2012: 1962: Remembering (Unpublished)

5.0 out of 5 stars A methodical survey of the history of jazz music, February 7, 2004 By Midwest Book Review (Oregon, WI USA) - See all my reviews. This review is from: African-American Jazz Musicians in the Diaspora (Studies in African Diaspora, V. 2) (Hardcover) Expertly written by Larry Ross (a winner of the International Association of Jazz Educators Award for Outstanding Musicianship for the piano), African-American Jazz Musicians In The Diaspora is a methodical survey of the history of jazz music in the twentieth century, including jazz in Germany 1925-1945; jazz musicians in postwar Europe; the influence American culture had on the death rates of jazz and classical musicians; contemporary changes in the European jazz scene, and more. A thoughtful, extensively researched, and fact-filled discourse, African-American Jazz Musicians In The Diaspora is very strongly recommended for the academic library Black Studies, Music Studies and/or Music History reference shelf. https://www.amazon.com/African-American-Jazz-Musicians-Diaspora/dp/0773407944/ref=tmm_pap_swatch_0?_encoding=UTF8&dib_tag=se&dib=eyJ2IjoiMSJ9.zX60L9N3Xpsg-vi3T99WqCMSVFz3h001pZutOfclUU1C87ynrZEMXHyyfslooGezqo1KIujwQjmI4MfuMGYWkq5mv7ODjTQHkDyotnZIrqJvYjubplkO-22wGh5RWW3c_9Kj79UumQh5EA8Y-vRHxHy9BE8GYnyQD3MS-jg8bpg.ttBH6ngAdWEKhX44jNJ7UruQJ-YBuaVNN77fL-BRFiY&qid=1725632380&sr=8-1

During the Fifties, a musical style frequently called West Coast jazz became popular with both critics and serious jazz fans. It also appealed to many casual listeners, some as attracted to the provocative album cover art as they were to the music. However, by the mid-sixties when jazz was dominated of the Avant-garde or New Thing, this variation on modern jazz was discredited and frequently forgotten. This study examines the music produced by Howard Rumsey's Lighthouse All-Stars at The Lighthouse nightclub in Hermosa Beach, California between 1952 and 1959 and its relationship to music recorded by New York-based groups during the same period. The Lighthouse provided a stable working environment for jazz musicians with few, if any, commercial restraints. The band produced both live and studio recordings over a period of seven years. The recordings contain a variety of modern or post-swing approaches to jazz improvisation, composition, and arranging similar to those found on recordings produced in New York. The recordings do not support the view that the All-Stars were playing an identifiable West Coast or Cool style that was different from an East Coast or Hard Bop style favored by players based in New York. Recent interviews with members of the All-Stars and articles appearing in both jazz and general interest periodicals during the fifties also indicate that the All-Stars were not playing in a different style. They viewed their music as modern, just as their New York-based contemporaries did. Using the All-Stars as an example of modern jazz in the fifties, the frequently confusing jazz history narrative found in most textbooks can be reshaped, providing a more useful picture of the music during that decade.

Few American innovations have had as far-reaching and profound an effect on the world’s music as the drum set. Likely first used in the United States in the late 19th century and developed extensively throughout the first half of the 20th century, the collection of drums, percussion, and noisemakers now called the drum set has become an international icon. Although the origin and general history of the instrument have been explored, there is a lack of scholarship addressing the details of individuals, groups, and circumstances responsible for its proliferation. Many important players and proponents are underrepresented or entirely un-attributed. This thesis traces lesser-known aspects of early drum set history and development in New Orleans and then illuminates the details of how, when, and by whom the instrument was incorporated into the musics of Cuba. Analysis of photographs and recordings from the early 20th century as well as of scholarly literature on the development of jazz and its connection to Cuba suggests that the awareness and use of the drum set on the island preceded what is documented or commonly acknowledged in the literature. In addition to documenting my findings here, I have created an online multimedia music education resource for drum set enthusiasts and anyone else interested in jazz, Cuban music, or cultural history. The website also contains the audiovisual evidence referenced in this paper. Website found here: http://culturalhistoryofthedrumset.wordpress.com

2017

In this open access book, Emma Webster and George McKay have pieced together a fascinating jigsaw puzzle of archival material, interviews, and stories from musicians, festival staff and fans alike. Including many evocative images, the book weaves together the story of the festival wit the history of its home city, London, touching on broader social topics such as gender, race, politics, and the search for the meaning of jazz. They also trace the forgotten history of London as a vibrant city of jazz festivals going as far back as the 1940s.

interviews undertaken for Circular Breathing: The Cultural Politics of Jazz in Britain, 2003

I undertook these interviews in 2002-2003 as part of the AHRB research project I was working on, Circular Breathing: The Cultural Politics of Jazz in Britain. The primary outcome of the project was a book of the same title (published by Duke University Press in 2005). This was an extension into more recent music practice of the interviews I’d undertaken regarding the trad boom of the 1950s. Both sets of interviews were for research funded by the Arts and Humanities Research Board, and I am extremely grateful for the board’s support. There is a slant towards discussions about cultural politics, in particular race, gender, and national identity, because that was the way thequestions were phrased, those were the issues I was interested in exploring. Interviewees: • Eddie Prévost • Mike Westbrook • Keith Tippett • Maggie Nicols • Steve Beresford • Kate Westbrook • Tony Haynes • Gary Crosby • Ben Crow • Deirdre Cartwright.

This dissertation aims to explore and describe, in ethnographic terms, some of the principal formal and non-formal environments in which jazz music is learned today. By elucidating the broad aesthetic, stylistic, and social landscapes of present-day jazz pedagogy, it seeks to encourage the revitalization and reorientation of jazz education, and of the cultural spaces in which it takes place. Although formal learning environments have increasingly supported the activities of the jazz community, I argue that this development has also entailed a number of problems, notably a renewal of racial tensions spurred on by 1) the under-representation of non-white students and faculty, especially black Americans; 2) the widespread adoption of 'color-blind' methodologies in formal music-learning environments, which serve to perpetuate ambivalence or apathy in the addressing of racial problems; 3) a failure adequately to address cultural studies related to the black heritage of jazz music; and 4) the perpetuation of a narrow vision of jazz music that privileges certain jazz styles, neglects others, and fails to acknowledge the representative intersections between jazz and related forms of black music. The study seeks to answer two main questions: What is the nature of the twenty-first-century learning environment? Moreover, how do cultural and racial dynamics affect the ways in which jazz is taught and understood in formal and non-formal settings? My proposition is that teaching jazz as a part of a broad spectrum of black musical styles and cultural traditions, which I shall call the black musical continuum, provides solutions for the dearth of cultural competency and narrow vision of jazz found in many learning environments. Through a continuum theory, I seek to provide a framework for viewing, teaching, learning, and performing jazz that situates it within the larger socio-cultural context of black American music. I argue that such a reorientation toward African-American cultural studies will help jazz musicians, jazz educators, and school administrators better understand how to solve problems of racial disparity and cultural awkwardness or ineptitude in both formal and non-formal environments. Chapter 1 elucidates significant problems that arise from the lack of attention to appropriately targeted cultural competency within jazz education, with particular attention to the racial tensions within jazz programs and the praxis of color-blindness. Chapter 2 draws upon ethnographic methods, notably as promoted by Guthrie P. Ramsey Jr. and Bruno Nettl, to construct a critical autoethnography of jazz learning environments at the turn of the twenty-first century. Chapter 3 provides the ethnographic study of a Jamey Aebersold Summer Jazz Workshop, to explain the workings of a unique milieu that influences not only how jazz is taught in schools around the world, but also how the music is culturally perceived and understood within and outside of academia. Chapter 4 delves deeper into the Aebersold Workshop community to examine dynamics of race and gender in that environment. Chapter 5 provides a second ethnographic study, conducted in New Orleans, Louisiana, in which I explore the intersection between non-formal and formal jazz learning environments by shadowing jazz trumpeter Mario Abney. The final chapter synthesizes data from these three ethnographies and explores the administrative and curricular implications of the study.

The Global Sixties in Sound and Vision: Media, Counterculture, Revolt , 2014

The Great African-American Classical Art-Form The Life and Times of Mingus Charles Mingus Triumph of the Underdog From Rashid's Playlist https://youtu.be/2E7Xs8gD3io?list=PLqCjLhOxHNnLzDFIHOc0F4E5oT-R-HR1c

Jazz Perspectives, 2010