Greg Thomas discusses Murray's connection with Ralph Ellison and his ideas about identity formation in American culture.
Journalism and Criticism
Author Krin Gabbard sets aside the myth-making around bassist Charles Mingus to argue that he created a unique language of emotions—and not just in music. After exploring the most important events in Mingus’s life, Gabbard’s book takes a careful look at Mingus as a writer as well as a composer and musician. Classically trained and of mixed race, he was an outspoken innovator on his instrument as well as a bandleader, composer, producer, and record-label owner.
This comprehensive study, the first to be written by an African American, is a precursor to the fields of cultural studies and critical race theory. William J. Harris discusses the implications of this sociocultural history of African American music and its unique place in American music history and culture. The talk marks the 50th anniversary of Amiri Baraka’s classic, which was published in New York City On September 25, 1963 with a first impression of 5000 copies and never went out of print.
This PDF is a full-text searchable reproduction of the entire issue of this publication with all images, including advertisements.
This is list of dissertations on Jazz in Brasil from 1987 to 2007 can be found on the website of CAPES (the Brazilian government agency responsible for funding higher
Analysis of jazz solos has often focused on formal coherence. Proponents of this approach have often tried to establish a parallel to the formal rigor of classical music-and thus to uphold jazz' status as an art form (for example, see Sonny Rollins and the Challenge of Thematic Improvisation). Givan argues that close analysis can be instead be used to highlight not continuity in a jazz solo but discontinuity, which has its own creative and symbolic possibilities.
Washburne asks why Latin jazz has been overlooked in histories of jazz and lists of canonical works, explores what it has to teach us about jazz on the whole, and provides an invaluable survey of this influential music and its culture. He argues that the persistent and varied influence of Latin jazz is inconvenient for standard unilinear accounts of jazz' history, but that it ought to be included in the name of diversity and the central role that principle plays in the creation and renewal of jazz.
Mandel offers his thoughts about the calling of the jazz journalist and critic: the skills the work requires, the responsibilities it entails, and how it enriches our experience of the music. He sees his craft as a difficult, even elusive quest: "jazz journalists . . . are so struck by the glories and multiple dimensions of the art as to need to struggle to describe what we perceive, and to understand our reactions to the sensations."
In "'Come on in North Side, you're just in time': Musical-Verbal Performance and the Negotiation of Ethnically Segregated Social Space," Scruggs explores the ways that tenor saxophonist Von Freeman used both music and speech to create a sense of community and shared tradition through his performances at Chicago's Enterprise Lounge during the 1970s and 1980s.
Smith explores the act of naming jazz compositions. He takes Thelonious Monk's "Let's Call This," which is elliptical and open to multiple meanings, as a starting point. Smith believes the song title is an example of African-American transgressiveness, through the creation of an aloof, sometimes deliberately ironic aesthetic. The author explores the music, and the titles, of Dizzy Gillespie, Charlie Parker, and Anthony Braxton in this regard. He also bases his argument on the poetry of Nathaniel Mackey, who "sees language as history.