Greg Thomas discusses Murray's connection with Ralph Ellison and his ideas about identity formation in American culture.
1930 and 1940s
Billy Strayhorn helped create the world known as “Ellingtonia,” but his music was a world of its own. “Strayhorn in the Foreground” featured his suave, subtle, and surprisingly modern compositions for jazz orchestra. The concert was presented by Columbia University’s Center for Jazz Studies at Miller Theatre on Thursday, November 21, 2013.
From Princeton University Press:
"Why did a minority of songs become jazz standards? Why do some songs--and not others--get rerecorded by many musicians? Shaping Jazzanswers this question and more, exploring the underappreciated yet crucial roles played by initial production and markets--in particular, organizations and geography--in the development of early twentieth-century jazz.
This PDF is a full-text searchable reproduction of the entire issue of this publication with all images, including advertisements.
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.
The Chase. Recorded on June 12, 1947 in Hollywood, CA. Originally released as two sides of a 78rpm disc. Appears on the 2002 Spotlight CD "The Chase."
Dexter Gordon, tenor saxophone
Wardell Gray, tenor saxophone
Jimmy Bunn, piano
Red Callender, bass
Chuck Thompson, drum
A clip from disc 2, track 2 of Bopland: The Legendary Elks Club Concert L.A. 1947. Performed by Trummy Young, Dexter Gordon, Howard McGhee, Wardell Gray, Barney Kessel, and Hampton Hawes.
An excerpt of Disc 2, track 3, from Bopland: The Legendary Elks Club Conert L.A. 1947. Performed by the Bopland Boys: Howard McGhee, trumpet; Trummy Young, trombone; Dexter Gordon, Wardell Gray, tenor saxophones; Hampton Hawes, piano; Barney Kessel, guitar; Red Callender, bass; Roy Porter, drums; and Al Killian, trumpet.
Track 8 from Bopland: The Lengendary Elks Club Concert L.A. 1947. Performed by the Howard McGhee Orchestra. Likely bandmembers include Red Callender on bass and Roy Porter on drums.