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“We Both Speak African”: A Dialogic Study of Afro-Cuban Jazz

Published online by Cambridge University Press:  14 April 2011

DAVID GARCÍA
DAVID GARCÍA*
Affiliation:
daga@email.unc.edu
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Abstract

From 1947 to 1948 the Dizzy Gillespie orchestra with Chano Pozo produced some of the most important recordings that contributed to the development of Afro-Cuban jazz. Pozo had already led a successful career as a professional musician in Havana before he moved to New York City, where he met Gillespie and joined his bebop big band. The integration of a black Cuban percussionist into Gillespie's all-black band raises important questions about the racial politics enveloping the popularization of bebop, Afro-Cuban jazz, and the work of others in contemporaneous political, cultural, and intellectual arenas. This article provides new documentation of Pozo's performances with the Gillespie band in the United States and Europe and shows the ideological concerns that Pozo and Gillespie shared with West African political and cultural activists, Melville Herskovists and his students, and early jazz historians in the 1940s. The article suggests an alternative methodology for scholarship on jazz in the United States that approaches jazz's extensive engagements with Cuban and other Afro-Atlantic musicians as embodying the crux of jazz's place in the Afro-Atlantic.

Type
Research Article
Information
Journal of the Society for American Music , Volume 5 , Issue 2 , May 2011 , pp. 195 - 233
Copyright
Copyright © The Society for American Music 2011

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References

References

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“Set African Bebop Concert.” Pittsburgh Courier (3 May 1947): 17.Google Scholar
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Urbino, Ibrahim. “Un cubano rítmico y sonoro.” Bohemia 41/1 (1949): 44, 66.Google Scholar
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“Wot's Hot.” Chicago Defender (25 September 1948): 8.Google Scholar
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Blesh, Rudi. Shining Trumpets: A History of Jazz. New York: Alfred A. Knopf, [1946] 1958.Google Scholar
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Brock, Lisa, and Digna, Castañeda Fuertes, eds. Between Race and Empire: African-Americans and Cubans before the Cuban Revolution. Philadelphia: Temple University Press, 1998.Google Scholar
Chernoff, John Miller. African Rhythm and African Sensibility. Chicago: University of Chicago Press, 1979.Google Scholar
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García, David F. “Arsenio Rodríguez: A Black Cuban Musician in the Dance Music Milieus of Havana, New York City, and Los Angeles.” Ph.D. dissertation, City University of New York, 2003.Google Scholar
García, David F. Arsenio Rodríguez and the Transnational Flows of Latin Popular Music. Philadelphia: Temple University Press, 2006.Google Scholar
Gennari, John. Blowin’ Hot and Cool: Jazz and Its Critics. Chicago: University of Chicago Press, 2006.CrossRefGoogle Scholar
Gershenhorn, Jerry. Melville J. Herskovits and the Racial Politics of Knowledge. Lincoln: University of Nebraska Press, 2004.Google Scholar
Gillespie, Dizzy with Al Fraser. To Be, or Not . . .To Bop: Memoirs. New York: Da Capo, 1979.Google Scholar
Gilroy, Paul. The Black Atlantic: Modernity and Double Consciousness. Cambridge, Mass.: Harvard University Press, 1993.Google Scholar
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Hodson, Robert. Interaction, Improvisation, and Interplay in Jazz. New York: Routledge, 2007.CrossRefGoogle Scholar
Holquist, Michael, ed. The Dialogic Imagination: Four Essays by M. M. Bakhtin, trans. Caryl Emerson and Michael Holquist. Austin: University of Texas Press, 1981.Google Scholar
Keil, Charles. “Motion and Feeling through Music.” Journal of Aesthetics and Art Criticism 24 (1966): 337–49.CrossRefGoogle Scholar
Loza, Steven. “Poncho Sánchez, Latin Jazz, and the Cuban Son: A Stylistic and Social Analysis.” In Situating Salsa: Global Markets and Local Meanings in Latin Popular Music, ed. Waxer, Lise, 201–18. New York: Routledge, 2002.Google Scholar
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Lynch, Hollis R. “Pan-African Responses in the United States to British Colonial Rule in Africa in the 1940s.” In The Transfer of Power in Africa: Decolonization 1940–1960, ed. Gifford, Prosser and Louis, W. Roger, 57–86. New Haven: Yale University Press, 1982.Google Scholar
Matory, J. Lorand. “The ‘New World’ Surrounds an Ocean: Theorizing the Live Dialogue between African and African American Cultures.” In Afro-Atlantic Dialogues: Anthropology in the Diaspora, ed. Yelvington, Kevin, 151–92. Santa Fe: School of American Research Press, and Oxford: James Currey, 2006.Google Scholar
Mbadiwe, K. O. “The African Academy of Arts and Research.” In Africa: Today and Tomorrow, ed. Jones-Quartey, A. B., 9, 17, 66–67. New York: African Academy of Arts and Research, [1945] 1976.Google Scholar
Mbadiwe, K. O.Rebirth of a Nation: Autobiography. Enugu, Nigeria: Fourth Dimension Publishing, 1991.Google Scholar
Merriam, Alan P. “A Short Bibliography of Jazz.” Notes 10/2 (March 1953): 202–10.CrossRefGoogle Scholar
Miller, Ivor L. “A Secret Society Goes Public: The Relationship between Abakuá and Cuban Popular Culture.” African Studies Review 43/1 (April 2000): 161–88.CrossRefGoogle Scholar
Miller, Ivor L. Voice of the Leopard: African Secret Societies and Cuba. Jackson: University Press of Mississippi, 2009.CrossRefGoogle Scholar
Monson, Ingrid, ed. The African Diaspora: A Musical Perspective. New York: Garland Publishing, 2000.Google Scholar
Monson, Ingrid. “Art Blakey's African Diaspora.” In The African Diaspora: A Musical Perspective, ed. Monson, Ingrid, 329–52. New York: Garland Publishing, 2000.Google Scholar
Monson, Ingrid. Freedom Sounds: Civil Rights Call Out to Jazz and Africa. Oxford: Oxford University Press, 2007.CrossRefGoogle Scholar
Monson, Ingrid. “Oh Freedom: George Russell, John Coltrane, and Modal Jazz.” In In the Course of Performance: Studies in the World of Musical Improvisation, ed. Nettl, Bruno with Russell, Melinda, 149–68. Chicago: University of Chicago Press, 1998.Google Scholar
Monson, Ingrid. Saying Something: Jazz Improvisation and Interaction. Chicago: University of Chicago Press, 1996.Google Scholar
Moreno, Jairo. “Bauzá-Gillespie-Latin/Jazz: Difference, Modernity, and the Black Caribbean.” South Atlantic Quarterly 103/1 (Winter 2004): 81–99.CrossRefGoogle Scholar
Porter, Eric. What Is This Thing Called Jazz? African American Musicians as Artists, Critics, and Activists. Berkeley: University of California Press, 2002.Google Scholar
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