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Book
xxvi, 200 pages : illustrations ; 24 cm.
  • German jazz and the metronome of race
  • The jazz paradox: race and totalitarian politics in German jazz reception
  • The jazz machine: Brecht and the politics of jazz
  • The monkey's trick: Herman Hesse and the music of decline
  • The music of fascism: Adorno on jazz
  • Jazz-Heinis: Klaus Mann and jazz ontology.
Green Library
Book
xx, 388 pages ; 24 cm.
  • General works
  • Pioneers and predecessors
  • New York 1 : the new thing
  • Chicago, St. Louis, Los Angeles, and other US scenes
  • International
  • New York 2 : loft jazz and downtown
  • After postmodernism.
Music Library
Book
1 online resource.
  • Introduction 1. Kenny Werner 2. Don Friedman 3. Wayne Krantz 4. Steve Kuhn 5. Gil Goldstein 6. Chico Hamilton 7. Lenny Pickett 8. Benny Golson 9. John Abercrombie 10. Jack DeJohnette 11. Christian McBride 12. Ralph Towner and Paul McCandless 13. Chris Potter 14. Jimmy Heath 15. Pat Martino 16. Roy Haynes 17. Helen Merrill 18. Lee Konitz 19. Joe Lovano 20. Dave Liebman 21. Phil Woods 22. Jim Hall 23. Paul Winter 24. George Wein 25. Janis Siegel and Cheryl Bentyne 26. Jon Hendricks and Annie Ross 27. Randy Brecker 28. Michel Camilo 29. Gerald Wilson 30. Gary Bartz 31. Bill Frisell 32. Lou Marini 33. Kenny Barron 34. Sheila Jordan 35. Cedar Walton Index.
  • (source: Nielsen Book Data)9781138240797 20180129
From the Minds of Jazz Musicians: Conversations with the Creative and Inspired celebrates contemporary jazz artists who have toiled, struggled and succeeded in finding their creative space. The volume was developed through transcribing and editing selected interviews with 35 jazz artists, conducted by the author between 2009 and 2012 in New York City, with a historical essay on each artist to provide context. The interviews feature musicians from a broad range of musical styles and experiences, ranging from Gerald Wilson, born in 1918, to Chris Potter, born in 1971. Topics range from biographical life histories to artists' descriptions of mentor relationships, revealing the important life lessons they learned along the way. With the goal to discover the person behind the persona, the author elicits conversations that speak volumes on the creative process, mining the individualistic perspectives of seminal artists who witnessed history in the making. The interviews present the artists' candid and direct opinions on music and how they have succeeded in pursuing their unique and creative lives.
(source: Nielsen Book Data)9781138240797 20180129
Book
1 online resource.
  • Foreword by Emily Foster: Lee Brown: A Recollection Acknowledgements Introduction PART I How is Jazz Distinctive? Essence and Definition 1 Dancing, Dwelling, and Rhythmic Swing 2 A Theory of Jazz Music: "It Don't Mean a Thing ..." 3 Defining Jazz Historically PART II Jazz and American Culture 4 Jazz Singing and Taking Wing 5 Race, Jazz, and Popular Music: The Legacy of Blackface Minstrelsy 6 Jazz and the Culture Industry PART III Music Ontology 7 Improvisations and Spontaneity 8 Musical Forgeries, Improvisation, and the Principle of Continuity 9 Phonography, Repetition, and Spontaneity 10 Jazz Improvisation and its Vicissitudes: A Plea for Imperfection Index.
  • (source: Nielsen Book Data)9781315280592 20180226
Co-authored by three prominent philosophers of art, Jazz and the Philosophy of Art is the first book in English to be exclusively devoted to philosophical issues in jazz. It covers such diverse topics as minstrelsy, bebop, Voodoo, social and tap dancing, parades, phonography, musical forgeries, and jazz singing, as well as Goodman's allographic/autographic distinction, Adorno's critique of popular music, and what improvisation is and is not. The book is organized into three parts. Drawing on innovative strategies adopted to address challenges that arise for the project of defining art, Part I shows how historical definitions of art provide a blueprint for a historical definition of jazz. Part II extends the book's commitment to social-historical contextualism by exploring distinctive ways that jazz has shaped, and been shaped by, American culture. It uses the lens of jazz vocals to provide perspective on racial issues previously unaddressed in the work. It then examines the broader premise that jazz was a socially progressive force in American popular culture. Part III concentrates on a topic that has entered into the arguments of each of the previous chapters: what is jazz improvisation? It outlines a pluralistic framework in which distinctive performance intentions distinguish distinctive kinds of jazz improvisation. This book is a comprehensive and valuable resource for any reader interested in the intersections between jazz and philosophy.
(source: Nielsen Book Data)9781315280592 20180226
Book
1 online resource.
  • Introduction : banks, bonds, and blues
  • "Controlled freedom" : jazz, risk, and political economy
  • "Homecoming" : Dexter Gordon and the 1970s fiscal crisis in New York City
  • Selling the songbook: the political economy of Verve Records (1956-1990)
  • Bronfman's bauble: the corporate history of the Verve Music Group (1990-2005)
  • Jazz and the right to the city : jazz venues and the legacy of urban redevelopment in California
  • "The Yoshi's effect" : jazz, speculative urbanism, and urban redevelopment in contemporary San Francisco.
Hailed by corporate, philanthropic, and governmental organizations as a metaphor for democratic interaction and business dynamics, contemporary jazz culture has a story to tell about the relationship between political economy and social practice in the era of neoliberal capitalism. The Jazz Bubble approaches the emergence of the neoclassical jazz aesthetic since the 1980s as a powerful, if unexpected, point of departure for a wide-ranging investigation of important social trends during this period, extending from the effects of financialization in the music industry to the structural upheaval created by urban redevelopment in major American cities. Dale Chapman draws from political and critical theory, oral history, and the public and trade press, making this a persuasive and compelling work for scholars across music, industry, and cultural studies.
(source: Nielsen Book Data)9780520279377 20180604
EBSCOhost Access limited to 1 user
Book
584 pages : illustrations ; 24 cm.
Green Library
Book
x, 253 pages ; 24 cm
  • Author's Note Introduction: The 1960s: Point of Departure Chapter 1: 1970: Travelling Somewhere Chapter 2: 1971: The Prince and the Pariah Chapter 3: 1972: Adaptive Dance Chapter 4: 1973: The Canon Chapter 5: 1974: "A new name half the world already knows" Chapter 6: 1975: Montreux Chapter 7: 1976: Wildflowers Chapter 8: 1977: Company Week Chapter 9: 1978: Salt Peanuts Chapter 10: 1979: Nice Guys Coda: The Early 1980s: Let's Call This.
  • (source: Nielsen Book Data)9781442242098 20180129
Breaking through pervasive misconceptions, Jazz in the 1970s explores a pivotal decade in jazz history. Many consider the 1970s to be the fusion decade, but Bill Shoemaker pushes back against this stereotype with a bold perspective that examines both the diverse musical innovations and cultural developments that elevated jazz internationally. He traces events that redefined jazz's role in the broadband arts movement as well as the changing social and political landscape. Shoemaker immerses readers in the cultural transformation of jazz through: -official recognition with events like Jimmy Carter's White House Jazz Picnic and the release of The Smithsonian Collection of Classic Jazz; -the market validation of avant-garde musicians by major record labels and the concurrent spike in artist-operated record labels and performance spaces; -the artistic influence and economic impact of jazz festivals internationally; -the emergence of government and foundation grant support for jazz in the United States and Europe; -and the role of media in articulating a fast-changing scene. Shoemaker details the lives and work of well-known innovators (such as Art Ensemble of Chicago, Anthony Braxton and Sam Rivers) as well as barrier-breaking artists based in Europe (such as Derek Bailey, Peter Brotzmann and Chris McGregor) giving both longtime fans and newcomers insights into the moments and personae that shaped a vibrant decade in jazz.
(source: Nielsen Book Data)9781442242098 20180129
Music Library
Book
1 online resource.
  • Cover; THE JAZZ PILGRIMAGE OF GERALD WILSON; Title; Copyright; Dedication; CONTENTS; Acknowledgments; Foreword: Century of Progress; Prologue; Chapter 1: Toward an Assessment of Gerald Wilson; Chapter 2: The Pilgrimage of Youth; Chapter 3: New York, Jimmie Lunceford, the Great Lakes, and the First Gerald Wilson Orchestra; Chapter 4: Moment of Truth; Chapter 5: Pacific Jazz; Chapter 6: From the Seventies On: Diversity and Expanding Roles; Chapter 7: The Latin Dimension of Gerald Wilson; Chapter 8: From a Musical Point of View: Musical Philosophy and Style
  • Chapter 9: Conclusion and Continuation: The Mestizaje of Gerald WilsonEpilogue; Discography; References; Index
Jazz great Gerald Wilson (1918-2014), born in Shelby, Mississippi, left a global legacy of paramount significance through his progressive musical ideas and his orchestra's consistent influence on international jazz. Aided greatly by interviews that bring Wilson's voice to the story, Steven Loza presents a perspective on what the musician and composer called his ""jazz pilgrimage."" Wilson uniquely adapted Latin influences into his jazz palette, incorporating many Cuban and Brazilian inflections as well as those of Mexican and Spanish styling. Throughout the book, Loza refers to Wilson's compositions and arrangements, including their historical contexts and motivations. Loza provides savvy musical readings and analysis of the repertoire. He concludes by reflecting upon Wilson's ideas on the place of jazz culture in America, its place in society and politics, its origins, and its future. With a foreword written by Wilson's son, Anthony, and such sources as essays, record notes, interviews, and Wilson's own reflections, the biography represents the artist's ideas with all their philosophical, historical, and cultural dimensions. Beyond merely documenting Wilson's many awards and recognitions, this book ushers readers into the heart and soul of a jazz creator. Wilson emerges a unique and proud African American artist whose tunes became a mosaic of the world.
(source: Nielsen Book Data)9781496816023 20180508
EBSCOhost Access limited to 1 user
Book
1 online resource (xxxii, 397 pages)
  • Part 1: Basics 1. Music Fundamentals 2. Jazz Rhythms 3. Harmonic Function 4. Four-Part Chords 5. Five-Part Chords 6. The II-V-I Progression 7. Modes 8. Chord-Scale Theory 9. The Blues 10. Improvisation Part 2: Intermediate 11. Voicing Formations 12. Keyboard and Jazz Chorale Textures 13. Idiomatic Jazz Progressions 14. Bebop 15. Bebop Blues 16. The Confirmation Changes 17. The Rhythm Changes 18. Pentatonics, Hexatonics, Octatonics 19. The Tristano Style of Improvisation Part 3: Advanced 20. Analyzing Jazz Lead Sheets 21. Phrase Models 22. Song Forms 23. Reharmonization Techniques 24. Post-Tonal Jazz: Atonality 25. Set Classes in Jazz 26. Twelve-Tone Techniques 27. Stylistic Crossovers: Developing a New Jazz Repertory.
  • (source: Nielsen Book Data)9781138235106 20171218
Jazz Theory: From Basic to Advanced Study, Second Edition, is a comprehensive textbook for those with no previous study in jazz, as well as those in advanced theory courses. Written with the goal to bridge theory and practice, it provides a strong theoretical foundation from music fundamentals to post-tonal theory, while integrating ear training, keyboard skills, and improvisation. It hosts "play-along" audio tracks on a Companion Website, including a workbook, ear-training exercises, and an audio compilation of the musical examples featured in the book. Jazz Theory is organized into three parts: Basics, Intermediate, and Advanced. This approach allows for success in a one-semester curriculum or with subsequent terms. If students sense that theory can facilitate their improvisational skills or can help them develop their ears, they become more engaged in the learning process. The overall pedagogical structure accomplishes precisely that in an original, creative-and above all, musical-manner. KEY FEATURES include 390 musical examples, ranging from original lead sheets of standard tunes, jazz instrumentals, transcriptions, and original compositions, to fully realized harmonic progressions, sample solos, and re-harmonized tunes. The completely revamped Companion Website hosts: 46 "Play Along Sessions" audio tracks, offering experiences close to real-time performance scenarios. Over 1,000 (audio and written) exercises covering ear training, rhythm, notation, analysis, improvisation, composition, functional keyboard, and others.ã Recordings of all 390 musical examples from the textbook. Links: Guide to Making Transcriptions, List of Solos to Transcribe, Selected Discography, Classification of Standard Tunes, and more. Lists of well-known standard tunes, including a comprehensive list of 999 Standard Tunes - Composers and Lyricists. NEW TO THE SECOND EDITION are instructors' tools with answer keys to written and ear-training exercises, 380 rhythmic calisthenics featuring exercises from the swing, bebop, and Latin rhythmic traditions, a new improvisation section, a set of 140 Comprehensive Keyboard exercises, plus an expanded ear-training section with 125 melodic, 50 rhythmic dictations, and 170 harmonic dictations, plus 240 written exercises, 25 composition assignments, and 110 singing exercises. Companion website coming soon! Until then, please visit the website for the first edition: http://www.routledgetextbooks.com/textbooks/9780415537612/.
(source: Nielsen Book Data)9781138235106 20171218
EBSCOhost Access limited to 1 user
Book
xvi, 240 pages : illustrations ; 23 cm.
During World War II, jazz embodied everything that was appealing about a democratic society as envisioned by the Western Allied powers. Labelled `degenerate' by Hitler's cultural apparatus, jazz was adopted by the Allies to win the hearts and minds of the German public. It was also used by the Nazi Minister for Propaganda, Joseph Goebbels, to deliver a message of Nazi cultural and military superiority. When Goebbels co-opted young German and foreign musicians into `Charlie and his Orchestra' and broadcast their anti-Allied lyrics across the English Channel, jazz took centre stage in the propaganda war that accompanied World War II on the ground. The Jazz War is based on the largely unheard oral testimony of the personalities behind the German and British wartime radio broadcasts, and chronicles the evolving relationship between jazz music and the Axis and Allied war e orts. Studdert shows how jazz both helped and hindered the Allied cause as Nazi soldiers secretly tuned in to British radio shows while London party-goers danced the night away in demimonde `bottle parties', leading them to be branded a `menace' in Parliament. This book will appeal to students of the history of jazz, broadcasting, cultural studies, and the history of World War II.
(source: Nielsen Book Data)9781784538583 20180213
Green Library
Book
159 pages : illustrations (some color), color maps ; 25 x 32 cm
Green Library
Book
xiv, 301 pages : illustrations ; 24 cm.
  • Preface Chapter One: At Home with the Folks Chapter Two: Berklee with Herb Chapter Three: Return of the Native Chapter Four: Down Another Road Chapter Five: Nil Desperandum - The Jazz Hustler Chapter Six: "Author! Author!" Chapter Seven: Glad to Be Gay Chapter Eight: The Day of the Dead Chapter Nine: The Eighties or "Graham Collier - The Wilderness Years" Chapter Ten: Pte. James Collier returns to Hong Kong Chapter Eleven: Educating NYJO Chapter Twelve: "Not for any jazz use" Chapter Thirteen: The Last Suites Chapter Fourteen: Legacy.
  • (source: Nielsen Book Data)9781781796504 20180604
Graham Collier's career in jazz lasted over five decades. He was a bassist, a band-leader, a composer, an educator and an author, who wrote extensively about the music. His working life was littered with `firsts'. Amongst his many achievements, he was the first British jazz musician to study at the Berklee School of music in Boston and the first to receive an Arts Council grant. In 1985, Collier began teaching at the Royal Academy of Music, where he later established the first full-time jazz degree course in the UK in 1987. Mosaics draws extensively on Collier's personal archive, as well as on interviews with fellow musicians, ex-students and colleagues from the Royal Academy of Music. It locates Collier and his work within the social and cultural changes which occurred during his life and, particularly, in relation to developments in British and European jazz of the 1960s and 70s. Collier's work as a composer-bandleader represented an attempt to resolve the paradoxes inherent in jazz between composition and improvisation, familiarity and spontaneity and change and tradition. In this regard, Mosaics compares Collier's work with other composers such as Duke Ellington, Charles Mingus, Gil Evans, Mike Westbrook, Stan Tracey, Barry Guy and Butch Morris. Throughout, Collier emerges as a contradictory figure falling between several different camps. He was never an out-and-out musical, cultural or political radical but rather an individualist continually forced to confront the contradictions in his own position - a musical outsider working within a marginalised area of cultural activity; a gay man operating in a very male area of the music business and within heterosexist culture in general; a man of working class origins stepping outside traditionally prescribed class boundaries; and a musician-composer seeking individual solutions to collective problems of aesthetic and ethical value.
(source: Nielsen Book Data)9781781796504 20180604
Music Library
Book
xxi, 404 pages, 16 unnumbered pages of plates : illustrations, map ; 24 cm
  • Cast of characters
  • The neighborhoods of Pittsburgh
  • The Brown Bomber's cornermen
  • The Negro Carnegies
  • The calculating crusader
  • The rise and fall of "Big Red"
  • Billy and Lena
  • The Double V warriors
  • The complex Mr. B
  • "Jackie's Boswell"
  • The women of "up south"
  • The bard of a broken world.
"The other great Renaissance of black culture, influence, and glamour burst forth joyfully in what may seem an unlikely place--Pittsburgh, PA--from the 1920s through the 1950s. Today black Pittsburgh is known as the setting for August Wilson's famed plays about noble but doomed working-class strivers. But this community once had an impact on American history that rivaled the far larger black worlds of Harlem and Chicago. It published the most widely read black newspaper in the country, urging black voters to switch from the Republican to the Democratic Party and then rallying black support for World War II. It fielded two of the greatest baseball teams of the Negro Leagues and introduced Jackie Robinson to the Brooklyn Dodgers. Pittsburgh was the childhood home of jazz pioneers Billy Strayhorn, Billy Eckstine, Earl Hines, Mary Lou Williams, and Erroll Garner; Hall of Fame slugger Josh Gibson--and August Wilson himself. Some of the most glittering figures of the era were changed forever by the time they spent in the city, from Joe Louis and Satchel Paige to Duke Ellington and Lena Horne. Mark Whitaker's Smoketown is a captivating portrait of this unsung community and a vital addition to the story of black America."-- From the publisher.
Law Library (Crown)
Book
xxi, 404 pages, 16 unnumbered pages of plates : illustrations, map ; 24 cm
  • The Brown Bomber's cornermen
  • The Negro Carnegies
  • The calculating crusader
  • The rise and fall of "Big Red"
  • Billy and Lena
  • The Double V warriors
  • The complex Mr. B
  • "Jackie's Boswell"
  • The women of "up south"
  • The bard of a broken world.
"The other great Renaissance of black culture, influence, and glamour burst forth joyfully in what may seem an unlikely place--Pittsburgh, PA--from the 1920s through the 1950s. Today black Pittsburgh is known as the setting for August Wilson's famed plays about noble but doomed working-class strivers. But this community once had an impact on American history that rivaled the far larger black worlds of Harlem and Chicago. It published the most widely read black newspaper in the country, urging black voters to switch from the Republican to the Democratic Party and then rallying black support for World War II. It fielded two of the greatest baseball teams of the Negro Leagues and introduced Jackie Robinson to the Brooklyn Dodgers. Pittsburgh was the childhood home of jazz pioneers Billy Strayhorn, Billy Eckstine, Earl Hines, Mary Lou Williams, and Erroll Garner; Hall of Fame slugger Josh Gibson--and August Wilson himself. Some of the most glittering figures of the era were changed forever by the time they spent in the city, from Joe Louis and Satchel Paige to Duke Ellington and Lena Horne. Mark Whitaker's Smoketown is a captivating portrait of this unsung community and a vital addition to the story of black America. It depicts how ambitious Southern migrants were drawn to a steel-making city on a strategic river junction; how they were shaped by its schools and a spirit of commerce with roots in the Gilded Age; and how their world was eventually destroyed by industrial decline and urban renewal. Whitaker takes readers on a rousing, revelatory journey--and offers a timely reminder that Black History is not all bleak." -- Amazon.com.
Green Library
Book
222 pages : illustrations ; 24 cm.
  • Introduction. 1. The Bass and the Early Mechanical Roots of Jazz (1915-1930) 2. The Bass, Technology and the Development of the Rhythm Section (1930-1945) 3. The Spoils of War and the Jazz Bass: Tape Recorders and Editing (1945-1960) 4. The Electrification of the Bass: Behold the Illegitimate Cousin (1954-1970) 5. The Jazz Bass, Multi-Track Recording Technology and Fusion (1970s) 6. Jaco Pastorius: The Electric Jazz Bass Attains Respectability (1976-1985) 7. The Young Lions and the Technological Backlash (1980-1990) 8. Pro Tools, Computers and the Bass (1990-2005) 9. The Future of the Jazz Bassist (2005-2012) Conclusion.
  • (source: Nielsen Book Data)9781138236561 20171009
Technology and the Stylistic Evolution of the Jazz Bass traces the stylistic evolution of jazz from the bass player's perspective. Historical works to date have tended to pursue a `top down' reading, one that emphasizes the influence of the treble instruments on the melodic and harmonic trajectory of jazz. This book augments that reading by examining the music's development from the bottom up. It re-contextualizes the bass and its role in the evolution of jazz (and by extension popular music in general) by situating it alongside emerging music technologies. The bass and its technological mediation are shown to have driven changes in jazz language, musical style, and even transformed creative hierarchies in ways that have been largely overlooked. The book's narrative is also informed by investigations into more commercial musical styles such as blues and rock, in order to assess how, and the degree to which, technological advances first deployed in these areas gradually became to be incorporated into general jazz praxis. Technology and the Jazz Bass reconciles technology more thoroughly into jazz historiography by detailing and evaluating those that are intrinsic to the instrument (including its eventual electrification) and those extrinsic to it (most notably evolving recording and digital technologies). The author illustrates how the implementation of these technologies has transformed the role of the bass in jazz, and with that, jazz music as an art form.
(source: Nielsen Book Data)9781138236561 20171009
Music Library
Book
xiii, 247 pages : illustrations ; 24 cm.
  • Foreword: It's Compromise, Don't Bother 1. I See Inside the Song 2. Dues-paying Days 3. All the Bases were Loaded 4. Many Shades of Blue 5. That's what I Like about London 6. He's as Good as I Am 7. Ready for Anything 8. Where Fountains Drip in a Forgotten Tempo 9. It's Hot, it's Red Lights, it's Exciting! 10. I Remember Less and Less, Except You Baby 11. A Wild Animal, or a Child 12. Age Only Matters if You're a Cheese 13. The Mother of All Love Songs 14. Much to Do and Not a Moment to Spare Appendix A: A Jazz Singer is a Singer who Sings Jazz Appendix B: I Don't Want to Stamp out Singers Like Cookies Discography.
  • (source: Nielsen Book Data)9781781794739 20180530
When Mark Murphy died in October 2015, the world lost one of the greatest jazz singer in history. Murphy was the last of his kind, a hipster of the Kerouac generation, who rejected the straight life of prosperity and numb consumerism. With a catalogue of more than 40 albums under his own name, Mark Murphy was a consummate improviser, who never sang a song the same way twice. He could have enjoyed a successful mainstream career in the vein of Mel Torme or Jack Jones. But his ambition was greater - to be an artist, to rebel against the commercial music industry and to carry the jazz vocal flame wherever it led him. Murphy was a master of scat and vocalese, of songwriting and the spoken word. He expanded the jazz singing repertoire, adding his own lyrics to instrumentals like John Coltrane's Naima, Freddie Hubbard's Red Clay, and Oliver Nelson's Stolen Moments. Unrivalled as an interpreter of ballads, he was able to express longing and regret to a degree lacking in any other jazz singer. For years he roamed the world, playing thousands of gigs. Rediscovered in the Eighties by a new audience of jazz dancers, and again in the 21st century by a digital generation who invited him to guest on their recordings, he remains a crucial though unjustly neglected figure in vocal jazz. This Is Hip is more than a biography: it also explores Murphy's innovative approaches both to singing and to the teaching of singers. Based on numerous interviews with those who knew him best, the book delves into a performing and recording career that spanned 60 years and earned him five Grammy nominations.
(source: Nielsen Book Data)9781781794739 20180530
Music Library
Book
ix, 266 pages : illustrations ; 23 cm
  • Acknowledgments vii Introduction. Kindred Sounds and Latin Cats 1 1. La Civilizada Selva: Latin America and the Jazz Age 13 2. Dark Pursuits: Argentina, Race, and Jazz 51 3. The Anxiety of Americanization: Jazz, Samba, and Bossa Nova 89 4. The Hazards of Hybridity: Afro-Cuban Jazz, Mambo, and Revolution 131 5. Liberation, Disenchantment, and the Afterlives of Jazz 163 Conclusion. The Cruelty of Jazz 195 Notes 201 Bibliography 237 Index 261.
  • (source: Nielsen Book Data)9780822369905 20180326
In Tropical Riffs Jason Borge traces how jazz helped forge modern identities and national imaginaries in Latin America during the mid-twentieth century. Across Latin America jazz functioned as a conduit through which debates about race, sexuality, nation, technology, and modernity raged in newspapers, magazines, literature, and film. For Latin American audiences, critics, and intellectuals-who often understood jazz to stem from social conditions similar to their own-the profound penetration into the fabric of everyday life of musicians like Duke Ellington, Dizzy Gillespie, and Charlie Parker represented the promises of modernity while simultaneously posing a threat to local and national identities. Brazilian antijazz rhetoric branded jazz as a problematic challenge to samba and emblematic of Americanization. In Argentina jazz catalyzed discussions about musical authenticity, race, and national culture, especially in relation to tango. And in Cuba, the widespread popularity of Chano Pozo and Damaso Perez Prado popularity challenged the United States' monopoly on jazz. Outlining these hemispheric flows of ideas, bodies, and music, Borge elucidates how "America's art form" was, and remains, a transnational project and a collective idea.
(source: Nielsen Book Data)9780822369905 20180326
Green Library
Book
91 pages ; 22 cm
SAL3 (off-campus storage)
Book
viii, 316 pages : illustrations (some color) ; 24 x 28 cm
  • Introduction
  • Presenting the Thad Jones/Mel Lewis Orchestra
  • Mel Lewis and the Jazz Orchestra
  • The Vanguard Jazz Orchestra: sixteen as one
  • Thad
  • Mel
  • The music of Bob Brookmeyer
  • The music of Jim McNeely
  • Riding the bus: life on the road
  • Solo space: the small group within a big band
  • A legacy of composition
  • The 50th anniversary collection
  • The Village Vanguard
  • Just like on the records: the official discography
  • And the band
  • By the numbers.
Music Library

20. Blue giant supreme [2017 - ]

Book
volumes : illustrations (some color) ; 18 cm.
East Asia Library

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