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A galvanizing history of how jazz and jazz musicians flourished despite rampant cultural exploitation The music we call “jazz” arose in late nineteenth century North America—most likely in New Orleans—based on the musical traditions of Africans, newly freed from slavery. Grounded in the music known as the “blues,” which expressed the pain, sufferings, and hopes of Black folk then pulverized by Jim Crow, this new music entered the world via the instruments that had been abandoned by departing military bands after the Civil War. Jazz and Justice examines the economic, social, and political forces that shaped this music into a phenomenal US—and Black American—contribution to global arts and culture. Horne assembles a galvanic story depicting what may have been the era’s most virulent economic—and racist—exploitation, as jazz musicians battled organized crime, the Ku Klux Klan, and other variously malignant forces dominating the nightclub scene where jazz became known. Horne pays particular attention to women artists, such as pianist Mary Lou Williams and trombonist Melba Liston, and limns the contributions of musicians with Native American roots. This is the story of a beautiful lotus, growing from the filth of the crassest form of human immiseration.
"Any book on my life would start with my basic philosophy of fighting racial prejudice. I loved jazz, and jazz was my way of doing that," Norman Granz told Tad Hershorn during the final interviews given for this book. Granz, who died in 2001, was iconoclastic, independent, immensely influential, often thoroughly unpleasant—and one of jazz’s true giants. Granz played an essential part in bringing jazz to audiences around the world, defying racial and social prejudice as he did so, and demanding that African-American performers be treated equally everywhere they toured. In this definitive biography, Hershorn recounts Granz’s story: creator of the legendary jam session concerts known as Jazz at the Philharmonic; founder of the Verve record label; pioneer of live recordings and worldwide jazz concert tours; manager and recording producer for numerous stars, including Ella Fitzgerald and Oscar Peterson.
Winner of the National Book Award for Nonfiction An electrifying story of the sensational murder trial that divided a city and ignited the civil rights struggle In 1925, Detroit was a smoky swirl of jazz and speakeasies, assembly lines and fistfights. The advent of automobiles had brought workers from around the globe to compete for manufacturing jobs, and tensions often flared with the KKK in ascendance and violence rising. Ossian Sweet, a proud Negro doctor-grandson of a slave-had made the long climb from the ghetto to a home of his own in a previously all-white neighborhood. Yet just after his arrival, a mob gathered outside his house; suddenly, shots rang out: Sweet, or one of his defenders, had accidentally killed one of the whites threatening their lives and homes. And so it began-a chain of events that brought America's greatest attorney, Clarence Darrow, into the fray and transformed Sweet into a controversial symbol of equality. Historian Kevin Boyle weaves the police investigation and courtroom drama of Sweet's murder trial into an unforgettable tapestry of narrative history that documents the volatile America of the 1920s and movingly re-creates the Sweet family's journey from slavery through the Great Migration to the middle class. Ossian Sweet's story, so richly and poignantly captured here, is an epic tale of one man trapped by the battles of his era's changing times.
The story of a transgender child based on the real-life experience of Jazz Jennings, who has become a spokesperson for transkids everywhere "This is an essential tool for parents and teachers to share with children whether those kids identify as trans or not. I wish I had had a book like this when I was a kid struggling with gender identity questions. I found it deeply moving in its simplicity and honesty."—Laverne Cox (who plays Sophia in “Orange Is the New Black”) From the time she was two years old, Jazz knew that she had a girl's brain in a boy's body. She loved pink and dressing up as a mermaid and didn't feel like herself in boys' clothing. This confused her family, until they took her to a doctor who said that Jazz was transgender and that she was born that way. Jazz's story is based on her real-life experience and she tells it in a simple, clear way that will be appreciated by picture book readers, their parents, and teachers.
Verdi Woodward knows every sound of the three basic time warps of our era--heroin, prison and jazz. His book gets them down cold with prose flights springing from the throat of a saxophone. --Charles Bowden, author, Down by the River and A Shadow in the City The harrowing life of a heroin junkie, and the life changes that accompanied addiction, are succinctly captured in this gripping memoir of Verdi Woody Woodward. A professional saxophonist in the 1950s and a fixture on the Los Angeles jazz scene, Woody lost his way, became a hope to die drug addict and armed robber on the run, and spent a decade of running from the law before being captured. During incarceration Woody found the strength to renounce not only drugs, but also the violence and brutality fostered by the prison system.
A galvanizing history of how jazz and jazz musicians flourished despite rampant cultural exploitation The music we call “jazz” arose in late nineteenth century North America—most likely in New Orleans—based on the musical traditions of Africans, newly freed from slavery. Grounded in the music known as the “blues,” which expressed the pain, sufferings, and hopes of Black folk then pulverized by Jim Crow, this new music entered the world via the instruments that had been abandoned by departing military bands after the Civil War. Jazz and Justice examines the economic, social, and political forces that shaped this music into a phenomenal US—and Black American—contribution to global arts and culture. Horne assembles a galvanic story depicting what may have been the era’s most virulent economic—and racist—exploitation, as jazz musicians battled organized crime, the Ku Klux Klan, and other variously malignant forces dominating the nightclub scene where jazz became known. Horne pays particular attention to women artists, such as pianist Mary Lou Williams and trombonist Melba Liston, and limns the contributions of musicians with Native American roots. This is the story of a beautiful lotus, growing from the filth of the crassest form of human immiseration.
In addition to providing a vivid account of life on the road and imparting new insight into the daily existence of working musicians, this book illustrates how the fundamental issue of race influenced Albert's life, as well as the music of the era."
Cover -- Title -- Copyright -- Dedication -- Contents -- List of Illustrations -- Foreword -- Acknowledgments -- Poems -- Introduction -- 1 Jazz, "Great Black Music," and the Struggle for Racial and Social Equality in Washington, DC -- 2 Seventh Street: Black DC's Musical Mecca -- 3 Washington's Duke Ellington -- 4 Bill Brower: Notes from a Keen Observer and Scene Maker -- 5 Jazz Radio in Washington, DC -- 6 Legislating Jazz -- 7 The Beautiful Struggle: A Look at Women Who Have Helped Shape the DC Jazz Scene -- 8 No Church without a Choir: Howard University and Jazz in Washington, DC -- 9 From Federal City College to UDC: A Retrospective on Washington's Jazz University -- 10 Researching Jazz History in Washington, DC -- List of Contributors -- Photo Credits and Permissions -- Index -- A -- B -- C -- D -- E -- F -- G -- H -- I -- J -- K -- L -- M -- N -- O -- P -- Q -- R -- S -- T -- U -- V -- W -- X -- Y -- Z
Award-winning jazz educator Caleb Chapman and multiple GRAMMY(R) Award-winning saxophonist Jeff Coffin have created a highly effective approach to jazz articulation. Step by step, The Articulate Jazz Musician details Caleb's proven approach for mastering the fundamentals of jazz articulation, phrasing, and interpretation. The play-along tracks are designed for C, B-flat, E-flat, and bass clef instruments. Rhythm section instruments can use the play-along tracks as a how to play it reference. The tracks feature a world-class quartet of Jeff Coffin (tenor saxophone), Victor Wooten (bass), Roy Futureman Wooten (drums), and Chris Walters (piano). This method makes approaching jazz articulation easy and fun. Follow the explanations, do lots of listening, play along, practice what you have heard, and before long, you too will be an articulate jazz musician! This title is available in MakeMusic Cloud.
National Dance Education Organization Ruth Lovell Murray Book Award UNCG | Susan W. Stinson Book Award for Dance Education An African American art form, jazz dance has an inaccurate historical narrative that often sets Euro-American aesthetics and values at the inception of the jazz dance genealogy. The roots were systemically erased and remain widely marginalized and untaught, and the devaluation of its Africanist origins and lineage has largely gone unchallenged. Decolonizing contemporary jazz dance practice, this book examines the state of jazz dance theory, pedagogy, and choreography in the twenty-first century, recovering and affirming the lifeblood of jazz in Africanist aesthetics and Black American culture. Rooted Jazz Dance brings together jazz dance scholars, practitioners, choreographers, and educators from across the United States and Canada with the goal of changing the course of practice in future generations. Contributors delve into the Africanist elements within jazz dance and discuss the role of Whiteness, including Eurocentric technique and ideology, in marginalizing African American vernacular dance, which has resulted in the prominence of Eurocentric jazz styles and the systemic erosion of the roots. These chapters offer strategies for teaching rooted jazz dance, examples for changing dance curricula, and artist perspectives on choreographing and performing jazz. Above all, they emphasize the importance of centering Africanist and African American principles, aesthetics, and values. Arguing that the history of jazz dance is closely tied to the history of racism in the United States, these essays challenge a century of misappropriation and lean into difficult conversations of reparations for jazz dance. This volume overcomes a major roadblock to racial justice in the dance field by amplifying the people and culture responsible for the jazz language. Contributors: LaTasha Barnes | Lindsay Guarino | Natasha Powell | Carlos R.A. Jones | Rubim de Toledo | Kim Fuller | Wendy Oliver | Joanne Baker | Karen Clemente | Vicki Adams Willis | Julie Kerr-Berry | Pat Taylor | Cory Bowles | Melanie George | Paula J Peters | Patricia Cohen | Brandi Coleman | Kimberley Cooper | Monique Marie Haley | Jamie Freeman Cormack | Adrienne Hawkins | Karen Hubbard | Lynnette Young Overby | Jessie Metcalf McCullough | E. Moncell Durden Publication of this work made possible by a Sustaining the Humanities through the American Rescue Plan grant from the National Endowment for the Humanities.