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You've Got to Be Jazzistic

This resource is the Introduction to Locke and Murray's edited volume "Thriving On A Riff." The editors note that there is "a distinction between the study of jazz itself (in a nuts-and-bolts musicological sense) and the study of things that are jazz related" and that "Thriving on a Riff belongs to the latter category and sharpens its focus further to examine two of the many cultural forms affected by African American music: literature and film." The Introduction surveys the contributions found in the full volume.

White Anglo-Saxon Pythagorean (Roswell Rudd)

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Rudd's facility on the trombone and range of timbral effects placed him among the vanguard of the free jazz movement in the 1960s. It was rare at that time to find a trombonist who, according to Davis, could compete with "saxophonists who were bidding their horns to speak in tongues." Rudd nevertheless later experienced the economic consequences of staying dedicated to his art: Davis finds him playing in a Catskills resort in the early 1990s.

 

When Malindy Sings: A Meditation on Black Women's Vocality

In view of the frequent "spectacle" of a black woman singer performing at politically charged public gatherings in this country, Griffin asks how the black woman's voice can be called on to heal a national crisis-or in some instances to provoke one. Her article delves into the language American writers, both black and white, have used to construct "narratives of nation" around black women's voices, and it identifies an alternative "myth of origin" for a black nation.

The Literary Ellington

A prevalent view in writings about African-American culture holds that music has been superior to other art forms, and that to attain similar achievements black literature, dance, and theatre should model themselves on black music. Edwards' aim is to counter these assumptions with reference to the literary influences and aspirations of none other than Duke Ellington. 

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Stitt's Time (from The Velvet Lounge)

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Gerald Majer, a native of Chicago's racially segregated South Side, has written a book about its musical life. The Velvet Lounge combines his personal experiences with the story, or stories, of his community, merging his account of the music and with the difficult conditions that shaped it. The result is an innovative combination of history, subjective experience of that history, and reflection on its meaning--that is, of fact, literature, and criticism.

Seeing Jazz: Introduction

 

Seeing Jazz refers to both visualizations of jazz and to understanding it: to get hip and then hipper, to say “yes, I see.” Modernist painters, sculptors, photographers, poets, novelists, and essayists have plied their own materials to evoke their experience of jazz in visual or verbal terms. This book illustrates how the music has made its cross-disciplinary mark.

Paris Blues: Ellington, Armstrong, and Saying it with Music

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The movie "Paris Blues" and album "The Great Summit" are the only collaborations between Duke Ellington and Louis Armstrong. Gabbard offers a critical appraisal and behind the scenes glimpse of both works. By studying the film's discarded footage, Gabbard reveals decisions by its producers to expunge images of racial and sexual self-expression and tolerance, along with their sonic equivalents.

 

To view the complete resource, download it as a PDF.

Out There (Charles Gayle)

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Charles Gayle was uncompromising even by the standards of free jazz, and his career has been virtually invisible. Davis recounts a brief interview with the elusive saxophonist and reviews his three comeback CDs and a rare appearance at New York's Knitting Factory. Davis' portrait of Gayle illustrates how he became a legend in the mid-1960s, when Albert Ayler and Archie Shepp were making their mark, and why he still amazes.

 

Monstrosioso (from The Velvet Lounge)

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Gerald Majer, a native of Chicago's racially segregated South Side, has written a book about its musical life. Majer combines his personal experiences with the story, or stories, of his community, merging his account of the music and with the difficult conditions that shaped it. The result is an innovative combination of history, subjective experience of that history, and reflection on its meaning-that is, of fact, literature, and criticism. In the first portion of this wide-ranging chapter, Majer discusses the music of Hammond organ players Wild Bill Davis and Jimmy Smith.

Monk's Music: Thelonious Monk and Jazz History in the Making

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In this book, Solis looks beyond the challenges of Monk's playing and composing, and his uncompromising artistic stance, to grapple with lingering questions about Monk's life and music. He examines a wealth of documents and recordings newly available to explore these questions and to illustrate the significance of Monk's work for the study of jazz. The excerpt featured here presents a brief synopsis of Monk's life and explains the uneven trajectory of his career and public reception.

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