Uptown Conversation : : The New Jazz Studies / / ed. by Robert O'Meally, Farah Jasmine Griffin, Brent Hayes Edwards.

• Superior document: Title is part of eBook package: De Gruyter Columbia University Press eBook-Package Backlist 2000-2013
• MitwirkendeR: Beavers, Herman,; Edwards, Brent Hayes,; Eschen, Penny M. von,; Gabbard, Krin,; Gaines, Kevin,; Gennari, John,; Griffin, Farah Jasmine,; Harris, William J.,; Harris-Kelley, Diedra,; Iyer, Vijay,; Jackson, Travis A.,; Kelley, Robin D. G.,; Lewis, George,; Lipsitz, George,; Mangin, Timothy R.,; O'Meally, Robert G.,; Szwed, John,; Tucker, Mark,; Veneciano, Jorge Daniel,; Washington, Salim,
• HerausgeberIn: Edwards, Brent Hayes,; Griffin, Farah Jasmine,; O'Meally, Robert,
• Place / Publishing House: New York, NY : : Columbia University Press, , [2004]; ©2004
• Year of Publication: 2004
• Language: English
• Physical Description: 1 online resource (544 p.) :; 22 halftones

Jackson Pollock dancing to the music as he painted; Romare Bearden's stage and costume designs for Alvin Ailey and Dianne McIntyre; Stanley Crouch stirring his high-powered essays in a room where a drumkit stands at the center: from the perspective of the new jazz studies, jazz is not only a music to define-it is a culture. Considering musicians and filmmakers, painters and poets, the intellectual improvisations in Uptown Conversation reevaluate, reimagine, and riff on the music that has for more than a century initiated a call and response across art forms, geographies, and cultures. Building on Robert G. O'Meally's acclaimed Jazz Cadence of American Culture, these original essays offer new insights in jazz historiography, highlighting the political stakes in telling the story of the music and evaluating its cultural import in the United States and worldwide. Articles contemplating the music's experimental wing-such as Salim Washington's meditation on Charles Mingus and the avant-garde or George Lipsitz's polemical juxtaposition of Ken Burns's documentary Jazz and Horace Tapscott's autobiography Songs of the Unsung-share the stage with revisionary takes on familiar figures in the canon: Thelonious Monk, Miles Davis, Duke Ellington, and Louis Armstrong.

Table of Contents

Frontmatter -- Contents -- Acknowledgments -- Introductory Notes -- Part 1 -- Songs of the Unsung: The Darby Hicks History of Jazz -- "All the Things You Could Be by Now": Charles Mingus Presents Charles Mingus and the Limits of Avant-Garde Jazz -- Experimental Music in Black and White: The AACM in New York, 1970-1985 -- When Malindy Sings: A Meditation on Black Women's Vocality -- Hipsters, Bluebloods, Rebels, and Hooligans: The Cultural Politics of the Newport Jazz Festival, 1954-1960 -- Mainstreaming Monk: The Ellington Album -- The Man -- Part 2 -- The Real Ambassadors -- Artistic Othering in Black Diaspora Musics: Preliminary Thoughts on Time, Culture, and Politics -- Notes on Jazz in Senegal -- Revisiting Romare Bearden's Art of Improvisation -- Louis Armstrong, Bricolage, and the Aesthetics of Swing -- Checking Our Balances: Louis Armstrong, Ralph Ellison, and Betty Boop -- Paris Blues: Ellington, Armstrong, and Saying It with Music -- "How You Sound??": Amiri Baraka Writes Free Jazz -- The Literary Ellington -- "Always New and Centuries Old": Jazz, Poetry, and Tradition as Creative Adaptation -- A Space We're All Immigrants From: Othering and Communitas in Nathaniel Mackey's Bedouin Hornbook -- Exploding the Narrative in Jazz Improvisation -- Beneath the Underground: Exploring New Currents in "Jazz" -- Contributors -- Index