Introduction
The collective problem in jazz
DOI:
https://doi.org/10.1558/jazz.v5i1-2.5Keywords:
cultural politics, cultural theory, jazz collectives, jazz history, musical practices, Ornette ColemanReferences
Ake, D. (2002) Jazz Cultures. Berkeley: University of California Press.
Attali, J. (1985) Noise: The Political Economy of Music, trans. Brian Massumi. Minneapolis: Minnesota University Press.
Bakriges, C. (2003) ‘Musical Transculturation: From African American Avant-Garde Jazz to European Creative Improvisation, 1962–1981’. In Jazz Planet, ed. E. Taylor Atkins, 99–114. Jackson: University of Mississippi Press.
DeVeaux, S. (1991) ‘Constructing the Jazz Tradition: Jazz Historiography’. Black Literature Forum 25(3): 525–60.
Feld, S. (2012) Jazz Cosmopolitanism in Accra: Five Music Years in Ghana. Durham, NC: Duke University Press.
Harvey, D. (1999) The Limits to Capital. London: Verso.
Isoardi, S. (2006) The Dark Tree: Jazz and Community Arts in Los Angeles. Berkeley: University of California Press.
Jones, L. (Amiri Baraka) (1971) Black Music. New York: William Morrow. Jost, E. (1994) Free Jazz. New York: Da Capo.
Kelley, R. D. G. (1997) ‘Dig They Freedom: Meditations on History and the Black Avant-Garde’. Lenox Avenue 3: 13–27.
Levin, R. (1965) ‘The Jazz Composers Guild: An Assertion of Dignity’. Down Beat 6 (May): 17–18.
Lewis, G. (2001–2002) ‘Experimental Music in Black and White: The AACM in New York, 1970–1985’. Current Musicology 71-73: 100–157.
—(2008) A Power Stronger than Itself: The AACM and American Experimental Music. Chicago: University of Chicago Press.
Lipsitz, G. (2004) ‘Songs of the Unsung: The Darby Hicks of Jazz’. In Uptown Conversation: The New Jazz Studies, ed. Robert O’Meally et al., 9–26. New York: Columbia University Press.
Litweiler, J. (1984) The Freedom Principle: Jazz After 1958. New York: Da Capo. —(1994) Ornette Coleman: A Harmolodic Life. New York: Da Capo.
Looker, B. (2004) Point from which Creation Begins: The Black Artists Group of St. Louis. St. Louis: Missouri Historical Society Press.
McKay, G. (2005) Circular Breathing: The Cultural Politics of Jazz in Britain. Durham, NC: Duke University Press.
Merriam, A. P., and R. W. Mack (1960) ‘The Jazz Community’. Social Forces 38(3): 211-22.
Monson, I. (2003) The African Diaspora. New York: Routledge.
Piekut, B. (2009) ‘Race, Community, and Conflict in the Jazz Composer’s Guild’. Jazz Perspectives 3(3): 191–231.
Porter, E. (2002) What is This Thing Called Jazz: African American Musicians as Artists, Critics, and Activists. Berkeley: University of California Press.
Primark, B. (1979) ‘Leroy Jenkins: Gut-Plucking Revolutionary’. Down Beat, 16 November: 24, 50.
Saul, S. (2003) Freedom Is, Freedom Ain’t: Jazz and the Making of the Sixties. Cambridge, MA: Harvard University Press.
Spellman, A. B. [1966] (1985) Four Lives in the Bebop Business. New York: Limelight Editions.
Tapscott, H. (2001) Songs of the Unsung: The Musical and Social Journey of Horace Tapscott, ed. Steven Isoardi. Durham, NC: Duke University Press.
Wilmer, V. (1977) As Serious as Your Life: The Story of the New Jazz. London: Allison & Busby.
Attali, J. (1985) Noise: The Political Economy of Music, trans. Brian Massumi. Minneapolis: Minnesota University Press.
Bakriges, C. (2003) ‘Musical Transculturation: From African American Avant-Garde Jazz to European Creative Improvisation, 1962–1981’. In Jazz Planet, ed. E. Taylor Atkins, 99–114. Jackson: University of Mississippi Press.
DeVeaux, S. (1991) ‘Constructing the Jazz Tradition: Jazz Historiography’. Black Literature Forum 25(3): 525–60.
Feld, S. (2012) Jazz Cosmopolitanism in Accra: Five Music Years in Ghana. Durham, NC: Duke University Press.
Harvey, D. (1999) The Limits to Capital. London: Verso.
Isoardi, S. (2006) The Dark Tree: Jazz and Community Arts in Los Angeles. Berkeley: University of California Press.
Jones, L. (Amiri Baraka) (1971) Black Music. New York: William Morrow. Jost, E. (1994) Free Jazz. New York: Da Capo.
Kelley, R. D. G. (1997) ‘Dig They Freedom: Meditations on History and the Black Avant-Garde’. Lenox Avenue 3: 13–27.
Levin, R. (1965) ‘The Jazz Composers Guild: An Assertion of Dignity’. Down Beat 6 (May): 17–18.
Lewis, G. (2001–2002) ‘Experimental Music in Black and White: The AACM in New York, 1970–1985’. Current Musicology 71-73: 100–157.
—(2008) A Power Stronger than Itself: The AACM and American Experimental Music. Chicago: University of Chicago Press.
Lipsitz, G. (2004) ‘Songs of the Unsung: The Darby Hicks of Jazz’. In Uptown Conversation: The New Jazz Studies, ed. Robert O’Meally et al., 9–26. New York: Columbia University Press.
Litweiler, J. (1984) The Freedom Principle: Jazz After 1958. New York: Da Capo. —(1994) Ornette Coleman: A Harmolodic Life. New York: Da Capo.
Looker, B. (2004) Point from which Creation Begins: The Black Artists Group of St. Louis. St. Louis: Missouri Historical Society Press.
McKay, G. (2005) Circular Breathing: The Cultural Politics of Jazz in Britain. Durham, NC: Duke University Press.
Merriam, A. P., and R. W. Mack (1960) ‘The Jazz Community’. Social Forces 38(3): 211-22.
Monson, I. (2003) The African Diaspora. New York: Routledge.
Piekut, B. (2009) ‘Race, Community, and Conflict in the Jazz Composer’s Guild’. Jazz Perspectives 3(3): 191–231.
Porter, E. (2002) What is This Thing Called Jazz: African American Musicians as Artists, Critics, and Activists. Berkeley: University of California Press.
Primark, B. (1979) ‘Leroy Jenkins: Gut-Plucking Revolutionary’. Down Beat, 16 November: 24, 50.
Saul, S. (2003) Freedom Is, Freedom Ain’t: Jazz and the Making of the Sixties. Cambridge, MA: Harvard University Press.
Spellman, A. B. [1966] (1985) Four Lives in the Bebop Business. New York: Limelight Editions.
Tapscott, H. (2001) Songs of the Unsung: The Musical and Social Journey of Horace Tapscott, ed. Steven Isoardi. Durham, NC: Duke University Press.
Wilmer, V. (1977) As Serious as Your Life: The Story of the New Jazz. London: Allison & Busby.
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Published
2012-11-19
Issue
Section
Editorial
How to Cite
Gebhardt, N. (2012). Introduction: The collective problem in jazz. Jazz Research Journal, 5(1-2), 5-20. https://doi.org/10.1558/jazz.v5i1-2.5
