Festing in Place

Total Page:16

File Type:pdf, Size:1020Kb

Festing in Place WWOZ IN HAPPY NEW YEAR PRESENTS FESTING PLACE A weekend of archival New Orleans performances *** Hear it at 90.7 FM & wwoz.org/listen FRIDAY SATURDAY SUNDAY NEW YEAR’s EVE JAN 1 JAN 2 JAN 3 11 am 7 pm Kermit Ruffins Glen David Andrews Gospel Soul of Irma Thomas (Jazz Fest 2011) (DBA 2010) (Jazz Fest 2019) Patti Austin Dianne Reeves Marva Wright Spencer Bohren (Jazz Journey 2012) (Jazz Fest 1997) (Voodoo Fest 2001) (Jazz Fest 1998) 8 pm NOON King Sunny Ade Dumpstaphunk Little Queenie (Jazz Fest 2000) (Voodoo Fest 2011) (Jazz Fest 1999) Shirley Horn Dr Michael White/Gregg Stafford Bob French & Original Tuxedo Dr John (Jazz Fest 2005) (Tipitina’s 2005) Jazz Band (Jazz Fest 2002) 9 pm 1 pm (Tipitina’s 1999) Rev John Wilkins Jonathon Boogie Long Madeleine Peyroux (Blues & BBQ Fest 2018) (Blues & BBQ Fest 2019) (Jazz Fest 2005) Liz McComb John Mooney Chuck Carbo (Jazz Fest 2002) (Jazz Fest 1994) (Louisiana Music Factory 1996) 10 pm 2 pm 2020 Memorial Second Line New Orleans Nightcrawlers James Andrews Aaron Neville (FQ Fest 1999) (Jazz Fest 2008) (Le Petit Theatre 2011) Bruce Daigrepont Sister Teedy Buckwheat Zydeco (Super Bowl Blvd 2013) (Jazz Fest 2002) (Tipitina’s 1995) 11 pm 3 pm WWOZ Piano Night All Stars Snooks Eaglin Dirty Dozen Brass Band (John Irma Thomas (2001) (Jazz Fest 2005) Lewis Extension School 1994) (Voodoo Fest 2007) Subdudes Rebirth Brass Band Topsy Chapman (Jazz Fest 2009) (FQ Fest 2002) (Jazz Fest 2001) MID 4 pm Terence Blanchard Eric Lindell Leo Nocentelli's Rare Funk Allen Toussaint (Jazz Fest 2009) (Jazz Fest 2013) Gathering (Jazz Fest 2008) (WWOZ Piano Night 2005) Eddie Bo Dixie Cups Helen Gillet 1 am (Jazz Fest 1999) (Jazz Fest 2010) (Jazz Fest 2017) 5 pm Jon Cleary (FQ Fest 2005) Aurora Nealand Kenny Neal Clarence Gatemouth Brown 1:30 (Jazz Fest 2016) (Jazz Fest 2013) (Tipitina’s 1995) Henry Butler (Piano Night 2007) Jonathan Batiste Ellis Marsalis Kurt Elling 2 am (Jazz Fest 2006) (Jazz Fest 2006) (Jazz Fest 2009) Sharon Jones & the Dap Kings 6 pm (Telluride Jazz Festival 2007) John Boutte Radiators Neville Brothers (Storyville 1999) (Dream Palace 1998) (Jazz Fest 2010) 3 am 7 pm SUPPORT All artists & times subject to change. THANKS TO OUR SPONSORS: The Grassy Creek Foundation Join us as we celebrate putting 2020 to bed. Finally. Can you believe it? WWOZ: The Pinckelope Foundation wwoz.org/donate This is a joint production of WWOZ & the Archive of the New Orleans Jazz & Heritage Foundation. Allyson Mercier CUBES last updated: December 21 at 1pm CT New Orleans Jazz & Heritage Foundation.
Recommended publications
  • Spirituals Et Gospel
    SPIRITUALS ET GOSPEL un parcours dans les musiques sacrées afro-américaines. Médiathèque François Mitterrand Décembre 2010 1 Histoire des Négro-spirituals Les origines L'origine des Negro Spirituals remonte au temps de l'esclavage. Ces chants, empreints d'espoir et de ferveur religieuse, expriment tout le drame des populations africaines déracinées et vendues pour travailler dans les plantations du sud des Etats-Unis. Le Gospel est une création plus récente née dans les communautés noires américaines des grandes villes du Nord. Tout a commencé en 1619, lorsqu'un navire hollandais débarqua sur les côtes de Virginie les premiers esclaves africains. On trouva que ces hommes s'adaptaient bien au climat et qu'ils pouvaient être d'un excellent profit pour l'économie locale. Aussi d'autres navires négriers suivirent et, année après année, pendant plus de deux siècles, des centaines de milliers d'êtres humains furent arrachés à leur sol natal et transportés, dans des conditions effroyables, vers les rives américaines. Pendant la traversée. Gravure 1840 (Librairie du congrès) 2 L'esclavage fut à son apogée, au début du 19ème siècle, avec le développement du coton. En 1860 on comptait plus de quatre millions d'esclaves aux Etats Unis. La guerre de Sécession et l'influence des mouvements humanistes conduisirent à l'abolition de l'esclavage en 1865. Mais c'est à la même époque qu'apparut le Ku Klux Klan et les réactions ségrégationnistes. La lutte pour une complète et réelle liberté allait encore durer bien des années, jusqu'aux mouvements pour les droits civiques, entre 1960 et 1970, avec l'inoubliable figure de Martin Luther King.
    [Show full text]
  • Lightning in a Bottle
    LIGHTNING IN A BOTTLE A Sony Pictures Classics Release 106 minutes EAST COAST: WEST COAST: EXHIBITOR CONTACTS: FALCO INK BLOCK-KORENBROT SONY PICTURES CLASSICS STEVE BEEMAN LEE GINSBERG CARMELO PIRRONE 850 SEVENTH AVENUE, 8271 MELROSE AVENUE, ANGELA GRESHAM SUITE 1005 SUITE 200 550 MADISON AVENUE, NEW YORK, NY 10024 LOS ANGELES, CA 90046 8TH FLOOR PHONE: (212) 445-7100 PHONE: (323) 655-0593 NEW YORK, NY 10022 FAX: (212) 445-0623 FAX: (323) 655-7302 PHONE: (212) 833-8833 FAX: (212) 833-8844 Visit the Sony Pictures Classics Internet site at: http:/www.sonyclassics.com 1 Volkswagen of America presents A Vulcan Production in Association with Cappa Productions & Jigsaw Productions Director of Photography – Lisa Rinzler Edited by – Bob Eisenhardt and Keith Salmon Musical Director – Steve Jordan Co-Producer - Richard Hutton Executive Producer - Martin Scorsese Executive Producers - Paul G. Allen and Jody Patton Producer- Jack Gulick Producer - Margaret Bodde Produced by Alex Gibney Directed by Antoine Fuqua Old or new, mainstream or underground, music is in our veins. Always has been, always will be. Whether it was a VW Bug on its way to Woodstock or a VW Bus road-tripping to one of the very first blues festivals. So here's to that spirit of nostalgia, and the soul of the blues. We're proud to sponsor of LIGHTNING IN A BOTTLE. Stay tuned. Drivers Wanted. A Presentation of Vulcan Productions The Blues Music Foundation Dolby Digital Columbia Records Legacy Recordings Soundtrack album available on Columbia Records/Legacy Recordings/Sony Music Soundtrax Copyright © 2004 Blues Music Foundation, All Rights Reserved.
    [Show full text]
  • Fats Domino Goin' Home
    “Goin’ Home” We’ll Miss You, Fats “Everybody started calling my music rock and roll, but it wasn't anything but the same rhythm and blues I'd been playing down in New Orleans.” - FATS DOMINO “As far as I know, the music makes people happy. I know it makes me happy.” - FATS DOMINO “Let's face it, I can't sing like Fats Domino can. I know that.” - ELVIS PRESLEY “Well, I wouldn't want to say that I started it (rock „n‟ roll), but I don't remember anyone else before me playing that kind of stuff.” - FATS DOMINO “Even if Fats didn‟t actually invent rock „n‟ roll, he was certainly responsible for accidentally inventing ska, and thus reggae … Antoine „Fats‟ Domino was definitely a great innovator, and richly deserves a much fatter entry in the history books.” – OWEN ADAMS On Tuesday, 3:30 a.m., October 24, 2017, New Orleans and the world lost a pioneering titan of rock „n‟ roll, “Fats” Domino. The popular pianist and singer-songwriter of the Lower 9th Ward was 89. During his career, this influential, yet humble performer sold more than 65 million records and had over 35 hits in the U.S. Billboard Top 40, including “Ain‟t That a Shame,” “Blueberry Hill” and “Blue Monday”. With producer and arranger Dave Bartholomew, “Fats” helped put his hometown on the rock „n‟ roll map. This shy lifelong New Orleanian influenced numerous artists including Paul McCartney and Randy Newman, who once confessed, “I was so influenced by Fats Domino that it‟s still hard for me to write a song that‟s not a New Orleans shuffle.” Domino‟s distinctive barreling triplet-based piano style, backed by a solid backbeat, was something exceptional, a step above traditional rhythm and blues.
    [Show full text]
  • Reggie Washington 02
    ALBUM DETAILS WORLDWIDE CD RELEASE NOVEMBER 7th, 2018 TRACKLISTING 01. Always Moving (1:13) REGGIE WASHINGTON 02. Fall (7:49) 03. Eleanor Rigby (3:37) 04. Half Position Woody (8:07) 05. Afro Blue (3:10) 06. E.S.P (9:27) « VINTAGE NEW ACOUSTIC » 07. Thoughts of Buckshot (0:58) 08. Footprints (9:29) 09. Moanin‘ (4:28) 10. B3 Blues 4 Leroy (9:44) 11. Always Moving (0:59) (Reprise Ending) PERSONAL REGGIE WASHINGTON acoustic & electric basses BOBBY SPARKS acoustic piano, Fender Rhodes, keyboards & organ FABRICE ALLEMAN saxophones E.J. STRICKLAND drums META DATA ARTIST: Reggie Washington TITLE: Vintage New Acoustic GENRE: Jazz LABEL: Jammin’colorS CATALOG NUMBER: JC18-007-2 UPC: 715235041031 STREET & RADIO ADD DATE: 7 November 2018 ABOUT REGGIE WASHINGTON Reggie Washington is an artist of rare breed who can play acoustic and electric basses, who can sing, who can mix Jazz, Funk & World Music while combining the life of leader and sideman. Reggie was a key participant in the Modern Jazz revolution of the 80’s and 90’s. He became known touring, recording and performing with Steve Coleman, Bran- ford Marsalis, Roy Hargrove, Chico Hamilton, Oliver Lake, Cassandra Wilson, Don Byron, Jean-Paul Bourelly, Lester Bowie, Meshell Ndegeocello to name a few. In 2005, Reggie began successfully touring with his own bands. They were a mix of American & European musicians such as Ravi Coltrane, Gene Lake, Stéphane Galland, Jef Lee Johnson, Erwin Vann, Jacques Schwarz-Bart, E.J. Strickland, Jozef Dumoulin, Matthew Garrison, Marcus Strickland, Jason Lindner, Poogie Bell and Ronny Drayton. TOUR DATES In 2015, Reggie started touring throughout Europe with his project “Rainbow Shadow - A tribute to Jef Lee Johnson“ featuring guitarists Marvin Sewell or Da- VINTAGE NEW ACOUSTIC vid Gilmore, drummer Patrick Dorcéan & DJ Grazzhoppa on turntables.
    [Show full text]
  • Wavelength (March 1981)
    University of New Orleans ScholarWorks@UNO Wavelength Midlo Center for New Orleans Studies 3-1981 Wavelength (March 1981) Connie Atkinson University of New Orleans Follow this and additional works at: https://scholarworks.uno.edu/wavelength Recommended Citation Wavelength (March 1981) 5 https://scholarworks.uno.edu/wavelength/5 This Book is brought to you for free and open access by the Midlo Center for New Orleans Studies at ScholarWorks@UNO. It has been accepted for inclusion in Wavelength by an authorized administrator of ScholarWorks@UNO. For more information, please contact [email protected]. NEW ORLEANS POPS PRESENTS *starring * CHARLIE DANIELS KANSAS BAND MOLLY DELBERT HATCHET McCLINTON HANK WILLIAMS, JR. PLUS "THE CELEBRITY PARADE" UNDAY with KING "BUM" PHILLIPS MARCH 1 (Parade rolls at 8 p.m.) 5 P.M. - DOORS OPEN 4 P.M. MIDNIGHT TICKETS ARE $12 (Limited Advance) AND $15 On sale now at all ticketmaster outlets; D.H. Holmes, Louisiana Superdome, Warehouse Records (Gretna, Metairie, Kenner), the Mushroom & Leisure Landing. FOR MORE INFORMATION CALL (504) 821-3795 Features ErnkK-Doe _______________________________,6 The Percolators 10 •JAZZ• The Black Pope 12 New Orleans Songwriters 14 •BLUES• Walter Lastie 19 •CAJUN• Departments A/arch _____________________________________ RECORDSBOOKSTAPES JazZ ------------------------------------~ Rare Records -----------------------------~ Revkws ____________________ ~ Last Page ~~~· , ~) 132 CARONDELET Cover photo by Syndey Byrd '· ~ N.O ., LA. 70130 (504) 522-2363 Publisher, Patrick Borry. Editor, Connie Atkinson. Contract Advertlslna Sales, Steve Gifford, Lyle Matthews. Coatributin& Artists, Skip Bolen, Bunny Mauhews, Julia Nead, Kathleen Perry. Distribution, Laverne Kelly, Star Irvine. Contributors, 1 Carlos Boll, Jerry Brock, Bill Cat, Yorke Corbin, Ron Cuccia, Steve CUnningham, Zeke Fishhead, Steve Graves, Gilbert Catalogue Available Hetherwick, Coril Joseph, Andy Kaslow, Tim Lyman, Bunny Matthews, Hammond Scou, Jim Scheurich, Almost Slim, Rhodes 1 Spedale, Keith Twichell.
    [Show full text]
  • Wavelength (October 1981)
    University of New Orleans ScholarWorks@UNO Wavelength Midlo Center for New Orleans Studies 10-1981 Wavelength (October 1981) Connie Atkinson University of New Orleans Follow this and additional works at: https://scholarworks.uno.edu/wavelength Recommended Citation Wavelength (October 1981) 12 https://scholarworks.uno.edu/wavelength/12 This Book is brought to you for free and open access by the Midlo Center for New Orleans Studies at ScholarWorks@UNO. It has been accepted for inclusion in Wavelength by an authorized administrator of ScholarWorks@UNO. For more information, please contact [email protected]. Pipes of Pan Presents ... A best seller. versus the best. icro-Acoustics Bose 301 FRM-3dx *33QOOper patr. *34900per pair Compare these two speakers, and you'd probably expect the one on the left - with the lower price - to be the better seller. You'd be right ... but is it the better value? Before you aecide, it pays to consider how much more a little more money will bu~: Comfare bass. The new FRM-3dx uses a twin-ducted enclosure with thicker cabine panels and larger cubic volume for rich, full bass. Compare highs. The new FRM-3dx1s unique Vari-AxiSTM control system, damped isolated tweeter suspension and rim-damped cone give lifelike h1ghs. Compare warranties. The new FRM-3dx is warrantied twice as long. The Micro-Acoustics new FRM-3dx. When you compare, there's really no com­ parison. Quality worth a 10-year warranty Micro-Acoustics Reg. $349.00 Bose 301" FRM·3dx Tweeter One, fixed. One, rotatable, rim·damped. Tweeter Attached Isolated from SALE NOW directly to baffle.
    [Show full text]
  • E a R L Y I N F L U E N C
    ProfessorEARLY INFLUENCES Longhair “The Bach of Rock,” New Orleans composer Allen Tous- In the period 1953-64, Professor Longhair waxed sides for a saint called him . The cornerstone of New Orleans rhythm & number of labels, but their popularity was limited to the New blues piano, Professor Longhair’s astounding music influenced Orleans area at least in part because of the artist’s unwilling­ the work of Fats Domino, Dr. John, James Booker, Huey “Pi­ ness to travel. In 1964, Longhair created the Mardi Gras an­ ano ’ Smith, Art Neville, and Allen Toussaint himself. Long­ them “Big Chief’ for Watch. But he soon sank into obscurity, hair’s unique appeal lay in his offbeat songs, his warbling and by the end of the decade was sweeping out a record shop voice and the infectiously syncopated piano style which he and playing cards for his meager living. once described as a blend of “rhumba, mambo and calypso.” Unbeknownst to ‘Fess* he had become a mysterious legend He was born Henry Roeland Byrd on December 19, 1918 in among blues record collectors on both sides of the AtlantltS Bogalusa, Louisiana and moved to New Orleans with his He was eventually tracked down by Quint Davis and Allison mother two years later. As a youth he tap-danced for tips on Minor, organizers of the first New Orleans Jazz & Heritage Bourbon Street, and later beat on lard cans and orange crates Festival. “He wasn’t playing at all then,” Davis later recalled. with a “spasm band.” By the early Thirties, young Henry was “He was in a totally depreciated state physically, along with frequenting the South Rampart Street honky tonks to hear bar­ poverty and rejection.
    [Show full text]
  • Rhythm, Dance, and Resistance in the New Orleans Second Line
    UNIVERSITY OF CALIFORNIA Los Angeles “We Made It Through That Water”: Rhythm, Dance, and Resistance in the New Orleans Second Line A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Ethnomusicology by Benjamin Grant Doleac 2018 © Copyright by Benjamin Grant Doleac 2018 ABSTRACT OF THE DISSERTATION “We Made It Through That Water”: Rhythm, Dance, and Resistance in the New Orleans Second Line by Benjamin Grant Doleac Doctor of Philosophy in Ethnomusicology University of California, Los Angeles, 2018 Professor Cheryl L. Keyes, Chair The black brass band parade known as the second line has been a staple of New Orleans culture for nearly 150 years. Through more than a century of social, political and demographic upheaval, the second line has persisted as an institution in the city’s black community, with its swinging march beats and emphasis on collective improvisation eventually giving rise to jazz, funk, and a multitude of other popular genres both locally and around the world. More than any other local custom, the second line served as a crucible in which the participatory, syncretic character of black music in New Orleans took shape. While the beat of the second line reverberates far beyond the city limits today, the neighborhoods that provide the parade’s sustenance face grave challenges to their existence. Ten years after Hurricane Katrina tore up the economic and cultural fabric of New Orleans, these largely poor communities are plagued on one side by underfunded schools and internecine violence, and on the other by the rising tide of post-disaster gentrification and the redlining-in- disguise of neoliberal urban policy.
    [Show full text]
  • The Carroll News
    John Carroll University Carroll Collected The aC rroll News Student 3-26-1976 The aC rroll News- Vol. 58, No. 18 John Carroll University Follow this and additional works at: http://collected.jcu.edu/carrollnews Recommended Citation John Carroll University, "The aC rroll News- Vol. 58, No. 18" (1976). The Carroll News. 552. http://collected.jcu.edu/carrollnews/552 This Newspaper is brought to you for free and open access by the Student at Carroll Collected. It has been accepted for inclusion in The aC rroll News by an authorized administrator of Carroll Collected. For more information, please contact [email protected]. St. Pat's Festivities Extend Into Week-long Celebration R~ .\1ary \ nne Garvey serve more than 5000 glasses of A hypnotist in the Rat on The luck of the Irish prevailed beer Thursday and a two band Student as Carroll students celebrated St. High winds and snow flurries Union Mixer on Friday rounded Patrick's Day with a week of forced the cancellation of the out the week. The mixer also festivities The Irish Club United Irish Societies of Greater provided the setting for the 2nd initialed the St. Pat's activities Cleveland's parade downtown, annual IPT chugging contest. with a night of entertainment in but CarroU students remained The lBG's won in the organiza­ the Rat Bar on March 15th . Linda undaunted bv the weather and tional category, beating the O'Malley. Sean Moore and Gerri the quad supplied the site for a IPT's by an eighth of a glass. The Gunn provided the music, which mini ·parade at 4: 15.
    [Show full text]
  • Eté 2020 Sur La Route Des Festivals
    estivals Fici et ailleurs Eté 2020 Sur la route des festivals Renaud Capuçon le 4 août à La Roque d’Antheron © -simon-fowler et des expositions Saint-Paul de Mausole - St-Rémy de Provence © Pierre Aimar Festivals p 29 - Festival du Mas Daudet p 4 - Festival de Lourmarin p 30 - Festival Valloire baroque p 5 - Festival Durance Luberon p 31 - Musique en Pays du Mont-Blanc p 6 - Festival Cuivres en Dombes p 32 - Festival de Lacoste p 6 - Sérénades en Baronnies p 32 - Festival de Soliès-Pont p 7 - Festival de Menton p 33 - Les Suds, à Arles p 8 - Rencontres de Riquer p 33 - Les Baroquiales Sospel p 8 - Nice Jazz Summer Sessions p 34 - Les Musicales du Luberon p 9 - La Balade des Cordes p 35 - Les Instants de Grasse p 10 - Festival de Sylvanès Expositions p 11 - Festival Jazz à Sète p 37 - Saint-Antoine l’Abbaye p 12 - Festival Pablo Casals p 37 - Abbaye de Montmajour p 14 - Festival Liszt en Provence p 38 - Aix Flâneries d’art p 16 - Dialogue au Carmélites p 38 - Annecy trésors romains p 17 - Saou chante Mozart p 39 - Arles Fondation Rivera-Ortiz p 18 - Festival de Bruniquel p 40 - Aubusson 10 ans de création p 19 - Musicales du Parc des Oiseaux p 40 - Avignon Viva Villa p 19 - Festival d’art lyrique de Salon p 41 - Avignon Joaquin Sorolla p 20 - Festival d’Ambronay p 42 - Avignon Jean-Marie Fage p 20 - Promenades musicales La Louvesc p 42 - Entre 4 yeux Villeneuve-Avignon p 21 - Festival des Arcs p 43 - Bonnard et Le Cannet p 21 - Albertville Jazz festival p 44 - Poët-Laval hommage à Y.
    [Show full text]
  • Tipitina's Uptown: Rub the Head the Howlin' Wolf Offers Wide Variety
    Tipitina's Uptown: rub the head Just a quick and relatively safe jaunt made a name for themselves at from the streetcar line lies a small club Tipitina's. One can see anything from with a big stage. The building has country to funk to R&B to jazz at the served many purposes over its 85 year "Fess" place. history, including a gymnasium, Tipitina' s attracts a young and seafood restaurant, gambling hall and energetic crowd. This is opposed to an infamous brothel (and not just five other local venues whose crowds are Tulane sorority sisters living together, I predominantly mid-life crisis sufferers, am sure). Today, the building houses the like the House of Blues. And, on the premier music venue in New Orleans. other hand, it is not a teenage pop As you walk into the club the first mecca, like the Lakefront Arena. Tip's thing you see, except the doorman of generally pulls in young locals, college I course, is a bust of the late jazz piano folk and a few older regulars. legend Professor Longhair. The Getting into Tip's is easy but the • Professor is the Buddha of the New bartenders usually check for bracelets at 1 Orleans music scene, for rubbing his the bar. The atmosphere is almost head is rumored to give good luck. The supernatural, marked by dim lighting • 'Fess is the patron saint of the club, and and dark wood paneling. It is a some say his ghost relatively clean venue compared to still possesses venues like the Howlin' Wolf and those who grace Carrollton Station.
    [Show full text]
  • Uptown Conversation : the New Jazz Studies / Edited by Robert G
    uptown conversation uptown conver columbia university press new york the new jazz studies sation edited by robert g. o’meally, brent hayes edwards, and farah jasmine griffin Columbia University Press Publishers Since 1893 New York Chichester, West Sussex Copyright © 2004 Robert G. O’Meally, Brent Hayes Edwards, and Farah Jasmine Griffin All rights reserved Library of Congress Cataloging-in-Publication Data Uptown conversation : the new jazz studies / edited by Robert G. O’Meally, Brent Hayes Edwards, and Farah Jasmine Griffin. p. cm. Includes index. ISBN 0-231-12350-7 — ISBN 0-231-12351-5 1. Jazz—History and criticism. I. O’Meally, Robert G., 1948– II. Edwards, Brent Hayes. III. Griffin, Farah Jasmine. ML3507.U68 2004 781.65′09—dc22 2003067480 Columbia University Press books are printed on permanent and durable acid-free paper. Printed in the United States of America c 10 9 8 7 6 5 4 3 2 1 p 10 9 8 7 6 5 4 3 2 1 contents Acknowledgments ix Introductory Notes 1 Robert G. O’Meally, Brent Hayes Edwards, and Farah Jasmine Griffin part 1 Songs of the Unsung: The Darby Hicks History of Jazz 9 George Lipsitz “All the Things You Could Be by Now”: Charles Mingus Presents Charles Mingus and the Limits of Avant-Garde Jazz 27 Salim Washington Experimental Music in Black and White: The AACM in New York, 1970–1985 50 George Lewis When Malindy Sings: A Meditation on Black Women’s Vocality 102 Farah Jasmine Griffin Hipsters, Bluebloods, Rebels, and Hooligans: The Cultural Politics of the Newport Jazz Festival, 1954–1960 126 John Gennari Mainstreaming Monk: The Ellington Album 150 Mark Tucker The Man 166 John Szwed part 2 The Real Ambassadors 189 Penny M.
    [Show full text]