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Pim Higginson draws on race theory, aesthetics, cultural studies, musicology, and postcolonial studies to examine the convergence of aesthetics and race in Western thought and to explore its impact on Francophone African literature. France's "tumulte noir," the jazz craze between the two world wars, consolidated an aesthetic model present in Western philosophy since Plato that coalesced into French "scientific" racism over the 19th century; a model which formalized the notion of music as black. France's "jazzophilia" codified what the author names the "racial score:" simultaneously an archive and script that, in defining jazz as "black music," has had wide-reaching effects on contemporary perceptions of the artistic and political efficacy of black writers, musicians, and their aesthetic productions. Reading avant-garde French writers Sartre and Soupault to prize-winning Francophone authors Congolese Emmanuel Dongala to Cameroonian Léonora Miano, Scoring Race explores how jazz masters Louis Armstrong, Duke Ellington, Charlie Parker, and John Coltrane became touchstones for claims to African authorship and aesthetic subjectivity across the long twentieth century. This volume focuses on how this naturalization of black musicality occurred and its impact on Francophone African writers and filmmakers for whom the idea of their own essential musicality represented an epistemological obstacle. Despite this obstacle, because of jazz's profound importance to diaspora aesthetics, as well as its crucial role in the French imaginary, many African writers have chosen to make it a structuring principle of their literary projects. How and why, Pim Higginson asks, did these writers and filmmakers approach jazz and its participation in and formalization of the "racial score"? To what extent did they reproduce the terms of their own systematic expulsion into music and to what extent, in their impossible demand for writing (or film-making), did they arrive at tactical means of working through, around, or beyond the strictures of their assumed musicality? Pim Higginson is Professor of Global French Studies at the University of New Mexico, Albuquerque.

African literature (French) --- French literature --- History and criticism. --- African authors --- Jazz in literature. --- 1900-1999 --- Frankophones Afrika. --- Französischsprachiges Afrika --- Französisches Sprachgebiet --- Afrika --- African American music. --- Charlie Parker. --- Duke Ellington. --- Emmanuel Dongala. --- France. --- French. --- John Coltrane. --- Leonora Miano. --- Louis Armstrong. --- Sartre. --- cultural studies. --- jazz in Paris. --- jazz. --- musicology. --- race.

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Despite the plethora of writing about jazz, little attention has been paid to what musicians themselves wrote and said about their practice. An implicit division of labor has emerged where, for the most part, black artists invent and play music while white writers provide the commentary. Eric Porter overturns this tendency in his creative intellectual history of African American musicians. He foregrounds the often-ignored ideas of these artists, analyzing them in the context of meanings circulating around jazz, as well as in relationship to broader currents in African American thought. Porter examines several crucial moments in the history of jazz: the formative years of the 1920's and 1930's; the emergence of bebop; the political and experimental projects of the 1950's, 1960's and 1970's; and the debates surrounding Jazz at Lincoln Center under the direction of Wynton Marsalis. Louis Armstrong, Anthony Braxton, Marion Brown, Duke Ellington, W.C. Handy, Yusef Lateef, Abbey Lincoln, Charles Mingus, Archie Shepp, Wadada Leo Smith, Mary Lou Williams, and Reggie Workman also feature prominently in this book. The wealth of information Porter uncovers shows how these musicians have expressed themselves in print; actively shaped the institutional structures through which the music is created, distributed, and consumed, and how they aligned themselves with other artists and activists, and how they were influenced by forces of class and gender. What Is This Thing Called Jazz? challenges interpretive orthodoxies by showing how much black jazz musicians have struggled against both the racism of the dominant culture and the prescriptive definitions of racial authenticity propagated by the music's supporters, both white and black.

Jazz --- African American jazz musicians. --- African Americans --- Jazz musicians, African American --- Jazz musicians --- History and criticism. --- Intellectual life --- 1920s. --- 1930s. --- african american musicians. --- african american. --- american music. --- anthony braxton. --- black artists. --- black musicians. --- class. --- cultural studies. --- duke ellington. --- essay collection. --- experimental jazz. --- experimental music. --- gender. --- jazz music. --- jazz musicians. --- louis armstrong. --- marion brown. --- music analysis. --- music genres. --- music history. --- music theory. --- musical. --- musicians. --- social class. --- social studies.

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Compelling from cover to cover, this is the story of one of the most recorded and beloved jazz trumpeters of all time. With unsparing honesty and a superb eye for detail, Clark Terry, born in 1920, takes us from his impoverished childhood in St. Louis, Missouri, where jazz could be heard everywhere, to the smoke-filled small clubs and carnivals across the Jim Crow South where he got his start, and on to worldwide acclaim. Terry takes us behind the scenes of jazz history as he introduces scores of legendary greats-Ella Fitzgerald, Oscar Peterson, Dizzy Gillespie, Dinah Washington, Doc Severinsen, Ray Charles, Thelonious Monk, Billie Holiday, Sarah Vaughan, Coleman Hawkins, Zoot Sims, and Dianne Reeves, among many others. Terry also reveals much about his own personal life, his experiences with racism, how he helped break the color barrier in 1960 when he joined the Tonight Show band on NBC, and why-at ninety years old-his students from around the world still call and visit him for lessons.

Jazz musicians --- Trumpet players --- Terry, Clark. --- 20th century jazz. --- african american history. --- african american musicians. --- american music. --- billie holiday. --- count basie. --- duke ellington. --- ella fitzgerald. --- grammy lifetime achievement award. --- history of jazz. --- influential african americans. --- influential musicians. --- jazz and blues. --- jazz enthusiasts. --- jazz icons. --- jazz musician biography. --- jazz trumpeter. --- jim crow. --- music during segregation. --- music history. --- music. --- musicians. --- overcoming prejudice. --- overcoming racism. --- quincy jones. --- ray charles. --- southern jazz. --- tonight show. --- trumpet players.

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Explores the role of jazz celebrities like Ella Fitzgerald, Cab Calloway, Duke Ellington, and Mary Lou Williams as representatives of African American religion in the twentieth centuryBeginning in the 1920s, the Jazz Age propelled Black swing artists into national celebrity. Many took on the role of race representatives, and were able to leverage their popularity toward achieving social progress for other African Americans. In Lift Every Voice and Swing, Vaughn A. Booker argues that with the emergence of these popular jazz figures, who came from a culture shaped by Black Protestantism, religious authority for African Americans found a place and spokespeople outside of traditional Afro-Protestant institutions and religious life. Popular Black jazz professionals--such as Ella Fitzgerald, Cab Calloway, Duke Ellington, and Mary Lou Williams--inherited religious authority though they were not official religious leaders. Some of these artists put forward a religious culture in the mid-twentieth century by releasing religious recordings and putting on religious concerts, and their work came to be seen as integral to the Black religious ethos. Booker documents this transformative era in religious expression, in which jazz musicians embodied religious beliefs and practices that echoed and diverged from the predominant African American religious culture. He draws on the heretofore unexamined private religious writings of Duke Ellington and Mary Lou Williams, and showcases the careers of female jazz artists alongside those of men, expanding our understanding of African American religious expression and decentering the Black church as the sole concept for understanding Black Protestant religiosity. Featuring gorgeous prose and insightful research, Lift Every Voice and Swing will change the way we understand the connections between jazz music and faith.

spirituals. --- sex. --- religious race professionals. --- religious movement. --- rehabilitation. --- race representation. --- race histories. --- public intellectuals. --- polytheism. --- monotheism. --- memorialization. --- mainline Protestantism. --- jazz criticism. --- irreverence. --- interracial. --- interfaith. --- integration. --- accountability;Africo-American Presbyterian;Afro-Protestantism;artistry;authenticity;Bel Canto;Bible;Billy Strayhorn;Black Catholicism;black church;black middle class;black press;Bud Powell;Cab Calloway;Catholic;charity;Chick Webb;Christian;Christianity;civil rights;Come Sunday;consumer culture;conversion;creativity;dancing;desegregation;Drusilla Dunjee Houston;Duke Ellington;ecumenism;Ella Fitzgerald;emotionalism;entertainment;Episcopal;Ethiopianism;Geri Allen;God;Harlem;Hazel Scott;Hebrew Bible;hotel stationery. --- Yoruba. --- Wynton Marsalis. --- Star of Zion. --- Southern Christian Leadership Conference. --- Sonia Sanchez. --- Solomon. --- Sacred Concerts. --- Mary Lou Williams. --- Lionel Hampton. --- Jesus. --- Jennifer Holliday. --- James Morris Webb. --- Africo-American Presbyterian. --- Afro-Protestantism. --- Bel Canto. --- Bible. --- Billy Strayhorn. --- Black Catholicism. --- Bud Powell. --- Cab Calloway. --- Catholic. --- Chick Webb. --- Christian. --- Christianity. --- Come Sunday. --- Drusilla Dunjee Houston. --- Duke Ellington. --- Ella Fitzgerald. --- Episcopal. --- Ethiopianism. --- Geri Allen. --- God. --- Harlem. --- Hazel Scott. --- Hebrew Bible. --- accountability. --- artistry. --- authenticity. --- black church. --- black middle class. --- black press. --- charity. --- civil rights. --- consumer culture. --- conversion. --- creativity. --- dancing. --- desegregation. --- ecumenism. --- emotionalism. --- entertainment. --- hotel stationery. --- sexuality.