact of the Civil Rights Movement and African Independence on jazz in the 1950s and 60s, Freedom Sounds traces the complex relationships among music, politics, aesthetics, and activism through the lens of the hot button racial and economic issues of the time. Ingrid Monson illustrates how the contentious and soul-searching debates in the Civil Rights, African Independence, and Black Power movements shaped aesthetic debates and exerted a moral pressure on musicians to take action. Throughout, her arguments show how jazz musicians' quest for self-determination as artists and human beings also led to fascinating and far reaching musical explorations and a lasting ethos of social critique and transcendence. Across a broad body of issues of cultural and political relevance, Freedom Sounds considers the discursive, structural, and practical aspects of life in the jazz world in the 1950s and 1960s. In domestic politics, Monson explores the desegregation of the American Federation of Musicians, the politics of playing to segregated performance venues in the 1950s, the participation of jazz musicians in benefit concerts, and strategies of economic empowerment. Issues of transatlantic importance such as the effects of anti-colonialism and African nationalism on the politics and aesthetics of the music are also examined, from Paul Robeson's interest in Africa, to the State Department jazz tours, to the interaction of jazz musicians such Art Blakey and Randy Weston with African and African diasporic aesthetics. Monson deftly explores musicians' aesthetic agency in synthesizing influential forms of musical expression from a multiplicity of stylistic and cultural influences--African American music, popular song, classical music, African diasporic aesthetics, and other world musics--through examples from cool jazz, hard bop, modal jazz, and the avant-garde. By considering the differences between aesthetic and socio-economic mobility, she presents a fresh interpretation of debates over cultural ownership, racism, reverse racism, and authenticity. Freedom Sounds will be avidly read by students and academics in musicology, ethnomusicology, anthropology, popular music, African American Studies, and African diasporic studies, as well as fans of jazz, hip hop, and African American music.
Author: Joseph Vogel
Publisher: Bloomsbury Publishing USA
Release Date: 2018-04-19
What were Prince's politics? What did he believe about God? And did he really forsake the subject-sex-that once made him the most subversive superstar of the Reagan era? In this illuminating thematic biography, Joseph Vogel explores the issues that made Prince one of the late 20th century's most unique, controversial, and fascinating artists. Since his unexpected death in 2016, Prince has been recognized by peers, critics, and music fans alike. President Barack Obama described him as "one of the most gifted and prolific musicians of our time.†? Yet in spite of the influx of attention, much about Prince's creative life, work, and cultural impact remains thinly examined. This Thing Called Life fills this vacuum, delving deep into seven key topics-politics, sound, race, gender, sex, religion, and death-that allow us to see Prince in fresh, invigorating new ways. Accessible and timely, This Thing Called Life takes the reader on a journey through the catalog and creative revolution of one of America's most compelling and elusive icons.
Author: Scott Saul
Publisher: Harvard University Press
Release Date: 2009-06-30
In the long decade between the mid-fifties and the late sixties, jazz was changing more than its sound. The age of Max Roach's Freedom Now Suite, John Coltrane's A Love Supreme, and Charles Mingus's The Black Saint and the Sinner Lady was a time when jazz became both newly militant and newly seductive, its example powerfully shaping the social dramas of the Civil Rights movement, the Black Power movement, and the counterculture. Freedom Is, Freedom Ain't is the first book to tell the broader story of this period in jazz--and American--history.
What is this thing called literature? Why should we study it? And how? Relating literature to topics such as dreams, politics, life, death, the ordinary and the uncanny, this beautifully written book establishes a sense of why and how literature is an exciting and rewarding subject to study. Bennett and Royle delicately weave an essential love of literature into an account of what literary texts do, how they work and what sort of questions and ideas they provoke. The book’s three parts reflect the fundamental components of studying literature: reading, thinking and writing. The authors use helpful, familiar examples throughout, offering rich reflections on the question ‘What is literature?’ and on what they term ‘creative reading’. Bennett and Royle’s lucid and friendly style encourages a deep engagement with literary texts. This book is not only an essential guide to the study of literature, but an eloquent defence of the discipline.
Author: John Riley
Publisher: Alfred Music Publishing
Release Date: 1994
Presents the essential elements of bop drumming demonstrated through concise exercises and containing ideas to help understand what to play, how to play it and why, as well as a clear explanation of how the drummer functions in a group.
Author: Donald Miller
Publisher: Thomas Nelson Inc
Release Date: 2012-04
Genre: Biography & Autobiography
A popular minister recounts his zealous early life pursuit of the Christian life and his experiences of emptiness and spiritual detachment, tracing his quest to connect with a God he perceived as distant.
Author: Dan Morgenstern
Release Date: 2009-08-19
A collection of essays, biographical profiles, and critical analyses by one of the twentieth century's leading jazz writers includes commentary on the work of jazz entertainers, including Duke Ellington, Ella Fitzgerald, John Coltrane, Dizzy Gillespie, and Louis Armstrong, as well as assessment of the role of jazz in contemporary culture and its influence on modern music.
Author: Kevin Whitehead
Publisher: Oxford University Press
Release Date: 2011-01-05
What was the first jazz record? Are jazz solos really improvised? How did jazz lay the groundwork for rock and country music? In Why Jazz?, author and NPR jazz critic Kevin Whitehead provides lively, insightful answers to these and many other fascinating questions, offering an entertaining guide for both novice listeners and long-time fans. Organized chronologically in a convenient question and answer format, this terrific resource makes jazz accessible to a broad audience, and especially to readers who've found the music bewildering or best left to the experts. Yet Why Jazz? is much more than an informative Q&A; it concisely traces the century-old history of this American and global art form, from its beginnings in New Orleans up through the current postmodern period. Whitehead provides brief profiles of the archetypal figures of jazz--from Louis Armstrong and Duke Ellington to Wynton Marsalis and John Zorn--and illuminates their contributions as musicians, performers, and composers. Also highlighted are the building blocks of the jazz sound--call and response, rhythmic contrasts, personalized performance techniques and improvisation--and discussion of how visionary musicians have reinterpreted these elements to continually redefine jazz, ushering in the swing era, bebop, cool jazz, hard bop, and the avant-garde. Along the way, Why Jazz? provides helpful plain-English descriptions of musical terminology and techniques, from "blue notes" to "conducted improvising." And unlike other histories which haphazardly cover the stylistic branches of jazz that emerged after the 1960s, Why Jazz? groups latter-day musical trends by decade, the better to place them in historical context. Whether read in self-contained sections or as a continuous narrative, this compact reference presents a trove of essential information that belongs on the shelf of anyone who's ever been interested in jazz.
Author: Eric Porter
Publisher: Duke University Press
Release Date: 2010-10-11
Genre: Literary Criticism
The Problem of the Future World is a compelling reassessment of the later writings of the iconic African American activist and intellectual W. E. B. Du Bois. As Eric Porter points out, despite the outpouring of scholarship devoted to Du Bois, the broad range of writing he produced during the 1940s and early 1950s has not been thoroughly examined in its historical context, nor has sufficient attention been paid to the theoretical interventions he made during those years. Porter locates Du Bois’s later work in relation to what he calls “the first postracial moment.” He suggests that Du Bois’s midcentury writings are so distinctive and so relevant for contemporary scholarship because they were attuned to the shape-shifting character of modern racism, and in particular to the ways that discredited racial taxonomies remained embedded and in force in existing political-economic arrangements at both the local and global levels. Porter moves the conversation about Du Bois and race forward by building on existing work about the theorist, systematically examining his later writings, and looking at them from new perspectives, partly by drawing on recent scholarship on race, neoliberalism, and empire. The Problem of the Future World shows how Du Bois’s later writings help to address race and racism as protean, global phenomena in the present.
Author: Marc Myers
Publisher: Univ of California Press
Release Date: 2013
"Why Jazz Happened is a fantastic, eye-opening unfolding of the music and musicians who developed this spell-binding art between World War II and Watergate. Marc Myers shatters myths here, and treats jazz history like an epic saga. I lived and breathed this period during my extensive career in jazz, and this book brings a new perspective to the music's golden era."--Creed Taylor, multi-Grammy Award-winning jazz producer "Marc Myers's Why Jazz Happened is the first wide-ranging social history of jazz, a highly original attempt to portray and understand the music's evolution by looking at it through the prism of non-musical historic events. The result is a book that will shape the way all subsequent commentators think and write about jazz history."--Terry Teachout, author of Pops: A Life of Louis Armstrong "For newcomers to jazz and the global audience for whom this music is a vital part of their lives, Marc Myers has written a deeply illuminating and engaging portrait of the essence of jazz. He writes from the inside of jazz--the experiences of the musicians themselves, on the stand and in their own lives. This book is full of surprises. I lived and wrote during much of this period, but I found here a lot that I didn't know."--Nat Hentoff, author of At the Jazz Band Ball: Sixty Years on the Jazz Scene