LeRoi Jones, Blues People: The Negro Experience in White America and
the Music That Developed from It ( New York: Morrow Quill Paperbacks, 1963), p. 153.
Michael Bane, White Boy Singin' the Blues: The Black Roots of White Rock
(Middlesex, England: Penguin Books, 1982), p. 155.
I am not alone in recognizing that racial relations were strained in New York City's jazz community of the late 1960s. Pianist Richie Beirach
has stated that whites often encountered hostility from black musicians: "I can tell you many, many personal experiences of extremely
strained relationships with blacks. This was especially true in clubs in the
Lower East Side like Slugs." Ronald Radamo, New Musical Figurations:
Anthony Braxton's Cultural Critique ( Chicago: University of Chicago
Press, 1993), p. 156, n. 57.
Radamo, New Musical Figurations, p. 46.
Ruth M. Stone, Let the Inside Be Sweet: The Interpretation of Music Event
Among the Kpelle of Liberia ( Bloomington, Ind.: Indiana University Press, 1982), p. 8.
Kwame Anthony Appiah, In My Father's House: Africa in the Philosophy
of Culture ( New York: Oxford University Press, 1992), p. 194.
Stone, Let the Inside Be Sweet, p. 8.
Questia, a part of Gale, Cengage Learning. www.questia.com
Book title: Jazz in Black and White:Race, Culture, and Identity in the Jazz Community.
Contributors: Charley Gerard - Author.
Place of publication: Westport, CT.
Publication year: 1998.
Page number: 171.
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