Keeping Time Reading In Jazz History 1st edition by Robert Walser ISBN 0195091736 978-0195091731

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ISBN 10:0195091736
ISBN 13: 978-0195091731
Author:Robert Walser

Drawing from contemporary journalism, reviews, program notes, memoirs, interviews, and other sources, Keeping Time: Readings in Jazz History brings to life the controversies and critical issues that have accompanied every moment of jazz history. Highlighting the significance of jazz as a complex and consequential social practice as well as an art form, this book presents a multitude of ways in which people have understood and cared about jazz. It records a history not of style changes but of values, meanings, and sensibilities.
Featuring sixty-two thought-provoking chapters, this unique volume gives voice to a wide range of perspectives, stressing different reactions to and uses of jazz, both within and across communities. It offers contributions from well-known figures including Jelly Roll Morton, Billie Holiday, Charles Mingus, Wynton Marsalis, Louis Armstrong, Dizzy Gillespie, and Miles Davis; from renowned writers such as Langston Hughes, Norman Mailer, and Ralph Ellison; and from critics including Leonard Feather and Gunther Schuller. Walser has selected writings that capture the passionate reactions of people who have loved, hated, supported, and argued about jazz.
Organized chronologically, Keeping Time covers nearly 100 years of jazz history. Filled with insightful writing, it aims to increase historical awareness, to provoke critical thinking, and to encourage lively classroom discussion as students relive the tangled and conflicted story of jazz. It enables readers to see that jazz is not just about names, dates, and chords, but rather about issues and ideas, cultural activities, and experiences that have affected people deeply in a great variety of ways. Concise headnotes provide historical context for each selection and point out issues for thinking and discussion. An excellent text for a variety of jazz courses, Keeping Time can serve as supplementary reading in popular music, American Studies, African American studies, history, and sociology courses, and will also appeal to anyone interested in jazz.

Keeping Time Reading In Jazz History 1st Table of contents:

First Accounts

• 1. Sidney Bechet’s Musical Philosophy
• 2. “Whence Comes Jass?” 
• 3. The Location of “Jass,”
• 4. A “Serious” Musician Takes Jazz Seriously,
• 5. “A Negro Explains ‘Jazz,'”
• 6. “Jazzing Away Prejudice,”
• 7. Mister Jelly Roll, 

The Twenties

• 8. Jazzing Around the Globe, 
• 9. “Does Jazz Put the Sin in Syncopation?” 
• 10. Jazz and African Music, 
• 11. Sexual Politics of Women’s Blues
• 12. The Man Who Made a Lady Out of Jazz (Paul Whiteman), 
• 13. “The Jazz Problem,” 
• 14. “The Negro Artist and the Racial Mountain,”
• 15. A Black Journalist Criticizes Jazz, 
• 16. “The Caucasian Storms Harlem,”
• 17. The Appeal of Jazz Explained, 

The Thirties

• 18. What Is Swing? 
• 19. Looking Back at “The Jazz Age,” 
• 20. Defining “Hot Jazz,
• 21. Black Music in Our Culture,
• 22. Lady Sings the Blues, 
• 23. Jazz at Carnegie Hall, 
• 24. Duke Ellington Explains Swing
• 25. Jazz and Gender During the War Years, 

The Forties

• 26. “Red Music,”
• 27. “From Somewhere in France,” 
• 28. “Upside Your Head!”
• 29. Jazz: A People’s Music,
• 30. “Bop is Nowhere,”
• 31. To Be or Not to Bop,
• 32. The Golden Age, Times Past,
• 33. The Professional Dance Musician and His Audience, 

The Fifties

• 34. Perspectives in Jazz,
• 35. Jazz: Its Evolution and Essence,
• 36. Musings: The Musical Worlds of Gunther Schuller
• 37. “Beneath the Underdog,” 
• 38. Psychoanalyzing Jazz,
• 39. Vatican is Asked to Rule on Jazz,
• 40. US Has Secret Weapon – Jazz,
• 41. “The White Negro,”
• 42. Louis Armstrong on Music and Politics
• 43. “Free Jazz,”
• 44. “Jazz and the White Critic,”
• 45. The Playboy Panel: Jazz, Today and Tomorrow
• 46 . Jamey Aebersold, “The Scale Syllabus”
• 47. What Jazz Means to Me,
• 48. Stomping the Blues,
• 49. Notes (8 Pieces),
• 50. Jazz Pop – A “Failed Art Music” Makes Good, 

The Eighties

• 51. Jazz: “America’s Classical Music,”
• 52. “A Rare National Treasure,”
• 53. Interview with Wynton Marsalis and Herbie Hancock
• 54. Music of the Common Tongue: Survival and Celebration in Afro-American Music, 

The Ninties

• 55. Who Listens to Jazz?
• 56. “Free Jazz” Revisited,
• 57. Ring Shout!
• 58. Ferociously Harmonizing with Reality,
• 59. Constructing the Jazz Tradition,
• 60. “Local Jazz,”
• 61. “Out of Notes”: Signification, Interpretation, and the Problem of Miles Davis,
• 62. “What Makes ‘Jazz’ the Revolutionary Music of the 20th Century, and Will It Be Revolutionary for the
• 63. Improvised Music After 1950: Afrological and Eurological Perspectives, 

Today

• 64. “Resistance Is Futile!”
• 65. “Music and Language,”
• 66. “It Don’t Mean a Thing If It Ain’t in the History Books,”
• 67. Three Polemics on the State of Jazz,
• 68. The Jazz Left, 
• 69. Songs of the Unsung: The Darby Hicks History of Jazz,
• 70. Exploding the Narrative in Jazz Improvisation,
• 71. Celebrating the Global: The Nordic Tone in Jazz,
• 72. “Who Listens to Jazz Now?” National Endowment for the Art

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