Keeping Time Readings in Jazz History

ISBN-10: 0195091736

ISBN-13: 9780195091731

Edition: 1999 (Reprint)

Authors: Robert Walser

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Drawing from contemporary journalism, reviews, program notes, memoirs, interviews, and other sources, Keeping Time lets you experience, first hand, the controversies and critical issues that have accompanied jazz from its very birth. Edited by Robert Walser, these sixty-two thought provoking pieces offer a wealth of insight into jazz. Some of the giants of jazz speak to us here, including Jelly Roll Morton, Billie Holiday, Charles Mingus and Wynton Marsalis. And there are pieces by writers such as Langston Hughes, Norman Mailer, and Ralph Ellison, and by critics such as Leonard Feather and Gunther Schuller. Readers will find Louis Armstrong on what makes swing, Dizzy Gillespie on bebop, and Miles Davis on jazz-rock fusion. Equally important, Walser has selected writings that capture the passionate reactions of people who have loved, hated, supported, and argued about jazz. One can read, for instance, a dismissive article written in 1918 that relegates jazz to the "servant's hall of music" along with "the clatter of the clogs, the click of Slavic heels." Or a debate between Wynton Marsalis and Herbie Hancock over the merits of free jazz and electric instruments. Or Duke Ellington's claim that jazz is neither highbrow nor lowbrow, but "goes back to something just about as old--and as natural--as the circulation of the blood." In the end, the focus here remains on how the music works and why people have cared about it. Filled with passionately felt, insightful writing, Keeping Time will increase one's historical awareness of jazz even as it provokes lively discussion among jazz aficionados, whether in clubs, concert halls or classrooms.
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Book details

List price: $37.95
Copyright year: 1999
Publisher: Oxford University Press, Incorporated
Publication date: 11/19/1998
Binding: Paperback
Pages: 464
Size: 6.00" wide x 9.25" long x 0.75" tall
Weight: 1.430
Language: English

First Accounts
Sidney Bechet's Musical Philosophy
"Whence Comes Jass?"
The Location of "Jass"
A "Serious" Musician Takes Jazz Seriously
"A Negro Explains 'Jazz'"
"Jazzing Away Prejudice"
The "Inventor of Jazz"
The Twenties
Jazzing Around the Globe
"Does Jazz Put the Sin in Syncopation?"
Jazz and African Music
The Man Who Made a Lady out of Jazz (Paul Whiteman)
"The Jazz Problem"
"The Negro Artist and the Racial Mountain"
A Black Journalist Criticizes Jazz
"The Caucasian Storms Harlem"
The Appeal of Jazz Explained
The Thirties
What Is Swing?
Looking Back at "The Jazz Age"
Don Redman: Portrait of a Bandleader
Defining "Hot Jazz"
An Experience in Jazz History
On the Road with Count Basie
Jazz at Carnegie Hall
Duke Ellington Explains Swing
Jazz and Gender During the War Years
The Forties
"Red Music"
"From Somewhere in France"
Johnny Otis Remembers Lester Young
"A People's Music"
"Bop Is Nowhere"
"The Cult of Bebop"
"The Golden Age, Time Past"
The Professional Dance Musician and His Audience
The Fifties
Jazz in the Classroom
A Jazz "Masterpiece"
"Sonny Rollins and the Challenge of Thematic Improvisation"
"Beneath the Underdog"
Psychoanalyzing Jazz
An Appeal to the Vatican
America's "Secret Sonic Weapon"
"The White Negro"
Louis Armstrong on Music and Politics
The Sixties
Critical Reception of Free Jazz
"Jazz and the White Critic"
A Jazz Summit Meeting
The Seventies
Oral Culture and Musical Tradition
Jazz as a Progressive Social Force
Beyond Categories
The Musician's Heroic Craft
Creative Music and the AACM
The Eighties
"America's Classical Music"
"A Rare National Treasure"
The Neoclassical Agenda
Soul, Craft, and Cultural Hierarchy
"'It Jus' Be's Dat Way Sometime': The Sexual Politics of Women's Blues"
Miles Davis Speaks His Mind
A Music of Survival and Celebration
The Nineties
Who Listens to Jazz?
Free Jazz Revisited
Ring Shout, Signifyin(g), and Jazz Analysis
Ferociously Harmonizing with Reality
Constructing the Jazz Tradition
Editing Notes
Select Bibliography
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