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Despite the plethora of writing about jazz, little attention has been paid to what musicians themselves wrote and said about their practice. An implicit division of labor has emerged where, for the most part, black artists invent and play music while white writers provide the commentary. Eric Porter ...

Despite the plethora of writing about jazz, little attention has been paid to what musicians themselves wrote and said about their practice. An implicit division of labor has emerged where, for the most part, black artists invent and play music while white writers provide the commentary. Eric Porter overturns this tendency in his creative intellectual history of African American musicians. He foregrounds the often-ignored ideas of these artists, analyzing them in the context of meanings circulating around jazz, as well as in relationship to broader currents in African American thought.

Porter examines several crucial moments in the history of jazz: the formative years of the 1920s and 1930s; the emergence of bebop; the political and experimental projects of the 1950s, 1960s and 1970s; and the debates surrounding Jazz at Lincoln Center under the direction of Wynton Marsalis. Louis Armstrong, Anthony Braxton, Marion Brown, Duke Ellington, W.C. Handy, Yusef Lateef, Abbey Lincoln, Charles Mingus, Archie Shepp, Wadada Leo Smith, Mary Lou Williams, and Reggie Workman also feature prominently in this book. The wealth of information Porter uncovers shows how these musicians have expressed themselves in print; actively shaped the institutional structures through which the music is created, distributed, and consumed, and how they aligned themselves with other artists and activists, and how they were influenced by forces of class and gender.

"What Is This Thing Cal

They were two of the most explosive dancers of the twentieth century, dazzling audiences with daredevil splits, slides, and hair-raising flips. But they were also highly sophisticated dancers, refining a centuries-old tradition of percussive dance into the rhythmic brilliance of jazz tap at its ...

They were two of the most explosive dancers of the twentieth century, dazzling audiences with daredevil splits, slides, and hair-raising flips. But they were also highly sophisticated dancers, refining a centuries-old tradition of percussive dance into the rhythmic brilliance of jazz tap at its zenith. They were Fayard and Harold Nicholas, two American masters masterfully portrayed in this new dual biography by Constance Valis Hill. In Brotherhood in Rhythm, Hill interweaves an intimate portrait of these great performers with a richly detailed history of jazz music and jazz dance, both bringing their act to life and explaining their significance through a colorful analysis of their eloquent footwork, their full-bodied expressiveness, and their changing style. Hill vividly captures their soaring careers, from Cotton Club appearances with Duke Ellington, Cab Calloway, and Jimmie Lunceford, to film-stealing big-screen performances with Chick Webb, Tommy Dorsey, and Glen Miller. Drawing on a deep well of research and endless hours of interviews with the Nicholas brothers themselves, she also documents their struggles against the nets of racism and segregation that constantly enmeshed their careers and denied them the recognition they deserved. And to provide essential background to their career and the development of their art, she also traces the three-hundred-year evolution of jazz tap, showing how it emerged in the Southern colonies in the 1700s, as the Irish jig and West African gioube mutated into the American jig and juba. More than a biography of two talented but underappreciated performers, Brotherhood in Rhythm offers a profound new understanding of this distinctively American art and its intricate links to the history of jazz.

This work puts together in one volume all the book and scholarly materials related to jazz lives and organizes them in such a way that the reader, at a glance, can see the entire sweep of writings on a given artist and grasp the nature of their contents. The bibliography includes many different ...

This work puts together in one volume all the book and scholarly materials related to jazz lives and organizes them in such a way that the reader, at a glance, can see the entire sweep of writings on a given artist and grasp the nature of their contents. The bibliography includes many different kinds of biographical source material published in all languages from 1921 to the present. Each bonafide jazz musician is given a separate section, and birth, death, and primary instrumentation data is provided. Biographical sources about the artist or ensemble follow.