1 - 7 of 7
Number of results to display per page
Search Results
2. Contemporary casual
- Collection:
- Black Caribbean Literature (BCL)
- Contributers:
- Booth,Philip, (Author)
- Format:
- Journal Article
- Publication Date:
- Dec; 2013
- Location:
- African American Research Center, Library, University of Illinois at Urbana-Champaign
- Journal Title:
- JazzTimes
- Journal Title Details:
- 43(10)
- Notes:
- After nearly four decades as an entity, what does Spyro Gyra do for album number 30? The Rhinebeck sessions (Crosseyed Bear), assembled during a three-day recording sprint in the titular small town in the Hudson Valley, boasts the trademark Spyro Gyra sound: catchy melodies by founding saxophonist Jay Beckenstein, urgent funk and fusion grooves, nods to Caribbean rhythms. But there's a looser vibe to the music, more of an anything-goes feel than you find in most of the band's tightly arranged and carefully programmed material. The band explains that the effect was purely intentional.
3. Historical dictionary of jazz
- Collection:
- Black Caribbean Literature (BCL)
- Contributers:
- Davis,John S., (Author)
- Format:
- Book, Whole
- Publication Date:
- 01/01; 2012
- Published:
- Lanham: Scarecrow Press
- Location:
- African American Research Center, Library, University of Illinois at Urbana-Champaign
- Notes:
- Unedited] Jazz is a music formed from a combination of influences. In its infancy, jazz was a melting pot of military brass bands, work songs, and field hollers of the United States slaves during the 19th c., European harmonies and forms, and the rhythms of Africa and the Caribbean. Later, the blues and the influence of Spanish and French Creoles with European classical training nudged jazz further along in its development. Jazz has always been a world-music in the sense that music from around the globe has been embraced and incorporated. This dictionary covers the history of jazz through a chronology, an introductory essay, and an extensive bibliography. The dictionary section has over 1,500 cross-referenced entries on significant jazz performers, band leaders, bands, venues, record labels, recordings, and the different styles of jazz.
4. Jazz/not jazz: The music and its boundaries
- Collection:
- Black Caribbean Literature (BCL)
- Contributers:
- Ake,David A., (Ed.And Intro.), Garrett,Charles, (Ed.And Intro.), and Goldmark,Daniel, (Ed.And Intro.)
- Format:
- Book, Whole
- Publication Date:
- 01/01; 2012
- Published:
- Berkeley: University of California Press
- Location:
- African American Research Center, Library, University of Illinois at Urbana-Champaign
- Notes:
- The following contributions are cited separately in RILM: David AKE, Crossing the street: Rethinking jazz education (RILM ref]2012-05841/ref]); Tamar BARZEL, The praxis of composition-improvisation and the poetics of creative kinship (RILM ref]2012-05838/ref]); Jessica BISSETT PEREA, Voices from the jazz wilderness: Locating Pacific Northwest vocal ensembles within jazz education (RILM ref]2012-05840/ref]); Charles GARRETT, The humor of jazz (RILM ref]2012-05833/ref]); Daniel GOLDMARK, 'Slightly left of center': Atlantic Records and the problems of genre (RILM ref]2012-05837/ref]); John HOWLAND, Jazz with strings: Between jazz and the great American songbook (RILM ref]2012-05836/ref]); Loren Y. KAJIKAWA, The sound of struggle: Black revolutionary nationalism and Asian American jazz (RILM ref]2012-05839/ref]); Eric C. PORTER, Incorporation and distinction in jazz history and jazz historiography (RILM ref]2012-05831/ref]); Ken PROUTY, Creating boundaries in the virtual jazz community (RILM ref]2012-05834/ref]); Sherrie TUCKER, Deconstructing the jazz tradition: The subjectless subject of new jazz studies (RILM ref]2012-05842/ref]); Elijah WALD, Louis Armstrong loves Guy Lombardo (RILM ref]2012-05832/ref]); Christopher J. WASHBURNE, Latin jazz, Afro-Latin jazz, Afro-Cuban jazz, Cubop, Caribbean jazz, jazz Latin, or just...jazz: The politics of locating an intercultural music (RILM ref]2012-05835/ref]).
5. Preaching blues
- Collection:
- Black Caribbean Literature (BCL)
- Contributers:
- Brackett,David, (Author)
- Format:
- Journal Article
- Publication Date:
- Spring; Spring, 2012
- Location:
- African American Research Center, Library, University of Illinois at Urbana-Champaign
- Journal Title:
- Black music research journal
- Journal Title Details:
- 32(1) : 113-136
- Notes:
- Unedited] Blues scholarship has offered a number of interpretations for the haunted desperation of the souls of Delta blues musicians, their deals with the devil, and the magical acquisition of musical skill. The association of 1920s and 1930s blues musicians with the supernatural may have been fed by those rediscovered blues musicians sharing what their mid-20th c. white interlocutors wanted to hear, but they may also have resonated with a more metaphorical belief in the role of the supernatural. Robert Johnson’s diverse recordings, specifically “Crossroad blues,” “Preaching blues” and “If I dad possession over judgment day,” illuminate connections between blues and African Diaspora of the circum-Caribbean. The lyrical content, with its images of prayer and desperation, musical construction, with connections to common practices in religious musics in the circum-Caribbean, and ascribed primitivist elements in these songs suggest that Johnson’s invocation of the supernatural may also have been the metaphorical presentation of a widely known legend. Therefore, beliefs about spirituality in the blues, and the interconnection of blues and religion, have bases beyond religious or commercial sources.
6. When jazz was foreign: Rethinking jazz history
- Collection:
- Black Caribbean Literature (BCL)
- Contributers:
- Gebhardt,Nicholas, (Author)
- Format:
- Journal Article
- Publication Date:
- 01/01; 2012
- Location:
- African American Research Center, Library, University of Illinois at Urbana-Champaign
- Journal Title:
- Jazzforschung/Jazz research
- Journal Title Details:
- 44 : 185-197
- Notes:
- In the 20th century jazz most of the time cannot be separated from definitions of African-American identity, American culture, Caribbean culture, and to some extent European culture. Jazz served as the metaphor for race-related differences, but also as a means to overcome these. Some of those basic premises, by which the consideration of the musicians and their music shows their cultural and historical significance within the Atlantic area, are discussed., unedited non–English abstract received by RILM] Im 20. Jahrhundert war Jazz die meiste Zeit nicht von Definitionen afroamerikanischer Identität, amerikanischer Kultur, karibischer Kultur und teilweise auch europäischer Kultur zu trennen. Jazz diente hierbei als Metapher für rassenbedingte Unterschiede, aber auch als Mittel, diese zu überwinden. Der Aufsatz thematisiert einige jener grundlegenden Prämissen, durch die die Betrachtung der Musiker und ihrer Musik auch deren kulturgeschichtliche Signifikanz innerhalb des atlantischen Raumes aufzeigt.
7. White face, black voice: Race, gender, and region in the music of the Boswell Sisters
- Collection:
- Black Caribbean Literature (BCL)
- Contributers:
- Stras,Laurie, (Author)
- Format:
- Book, Section
- Publication Date:
- 01/01; 2011
- Location:
- African American Research Center, Library, University of Illinois at Urbana-Champaign
- Journal Title:
- Collected Work: Jazz.Pages: 153-202.(AN: 2011-21316).
- Notes:
- Reprint of the article abstracted as RILM ref]2007-01616/ref].