My body goes here
My body goes here
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*"About Books, More or Less: In the Matter of Jazz," The New York Times, February 18, 1922
*"About Ragtime," Ragtime Review. August 1916
Adorno, Theodore. "On Jazz" and "Farewell to Jazz" in Essays in Music. Berkeley: University of California Press, 2002, pp. 470-495, 496-500
*Aldrich, Robert. "Drawing a Line for Jazz," New York Times, December 10, 1922 (Reprinted in Koenig 2002)
Central Avenue Bop Bibliography
A resource for “Central Avenue Bop,” by Maxine Gordon
Bryant, Clora, Buddy Collette, William Green, Steven Isoardi, Jack Kelson, Horace Tapscott, Gerald Wilson, and Marl Young, ed. 1998. Central Avenue Sounds: Jazz in Los Angeles. Berkeley: University of California Press.
Callender, Red & Elaine Cohen. 1985. Unfinished Dream: The Musical World of Red Callender. London: Quartet Books.
Collette, Buddy & Steven Isoardi. 2000. Jazz Generations: A Life in American Music and Society. London: Continuum.
In this video, saxophonist and composer Jimmy Heath talks with colleague Salim Washington about his new autobiography. In I Walked with Giants (Temple University Press, 2010), Heath creates a "dialogue" with musicians he has known and family members. This discussion expands on Heath's account of his life and career. He offers his thoughts on growing up in the big band era and the advent of bebop; on the experience and legacy of racial segregation; on the jazz tradition and the avant-garde; on the power of the music industry and what constitutes musical integrity and quality.
Latin jazz artist and educator Bobby Sanabria and Columbia Professor of Music Chris Washburne discuss the recent elimination of the Latin jazz Category in the Grammy Awards. Surveying a broad panorama of the struggles and many triumphs of Latin jazz through the last century, they consider the implications of the Grammy Award decision for the future of this vibrant and interculturally expressive music.
Click here for Part II.
This seminar will undertake critical reading of the earliest commentaries on jazz (including the writings of musicians, literary critics, educators, the popular press, and artists (especially the Futurists, Surrealists, and Dadaists), and of the first attempts at jazz history. Discussion will include the dates and characteristics of the earliest jazz, the role of race in jazz commentary, and the place of jazz in twentieth century discourse. Recordings and films will supplement the readings.
University of Kansas
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.