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The Kind of Man I Am
Nearly four decades after his death, Charles Mingus Jr. remains one of the least understood and most recognized jazz composers and musicians of our time. Mingus's ideas about music, racial identity, and masculinity—as well as those of other individuals in his circle, like Celia Mingus, Hazel Scott, and Joni Mitchell—challenged jazz itself as a model of freedom, inclusion, creativity, and emotional expressivity. Drawing on archival records, published memoirs, and previously conducted interviews, The Kind of Man I Am uses Mingus as a lens through which to craft a gendered cultural history of postwar jazz culture. This book challenges the persisting narrative of Mingus as jazz's "Angry Man" by examining the ways the language of emotion has been used in jazz as shorthand for competing ideas about masculinity, authenticity, performance, and authority.
Big Ears
In jazz circles, players and listeners with “big ears” hear and engage complexity in the moment, as it unfolds. Taking gender as part of the intricate, unpredictable action in jazz culture, this interdisciplinary collection explores the terrain opened up by listening, with big ears, for gender in jazz. Essays range from a reflection on the female boogie-woogie pianists who played at Café Society in New York during the 1930s and 1940s to interpretations of how the jazzman is represented in Dorothy Baker’s novel Young Man with a Horn (1938) and Michael Curtiz’s film adaptation (1950). Taken together, the essays enrich the field of jazz studies by showing how gender dynamics have shape...
You Can Fly
This history in verse celebrates the story of the Tuskegee Airmen: pioneeringAfrican-American pilots who triumphed in the skies and past the color barrierduring World War II. Illustrations.
Swing Shift
The story, based on extensive individual interviews, of the women’s swing bands that toured extensively during World War II and after -- a kind of “League of their Own” for jazz.
The Cambridge Companion to Women in Music since 1900
An overview of women's work in classical and popular music since 1900 as performers, composers, educators and music technologists.
Jazz/Not Jazz
“Jazz/Not Jazz is an innovative and inspiring investigation of jazz as it is practiced, theorized and taught today. Taking their cues from current debates within jazz scholarship, the contributors to this collection open up jazz studies to a transdisciplinarity that is rich in its diversity of approaches, candid in its appraisals of critical worth, transparent in its ideological suppositions, and catholic in its subjects/objects of inquiry.”—Kevin Fellezs, author of Birds of Fire: Jazz, Rock, Funk and the Creation of Fusion. “This collection is a delight. Each essay opens up some previously ignored aspect of jazz history. Anyone who knows the New Jazz Studies and is wise enough to acquire this book will immediately devour it.”—Krin Gabbard, author of Hotter Than That: The Trumpet, Jazz, and American Culture. “This volume is truly one of a kind, eminently readable and filled with new insights. It will make an extremely important contribution to jazz literature.”—Jeffrey Taylor, Director, H. Wiley Hitchcock Institute for Studies in American Music, Brooklyn College.
Art Rebels
How creative freedom, race, class, and gender shaped the rebellion of two visionary artists Postwar America experienced an unprecedented flourishing of avant-garde and independent art. Across the arts, artists rebelled against traditional conventions, embracing a commitment to creative autonomy and personal vision never before witnessed in the United States. Paul Lopes calls this the Heroic Age of American Art, and identifies two artists—Miles Davis and Martin Scorsese—as two of its leading icons. In this compelling book, Lopes tells the story of how a pair of talented and outspoken art rebels defied prevailing conventions to elevate American jazz and film to unimagined critical heights....
Making the Scene
The received wisdom of popular jazz history is that the era of the big band was the 1930s and '40s, when swing was at its height. But as practicing jazz musicians know, even though big bands lost the spotlight once the bebop era began, they never really disappeared. Making the Scene challenges conventional jazz historiography by demonstrating the vital role of big bands in the ongoing development of jazz. Alex Stewart describes how jazz musicians have found big bands valuable. He explores the rich "rehearsal band" scene in New York and the rise of repertory orchestras. Making the Scene combines historical research, ethnography, and participant observation with musical analysis, ethnic studies, and gender theory, dismantling stereotypical views of the big band.
The Oxford Handbook of Critical Improvisation Studies
V. 1. Cognitions -- v. 2. Critical theories
People Get Ready
In People Get Ready, musicians, scholars, and journalists write about jazz since 1965, the year that Curtis Mayfield composed the famous civil rights anthem that gives this collection its title. The contributors emphasize how the political consciousness that infused jazz in the 1960s and early 1970s has informed jazz in the years since then. They bring nuance to historical accounts of the avant-garde, the New Thing, Free Jazz, "non-idiomatic" improvisation, fusion, and other forms of jazz that have flourished since the 1960s, and they reveal the contemporary relevance of those musical practices. Many of the participants in the jazz scenes discussed are still active performers. A photographic...
