Lewis notes that race has been "e-raced" in studies of free jazz in Europe and America, which he finds surprising given the music's emancipatory thrust. He investigates a recurrent ambivalence about the African-American contribution to free jazz, at once taking experimental cues from it, yet denying that it is capable of evolving or progressing itself. After uncovering coded assumptions about race, ethnicity, and class behind this ambivalence, Lewis explores the possibilities for artists to transcend, transgress, and perhaps even erase boundaries.
Gittin' to Know Y'all: Improvised Music, Interculturalism, and the Racial Imagination
1960s, AACM, Advancement of Creative Musicians, Baden-Baden free jazz meeting, Black music, Chicago South Side, class, ethnicity, European free jazz, European jazz, experimental music, free improvisation, free jazz, Lester Bowie, poltical music, rac, race