Black British musicians have been making jazz since around 1920. This book reveals their hidden history and major contribution to the development of jazz in the UK. The chapters show the importance of black British jazz in terms of musical hybridity and the cultural significance of race. The volume also provides a case study in how music of the African diaspora reverberates around the world, beyond the shores of the USA - the engine-house of global black music. It will engage scholars of music and cultural studies not only in Britain, but across the world.
Black British musicians have been making jazz since around 1920. This book reveals their hidden history and major contribution to the development of jazz in the UK. The chapters show the importance of black British jazz in terms of musical hybridity and the cultural significance of race. The volume also provides a case study in how music of the African diaspora reverberates around the world, beyond the shores of the USA - the engine-house of global black music. It will engage scholars of music and cultural studies not only in Britain, but across the world.
Jason Toynbee is Senior Lecturer in the Department of Sociology at The Open University, UK. His research focuses on creativity and ethnicity in music. Jason's most recent books are Bob Marley: Herald of a Postcolonial World? (2007), and as co-editor Migrating Music (2011 with Byron Dueck). He led the AHRC funded research project 'What Is Black British Jazz?' at The Open University. Catherine Tackley is Senior Lecturer in Music at The Open University, UK. She is author of The Evolution of Jazz in Britain, 1880-1935 (Ashgate, 2005) and Benny Goodman's Famous 1938 Carnegie Hall Jazz Concert (2012). Catherine is currently leading the AHRC-funded network 'Atlantic Sounds: Ships and Sailortowns' and is a co-editor of the Jazz Research Journal. Mark Doffman researches and teaches in the Faculty of Music at the University of Oxford, UK. His research interests lie around creativity, psycho-social dynamics in music performance, temporality in music, and jazz performance. In addition to his research and teaching, Mark continues to perform as a jazz drummer.
Inhaltsangabe
Chapter 1 Another Place Another Race? Thinking through Jazz Ethnicity and Diaspora in Britain JasonToynbee CatherineTackley MarkDoffman; Part 1 Routes; Chapter 2 Towards a Black British Jazz HowardRye; Chapter 3 Tiger Bay and the Roots/Routes of Black British Jazz CatherineTackley; Chapter 4 Is Reggae to Black British Music as Blues is to Jazz? Caribbean Roots/Routes in Imaginings of Black British Jazz KennethBilby; Part 2 Ownership; Chapter 5 Race Consecration and the 'Music Outside'? The making of the British Jazz Avant-Garde MarkBanks JasonToynbee; Chapter 6 'What you doin' here?' The Sounds Sensibilities and Belonging(s) of Black British Jazz Musicians MarkDoffman; Chapter 7 Soweto's War Justin A.Williams; Part 3 Performance; Chapter 8 Winifred Atwell and Her 'Other Piano' GeorgeMcKay; Chapter 9 Camping It Up: Jazz's Modernity Reginald Foresythe Theodor Adorno and the Black Atlantic GeorgeBurrows; Chapter 10 Standard Advantage and Race in British Discourse about Jazz ByronDueck;
Chapter 1 Another Place Another Race? Thinking through Jazz Ethnicity and Diaspora in Britain JasonToynbee CatherineTackley MarkDoffman; Part 1 Routes; Chapter 2 Towards a Black British Jazz HowardRye; Chapter 3 Tiger Bay and the Roots/Routes of Black British Jazz CatherineTackley; Chapter 4 Is Reggae to Black British Music as Blues is to Jazz? Caribbean Roots/Routes in Imaginings of Black British Jazz KennethBilby; Part 2 Ownership; Chapter 5 Race Consecration and the 'Music Outside'? The making of the British Jazz Avant-Garde MarkBanks JasonToynbee; Chapter 6 'What you doin' here?' The Sounds Sensibilities and Belonging(s) of Black British Jazz Musicians MarkDoffman; Chapter 7 Soweto's War Justin A.Williams; Part 3 Performance; Chapter 8 Winifred Atwell and Her 'Other Piano' GeorgeMcKay; Chapter 9 Camping It Up: Jazz's Modernity Reginald Foresythe Theodor Adorno and the Black Atlantic GeorgeBurrows; Chapter 10 Standard Advantage and Race in British Discourse about Jazz ByronDueck;
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