Freedom Sounds: Civil Rights Call Out to Jazz and Africa

Freedom Sounds: Civil Rights Call Out to Jazz and Africa

Volumn , Issue , 2010, Pages 1-416

  Monson, Ingrid ^a  

^a HARVARD UNIVERSITY   (United States)

Author keywords

African Diasporic Aesthetics; African Independence; Authenticity; Benefit Concerts; Black Power; Civil Rights Movement; Desegregation; Federation Of Musicians; Jazz Tours; Racism

Indexed keywords

EID: 84922616202     PISSN: None     EISSN: None     Source Type: Book    
DOI: 10.1093/acprof:oso/9780195128253.001.0001     Document Type: Book

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213. Jon Panish, The Color of Jazz: Race and Representation in Postwar Jazz (Jackson: University Press of Mississippi, 1997), pp. xv, ix-xxiii.
214. Leonard Feather, "The Blindfold Test: Little Jazz Goes Color Blind," Down Beat 18, no. 14 (July 13, 1951), p. 12.
215. Duke Ellington, "Certainly It's Music," in The Duke Ellington Reader, ed. Mark Tucker (New York: Oxford University Press, 1993), pp. 246-48.
216. Barry Ulanov, "Master in the Making," Metronome 65, no. 8 (Aug. 1949), pp. 14, 32.
217. Ben Ratliff, "Barry Ulanov, 82, a Scholar of Jazz, Art and Catholicism," New York Times, May 7, 2000, metropolitan desk.
218. Barry Ulanov, "The Means of Mastery: Lennie Tristano's Intuition On and Off Records Tells His Musical Story and Perhaps Jazz's Also," Metronome 65, no. 9 (Sept. 1949), pp. 14, 26.
219. Bill Coss, "A New Look at Lennie," Metronome 67, no. 11 (Nov. 1951), pp. 13, 22.
220. Al Zeiger, "Lennie Tristano: A Debt of Gratitude," Metronome 71, no. 6 (June 1955), p. 23.
221. Barry Ulanov, "A Talk with Dave Brubeck," Metronome 69, no. 4 (Apr.1953), p. 29.
222. Ted Gioia, West Coast Jazz (New York: Oxford University Press, 1992), p. 71.
223. Ralph J. Gleason, "Brubeck: For the First Time, Read How Dave Thinks, Works, Believes, and How He Reacts to His Critics," Down Beat 24, no. 15 (July 25, 1957), pp. 13-14, 54.
224. Leonard Feather, "Feather's Nest." Down Beat 22, no. 4 (Feb. 23, 1955), p. 7.
225. Bill Coss and Jack Maher, "Record Reviews: Modern Jazz Quartet and Jim Giuffre," Jazz Today 2, no. 1 (Jan. 1957), p. 36.
226. DeMichael, "Record Review: Modern Jazz Quartet, Odds against Tomorrow," Down Beat 27, no. 4 (Feb. 18, 1960), p. 34.
227. Martin Williams, "The Funky-Hard Bop Regression," in The Art of Jazz:Essays on the Nature and Development of Jazz, ed. Martin Williams (New York: Oxford University Press, 1959), pp. 233-38.
228. Krin Gabbard, Black Magic: White Hollywood and African American Culture (New Brunswick, NJ: Rutgers University Press, 2004), p. 19.
229. Richard M. Sudhalter, Lost Chords: White Musicians and Their Contribution to Jazz, 1915-1945 (New York: Oxford University Press, 1999).
230. Frank Kofsky, John Coltrane and the Jazz Revolution of the 1960s (New York: Pathfinder, 1998), pp. 103-104.
231. Eric Porter, What Is This Thing Called Jazz? African American Musicians as Art ists, Critics, and Activists (Berkeley: University of California Press, 2002), pp. 149-90.
232. Farah Jasmine Griffin, If You Can't Be Free, Be a Mystery (New York: Free Press, 2001), pp. 161-91.
233. Ira Gitler, "Review: Abbey Lincoln, Straight Ahead," Down Beat 28, no. 23 (Nov. 9, 1961) pp. 35-36.
234. Ira Gitler, "Review: Dave Brubeck, Time Out,' ' Down Beat 27, no. 9 (Apr. 28, 1960), p. 37.
235. Burton Peretti, The Creation of Jazz: Music, Race, and Culture in Urban America (Chicago: University of Illinois Press, 1992), p. 77.
236. Maya Angelou, The Heart of a Woman (New York: Bantam, 1997), pp. 169-90.
237. Max Roach, "Max Roach on Jazz," Muhammad Speaks 2, no. 6 (Dec. 15, 1962), p. 21.
238. George E. Lewis, "Singing Omar's Song: A (Re)Construction of Great Black Music," Lenox Avenue 4 (1998), p. 73.
239. John Litweiler, The Freedom Principle: Jazz after 1958 (New York: Da Capo, 1984), p. 173.
240. Don DeMichael, "The Year in Review," Down Beat Music '64, p. 9.
241. Ronald M. Radano, New Musical Figurations: Anthony Braxton's Cultural Critique (Chicago: University of Chicago Press, 1993).
242. Ronald Radano, "Jazzin' the Classics: The AACM's Challenge to Mainstream Aesthetics," Black Music Research Journal 12, no. 1 (1992): 79-95.
243. Porter, What Is This Thing Called Jazz? pp. 191-239.
244. Horace Tapscott and Steven Isoardi, Songs of the Unsung: The Musical and Social Journey of Horace Taspcott (Durham, NC: Duke University Press, 2001).
245. Robert Levin, "The Jazz Composers Guild: An Assertion of Dignity," Down Beat 32, no. 10 (May 6, 1965), pp. 17-18.
246. Wilson, "Dig That Free-form Jazz"; "Music Notes," New York Times (Dec. 28, 1964), p. 34.
247. Spellman, Four Lives in the Bebop Business, pp. 25-27.
248. Levin, "The Jazz Composers Guild, pp. 17-18.
249. Wilmer, As Serious as Your Life, pp. 214-15.
250. George Breitman, ed., Malcolm X Speaks (New York: Grove, 1965), p. 5.
251. Gerald C. Fraser, "After a Sour Note, Harmony Reigns on Role of Blacks in Jazz," New York Times, July 8, 1972, p. 13.
252. A. B. Spellman, Four Lives in the Bebop Business (New York: Limelight, 1985), p. 4.
253. Theodor W. Adorno, Aesthetic Theory (Minneapolis: University of Minnesota Press, 1997), pp. 1, 6, 21, 23.
254. Georgina Born, Rationalizing Culture: IRCAM, Boulez, and the Institutionalization of the Musical Avant-garde (Berkeley: University of California Press, 1995), p. 43.
255. Lara Pellegrinelli, "The Song Is Who? Locating Singers on the Jazz Scene," PhD diss., Harvard University, 2005.
256. Gerald C. Fraser, "After a Sour Note, Harmony Reigns on Role of Blacks in Jazz," New York Times, July 8, 1972, p. 13.