Uptown Conversation

The New Jazz Studies
Erscheinungsjahr 2004
ISBN: 978-0-231-12351-8
Verlag: Columbia University Press

Buch, Englisch, 544 Seiten, Print PDF, Format (B × H): 178 mm x 253 mm, Gewicht: 807 g

Jackson Pollock dancing to the music as he painted; Romare Bearden's stage and costume designs for Alvin Ailey and Dianne McIntyre; Stanley Crouch stirring his high-powered essays in a room where a drumkit stands at the center: from the perspective of the new jazz studies, jazz is not only a music to define it is a culture. Considering musicians and filmmakers, painters and poets, the intellectual improvisations in Uptown Conversation reevaluate, reimagine, and riff on the music that has for more than a century initiated a call and response across art forms, geographies, and cultures.

Building on Robert G. O'Meally's acclaimed Jazz Cadence of American Culture, these original essays offer new insights in jazz historiography, highlighting the political stakes in telling the story of the music and evaluating its cultural import in the United States and worldwide. Articles contemplating the music's experimental wing such as Salim Washington's meditation on Charles Mingus and the avant-garde or George Lipsitz's polemical juxtaposition of Ken Burns's documentary Jazz and Horace Tapscott's autobiography Songs of the Unsung share the stage with revisionary takes on familiar figures in the canon: Thelonious Monk, Miles Davis, Duke Ellington, and Louis Armstrong.

Autoren/Hrsg.

O'Meally, Robert

Edwards, Brent Hayes

Griffin, Farah Jasmine

Fachgebiete

• Geisteswissenschaften Musikwissenschaft Musikgattungen Jazz
• Geisteswissenschaften Musikwissenschaft Musikwissenschaft Allgemein Musikpsychologie, Musiksoziologie

Inhaltsverzeichnis

Introductory Notes, by Robert G. O'Meally, Brent Hayes Edwards, and Farah Jasmine GriffinSongs of the Unsung: The Darby Hicks History of Jazz, by George Lipsitz"All the Things You Could Be by Now": Charles Mingus Presents Charles Mingus and the Limits of Avant-Garde Jazz, by Salim WashingtonExperimental Music in Black and White: The AACM in New York, 1970-1985, by George LewisWhen Malindy Sings: A Meditation on Black Women's Vocality, by Farah Jasmine GriffinHipsters, Bluebloods, Rebels, and Hooligans: The Cultural Politics of the Newport Jazz Festival, 1954-1960, by John GennariMainstreaming Monk: The Ellington Album, by Mark TuckerThe Man, by John SzwedThe Real Ambassadors, by Penny M. Von EschenArtistic Othering in Black Diaspora Musics: Preliminary Thoughts on Time, Culture, and Politics, by Kevin GainesNotes on Jazz in Senegal, by Timothy R. ManginRevisiting Romare Bearden's Art of Improvisation, by Diedra Harris-KelleyLouis Armstrong, Bricolage, and the Aesthetics of Swing, by Jorge Daniel VenecianoChecking Our Balances: Louis Armstrong, Ralph Ellison, and Betty Boop, by Robert G. O'MeallyParis Blues: Ellington, Armstrong, and Saying It with Music, by Krin Gabbard"How You Sound??": Amiri Baraka Writes Free Jazz, by William J. HarrisThe Literary Ellington, by Brent Hayes Edwards"Always New and Centuries Old": Jazz, Poetry and Tradition as Creative Adaptation, by Travis JacksonA Space We're All Immigrants From: Othering and Communitas in Nathaniel Mackey's Bedouin Hornbook, by Herman BeaversExploding the Narrative in Jazz Improvisation, by Vijay IyerBeneath the Underground: Exploring New Currents in "Jazz", by Robin D. G. Kelley, by v

Über Autor(innen)

Robert G. O'Meally is Zora Neale Hurston Professor of American Literature at Columbia University. He is the author of numerous books, including The Jazz Cadence of American Culture and Lady Day: The Many Faces of Billie Holiday.Brent Hayes Edwards is an associate professor of English at Rutgers University and the author of The Practice of Diaspora: Literature, Translation, and the Rise of Black Internationalism.Farah Jasmine Griffin is a professor of English, comparative literature, and African American studies at Columbia University. She is the author of If You Can't Be Free, Be a Mystery: In Search of Billie Holiday.