No CrossRef data available.
Article contents
Brian Harker, Louis Armstrong’s Hot Five and Hot Seven Recordings (New York: Oxford University Press, 2011), ISBN: 978-0-195-38841-1 (hb), 978-0-195-38840-4 (pb). - Catherine Tackley, Benny Goodman's Famous 1938 Carnegie Hall Jazz Concert (New York: Oxford University Press, 2011), ISBN: 978-0-195-39830-4 (hb), 978-0-195-39831-1 (pb). - Keith Waters, The Studio Recordings of the Miles Davis Quintet, 1965–68 (New York: Oxford University Press, 2011), ISBN: 978-0-195-39383-5 (hb), 978-0-195-39384-2 (pb). - Peter Elsdon, Keith Jarrett's The Köln Concert (New York: Oxford University Press, 2012), ISBN: 978-0-19-977925-3 (hb), 978-0-199-77926-0 (pb). - Gabriel Solis, Thelonious Monk Quartet Featuring John Coltrane at Carnegie Hall (New York: Oxford University Press, 2014), ISBN: 978-0-199-74435-0 (hb), 978-0-199-74436-7 (pb).
Published online by Cambridge University Press: 26 August 2015
Abstract
An abstract is not available for this content so a preview has been provided. Please use the Get access link above for information on how to access this content.
- Type
- Reviews
- Information
- Copyright
- Copyright © Cambridge University Press, 2015
References
1 Berliner, Paul, Thinking in Jazz: The Infinite Art of Improvisation (Chicago: University of Chicago Press, 1994)CrossRefGoogle Scholar; Jackson, Travis, Blowin’ the Blues Away: Performance and Meaning on the New York Jazz Scene (Berkeley: University of California Press, 2012)CrossRefGoogle Scholar; Monson, Ingrid, Saying Something: Jazz Improvisation and Interaction (Chicago: University of Chicago Press, 1996)Google Scholar.
2 Gabbard, Krin, ed., Representing Jazz (Durham: Duke University Press, 1995)Google Scholar; O'Meally, Robert G., Edwards, Brent Hayes, and Griffin, Farah Jasmine, eds, Uptown Conversations: The New Jazz Studies (New York: Columbia University Press, 2004)CrossRefGoogle Scholar.
3 Kahn, Ashley, A Love Supreme: The Story of John Coltrane's Signature Album (New York: W. W. Norton, 2002)Google Scholar; Pond, Steven F., Head Hunters: The Making of Jazz's First Platinum Album. (Ann Arbor: University of Michigan Press, 2005)CrossRefGoogle Scholar; Griffin, Farah Jasmine and Washington, Salim, Clawing at the Limits of Cool: Miles Davis, John Coltrane, and the Greatest Jazz Collaboration Ever (New York: Thomas Dunne Books, 2008)Google Scholar. Examples of monographs on Kind of Blue include: Ashley Kahn, Kind of Blue (New York: Da Capo Press, 2000); Nisenson, Eric, The Making of Kind of Blue: Miles Davis and His Masterpiece (New York: St Martin's Press, 2000)Google Scholar; and Williams, Richard, The Blue Moment: Miles Davis's Kind of Blue and the Remaking of Modern Music (New York: W. W. Norton, 2010)Google Scholar.
4 For more on Armstrong as a modernist, see Appel, Alfred, Jazz Modernism: From Ellington and Armstrong to Matisse and Joyce (New York: Alfred A. Knopf, 2002)Google Scholar and Brothers, Thomas, Louis Armstrong, Master of Modernism (New York: W. W. Norton, 2014)Google Scholar. Harker also connects Armstrong to Guthrie Ramsey's Afro-modernism; see Ramsey, Guthrie P. Jr, Race Music: Black Cultures from Bebop to Hip Hop (Berkeley: University of California Press, 2003)Google Scholar. I would add that Fred Moten's work sheds light on Harker's invocation of montage and jazz improvisation; see Moten, Fred, In the Break: The Aesthetics of the Black Radical Tradition (Minneapolis: University of Minnesota Press, 2003)Google Scholar.
5 Ake, David, ‘The Emergence of the Rural American Ideal in Jazz: Keith Jarrett and Pat Metheny on ECM’, Jazz Perspectives 1/1 (2007): 29–59CrossRefGoogle Scholar.
6 See also Solis, Gabriel, Monk's Music: Thelonious Monk and Jazz History in the Making (Berkeley: University of California Press, 2008)Google Scholar.