9780275961985 - Jazz in Black and White: Race, Culture, and Identity in the Jazz Community by Gerard, Charles D ; Gerard, Charley (29 results)

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Cloth. Condition: Near Fine. 202 pp. Tightly bound. Corners not bumped. Text is free of markings.

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Cloth. Condition: Fine. Dust Jacket Condition: Near Fine. First Edition. FIRST PRINTING. "Is jazz a universal idiom or is it an art form belonging exclusively to African Americans? Although whites have been playing jazz almost since it first developed, the history of jazz has been forged by a series of African-American artists whose styles electrified their musical generation-masters such as Louis Armstrong, Duke Ellington, John Coltrane and Charlie Parker. Developments in jazz have been a result of black artists' search for a meaningful identity as Americans and as members of the African diaspora. Yet despite the fact that black musicians have been the innovators of style, it often has been white musicians who have popularized and commercialized it, bringing it beyond the African-American community to be embraced by a broader audience. Jazz music has therefore become a form of expression for both black and white artists, and this fascinating paradox is explored with depth and honesty in "Jazz in Black and White". 202 pages. 7 full-page black & white photographic illustrations. Minor shelf rubbing to DJ, elsewise A FINE COPY! LRS3.

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Condition: New. pp. 232 Index.

Condition: New. pp. 232 52:B&W 6.14 x 9.21in or 234 x 156mm (Royal 8vo) Case Laminate on White w/Gloss Lam.

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Hardcover. Condition: Brand New. 224 pages. 9.75x6.50x1.00 inches. In Stock.

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Hardcover. Condition: new. Hardcover. Is jazz a universal idiom or is it an African-American art form? Although whites have been playing jazz almost since it first developed, the history of jazz has been forged by a series of African-American artists whose styles caught the interest of their musical generationmasters such as Louis Armstrong, Duke Ellington, John Coltrane, and Charlie Parker. Whether or not white musicians deserve their secondary status in jazz history, one thing is clear: developments in jazz have been a result of black people's search for a meaningful identity as Americans and members of the African diaspora. Blacks are not alone in being deeply affected by these shifts in African-American racial attitudes and cultural strategies. Historically in closer contact with blacks than nearly any other group of white Americans, white jazz musicians have also felt these shifts. More importantly, their careers and musical interests have been deeply affected by them. The author, an active participant in the jazz world as composer, performer, and author of several books on jazz and Latin music, hopes that this book will encourage jazz lovers to take a rhetoric-free look at the charged issue of race as has affected the world of jazz.A work about the formulation of identity in the face of racial difference, the book considers topics such as the promotion of black Southern culture and inner-city styles like rhythm and blues and rap as a means of achieving black racial solidarity. It discusses the body of music fostered by an identification to Africa, the conversion of black jazz musicians to Islam and other Eastern religions, and the impact of a jazz community united by heroin use. White jazz musicians who identify with black culture in an unsettling form by speaking black dialect and calling themselves African-American is examined, as is the assimilation of jazz into the wider American culture. Is jazz a universal idiom or is it an African-American art form? The author, himself a jazz composer, performer and author of several books on jazz and Latin music, sets out to encourage jazz lovers to take a rhetoric-free look at the charged issue of race as it has affected the world of jazz. This item is printed on demand. Shipping may be from multiple locations in the US or from the UK, depending on stock availability.

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Hardcover. Condition: new. Hardcover. Is jazz a universal idiom or is it an African-American art form? Although whites have been playing jazz almost since it first developed, the history of jazz has been forged by a series of African-American artists whose styles caught the interest of their musical generationmasters such as Louis Armstrong, Duke Ellington, John Coltrane, and Charlie Parker. Whether or not white musicians deserve their secondary status in jazz history, one thing is clear: developments in jazz have been a result of black people's search for a meaningful identity as Americans and members of the African diaspora. Blacks are not alone in being deeply affected by these shifts in African-American racial attitudes and cultural strategies. Historically in closer contact with blacks than nearly any other group of white Americans, white jazz musicians have also felt these shifts. More importantly, their careers and musical interests have been deeply affected by them. The author, an active participant in the jazz world as composer, performer, and author of several books on jazz and Latin music, hopes that this book will encourage jazz lovers to take a rhetoric-free look at the charged issue of race as has affected the world of jazz.A work about the formulation of identity in the face of racial difference, the book considers topics such as the promotion of black Southern culture and inner-city styles like rhythm and blues and rap as a means of achieving black racial solidarity. It discusses the body of music fostered by an identification to Africa, the conversion of black jazz musicians to Islam and other Eastern religions, and the impact of a jazz community united by heroin use. White jazz musicians who identify with black culture in an unsettling form by speaking black dialect and calling themselves African-American is examined, as is the assimilation of jazz into the wider American culture. Is jazz a universal idiom or is it an African-American art form? The author, himself a jazz composer, performer and author of several books on jazz and Latin music, sets out to encourage jazz lovers to take a rhetoric-free look at the charged issue of race as it has affected the world of jazz. This item is printed on demand. Shipping may be from our UK warehouse or from our Australian or US warehouses, depending on stock availability.

Buch. Condition: Neu. Jazz in Black and White | Race, Culture, and Identity in the Jazz Community | Charley Gerard | Buch | Gebunden | Englisch | 1998 | Praeger | EAN 9780275961985 | Verantwortliche Person für die EU: Libri GmbH, Europaallee 1, 36244 Bad Hersfeld, gpsr[at]libri[dot]de | Anbieter: preigu Print on Demand.

Buch. Condition: Neu. nach der Bestellung gedruckt Neuware - Printed after ordering - Is jazz a universal idiom or is it an African-American art form Although whites have been playing jazz almost since it first developed, the history of jazz has been forged by a series of African-American artists whose styles caught the interest of their musical generation-masters such as Louis Armstrong, Duke Ellington, John Coltrane, and Charlie Parker. Whether or not white musicians deserve their secondary status in jazz history, one thing is clear: developments in jazz have been a result of black people's search for a meaningful identity as Americans and members of the African diaspora. Blacks are not alone in being deeply affected by these shifts in African-American racial attitudes and cultural strategies. Historically in closer contact with blacks than nearly any other group of white Americans, white jazz musicians have also felt these shifts. More importantly, their careers and musical interests have been deeply affected by them. The author, an active participant in the jazz world as composer, performer, and author of several books on jazz and Latin music, hopes that this book will encourage jazz lovers to take a rhetoric-free look at the charged issue of race as has affected the world of jazz.A work about the formulation of identity in the face of racial difference, the book considers topics such as the promotion of black Southern culture and inner-city styles like rhythm and blues and rap as a means of achieving black racial solidarity. It discusses the body of music fostered by an identification to Africa, the conversion of black jazz musicians to Islam and other Eastern religions, and the impact of a jazz community united by heroin use. White jazz musicians who identify with black culture in an unsettling form by speaking black dialect and calling themselves African-American is examined, as is the assimilation of jazz into the wider American culture.