JMU210: Jazz History I

The setting is the Royal Gardens Cafe. It's dark, smoky. The smell of gin permeates the room. People are leaning over the balcony, their drinks spilling on the customers below. On stage, King Oliver and Louis Armstrong roll on and on, piling up choruses, the rhythm section building the beat until tables, chairs, walls, people, move with the rhythm. The time is the 1920s. The place is South Side Chicago, a town of dance halls and cabarets, Prohibition and segregation, a town where jazz would flourish into the musical statement of an era. In Chicago Jazz, William Howland Kenney offers a wide-ranging look at jazz in the Windy City, revealing how Chicago became the major center of jazz in the 1920s, one of the most vital periods in the history of the music. He describes how the migration of blacks from the South to Chicago during and after World War I set the stage for the development of jazz in Chicago; and how the nightclubs and cabarets catering to both black and white customers provided the social setting for jazz performances. Kenney discusses the arrival of King Oliver and other greats in Chicago in the late teens and the early 1920s, especially Louis Armstrong, who would become the most influential jazz player of the period. And he travels beyond South Side Chicago to look at the evolution of white jazz, focusing on the influence of the South Side school on such young white players as Mezz Mezzrow (who adopted the mannerisms of black show business performers, an urbanized southern black accent, and black slang); and Max Kaminsky, deeply influenced by Armstrong's electrifying tone, his superb technique, his power and ease, his hotness and intensity, his complete mastery of the horn. The personal recollections of many others--including Milt Hinton, Wild Bill Davison, Bud Freeman, and Jimmy McPartland--bring alive this exciting period in jazz history. Here is a new interpretation of Chicago jazz that reveals the role of race, culture, and politics in the development of this daring musical style. From black-and-tan cabarets and the Savoy Ballroom, to the Friars Inn and Austin High, Chicago Jazz brings to life the hustle and bustle of the sounds and styles of musical entertainment in the famous toddlin' town.

An updated new edition of Ted Gioia's universally acclaimed history of jazz, with a wealth of new insight on this music's past, present, and future. Ted Gioia's The History of Jazz has been universally hailed as the most comprehensive and accessible history of the genre of all time. Acclaimed by jazz critics and fans alike, this magnificent work is now available in an up-to-date third edition that covers the latest developments in the jazz world and revisits virtually every aspect of the music. Gioia's story of jazz brilliantly portrays the most legendary jazz players, the breakthrough styles, and the scenes in which they evolved. From Louis Armstrong and Duke Ellington at the Cotton Club, Miles Davis's legendary 1955 performance at the Newport Jazz Festival, and Ornette Coleman's experiments with atonality to current innovators such as Kamasi Washington and Esperanza Spalding, Gioia takes readers on a sweeping journey through the history of jazz. As he traces the music through the swamp lands of the Mississippi Delta, the red light district of New Orleans, the rent parties of Harlem, the speakeasies of Chicago, and other key locales of jazz history, Gioia also makes the social contexts in which the music was born come alive. This new edition finally brings the often overlooked women who shaped the genre into the spotlight and traces the recent developments that have led to an upswing of jazz in contemporary mainstream culture. As it chronicles jazz from its beginnings and most iconic figures to its latest dialogues with popular music, the developments of the digital age, and new commercial successes, Gioia's History of Jazz reasserts its status as the most authoritative survey of this fascinating music.

Jazz: Race and Social Change (1870-2019) explores the tremendous evolution of jazz over the past 125 years, through struggles for racial and gender equality, major demographic upheavals, startling technological innovations, economic and political turmoil, and music-business practices. Taking an expansive view of the music, the book includes such genres as ragtime, orchestral jazz, the New Orleans style, crooners, big bands, bebop, soul jazz, free jazz, fusion, acid jazz, and hip-hop jazz. It also includes interactive listening guides that strengthen students' comprehension of the material. One of the only textbooks on the market that covers jazz to the present day, Jazz: Race and Social Change (1870-2019) provides unique social and cultural coverage of jazz's entanglement with the pursuits of racial, gender, and economic equality.

Almost immediately after jazz became popular nationally in the United States in the early 20th century, American writers responded to what this exciting art form signified for listeners. This book takes an expansive view of the relationship between this uniquely American music and other aspects of American life, including books, films, language, and politics. Observing how jazz has become a cultural institution, widely celebrated as 'America's classical music,' the book also never loses sight of its beginnings in Black expressive culture and its enduring ability to critique problems of democracy or speak back to violence and inequality, from Jim Crow to George Floyd. Taking the reader through time and across expressive forms, this volume traces jazz as an aesthetic influence, a political force, and a representational focus in American literature and culture. It shows how Jazz has long been a rich source of aesthetic stimulation, influencing writers as stylistically wide-ranging as Langston Hughes, Eudora Welty, and James Baldwin, or artists as diverse as Aaron Douglas, Jackson Pollock, and Gordon Parks.

Learning Jazz: Jazz Education, History, and Public Pedagogy addresses a debate that has consumed practitioners and advocates since the music's early days. Studies on jazz learning typically focus on one of two methods: institutional education or the kinds of informal mentoring relationships long associated with the tradition. Ken Prouty argues that this distinction works against a common identity for audiences and communities. Rather, what happens within the institution impacts-and is impacted by-events and practices outside institutional contexts. While formal institutions are well-defined in educational and civic contexts, informal institutions have profoundly influenced the development of jazz and its discourses. Drawing on historical case studies, Prouty details significant moments in jazz history. He examines the ways that early method books capitalized on a new commercial market, commandeering public expertise about the music. Chapters also discuss critic Paul Eduard Miller and his attempts to develop a jazz canon, as well as the disconnect between the spotlighted "great men" and the everyday realities of artists. Tackling race in jazz education, Prouty explores the intersections between identity and assessment; bandleaders Stan Kenton and Maynard Ferguson; public school segregation; Jazz at Lincoln Center; and more. He further examines jazz's "public pedagogy," and the sometimes-difficult relationships between "jazz people" and the general public. Ultimately, Learning Jazz posits that there is room for both institutional and non-institutional forces in the educational realm of jazz.

"Rhythm Changes: Jazz, Culture, Discourse addresses the development of jazz, the music, its makers, and its socio-cultural contexts, as well as the various discourses - especially those of academic analysis and journalistic criticism - that have influenced the creation, interpretation, and reception of jazz. Tackling diverse issues, such as race, class, nationalism, art, authenticity, irony, parody, romanticism, commercialism, technology, recording, and musical form and style, the books viewpoint on artistic and cultural practices suggests new ways of thinking about jazz history. It challenges many established scholarly approaches in jazz research, providing a much-needed intervention in the current academic orthodoxies of Jazz Studies. Perhaps the most striking and distinctive aspect of the book is the extraordinary eclecticism of the wide-ranging but carefully chosen case studies and examples referenced throughout the text, from nineteenth century literature, through 1930s Broadway and film, to twentieth and twenty- first century jazz and popular music"--

This extraordinary new work, a companion to the recent ADP title Afro-Cuban Music, picks up where that volume leaves off, focusing on the diffusion of Cuban popular musical styles throughout the Americas as well as the creation of new hybrids in places such as Puerto Rico, the Dominican Republic, Mexico, Colombia, Venezuela and Latin New York.

Gray, John. Baila!: A Bibliographic Guide to Afro-Latin Dance Musics from Mambo to Salsa. Nyack, N.Y.: African Diaspora Press, 2013.

This much needed bibliography fills an important gap in this research area and will prove an indispensable resource for librarians and scholars studying African American music and culture.

Meadows, Eddie S. Blues, Funk, Rhythm and Blues, Soul, Hip Hop, and Rap: A Research and Information Guide. New York: Routledge, 2010.

First published in 2011. Routledge is an imprint of Taylor & Francis, an informa company. Ethnomusicology: A Research and Information Guide is an annotated bibliography of books, recordings, videos, and websites in the field of ethnomusicology.

The Garland Handbook of African Music is comprised of essays from The Garland Encyclopedia of World Music: Volume 1, Africa.

Stone, Ruth M., ed. The Garland Handbook of African Music. 2nd ed. New York: Routledge, 2008.

The Garland Handbook of Latin American Music is comprised of essays from The Garland Encyclopedia of World Music: Volume 2, South America, Mexico, Central America, and the Caribbean.

Olsen, Dale A., and Daniel Sheehy, eds. The Garland Handbook of Latin American Music. New York: Routledge, 2015.

North American Fiddle Music: A Research and Information Guide is the first large-scale annotated bibliography and research guide on the fiddle traditions of the United States and Canada.

Beisswenger, Drew. North American Fiddle Music: A Research and Information Guide. New York: Routledge, 2011.

Concise and engaging, this text covers a wide range of reference sources for research in all genres of music.

Gottlieb, Jane. Music Library and Research Skills. 2nd ed. New York: Oxford University Press, 2016.

This practical guide focuses on general writing issues as well as special challenges of writing about music, with clear, step-by-step explanations of the process of writing a paper. Topics it touches on include: writing about music; analysis and research; getting started; writing a research paper (choosing a topic, outlining, writing the draft, editing and revising); and common writing problems.

Wingell, Richard J. Writing about Music: An Introductory Guide. 4th ed. New Jersey: Pearson, 2009.

How do you spell "Mendelssohn"? Where do you place the hyphen in "Beethoven" if it breaks between two lines? The answers are here! This book also discusses how to go about describing musical works and procedures in prose, the rules for citations in notes and bibliography, and proper preparation of such materials as musical examples, tables, and illustrations.

Holoman, Kern. Writing about Music: A Style Sheet. 2nd ed. Berkeley: University of California Press, 2008.