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2. Before Elvis: The prehistory of rock 'n' roll
- Collection:
- Black Caribbean Literature (BCL)
- Contributers:
- Birnbaum,Larry, (Author)
- Format:
- Book, Whole
- Publication Date:
- 01/01; 2013
- Published:
- Lanham: Scarecrow Press
- Location:
- African American Research Center, Library, University of Illinois at Urbana-Champaign
- Notes:
- Surveys the origins of rock 'n' roll from the minstrel era to the emergence of Bill Haley and Elvis Presley. Dispelling common misconceptions, this book examines rock's origins in hokum songs and big-band boogies as well as Delta blues, detailing the embrace by white artists of African-American styles long before rock 'n' roll appeared. This study ranges far and wide, highlighting not only the contributions of obscure but key precursors like Hardrock Gunter and Sam Theard but also the influence of celebrity performers like Gene Autry and Ella Fitzgerald. Too often, rock historians treat the genesis of rock 'n' roll as a bolt from the blue, an overnight revolution provoked by the bland pop music that immediately preceded it and created through the white appropriation of music until then played only by and for black audiences. Here, Birnbaum argues a more complicated history of rock's evolution from a heady mix of ragtime, boogie-woogie, swing, country music, mainstream pop, and R&B—a melange of genres that influenced one another along the way, from the absorption of blues and boogies into jazz and pop to the integration of country and Caribbean music into R&B.
3. Concert and dance: The foundations of black jazz in South Africa between the twenties and the early forties
- Collection:
- Black Caribbean Literature (BCL)
- Contributers:
- Ballantine,Christopher, (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: 475-500.(AN: 2011-21316).
- Notes:
- A reprint of the article abstracted as RILM ref]1991-03701/ref].
4. Haitian Jazz night Alix "Buyu" Ambroise to raise the Haitian Flag once more
- Collection:
- Black Caribbean Literature (BCL)
- Format:
- Newspaper Article
- Publication Date:
- Sep 7-Sep 14, 2005
- Published:
- Brooklyn, NY
- Location:
- African American Research Center, Library, University of Illinois at Urbana-Champaign
- Journal Title:
- Haiti Observateur
- Journal Title Details:
- 36 : 21
- Notes:
- In the music's hundred year existence, the tradition's greatest innovators (Louis Armstrong, Duke Ellington, Billie Holiday, Charlie Parker, Thelonious Monk, John Coltrane, and Ornette Coleman, just to name a few...) have been black. However, Jazz music has since evolved into an international and even a universal level, to the point where we now have: Latin Jazz/Brazilian Jazz/Cuban Jazz/Japanese Jazz etc...Basically, most cultures around the world found their niches in Jazz music. Over the years, Haiti has been home to many great jazz musicians, unfortunately with the dominance of Konpa Music, many Haitians have sort-of ignored this genre of music, and these musicians, but there are a small minority of Haitians in Haiti and abroad that are very fond of Jazz music and have shown serious support to the Haitians musicians who dedicated their lives and craft to playing Jazz music, despite the fact that it's not the dominant and popular art form in Haiti.
5. 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]).
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].
8. World beat music is here to stay
- Collection:
- Black Caribbean Literature (BCL)
- Contributers:
- Harris,T. 'Boots' (Author)
- Format:
- Newspaper Article
- Publication Date:
- 2000-02-28
- Published:
- Miami, FL
- Location:
- African American Research Center, Library, University of Illinois at Urbana-Champaign
- Journal Title:
- Caribbean Today
- Journal Title Details:
- 3 : 18
- Notes:
- The term "world beat music" is less than a decade old. The music is a genre defined by the heads of a number of small London-based record labels who found that their records from Africa, Latin America and the Caribbean were not finding rack space. Major record stores had no obvious place for these unclassified sounds. The average listeners have not. Today the major record chains - Spec's, Best Buy, and others - have responded to buyers' demand to make available music from Africa, Cuba, Jamaica, Brazil and Latin America. Finding releases from Senegal's Kouding Cissoko or Baaba Maal is no problem. Finding the Afro-French, hip-hop sound of Les Nubians is simple; so finding the music of Nacio from Dominica, Gilberto Gil from Brazil, or Bamboleo of Cuba.