serious music : kulture in the goyish Alps : barbershops & whorehouses : Roswell Rudd
Melvin Van Peebles : gone fishing : barbershops & whorehouses : Steve Lacy
Wayne Shorter : beyond a smile on a face
barbershops & whorehouses : Gil Evans
Orson Welles : patched and peeled in Mogador : barbershops & whorehouses : Dizzy Gillespie
the International Herald Trombone.
In his Beat-like jaunt through the Parisian and European jazz scene, Mike Zwerin is not unlike Jack Kerouac, Mezz Mezzrow, or Hunter S. Thompson-writers to whom, for different reasons, he owes some allegiance. What makes him special is his devotion to the troubled musicians he idolizes, and a passion for music that is blessedly contagious. Many jazz fans will know Mike Zwerin for his witty, irreverent, and undeniably hip music reviews and articles in the International Herald Tribune that have entertained us for decades. Based in Paris, or, rather, stuck there, as Zwerin likes to say, he has been a music critic for the Trib since 1979. Zwerin also had a distinguished career as a trombonist. When he was just eighteen years old, he was invited by Miles Davis to play alongside Gerry Mulligan, John Lewis, and Max Roach in the band that was immortalized as The Birth of the Cool. The Parisian Jazz Chronicles offers an engaging personal account of the jazz scene in Paris in the 1980s and 1990s. Zwerin writes lovingly but unsparingly about figures he knew and interviewed- such as Dexter Gordon, Freddy Heineken, Miles Davis, Bob Dylan, Chet Baker, Wayne Shorter, and Melvin Van Peebles. Against this background, Zwerin tells about his own life-split allegiances to journalism and music, and to America and France, his solitary battle for sobriety, a failing marriage, and fatherhood. (source: Nielsen Book Data)
Oakland, California : University of California Press, 
Book — 1 online resource : illustrations.
Performing diaspora with Sidney Bechet
Jazz at home in France: French jazz musicians on the war path to "authentic" jazz
Inez Cavanaugh: creating & complicating jazz community
Boris Vian & James Baldwin in Paris: are we a blues people too?
Kenny Clarke's journey between "black" and "universal" music
Coda: beyond color-blind narratives: reading behind the scenes of Paris blues.
At the close of the Second World War, waves of African American musicians migrated to Paris, eager to thrive in its reinvigorated jazz scene. Jazz Diasporas challenges the notion that Paris was a color-blind paradise for African Americans. On the contrary, musicians adopted a variety of strategies to cope with the cultural and social assumptions that confronted them throughout their careers in Paris, particularly as France became embroiled in struggles over race and identity when colonial conflicts like the Algerian War escalated. Using case studies of prominent musicians and thoughtful analysis of interviews, music, film, and literature, Rashida K. Braggs investigates the impact of this postwar musical migration. She examines key figures including musicians Sidney Bechet, Inez Cavanaugh, and Kenny Clarke and writer and social critic James Baldwin to show how they performed both as artists and as African Americans. Their collaborations with French musicians and critics complicated racial and cultural understandings of who could represent "authentic" jazz and created spaces for shifting racial and national identities-what Braggs terms "jazz diasporas.". (source: Nielsen Book Data)