Introduction

The collective problem in jazz

Authors

  • Nicholas Gebhardt Lancaster University

DOI:

https://doi.org/10.1558/jazz.v5i1-2.5

Keywords:

cultural politics, cultural theory, jazz collectives, jazz history, musical practices, Ornette Coleman

Author Biography

Nicholas Gebhardt, Lancaster University

Nicholas Gebhardt is Lecturer in Music at the Lancaster Institute for Contemporary Arts. He is a member of the HERA funded Rhythm Changes project, and is the author of Going for Jazz (University of Chicago Press, 2001) and Music is our Business (University of Chicago Press, forthcoming, 2013).

References

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.

Downloads

Published

2012-11-19

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

Issue

Section

Editorial