Philosophy Books on Jazz

Click or tap on any subheading of the Contents Outline and you are taken to that section on this page.

Click or tap on any Question/Topic and its page opens up. Any words below colored in bold in these instructions are hot links to the area designated. Click or tap on them to go to that area.

If you have submitted your email in the Join Us link (located in the upper right corner on the top of the HOME page menu bar or under the Navigation menu on top left of each page) and have received a confirmation reply email, you may then edit the website as a writer/editor.

To Login as a writer/editor, click on Personal located at the top left of the page, then click on login. To upload an image it must be either a .jpg, .jpeg, .png, or .gif and preferably a Creative Commons Zero (CC0) license. This means the pictures are completely free to be used for any legal purpose and free for personal and even commercial use. They can be modified, copied and distributed without asking for permission or setting a link to the source, so that attribution is not required. Click on the Tools menu bar located at top of page on right then fifth item down that says Upload file. Please read under the Wiki menu (located on home page or under Navigation menu), PoJ.fm's Format Philosophy for the Procedures and Protocols for uploading an image.

Philosophy Books on Jazz[edit]

An enhanced color photograph of books on jazz laid on top of each other horizontally.

NOTE: Click on either the COVER or the TITLE of the book to go to its page. The second title inside parentheses takes you to Amazon where you can typically "Read what is inside this book."

Contradictions of Jazz Book Cover 2008.png

+++The Contradictions of Jazz (2008) by Paul Rinzler

+++(Amazon:The Contradictions of Jazz)

The Jazz of Physics: The Secret Link Between Music and the Structure of the Universe (2016) by Stephon Alexander

(Amazon:The Jazz of Physics: The Secret Link Between Music and the Structure of the Universe)

+++The Oxford Companion to Jazz (2006) edited by Bill Kirchner

+++Lost Chords: White Musicians and their Contribution to Jazz, 1915-1945
+++Richard M. Sudhalter (1999)

link=http://libguides.csi.edu/c.php?g=791199&p=5661470]]

See the College of Southern Idaho Research Guide: Jazz

A framed series of multiple black and white curved corridors with individual musical instruments at the mouth of each one with PoJ.fm logos.

Allison, W. The impact of improvisational musics on the creative processes of classically and jazz trained student musicians (Master’s Thesis), 2005. Retrieved from http://hdl.handle.net/2148/692

Bailey, Derek. Improvisation, Its Nature and Practice in Music. New York, NY: Da Capo Press, 1992.

Balara, L. The personal and social dimensions of collective jazz improvisation (Doctoral Dissertation), 2008. Retrieved from UMI number: 9972575.

Barrett, F. Yes to the Mess: Surprising Leadership Lessons From Jazz. Boston, MA: Harvard Business School Publishing, 2008.

Belgard, D. The Culture of Spontaneity: Improvisation and the Arts in Postwar America. Chicago. IL: The University of Chicago Press, 1998.

Benson, Bruce. The Improvisation of Musical Dialogue. Cambridge, UK: Press Syndicate of the University of Cambridge, 2003.

Berliner, Paul. Thinking in Jazz: The Infinite Art of Improvisation. Chicago, IL: University of Chicago Press, 1994.

Borgo, David. Sync or Swarm: Improvising Music in a Complex Age. New York, NY: The Continuum International Publishing Group., 2005.

Briggs, N. L. Creative Improvisation: A Musical Dialogue (Unpublished doctoral dissertation). University of San Diego. San Diego, CA, 1986.

Brown, L. John Coltrane and Black America’s Quest for Freedom. New York, NY: Oxfroc University Press, 2010.

Csikszentmihaly, Mihaly. "Flow and Creativity". North American Montessori Teachers Association Journal, 22(2), 1997, 57–59.

Evans, N. Writing Jazz: Race, Nationalism, and Modern Culture in 1920’s. New York, NY: Garland Publishing, 2000.

Faulkner, R. & Becker, H. Do You Know...?": The Jazz Repertoire in Action. Chicago, IL: University of Chicago Press, 2009.

Feather, Leonard. The Jazz Years: Earwitness to an Era. New York, NY: Da Capo Press, Inc., 1987.

Ferguson, J. "1959: The Year That Changed Jazz Forever Part 1 [Video File], 2011. Retrieved from http://www.youtube.com/watch?v=DICKcYxMMio

Fischlion, D., Heble, A. & Lipsitz, G. The Fierce Urgency of Now: Improvisation, Rights, and the Ethics of Co-Creation. London, UK: Duke University Press, 2013.

Grout, D. & Palisca, C. A History of Western Music (5th ed). New York, NY: Norton & Company, 1996.

Heble, A. & Wallace, R. People Get Ready: The Future of Jazz is Now. London. UK: Duke University Press, 2013.

Heffley, Michael. Northern Sun/Southern Moon: Europe’s Reinvention of Jazz. London, UK: Yale University Press, 2005.

Jarvinen, T. Tonal dynamics and metrical structures in jazz improvisation. (Unpublished Doctoral dissertation). University of Jyvaskyla, Jyvaskyla, Finland, 1997.

Kelley, Robin. Africa Speaks, America Answers: Modern Jazz in Revolutionary Times. Cambridge, MA: Harvard University Press, 2012.

Lewis, George. "Improvised Music after 1950: Afrological and Eurological Perspectives". Black Music Research Journal, 16 (1), 1996, 91–122.

Lewis, George. A Power Greater Than Itself: The AACM and American Experimental Music. Chicago, IL: University of Chicago Press, 2008.

López-González, M. & Limb, C. Musical Creativity and the Brain. New York, NY: The Dana Foundation, 2012.

McClary, S. & Walser, R. (1994). Theorizing the Body in African-American Music. Selected papers from the 1993. Vol. 14, No. 1, National Conference on Black Music Research (Spring, 1994), 75–84.

Means, R. & Dolman, B. "Notes on Negro Jazz: 1920–1950; the Use of Biographical Materials in Sociology." The Sociological Quarterly, 2005. www.jstor.org/stable/4105420

Monson, Ingrid. "The Problem of White Hipness: Race, Gender, and Cultural Conceptions in Jazz Historical Discourse." Journal of the American Musicological Society Music Anthropologies and Music Histories, 48(3), 1995, 396–422.

Monson, Ingrid. Saying Something, Jazz Improvisation and Interaction. Chicago, IL: University of Chicago Press, 1996.

Monson, Ingrid. Freedom Sounds: Civil Rights Call Out To Jazz and Aamerica. New York, NY: Oxford University Press, 2005.

Montuori, A. "The Complexity of Improvisation and Improvisation of Complexity: Social Science, Art and Creativity." Human Relations, 56(2), 237–255, 2003.

Murray, Albert. Good Morning Blues: The Autobiography of Count Basie as told to Albert Murray. New York, NY: Random House, Inc., 1985.

Panken, T. A Jazziz article on McCoy Tyner from 2003 (plus interviews), December 2011. Retrieved from http://tedpanken.wordpress.com/2011/12/11/a-jazziz-article-on-mccoy-tyner-from-2003-plus-interviews/

Peretti, B. (1994). The Creation of Jazz: Music, Race, and Culture in Urban America. Chicago, IL: University of Illinois Press.

Pignato, J. (2010). An analysis of practical challenges posed by teaching improvisation: Case studies in New York state schools (Unpublished Doctoral dissertation). Boston University. Boston, MA.

Raeburn, B. B. (2004). "Psychoanalysis and jazz". The International Journal of Psychoanalysis, 85(4), 995–997. DOI:10.1516/XK57-KJJ2-VM.

Sarath, E. (2013). Improvisation, Creativity, and Consciousness: Jazz as Integral Template for Music, Education and Society. Albany, NY: State University of New York Press.

Sawyer, K. (2007). Group Genius, the Creative Power of Collaboration. New York, NY: Basic Books.

Scaruffi, Pietro. (2007). A History of Jazz Music 1900-2000. USA: Perfect Paperback.

Sehgal, K. (2008). Jazzocracy: Jazz, Democracy and the Creation of a New Nation. Mishawaka, IN: Better World Books.

Solis, G. & Nettl, B. (2009). Musical Improvisation: Art, Education, and Society. Chicago, IL., University of Illinois Press.

Washburne, Christopher. (1997). "The Clave of Jazz: A Caribbean Contribution to the Rhythmic Foundation of an African-American Music." Black Music Research Journal, Vol. 17 (1), 59-80.

Bjerstedt, Sven. 2016. "Storytelling as a Tool of Authentication in Jazz Discourse" Critical Studies in hnprovisation/Etudes Critiques en Improvisation to (2): 1–8.

Csikszentmihalyi, Mihaly. 1997. Finding Flow: The Psychology of Engagement with Everyday Life. New York: Basic Books.

Dean, James. 2014. "Pat Metheny's Finger Routes: The Role of Muscle Memory in Guitar Improvisation:. Jazz Perspectives 8 (I): 45-71.

Doffinan, Mark. 2009. "Making It Groove! Entrainment, Participation and Discrepancy in the Conversation of a Jazz Trio." Language and History 52 (1): 130-47.

Iyer, Vijay. 2004. "Exploding the Narrative in Jazz Improvisation:. In Uptown Conversation: The New Jazz Studies, edited by Robert O'Meally, Brent Hayes Edwards, and Farah Jasmine Griffin, 393-403. New York Columbia University Press.

"On Improvisation, Temporality, and Embodied Experience". Sound Unbound: Sampling Digital Music and Culture, edited by Paul D. Miller (aka D J Spooky), 273-92. Cambridge, MA: MIT Press.

Berliner, Paul F. 1994. Thinking in Jazz: The Infinite Art of Improvisation. Chicago: University of Chicago Press.

Bjerstedt, Sven. 2016. "Storytelling as a Tool of Authentication in Jazz Discourse" Critical Studies in hnprovisation/Etudes Critiques en Improvisation to (2): 1-8.

Borgo, David. Synch or Swarm. New York: Continuum. Caracciolo, Marco. 2014.

Csikszentmihalyi, Mihaly. Finding Flow: The Psychology of Engagement with Everyday Life. New York: Basic Books. 1997.

Doffinan, Mark. 2009. "Making It Groove! Entrainment, Participation and Discrepancy in the Conversation of a Jazz Trio." Language and History 52 (1): 130–147.

Donnay, Gabriel F.. Summer K. Rankin, Monica Lopez-Gonzalez, Patpong ilradejvong, and Charles J. Limb. "Neural Substrates of Interactive Musical Improvisation: An fmut Study of 'Trading Fours in Jazz!. 2014.

Iyer, Vijay. "Exploding the Narrative in Jazz Improvisation." In Uptown Conversation: The New Jazz Studies, edited by Robert O'Meally, Brent Hayes Edwards, and Farah Jasmine Griffin, New York Columbia University Press, 2004, 393–403..

Kahneman, Daniel. Thinking, Fast and Slow. New York Macmillan. 2001.

Koelb, Clayton. Fall, 1987. "The Story in the Image: Rhetoric and Narrative Invention:' Modern Fiction Studies 33 (3): 509–22.

Levitin, Daniel. 2006. This Is Your Brain on Music: The Science of a Human Obsession. New York: Plume/Penguin.

Limb, Charles J., and Allen R. Braun. 2008. "Neural Substrates of Spontaneous Musical Performance: An fm RI Study of Jazz Improvisation:' Plos One 3 (2): e1679. haps://doLorg/10.1371/journalpone.0001679.

McPherson, Malinda J., Frederick S. Barrett, Monica Lopez-Gonzalez, Patpong ifradejvong, and Charles J. Limb. 2016. "Emotional Intent Modulates the Neural Substrates of Creativity: An fm RI Study of Emotional Targeted Improvisation in Jazz Musicians:' Scientific Reports 6:18460. http://doi.org /10.1038/srep18460.

McPherson, Malinda J., and Charles J. Limb. 2013. "Difficulties in the Neuroscience of Creativity: Jazz Improvisation and the Scientific Method!' Annals of the New York Academy of Sciences 1303:80-83. http://doLorg/10 .1111/nyas.12174.

Monson, Ingrid. 1996. Saying Something: Jazz Improvisation and Interaction. Chicago: University of Chicago Press.

Peters, Gary. 2009. Philosophy of Improvisation. Chicago: University of Chicago Press.

Peters, Gary. 2016. "Improvisation and Time Consciousness:' In The Oxford Handbook of Critical Improvisation Studies, vol. 1, edited by George E. Lewis and Benjamin Piekut, New York: Oxford University Press, 439–56.

Peters, Gary. 2017. Improvising Improvisation: From Out of Philosophy, Music, Dance, Literature. Chicago: University of Chicago Press.

Rollins, Sonny. 2014. "Sonny Rollins: Incorporating What I Practice into Improvisation" Meet the Fans Google Hangout. YouTube video, 2:54. Posted by Jazz Video Guy. May 7, 2014. www.youtube.com/watch?v= NmrwLpErkNw.

Rosenberg, Martin E. 2010. "Jazz and Emergence-Part One: From Calculus to Cage and from Charlie Parker to Ornette Coleman: Complexity and the Aesthetics and Politics of Emergent Form in Jazz" Inflexions: A Journal of Research-Creation 4:183-277. www.inflexions.org/n4_rosenberghtml.html.

Sudnow, David. 1978. Ways of the Hand: The Organization of Improvised Conduct. Cambridge MA: Harvard University Press.

Townsend, Peter. 2000. Jazz in American Culture. Jackson: University Press of Mississippi.

A graphic of a giant coppery colored saxophone on a blackish background with PoJ.fm logos and framed.

Readings in Early Jazz History compiled by John Szwed[edit]

"Historiography of Early Jazz" Author: John Szwed Yale University Spring 2003

This seminar will undertake critical reading of the earliest commentaries on jazz including the writings of musicians, literary critics, educators, the popular press, and artists (especially the Futurists, Surrealists, and Dadaists), and of the first attempts at jazz history. Discussion will include the dates and characteristics of the earliest jazz, the role of race in jazz commentary, and the place of jazz in twentieth century discourse. Recordings and films will supplement the readings.

WEEKLY TOPICS:

Week 1: What is Jazz? When and Where Does It Begin?

Week 2: Bibliography and Discography of Jazz

Week 3: Bibliography and Discography of Jazz (cont'd)

Week 4: The Early Literature On Jazz in the United States

Week 5: The Early Literature On Jazz in the United States (cont'd)

Week 6: The Early Literature On Jazz in Europe

Week 7: The Early Literature On Jazz in Europe (cont'd)

Week 8: The European Avant-Garde Discovers Jazz

Week 9: Race in Early Jazz Writing

Week 10: James Reese Europe, the Dixieland Jazz Band, and Paul Whiteman

Week 11: Dance and Jazz

Week 12: Swing

Week 13: Moldy Figs vs. Modernists

Week 14: Bebop

Early Jazz History and Criticism Bibliography

Pre-1940 Writings (Note: this list does not include any of the articles reprinted in Koening (2002), Porter (1999) or Walser (1999))

Adorno, Theodore. "On Jazz" and "Farewell to Jazz." In Essays in Music. Berkeley: University of California Press, 2002, 470–495, 496–500.

Ansermet, Ernest. "Sur un Orchestré Nègre," Revue Romande, October, 1919 (reprinted as "A ‘Serious' Musician Takes Jazz Seriously." In Robert Walser, ed. Keeping Time: Readings in Jazz History. NY: Oxford, 1999.

Baresel, Alfred. Das Jazz-Bucharest. Leipzig: Zimmerman, 1926 several editions, 34, 1.

Bauer, Marion. "L ‘Influence du jazz-band," La Revue Musicale, April, 1924 (translated excerpt in Porter, 131–132.

Benson, Timothy and Eva Forgas, eds. Between Worlds: A Sourcebook of Central European Avant-Gardes 1919–1930. Los Angeles: Los Angeles County Museum of Art and Cambridge: MIT Press, 2002.

Berger, Francisco. "A Jazz Band Concert," Monthly Musical Record, 1919 (translated in Porter, 1999), 128–132.

Bernhard, Paul. Jazz: Eine musikalische Zeitfrage. Munich: Delphin, 1927.

Bragaglia, A.G. Jazz Band. Milan: Edizioni ‘Corbaccio', 1929.

Burian, E.F. Jazz. Prague: Aventinum, 1928.

Campbell, E. Sims. "Early Jam," The Negro Caravan, Sterling Brown, Arthur P. Davis, and Ulysses Lee, eds. NY: Dryden, 1941, 983–990 (reprinted from Esquire, 10 December, 1941.

Caraceni, Augusto. Ii jazz dalle origini ad oggi. Milan: Zerboni, 1937.

_____ and André Schaeffner. Le Jazz. Paris: Aveline, 1926.

Cocteau, Jean. "La vérité sur un autre scandale," Conferencia, September 1, 1926 (reprinted in "La France decouvre le jazz," special issue of Jazz Magazine (Paris), No. 325 (January, 1984), 55.

Darrell, R.D. "All Quiet On the Western Front." In Disques, 3 (September 1932), 290–294.

"Decries ‘Jazz Thinking," New York Times, February 15, 1925, 17.

Delaunay, Charles. Hot Discography. NY: Commodore Record Shop, 1938 [French edition, 1936].

Dickerson, Reed. "Hot Music: Rediscovering Jazz," Harper's, April, 1936, 567–574.

Dodge, Roger Pryor. Hot Jazz and Jazz Dance: Collected Writings 1929-1964. NY: Oxford University Press, 1995.

Elliott, Gilbert, Jr. "Our Musical Kinship With the Spaniards," Musical Quarterly, 8 (1922), 413–418.

Fisher, Rudolf. "The Caucasian Storms Harlem," The American Mercury, 11 (1927), 393–398 (reprinted in Robert Walser, ed. Keeping Time: Readings in Jazz History. NY: Oxford, 1999.

Fitzgerald, F. Scott. "Echoes of the Jazz Age," in The Crack-Up. NY New Directions, 1945.

Frank, Waldo. "Jazz and Folk Art," New Republic, Dec 1, 1926, 42–43 (also in Waldo Frank, In the American Jungle, 119–123.

Frankenstein, Alfred V. Syncopating Saxophones. Chicago, 1925.

Gade, Sven. Jazz Mad. NT: Jacobsen-Hodgkinson, 1927 [novel].

Gaultier, Paul. "Ecrit et pensé en negre: du jazz-band au roman négre," Revue Politique et Littéraire, January 21, 1922 (reprinted in "La France decouvre le jazz," special issue of Jazz Magazine (Paris), No. 325 (January, 1984), p. 37).

Gilbert, Will G. Jazzmuziek. Gravenhage: Kruseman, 1939.

Ginzburg, S. L., ed. Jazz-band. Leningrad: Academia, 1926.

Goffin. Robert. Aux frontières du jazz. Paris: Sagittaire, 1932.

____________ "Hot Jazz," Negro: An Anthology. London: Wishart, 1934, 378–379.

Goldberg, Isaac. Jazz Music: What It Is and How To Understand It. Guard, Kansas: Haldeman-Julius [Little Blue Book no. 470], 1927.

Goldstein, Martin and Victor Skaarup. Jazz. Copenhagen: Pedersen, 1934.

Hernandez, Juan. "La Confession d'un enfant du jazz." In "La France decouvre le jazz," special issue of Jazz Magazine (Paris), No. 325 (January, 1984), 64–65, 84.

Hobson, Wilder. American Jazz Music. NY: Norton, 1939.

Hopkins, Ernest J. "In Praise of ‘Jazz,' a Futurist Word Which Has Just Joined the Language," San Francisco Bulletin, April 5, 1913 (reprinted in Porter, 1999, 6–8.

Hourwich, Rebecca. "Where the Jazz begins, "Collier's, January 23, 1926, 14 (reprinted in Lewis Porter, Jazz, A Century of Change. NY: Schirmer, 1999).

Hurston, Zora Neale. "Characteristics of Negro Expression," in Negro: An Anthology, Nancy Cunard, ed. London: Wishart, 1934 [reprinted in Signiyin[gl, Sanctifyin', & Slam Dunking: A Reader in African American Expressive Culture. Gena Dagel Caponi, ed. Amherst: University of Massachusetts Press, 1999].

"James Reese Europe," The Crisis, 2 (June, 1912), 67–68.

Janowitz, Hans. Jazz. Bonn: Weidle, 1999 [1927] [novel].

"Jazz and Jassism," The Times-Picayune [New Orleans], June 20, 1018, 4 (Reprinted as "The Location of ‘Jazz" in Robert Walser, ed. Keeping Time: Readings in Jazz History. NY: Oxford, 1999).

Jazz Advertised 19 10-1967. Vol. 1: Out of the New England Negro Press 1910–1934, Franz Hoffmann, ed. Berlin, Privately Printed, 1989.

Jazz Advertised 1910-1967, Vol. 2: Out of the New England Negro Press 1935-1949, Franz Hoffmann, ed. Berlin, Privately Printed, 1980.

Jazz Advertised 1910-1967. Vol. 4: Out of the Chicago Defender 1910-1934, Franz Hoffmarm, ed. Berlin, Privately Printed, 1981.

Jazz Advertised 1910-1967, Vol. 5: Out of the Chicago Defender 1935-1949, Franz Hoffmann, ed. Berlin, Privately Printed, 1981.

Jazz Advertised 19 10-1967, Vol. 7: Out of the New York Times, Franz Hoffmann, ed. Berlin, Privately Printed, 1989.

Jazz Advertised 1910-1967, Index, Franz Hoffinann, ed. Berlin, Privately Printed, 1981.

Jazz Reviewed. Vol. 1: Out of the New England Negro Press 1919-1950, Franz Hoffmann, ed. Berlin, Privately Printed, 1995

"Jazzing Away Prejudice," Chicago Defender, May 10, 1919, P. 20 (reprinted in Robert Walser, ed. Keeping Time: Readings in Jazz History. NY: Oxford, 1999).

"Jazz Hymns Draw Fire," New York Times, August 2, 1925, Sec. 1, 27 (See also "Postpones Hymn Program," New York Times, August 3, 1925, 18).

Jeanneret, Albert. "Le Negre et le jazz," Revue Musicale, 8 (July, 1927), 24–27.

[Johnson, Charles S.?] "Jazz," Opportunity, April, 1925 (reprinted in Porter, 1999, 122–125.

"The Origins of Jazz," Opportunity, April, 1928 (reprinted in Porter, 1999, 82–84.

Johnson, James Weldon. Black Manhattan. NY, 1930.

Kaufmann, Helen. From Jehovah to Jazz: Music in America From Psalmody to the Present Day. NY: Dodd, Mead, 1937.

Kempf, Paul, Jr. "Striking the Blue Note in Music," Musicians 34 (August, 1929), 29.

Kingsley, Walter. "Whence Comes Jass," New York Sun, August 5, 1917, 3 (Reprinted in Robert Walser, ed. Keeping Time: Readings in Jazz History. NY: Oxford, 1999).

L. "Jazz Analyzed," Commonweal 30 (April 28, 1939), 22–23

Larrazet, Georges. Le jazz: Prescience d'un dynamissme nouveau. Paris: Flory, 1938

Leiris, Michel. "L'Autre qui apparait chez vous," in "La France decouvre le jazz," special issue of Jazz Magazine (Paris), No. 325 (January, 1984), 34–36

___________ "Civilization" [1929], Sulfur 15 (1986), 93–96

___________ "Jazz," Sulfur 15 (1986), 97–104

___________ Manhood, 1984

Locke, Alain L. The Negro and His Music. Washington, DC, 1936

The Master Musician (1919–21) [complete run (photocopy) available from Tom Gracyk, tgracyk@garlic.com)

May, Earl Chaplin. "Where Jazz Comes From," Popular Mechanics, 44 (January, 1926), 97–102

Mendl, R.W. The Appeal of Jazz. London: Allan, 1927

Milhaud, Darius. Etudes. Paris: A. Aveline, 1927

Nelson, Stanley R. All About Jazz. London: Heath Cranton, 1934

Osgood, Henry 0. So This Is Jazz. Boston: Little, Brown, 1926

Panassiè, Hugues. Hot Jazz: The Guide to Swing Music. New York: Whitmark, 1936 [in French, 1934]

Peyton, Dave. "The Musical Bunch," Chicago Defender, April 28, March 10, and May 12, 1928 (all on p. 6 of each edition). (Reprinted as "A Black Journalist Criticizes Jazz in Robert Walser, ed. Keeping Time: Readings in Jazz History. NY: Oxford, 1999)

"Postpones Hymn Program," New York Times, August 3, 1925, p. 18 (See also "Jazz Hymns Draw Fire," New York Times, August 2, 1925, Sec. 1, p. 27)

Ramsey, Frederic, Jr. and Charles Edward Smith, eds. Jazzmen. New York: Harcourt, Brace, 1939

Riviere, Georges Henri. "Ellington," Documents, 1929 (reprinted in "La France decouvre le jazz," special issue of Jazz Magazine (Paris), No. 325 (January, 1984), p. 50)

Rogers, J.A. "Jazz at Home" in The New Negro, Alain Locke, ed. NY: Albert and Charles Born, 1925

Rogers, M. Robert. "Jazz Influences on French Music," The Musical Ouarterly, Vol. 21 (January, 1935)

Sargant, Norman and Tom Sargant. "Negro American Music or The Origin of Jazz," Musical Times, 72(1931), 653–655; 751–772; 847–848

Sargeant, Winthrop. Jazz: Hot and Hybrid. NY: Arrow, 1938 (New and Enlarged Edition. NY: Dutton, 1946

Schaeffiier, André. and André Cceuroy. Le Jazz.. Paris, 1926

Seldes, Gilbert. The Seven Lively Arts. NY: Harper, 1924

Smith, C.F. "Jazz: Some Little-Known Aspects," The Symposium, Vol. 1, No. 4 (October, 1930)

"Soldier-Man Blues From Somewhere in France," Literary Digest, June 18, 1927, 50, 52

Soupault, Philippe. "Mily jouait du trombone," in Le Neuf Muses, Paris, 1928 (reprinted in "La France decouvre le jazz," special issue of Jazz Magazine (Paris), No. 325 (January, 1984), 57–57)

Thompson, Virgil. "Swing Again," Modem Music, 15 (March–April, 1938), 160–166 (reprinted in Lewis Porter. Jazz, A Century of Change. NY: Schirmer, 1999)

Ventura, Ray. "Non le Jazz ne meurt pas! Ii Evolue. . .," L'Edition Musicale Vivante, 4 (September, 1931), 7–9

"Wants Legislation to Stop Jazz as an Intoxicant," New York Times, February 12, 1922, p. 1

Whiteman, Paul and Mary Margaret McBride. ~ NY: J.H. Sears, 1926

"Why ‘Jazz' Sends Us Back to the Jungle," Current Opinion, September, 1918, p. 165

Wiener, Jean. "Le mouvement méme de la vie," Conferencia, September 1, 1926 (?) (Reprinted in "La France decouvre le jazz," special issue of Jazz Magazine (Paris), No. 325 (January, 1984), 40–41, 82–83)

Wilson, Edmund. "The Aesthetic Upheaval in France: The Influence of Jazz in Paris and Americanization of French Literature and Art," Vanity Fair, , Vol. 17 (February 1922)

____________ "Night Clubs," New Republic, Vol. 44, No. 562 (September 9, 1925)

A graphic of two giant black reversed clarinets on a dark blue and blackish background with PoJ.fm logos and framed.

Anthologies of Writing on Early Jazz

Koenig, Karl, ed. Jazz in Print (1856–1929): An Anthology of Selected Early Readings in Jazz History. Hillsdale, NY: Pendragon Press, 2002

Lopes, Paul. The Rise of a Jazz Art World. Cambridge: Cambridge University Press, 2002

Porter, Lewis. Jazz. A Century of Change. NY: Schirmer, 1999

Walser, Robert, ed. Keeping Time: Readings in Jazz History. NY: Oxford, 1999

1940–1960 Writings

Berendt, Joachim. The New Jazz Book. NY: Hill & Wang, 1959

Berger, Monroe. "Jazz: Resistance to the Diffusion of a Culture Pattern," Journal of Negro History, 32 (1947), 46 1–494

Blackstone, Orin, ed. The Jazzfmder ‘49. New Orleans: privately printed, 1949

Blesh, Rudy. This Is Jazz. London: Jazz Music Books, 1945

__________ Shining Trumpets: A History of Jazz. NY: Knopf, 1949

___________ and Harriet Janis. They All Played Ragtime. NY: Knopf, 1950

Bomeman, Ernest. A Critic Looks at Jazz. London: Jazz Music Books, 1946

_______________ "Creole Echoes," The Jazz Review, Vol. 2, No. 8 (1959), 26–27

Boulton, David. Jazz in Britain. London: Alwyn, 1958

Caracem, Augusto. Jazz. Rome: Zanbardi, 1945

Carew, Roy J. "New Orleans Recollection," Record Changer, April, 1943, 8–9; May, 1943, 10–11; June, 1943, pp.3–4; July, 1942, 3–4; September, 1943, 3–4; October, 1943, 3–4; November, 1943, p. 3; December, 1943, 14–15; January, 1944, p. 3

___________ "Of This and That and Jelly Roll," Jazz Journal, Vol. 10, No. 12 (1957), 10–12

Carmichael, Hoagy. The Stardust Road. NY: Rinehart, 1946

Charters, Samuel. Jazz: New Orleans 1885–1957. Belleville, NJ: Allen, 1958

Cceuroy, André. Histoire general du jazz. Paris: Denoel, 1942

Condon, Eddie and Richard Gehman, eds. Eddie Condon' s Treasury of Jazz. NY: Dial, 1956

Criel, Gaston. Swing. Paris: E.U.F., 1948

Dauer, Alfons M. Der Jazz. Kassel: Roth, 1958

Delaunay, Charles. "Delaunay in Trenches, Writes ‘Jazz Not American," Down Beat, May 1, 1940, 6, 10 (reprinted as "From Somewhere in France" in Robert Walser, ed. Keeping Time: Readings in Jazz History. NY: Oxford, 1999)

DeToledano, Ralph, Ed. Frontiers of Jazz. NY: Durrell, 1947 (Revised edition, NY: Frederick Ungar, 1962)

Dexter, Dave. Jazz Cavalcade. NY: Criterion, 1946

Dodge, Roger Pryor. Hot Jazz and Jazz Dance: Collected Writings 1929–1964. NY: Oxford University Press, 1995

Dorigné, Michel. La guerre du jazz. Paris: Buckner, 1949

Feather, Leonard. The Book of Jazz. NY: Horizon, 1957

______________Encyclopedia of Jazz. NY: Horizon, 1960

_____________ Inside Be-Bop. NY: Robbins, 1949

Finkelstein, Sidney. Jazz: A People's Music. NY: Citadel, 1948

Gammond, Peter, ed. The Decca Book of Jazz. London: Muller, 1958

Gleason, Ralph J. Jam Session: An Anthology of Jazz. NY: Putnam, 1958

Goffm. Robert. Jazz From the Congo to the Metropolitan. Garden City: Doubleday, Doran, 1943.

_____________ La Nouvelle-Orléans, capitale du jazz. NY: Maison Française, 1946

_____________ and Charles Delaunay, eds. Jazz 47. Paris, 1947

Grossman, William L. Jazz and Western Culture. NY: University Press, 1956

_________________ and Jack W. Farrell. The Heart of Jazz. NY: University Press, 1956

Handy, W.C. "The Heart of the Blues," Etude, 58 (1940), 152, 193, 211

Harris, Rex. Jazz. Middlesex, UK: Penguin, 1952

_________ and Brian Rust. Recorded Jazz: A Critical Guide. Harmondsworth, UK: Penguin, 1958

Hentoff, Nat and Albert J. McCarthy, eds. Jazz: New Perspectives on the History of Jazz. NY: Holt, Rinehart, 1959

Heuvelmans, Bernard. De la Bamboula au Be-Bop - Le Jazz. Paris: La Main Jetëe, 1951

_________ "Polygeeneese dujazz," Jazz Hot, No. 61 (December, 1951), 16, 20.

Hodes, Art and Chadwick Hansen, eds. Selections From the Gutter: Portraits From the Jazz Record. Berkeley: University Of California Press, 1977

Hodier, Andre. Lejazz, cet incoimu. Paris: France Empire, 1945.

_________ Jazz: Its Evolution and Essence. London: Seeker & Warburg, 1956.

Hoefer, George. ‘"Man, I Invented Jazz in---' Claimed by More Folks!" Down Beat 16 (July 1, 1949), 11.

Hornbostel, Erich M. von. "Ethnologisches zu Jazz," Melos 6 (December, 1927), 510–512.

Jazz Advertised 1919–1967, Vol. 3: Out of the New England Negro Press 1950–1967, Franz Hoffmann, ed. Berlin, Privately Printed, 1984

Jazz Reviewed. Vol. 1: Out of the New England Negro Press 1919–1950, Franz Hoffhiann, ed. Berlin, Privately Printed, 1995

Jazz Advertised 1910–1967, Vol. 6: Out of the Chicago Defender 1950–1967, Franz Hoffmann, ed. Berlin, Privately Printed, 1984

Jazz Advertised 1910–1967, Index, Franz Hoffmann, ed. Berlin, Privately Printed, 1981

Jones, A.M. "Blue Notes and Hot Rhythm," African Music, Vol. 1, No. 4 (1951), 9–12

Jones, Max and Albert McCarthy, eds. Jazz Review. London: Jazz Music Books, 1945

Kallen, Horace M. "Swing as Surrealist Music" in Art and Freedom. NY: Duell, Sloan & Pearce, 1942, Vol. 2, 824–834

Keepnews, Orrin, and Bill Grauer, Jr. A Pictorial History of Jazz. NY: Crown, 1955

Kinnell, Bill and James Asman, eds. American Jazz No. 1. Chilwell, UK: Jazz Appreciation Society, 1946 [24 pp.]

______________________________ American Jazz No. 2. Chilwell, UK: Jazz Appreciation Society, 1946 [22 pp.]

______________________________Jazz Writings. Chilwell, UK: Jazz Appreciation Society, 1946 [24 pp.]

Lang, Ian. Jazz in Perspective. The Background of the Blues. London: Worker's Music Association, 1947

Legrand, Gerard. Puissances duiazz. Paris: Arcanes, 1953

Malson, Lucien. Les maItres du jazz. Paris: Presses Universitaires, 1952

McCarthy, Albert, ed. Jazzbook 1955. London: Cassell, 1955

_______________ and Max Jones, eds. The PL Yearbook of Jazz 1946. London: Poetry London, 1946

______________________________ Jazzbook 1947. London: Poetry London, 1947

________________________________ Jazz Folio. London: Jazz Sociological Society, 1944

________________________________ Jazz Miscellany. London: Jazz Sociological Society, 1944

Morgan, Alun and Raymond Horricks, Modern Jazz: A Survey of Developments Since 1939.

London: Gollancz, 1956

Newton, Frankie [Eric Hobsbawm]. The Jazz Scene. London: MacGibbon & Kee, 1959

"New Directions in Jazz Research," Record Changer, July–August, 1953, 8–22

Ortiz Oderigo, Néstor R. Historia del jazz. Buenos Aires: Ricordi Americana, 1959

_____________ OrIgenes y Esencia del Jazz. Buenos Aires: Editorial Columbia, 1959

Panassiê, Hugues. The Real Jazz. NY: Smith & Durrell, 1942

_____________ John Vyse, Art Hodes, et.al. American Jazz No. 1. Newark, UK: Jazz Appreciation Society, 1945

Paul, Elliot. That Crazy American Music: The Story of North American Jazz. Indianapolis: Bobbs-Merrill, 1957

Ramsey, Frederic, Jr. A Guide to Longplay Jazz Records. NY: Long Player Publications, 1954

Rosenthal, George S. and Franek Zachary, eds. Jazzways. Vol. 1. No. 1. Cincinnati: Jazzways, 1946

Sargeant, Winthrop. "Is Jazz Music?" American Mercury, October, 1943 (reprinted in Porter, 1999, 56–57)

Schwerkè, Irving. Kings Jazz and David. Paris: Presses Modernes, 1927

Shapiro, Nat and Nat Hentoff, eds. Hear Me Talkin' To Ya: The Story of Jazz by the Men Who Made It. NY: Rinehart, 1955

______________ eds. The Jazz Makers. NY: Holt, Rinehart & Winston, 1957

Slotkin, J.S. "Jazz and Its Forerunners as an Example of Acculturation," American Sociological Review, 8 (1943), 570–575

Smith, Charles Edward, Frederic Ramsey, Jr., Charles Payne Rogers, and William Russell. The Jazz Record Book. NY: Smith & Durrell,l942

Stearns, Marshall W. The Story of Jazz. NY: Oxford University Press, 1958

Thompson, Kay. C. "The Western Heritage of Jazz," Record Changer, Vol. 9, No. 4 (1950), 8, 17

Traill, Sinclair, ed. Concerning Jazz. London: Faber & Faber, 1957

Ulanov, Barry. A History of Jazz in America. NY: Viking, 1952

_________ A Handbook of Jazz. NY: Viking, 1957

Vèmane, Henri. Swing et mceurs. Lille: Privately Printed, 1943 [32 pp.]

Vian, Boris. Jazz in Paris: Chronigues de jazz pour la radio station de radio WNEW. New York (1948–1949). Paris: Pauvert, 1997

_________ Round About Close to Midnight: The Jazz Writings of Boris Vian, Mike Zwerin, ed. London: Quartet, 1988

Whiteman, Paul. How to Be a Bandleader. NY: R.M. McBride, 1941

Williams, Martin T., ed. The Art of Jazz: Essays on the Nature and Development of Jazz. Oxford, 1959

____________ ed. Jazz Panorama. London: Jazz Book Club, 1965

Later Writings

Abbott, Lynn and Doug Seroff. "Black Music in the White City: African- Americans at the 1893 World's Columbian Exposition," 78 Quarterly, Vol. 1 No. 9 (no date), 47–60

_____________ "100 Years From Today," 78 Quarterly, Vol. 1, No. 5 (1990), 56–62; Vol. 1, No 6 (1991), 5 1–65; Vol. 1, No. 7 (1992), 79–95; Vol. 1, No. 9 (no date), 105–117; Vol. 1 No 10 (no date) [includes "The Origins of Ragtime"], 121–143 [Black press reportage on music in the 1890s]

Appel, Alfred, Jr. Jazz Modernism From Ellington and Armstrong to Matisse and Joyce's. NY: Knopf, 2002.

Ake, David. Jazz Cultures. Berkeley: University of California Press, 2002, 10–41.

Archer-Straw, Petrine. Negroyhilia: Avant-Garde Paris and Black Culture in the l920s. NY: Thames & Hudson, 2000

Barker, Danny. Buddy Bolden and the Last Days of Storyville. NY: Cassell, 1998

Bastin, Bruce. Never Sell a Copyright: Joe Davis and His Role in the New York Music Scene 1916–1978. Chigwell, UK: Storyville Publications, 1990

Bernotas, Robert W. "Critical Theory, Jazz, and Politics: A Critique of the Frankfurt School," Ph.D dissertation, John Hopkins University,, 1987

Blake, Jody. Le Tumulte noir: Modernist Art and Popular Entertainment in Jazz-Age Paris, 1900–1930. University Park: The Pennsylvania State University Press, 1999

Borneman, Ernest. "Black Light and White Shadow: Notes For a History of American Negro Music," Jazzforschung/Jazz Research 2. Graz: Universal Edition, 1970, 24–93

__________ "Jazz and the Creole Tradition," Jazzforschung/Jazz Research', 1, Graz: Universal Edition, 1969

Carmichael, Hoagy. Sometimes I Wonder: The Story of Hoagy Carmichael. NY" Farrar, Straus & Giroux, 1965

Castle, Irene. Castles in the Air. Garden City: Doubleday, 1958

__________ My Husband. NY: Scribers, 1919

Castle, (Mr. & Mrs.) Vernon. Modern Dancing. NY: World Syndicate, 1914

Charters, Samuel and Len Constant. Jazz: A History of the New York Scene. Garden City: Doubleday, 1962

Chilton, John. Who's Who of Jazz. ??

Collier, James Lincoln. "The Critics" in Jazz: The International Theme Song. NY: Oxford University Press, 1993, 225–262

___________ The Reception of Jazz in America: A New View. Brooklyn: Institute for Studies in American Music, 1988

Cooper, Harry. "On Beer Jazz: Replaying Adorno With the Grain," October 75 (Winter, 1996), 99–133

Crumden, Robert M. Body and Soul: The Making of American Modernism. Art, Music, and Letters in the Jazz Age. NY: Basic Books, 2000

Daniels, Douglas Henry. "Big Top Blues: Jazz-Minstrel Bands and the Young Family Traditions," Jazzforshung/Jazz Research 18, Graz, 1986, 133–153

Dauer, Alfons. Tradition Afrikanischer Blasorchester und Entstshung des Jazz. 2 vols. Graz: Akademische Druk- u. Verlagsansradt, 1985

DaVeaux, Scott. "Constructing the Jazz Tradition: Jazz Historiography," Black American Literature Forum, Vol. 25, No. 3 (Fall, 1991), 525–5560

Donaldson, Gary A. "A Window on Slave Culture: Dances at Congo Square in New Orleans, 1899–1862,"

Journal of Negro History, Spring, 1984, 63–72

Douglas, Ann. Terrible Honesty: Mongrel Manhattan in the 1920's. NY: Farrar, Straus and Giroux, 1995

Driggs, Frank, and Harris Lewine, Black Beauty. White Heat: A Pictorial History of Classic Jazz. NY: Morrow, 1982

Dupree, Mary Herron. "Jazz,' the Critics, and American Art Music in the 1920's," American Music, Vol. 4, No. 3 (Fall, 1986), 287–30 1

Early, Gerald. "Pulp and Circumstance: The Story of Jazz in High Places," The Culture of Bruising. Boston: Ecco Press, 1994 [on Paul Whiteman]

Ellison, Ralph. Living With Music: Ralph Ellison's Jazz Writings, Robert O'Meally, ed. NY: Modern Library, 2001

Elworth, Steven B. "Jazz in Crisis, 1948–1958: Ideology and representation," in Jazz Among the Discourses, Krin Gabbard, ed. Durham: Duke University Press, 1995, 57–75

Erskine, Gilbert M. "Jazz Books and Comments," Down Beat's Music ‘63. Chicago: Maher, 1962, 85–90, 119–123

Fiehrer, Thomas. "From Quadrille to Stomp: The Creole Origins of Jazz," Popular Music, 10/1 (1991), 21–38

Floyd, Samuel A., Jr. Floyd, Samuel A., Jr., ed. Black Music in the Harlem Renaissance:

_________ A Collection of Essays. Knoxville: University of Tennessee Press, 1990.

_________ The Power of Black Music. NY: Oxford University Press, 1995.

Foreman, Ronald C, Jr. "Jazz and Blues Records, 1020–32: Their Origins and Their Significance for the Record Industry and Society," Ph.D dissertation, University of Illinois, 1968.

Gebhardt, Nicholas. "Sidney Bechet" in Going For Jazz. Chicago: University of Chicago Press, 2001, 33–76.

Gendron, Bernard. Between Montmartre and the Mudd Club: Popular Music and the Avant-Garde. Chicago: The University of Chicago Press, 2002.

_________ "Moldy Figs' and Modernists: Jazz at War (1942–1946)," Jazz Among the Discourses, Krin Gabbard, ed. Durham: Duke University Press, 1995, 3, 1–56.

Gennari, John. "Jazz Criticism: Its Development and Ideologies," Black American Literature Forum, Vol. 25, No. 3 (Fall, 1991), 449–524.

Gracyk, Theodore A. "Adorno, Jazz, and the Aesthetics of popular Music," Musical Quarterly 76 (Winter, 1992), 526–542.

Gracyk, Tim. "Early Recordings of African Americans/Early Ragtime." http://www.gracyk.com/early_ragtime.shtml.

__________ "Jazz' and Tin Pan Alley." http://www.gracyk.com/jasband.shtml.

Gushee, Lawrence. "How the Creole Band Came to Be," Black Music Research Journal, Vol. 8, No. 1 (1988), 83–100.

___________ "The Nineteenth-Century Origins of Jazz," Black Music Research Journal, Vol. 14, no. 1 (Spring, 1994), 1–24 (reprinted in Porter 1997).

___________ Notes to Steppin' On the Gas: Rags to Jazz 1913–1927. New World Records 269 (1977).

Hagert, Thomas. "Band and Orchestral Ragtime," in Ragtime, Its History . . . , John Edward Hane, ed., 268–284.

Hammond, John. John Hammond On Record: An Autobiography. NY: Ridge Press/Summit Books, 1977.

Harrison, Max. "Around Paul Whiteman," ' Jazz Monthly, June, 1970, 24–28.

Haskins, Jim. The Cotton Club: A Pictorial and Social History of the Most Famous Symbol of the Jazz Era. NY: Random House, 1977.

Hennessey, Thomas J. From Jazz to Swing: African-American Jazz Musicians and their Music, 1890–1935. Detroit: Wayne State University, 1994.

Holbrook, Dick. "Our Word JAZZ," Storyville 50 (December, 1973–January 1974).

Jasen, David A. and Gene Jones. Black Bottom Stomp: Eight Masters of Ragtime and Early Jazz. NY: Routledge, 2002..

__________ Spreadin' Rhythm Around: Black Popular Songwriters, 1880–1930. NY: Schirmer, 1998.

"Jazz et Anthropologie," special edition of L'Homme: Revue francaise d'anthropologie, Nos. 158–159 (Avril/Septembre, 2001).

Jones, LeRoi. Blues People. NY: Morrow, 1963.

Kennedy, Rick. Jelly Roll, Bix, and Hoagy: Gennett Studios and the Birth of Recorded Jazz. Bloomington: Indiana University Press, 1994.

Kenny, William lowland. Chicago Jazz: A Cultural History, 1904–1930. NY: Oxford University Press, 1993.

Kimball, Robert and William Bolcom. Reminiscing With Sissle and Blake. NY: Viking, 1973.

King, Bruce. "The Formative Years," Jazz Monthly, no. 148, vol. 13, no. 4 (June, 1967), 5–7.

Kinen, Henry A. "The Roots of Jazz in Place Congo: A Re–Appraisal," Yearbook For Inter-American Musical Research, Vol. VIII (1972), Austin Texas, 5–16.

Larkin, Philip. All What Jazz: A Record Diary 1961–1971. NY: Farrar Straus Giroux, 1985.

Leonard, Neil. Jazz and the White Americans: The Acceptance of a New Art Form. Chicago: The University of Chicago Press, 1962.

Levine, Lawrence W.. "Jazz and American Culture," in The Unpredictable Past. NY, 1993.

Lopes, Paul. The Rise of a Jazz Art World. Cambridge: Cambridge University Press, 2002

Lowe, Allen. American Pop From Minstrel to Moio. Redwood, NY: Cadence Jazz Books, 1997

__________ That Devilin' Tune: A Jazz History. Berkeley: Music and Arts Programs of America, 2001

Malone, Jacqui. Steppin' On the Blues: The Visible Rhythms of African American Dance. Urbana: University Of Chicago Press, 1996

Marcus, Greil. Lipstick Traces: A Secret History of the 20th Century. Cambridge: Harvard University Press, 1989

Meizer, Annabelle. Dada and Surrealist Performance. Baltimore: The Johns Hopkins Press, 1976

Merriam, Alan P. and Fradley H. Garner. "Jazz–the Word," Ethnomusicology, 12 (1968), 373–396

Meyer, Dan. "Slap That Bass! New Orleans String Bass Pioneers." http://www.geocities.com/infrogmation/NewBass.htmi

Meyer, Peg. Backwoods Jazz in the Twenties Cape Girardeau: Southeast Missouri State University, 1989 [white riverboat musicians]

Meyer, Sheldon. "The Story of Jazz Books in America 193 5–55," Jazz Review, Vol. 2, No. 10 (November, 1959), 64–65

Moore, Macdonald Smith. Yankee Blues: Musical Culture and American Identity. Bloomington: Indiana University Press, 1985

Ogden, Kathy L. The Jazz Revolution: Twenties America and the Meaning of Jazz. NY:

Oxford University Press, 11989

Oliphant, Dave. Texan Jazz. Austin: University of Texas Press, 1996

Oliver, Paul. "That Certain Feeling: Blues and jazz. . . in 1890?", Popular Music, Vol. 10, No. 1 (1991), 11–19

Ostendorf, Bemdt. "The Musical World of Doctorow's Ragtime," American Quarterly, December,

1991

Ostransky, Leroy. Jazz City: The Impact of Our Cities on the Development of Jazz. Englewood

Cliffs: Prentice-Hall, 1978

Peretti, Burton W. The Creation of Jazz: Music, Race, and Culture in Urban America. Urbana:

University of Illinois Press, 1992

_______________ Jazz in American Culture. Chicago: Ivan R. Dee, 1997

Pickering, Michael. "Eugene Stratton and early Ragtime in Britain," Black Music Research

Journal, Vol. 20, No. 2 (Fall, 2000), 15 1–180

Pleasants, Henry. Death of a Music. London: Gollanz, 1961

______________ Serious Music and All That Jazz! NY: Simon & Schuster, 1969

Porter, Eric. What is This Thing Called Jazz?: African American Musicians as Artists, Critics,

and Activists. Berkeley: University of California Press, 2002, 1–53

Radano, Ronald. "Hot Fantasies: American Modernism and the Idea of Black Rhythm,"

in Music and the Racial Imagination, Philip Bohlman and Ronald Radano, eds. Chicago:

University of Chicago Press, 1997

Raebum, Bruce, "Jewish Jazzmen in New Orleans, 1890–1940," Jazz Archivist 12 (1997), 1–12

Reed, Ishmael. Mumbo Jumbo. Garden City: Doubleday, 1972 [novel]

Riis, Thomas L. Just Before Jazz: Black Musical Theater in New York 1890 to 1915.

Washington: Smithsonian Institution Press, 1989

Rose, Al. Eubie Blake: A Biography. NY: Schirmer, 1979

________ Storyville, New Orleans. University: University of Alabama Press, 1974

_______ I Remember Jazz: Six Decades Among the Great Jazzmen. Baton Rouge, Louisiana

State University Press, 1987

_______ and Edmond Souchon. New Orleans Jazz: A Family Album. Baton Rouge: Louisiana

State University Press, 1967

Russell, Bill. Bill Russell's American Music. Mike Hazeldine, ed. New Orleans: Jazzology

Press, 1993

___________ Jazz Scrapbook. New Orleans: The Historic New Orleans Collection, 1998

__________ New Orleans Style. Barry Martyn and Mike Hazeldine, eds. New Orleans:

Jazzology Press, 1994

Russell, Ross. Jazz Style in Kansas City and the Early Southwest. Berkeley: University of

California Press, 1971

Rust, Brian. "The First Jazz Record of All?" http://www.hensteeth.com/e_discog/firstjaz.htm

Schuller, Gunther. Early Jazz. NY: Oxford University Press, 1968

Schiedt, Duncan. The Jazz State of Indiana. Duncan Scheidt, 1977

Scott, Emmett. J. Scott's Official History of The American Negro in World War I, 1919,

(Chapter 21: "Negro Music That Stirred France")

Smith, Charles Edward. "Can Jazz Be Defined?" Metronome, Vol. 78, No. 7 (1961), 12–13

Southern Eileen. The Music of Black Americans: A History. NY: Norton, 1971

Spencer, Jon Michael. The New Negroes and Their Music. Knoxville: University of Tennessee

Press, 1997

Spottswood, Richard. "Gouges, Vamps, Zulus and Scronch and Where They've Been Hiding."

http://www.vjm.biz/articles1.htm

Stewart, Jack. "The Cuban Danzon: Before There Was Jazz – 1906 to 1929."

http://www.arhoolie.com/catalog/tit1es/7032c.shtm1

Stoddard, Tom. Jazz on the Barbary Coast. Chigwell, UK: Storyville, 1982

Storyville magazine and Storyville [annual] 1998–9

Stan, S. Frederick. Bamboula! The Life and Times of Louis Moreau Gottschalk. NY: Oxford

University Press, 1995

Steams, Marshall and Jean. Jazz Dance: The Story of American Vernacular Dance. NY:

Schirmer, 1968

Sudhalter, Richard. Lost Chords: White Musicians and their Contribution to Jazz 1915–1945.

NY: Oxford University Press, 1999

Sweetman, Ron. "Recording Activity in New Orleans in the ‘Twenties: A Discography of a

Decade in the Crescent City." http://www.bluesworld.com/nodiscog.html

Szwed, John and Morton Marks. "The Afro-American Transformation of European Set Dances

and Dance Suites," Dance Research Journal Vol. 20, No. 1 (Summer, 1988), 29–36

Turner, Frederick. Remembering Song: Encounters With the New Orleans Jazz Tradition.

NY: Viking, 1982

Van Der Merwe, Peter. Origins of the Popular Style: The Antecedents of Twentieth-Century

Popular Music. NY: Oxford, 1989

Vincent, Ted. "The Community That gave Jazz to Chicago," ‘’Black Music Research Journal’’, Vol. 12, No. 1 (Spring, 1992), 43–56.

___________ Keep Cool: The Black Activists Who Built the Jazz Age. London: Pluto Press, 1995

Virgo, E.S. "The Earliest Boogie Woogie," 78 Quarterly, Vol. 1, No. 8 (no date), 113–122

Wang, Richard. "Researching the New Orleans-Chicago Jazz Connection: Tools and Methods,"

Black Music Research Journal, Vol. 8, No. 1 (1988), 101–112

Watkins, Glenn. Pyramids at the Louvre: Music, Culture and Collage from Stravinsky to the

Postmodernists. Cambridge: Harvard University Press, 1994

Welburn, Ron. "American Jazz Criticism, 1914–1940." Dissertation., New York University,

1983

_____________ "James Reese Europe and the Infancy of Jazz Criticism," Black Music Research

Journal, Vol. 7 (1987), 35–44

Wilson, John S. Jazz: The Transition Year, 1940–1960. NY: Appelton-Century-Crofts, 1966

Woll, Allen. Black Musical Theatre From Coontown to Dreamgirls. Baton Rouge: Louisiana

State University Press, 1989

Wright, Laurie. "King" Oliver. Chigwell, UK: Storyville Publications, 1987

_____________ Mr. Jelly Lord. Chigwell, UK: Storyville Publications, 1980

Autobiographies and Biographies of Musicians and Singers

Armstrong, Louis. Satchmo: My Life in New Orleans. Englewood Cliffs: Prentice-Hall, 1954

Goffin, Robert. Horn of Plenty: The Story of Louis Armstrong. NY: Allen, Towne & Heath,

1947

Meryman, Richard. Louis Armstrong - A Self Portrait. Millerton, NY: Eakins, 1071

Barker, Danny. A Life in Jazz. Alyn Shipton, ed. NY: Oxford University Press, 1986

Bechet, Sidney. Treat It Gentle. Twayne, 1960

Chilton, John. Sidney Bechet: The Wizard of Jazz. NY: Oxford University Press, 1987

[Beiderbecke, Bix] Sudhalter, Richard M & Philip R. Evans. Bix: Man & Legend.

New Rochelle: Arlington House, 1974

Berton, Ralph. Remembering Bix: A Memoir of the Jazz Era. NY: Harper & Row, 1974

Bemhardt, Clyde E.B. I Remember. Philadelphia: University of Pennsylvania Press, 1986

Marquis, Donald M. In Search of Buddy Bolden. Baton Rouge: Louisiana State University

Press, 1978

Bradford, Perry. Born With the Blues: Perry Bradford's Own Story The True Story of the

Pioneering Blues Singers and Musicians in the Early Days of Jazz. NY: Oak Publications,

1965

Bushell, Garvin. Jazz From the Beginning. Ann Arbor: University of Michigan Press, 1988

Collins, Lee. Oh, Didn't He Ramble: The Life Story of Lee Collins as Told to Mary Collins.

Frank J. Gillis and John W. Miner, eds. Urbana: University of Illinois Press, 1974

Condon, Eddie and Thomas Sugrue. We Called It Music. NY: Holt, 1947

Gara, Larry. The Baby Dodds Story. Los Angeles: Contemporary Press, 1959

Badger, Reid. A Life in Ragtime A Biography of James Reese Europe. NY: Oxford University

Press, 1995

Foster, Pops. Pops Foster: The Autobiography of a New Orleans Jazzman. Berkeley: University

of California Press, 1971

Handy, W.C. Father of the Blues: An Autobiography. NY: Macmillan, 1941

Holiday, Billie. Lady Sings the Blues. NY: Doubleday, 1956

Singer, Barry. Black and Blue: The Life and Lyrics of Andy Razaf. NY: Schirmer, 1992

Sonnier, Austin M., Jr. Willie Geary "Bunk" Johnson. NY, 1977

Brown, Scott E. James P. Johnson: A Case of Mistaken Identity. Metuchen, NJ: Scarecrow,

1986

Berlin, Edward A. King of Ragtime: Scott Joplin and His Era. NY: Oxford University Press,

1994

Mezzrow, Milton "Mezz" and Bernard Wolfe. Really the Blues. NY: Random House, 1946

Lomax, Alan. Mister Jelly Roll. NY: Duell, Stone & Pearce, 1950

Patras, Phil. Dead Man Blues: Jelly Roll Morton Way Out West. Berkeley: University of

California Press, 2001

Russell, William. "Oh, Mister Jelly Roll": A Jelly Roll Morton Scrapbook. Copenhagen:

JazzMedia Aps., 1999

Allen, Walter C., and Brian Rust. King Joe Oliver. London: Sidwich & Jackson, 1960

Brunn, Henry 0. The Story of the Original Dixieland Jazz Band. Baton Rouge: Louisiana State

University Press, 1960

Albertson, Chris. Bessie. NY: Stein & Day, 1972

Smith, Willie "The Lion." with George Hoefer. Music On My Mind. Garden City: Doubleday,

1964

Lord, Tom. Clarence Williams. Chigwell, UK: Storyville Publications

Early Jazz Outside of the United States

"Billy Arnold: Like a Story Book." Reprinted in "La France decouvre le jazz," special issue of

Jazz Magazine (Paris), No. 325 (January, 1984), 60–61)

Atkins, E. Taylor. Blue Nippon: Authenticating Jazz in Japan. Durham: Duke University Press,

2001

Ballantine, Christopher. Marabi Nights: Early South African Jazz and Vaudeville.

Johannesburg, 1994.

Berresford, Mark. "American Ragtime Performers in Britain," 78 Quarterly, Vol. 1, No. 8

(no date), 113–122

Boujut, Michel. "Jazz et surrealisme: une possible alliance," from Dictionaire du Surréalisme,

Fribourg, 1982 (reprinted in "La France decouvre le jazz," special issue of Jazz Magazine

(Paris), No. 325 (January, 1984), 46–47)

Chesnel, Jacques. Le jazz en guarantaine 1940–1946: occupationllibëration.

Cherbourg 1994.

Clifford, James. "On Ethnographic surrealism," in The Predicament of Culture. Cambridge:

Harvard University Press, 1988, 117–151

Collier, James Lincoln. The Reception of Jazz in America: A New View. Brooklyn:

Institute for Studies in American Music, 1988

Denis-Constant, Martin. "L'Histo ire sous toute ses faces," in "La France decouvre le jazz,"

special issue of Jazz Magazine (Paris), No. 325 (January, 1984), 38–39, 85

Denis-Constant, Martin and Livier Roueff, La France du jazz: Musigue modermité, et

identitë dans la premiere moitié du xx siècle. Marseille: Parentheses, 2002 [includes

reprints of early French articles on jazz]

Franklin, A. David. "A Preliminary Study of the Acceptance of Jazz by French Music Critics in

the 1920's," Annual Review of Jazz Studies, 4 (1988), 1–8

Godbolt, Jim. A History of Jazz in Britain 19 19–50. London: Quartet, 1984

Goffm, Robert. "Le plus beau Te Deum." Reprinted in "La France decouvre lejazz," special

issue of Jazz Magazine (Paris), No. 325 (January, 1984), 62–63

Goddard, Chris. Jazz Away From Home. NY: Paddington Press, 1979

Hobsbawm. Eric. "Jazz Comes to Europe," Uncommon People. NY: The New Press, 1998,

265–273

Kantor, Michael H. Different Drummers: Jazz in the Culture of Nazi Germany. NY: Oxford

University Press, 1992 (especially the introduction, "The Ambiguous Culture: Jazz and the

Weimar Republic," 3–28

Kenny, William H., III. "Le Hot: The Assimilation of American Jazz in France, 1917–1940,"

American Studies, Vol. 25, No. 1 (Spring, 11984), 5–24

Knauer, Wolfgang. Jazz in Deutschland. Hotheim, 1996.

"La France decouvre le jazz," special issue of Jazz Magazine (Paris), No. 325 (January, 1984)

Lambert, Constant. Music Ho! London, 1934

Lange, Horst. Jazz in Deutschland: Die deutsche Jazz-Chronik. 1900–1960. Berlin, 1966

Lotz, Rainer E. Black People: Entertainers of African descent in Europe, and Germany.

Bonn: Birgit Lotz, 1997. [book/CD set]

_____________ German Ragtime & Prehistory of Jazz. Vol. 1: The Sound Documents of an Era.

Chigwell, UK: Storyville Publications.

_____________ "Foolishness Rag: The Perception of Ragtime in Europe," 78 Ouarterly,

Vol. 1, No. 8 (no date), 113–122

Milhaud, Darius. "La musique ‘pas sérieuse," in "La France decouvre Ic jazz," special issue of

Jazz Magazine (Paris), No. 325 (January, 1984), 55,83

Miller, Mark. Such Melodious Racket: The Lost History of Jazz in Canada. Toronto:

Mercury, 1997.

Perloff, Nancy. Art and the Everyday: Popular Entertainment and the Circle of Eric Satie.

NY: Oxford University Press, 1991

Réda, Jacques. "Charles Albert Cingria: le syncopé angle-négre," in "La France decouvre le

jazz," special issue of Jazz Magazine (Paris), No. 325 (January, 1984), 52–53, 85–86

Riviere, George Henri. "Une Marriage d'amour," in "La France decouvre le jazz," special issue

of Jazz Magazine (Paris), No. 325 (January, 1984), 47–51, 85

Roberts, John Storm. Latin Jazz. NY: Schirmer, 1999

Rye, Howard. "Fearsome Means of Discord: Early Encounters with Black Jazz," Black Music in

Britain, Paul Oliver, ed. Philadelphia, 1990

Shack, William A. Harlem in Montmartre: A Paris Jazz Story Between the Great Wars.

Berkeley: University of California Press, 2001

Simon, Géza Glbor. Magvar Jazztörténet. Budapest, 1999. [history of Hungarian jazz with CDs]

Starr, S. Frederick. Red & Hot: The Fate of Jazz in the Soviet Union. NY: Oxford University

Press, 1983

Stockman, Hardy. Cape Town Jazz 1959–1963. Copenhagen, 2002.

Stovall, Tyler. Paris Noir: African Americans in the City of Light. Boston: Houghton Mifflin,

1996

Stretton, Gordon. "Tu verras Montmartre." in "La France decouvre le jazz," special issue of

Jazz Magazine (Paris), No. 325 (January, 1984), 58–59)

Sullivan, Jack. New World Symphonies: How American Culture Changed European Music.

New Haven: Yale University Press, 1999

Szwed, John. "Afro Blue" [South African jazz], Village Voice, August 25, 1987,

Jazz Supplement, 11–12

___________ "Way Down Yonder in Buenos Aires" [Oscar Alemán], Village Voice, January 18,

1983 ‘p.83

___________ "World Views Collide: The History of Jazz and Hot Dance," Village Voice,

February 25, 1986

Tower, Beeke S. "Jungle Music," Envision America. Cambridge, MA: Busch-Reisinger

Museum, 1991, 87–105

Weiss, Jeffrey. The Popular Culture of Modern Art: Picasso, Duchamp, and Avant-Gardism.

New Haven: Yale University Press, 1994

Zwerin, Mike. Lat Tristesse de Saint Louis: Swing Under the Nazis. London: Quartet, 1985

Bibliography

Mecklenburg, Carl Gregor Herzog zu. International Jazz Bibliography: Jazz Books From

1919 to 1968. Baden Baden: Verlag Heitz, 1969

________________________________• International Bibliography of Jazz Books, Vol. I:

1921–1949. Baden-Baden: Verlag Valentine Koerner, 1983

________________________________• International Bibliography of Jazz Books, Vol. II:

1959–1959. Baden-Baden: Verlag Valentine Koerner, 1988

Merriam, Alan. P. and Robert J. Benford. A Bibliography of Jazz. Philadelphia: The American

Folklore Society, 1954 [NOTE: many of the pre-1930 items are reprinted in Koening 2002]

A framed photograph of a jumbled pile of black rocks with four different miniature jazz musician's figures embedded onto the rocks and difficult to discern amongst the shadows on the rocks with PoJ.fm logos.

Cultural Studies of Jazz[edit]

Agawu, K. (2003). Contesting difference: A critique of Africanist ethnomusicology. In M. Clayton, T. Herbert, & R. Middleton, The cultural study of music: A critical introduction (pp. 227–237). New York & London: Routledge.

Ake, D. (2002). Jazz cultures. Berkeley, CA: University of California Press.

Ake, D. (2010). Jazz Matters: Sound, Place, and Time Since Bebop. Berkeley, CA: University of California Press.

Ake, D., Garrett, C. H., & Goldmark, D. (Eds.) (2012). Jazz/Not Jazz: The music and Its Boundaries. Berkeley, CA: University of California Press.

Almén, B. (2008). A theory of musical narrative. Bloomington, IN: Indiana University Press. Alperson, Philip (1984). On musical improvisation. Journal of aesthetics and art criticism, 43, 17–29.

Alperson, Philip. (2010). "A Topography of Improvisation". Journal of Aesthetics and Art Criticism, 68, 273–280.

Atkins, E. T. (2001). Blue Nippon: Authenticating jazz in Japan. Durham: Duke University Press.

Attali, Jacque. (1985). Noise: The Political Economy of Music. Manchester, UK: Manchester University Press.

Bailey, D. (1993). Improvisation: Its Nature and Practice in Music. New York: Da Capo Press.

Baraka, A. (1967). Black Music. New York: William Morrow.

Baraka, A. (1998). "Jazz and the White Critic". In R. G. O'Meally (Ed.), The Jazz Cadence of American Culture (pp. 137–142). New York: Columbia University Press.

Bateson, M. C. (1990). Composing a Life. New York: Penguin.
Becker, H. S. (1963/1991). Outsiders: Studies in the Sociology of Deviance. New York: Free Press.

Becker, H. S. (2000). "The etiquette of improvisation". Mind, culture, and activity, 7(3), 171–176.

Beeson, A. (1990). 'Quoting tunes': Narrative Features in Jazz. Collectanea: Papers in Folklore, Popular & Expressive Culture (Austin, TX: Center for Intercultural Studies in Folklore and Ethnomusicology, University of Texas), 1, 1–15.

Wolf, W. (2005). "Music and narrative". In D. Herman, M. Jahn, & M.-L. Ryan (Eds.), Routledge Encyclopedia of Narrative Theory, 324–329. London: Routledge.

Young, K. G. (1987). Taleworlds and Storyrealms: The Phenomenology of Narrative. Dordrecht: Nijhoff.

Zbikowski, L. M. (1997). "Conceptual models and cross-domain mapping: New perspectives on theories of music and hierarchy". Journal of Music Theory, 41(2) (Fall), 193–225.

Zbikowski, L. M. (2000). Des Herzraums Abschied. Mark Johnson's theory of embodied knowledge and music theory. Theory and practice, 22–23 (1997–98, published 2000), 1–16.

Zbikowski, L. M. (2002). Conceptualizing Music: Cognitive Structure, Theory, and Analysis. Oxford: Oxford University Press.

Zbikowski, L. M. (2008). "Metaphor and music". In R. W. Gibbs, Jr. (Ed.), The Cambridge Handbook of Metaphor and Thought, 502–524. Cambridge: Cambridge University Press.

Bailey, Derek (1993), Improvisation: Its Nature and Practice in Music, New York, Da Capo Lifelong Books, 1993; originally published in 1980.

Barnhall, E. (2006), "Facts about improvisation", The Daily Improvisation, viewed in 2012, <http://ericbarnhill.wordpress.com/facts-about-improvisation>.

Benson, Bruce Ellis (2003), The Improvisation of Musical Dialogue: A Phenomenology of Music, New York, Cambridge University Press.

Berkman, F. J. (2007), "Appropriating Universality: The Coltranes and 1960s Spirituality". Mid-American Studies Association Volume 48, No. 1, Spring edition, pp. 41-62, viewed 29 July 2011, Jstor database.

Berliner, Paul F., (1994), Thinking in Jazz: The Infinite Art of Improvisation, Chicago, University of Chicago Press.

BLUM, S. 1998, 'Recognising Improvisation', in B. Nettl and B. Russell (eds), In the course of performance: studies in the world of musical improvisation, Chicago, University of Chicago Press.

BORGO, D. 2002, Negotiating Freedom: Values and Practices in Contemporary Improvised Music. Black Music Research Journal, Volume 22, No. 2, 165– 188, Jstor database.

BUSONI, F. 1962, in G E. Lewis, 2006, Improvisation and the orchestra: A composer reflects. Contemporary Music Review, Vol. 25, Nos. 5/6, October/December 2006, 429–434, Routledge.

DAVISON, N. 2010, Composition in improvisation: forms and otherwise, University of Glasgow PhD thesis, Glasgow, Glasgow Theses Service.

CLEMENS, C. 2007, Indian Concepts in the Music of John Coltrane, Institute for Studies in American Music, Newsletter Volume XXXVII, No. 1, Fall 2007, viewed 7 October 2012, Brooklyn College, Conservatory of Music.

COLWELL, R. 2009, "Fusion" Musics and Tunisian Identity in the Age of the Global Stereo, Independent Study Project, SIT, viewed 29 September 2011, viewed 21 September 2011, <http://digitalcollections.sitedu/isp_collection/656>.

DEAN, R. 1989, Creative improvisation: jazz, contemporary music, and beyond: how to develop techniques of improvisation for any musical context, Milton Keynes [England] & Philadelphia: Open University Press.

DOBRIAN, C. 1991, Thoughts on Composition and Improvisation, Chapter 2. "Improvisation takes place in real time. Composition does not" (para. 6), Irvine, University of California, <http://music.arts.uci.edu/dobrian/articles.htm>.

ESPINOLA, P. 1992, Interview with Paco de Lucia, Flamenco-world.com, <http://www.flamencoworld.com/guitar/pacodelucia/interview98/interview982.htm>.

FARRELL, G. 1988, "Reflecting Surfaces: The Use of Elements from Indian Music in Popular Music and Jazz". Popular Music, Vol. 7, No. 2, The South Asia/West Crossover (May, 1988), 189-205, Jstor database.

FARRELL, G. 1999, Indian Music and the West, New York, Oxford University Press.

FERAND, E. T. 1961, Improvisation in Nine Centuries of Western Music, Koln, Arno Volk Verlag.

FERAND, E. T. 1961, in R. Moore, 1992, "The Decline of Improvisation in Western Art Music: An Interpretation of Change", International Review of the Aesthetics and Sociology of Music, Vol. 23, No. 1 (Jun., 1992), 61-84, Jstor database.

FISCHLIN, D. 2010, "See clearly ... feel deeply": Improvisation and Transformation. Critical Studies in Improvisation / Etudes critiques en improvisation, Vol 6, No 2 (2010), viewed 7 July 2011, University of Guelph, Canada, <http://www.criticalimprov.com/article/view/1358/1937>.

FISCHLIN, D. & HEBLE, A. 2004, The other side of nowhere: jazz, improvisation, and communities in dialogue, Middletown, Conn, Wesleyan University Press.
FOSS, L. 1962, "Improvisation versus Composition", The Musical Times, Vol. 103, No. 1436 (Oct., 1962), 684-685, Jstor database.

GARCIA, D. F. 2007, "We Both Speak African: Gillespie, Pozo, and the Making of Afro-Cuban Jazz", Institute for Studies in American Music, Newsletter Volume XXXVII, No. 1, Fall 2007, Brooklyn College, Conservatory of Music database.

GILBERT, R. 1976, "Improvisation", Mind, New Series, Vol. 85, No. 337 (Jan., 1976), 69-83, Oxford University Press on behalf of Mind Association, Jstor database.

GOSSETT, P. 1970, Rossini and the Conventions of Composition, Acta Musicologica, Vol. 42, Fasc. 1/2, Special Issue. Preliminary Papers of the Colloqueat Saint-Germain-en-Laye (September 1970), pp. 48-58, Jstor database.

HALL, E. T. 1992, Improvisation as an Acquired, Multilevel Process, Ethnomusicology, Vol. 36, No. 2 (Spring - Summer, 1992), pp. 223-235, University of Illinois Press on behalf of Society for Ethnomusicology, Jstor database.

HEBLE, A. 2000, Landing on the Wrong Note: Jazz, Dissonance and Critical Practice, New York, Routledge.

HASEMAN, B. C. 2006. A manifesto for performative research, Media International Australia incorporating Culture and Policy, theme issue "Practice-led Research" (no. 118): pp. 98-106. University of Queensland, QUT ePrints database.

HOLLERBACH, P. 2004, (Re)voicing Tradition: Improvising Aesthetics and Identity on Local Jazz Scenes, Popular Music, Vol. 23, No. 2 (May, 2004), pp. 155-171, Cambridge University Press, Jstor database.

JAYASINHA, S. P. 2008, `Konnokol Bonus PDF', in Gateway to Rhythm, p. 1, viewed 25 February 2011, <www.johnmclaughlin.com>.

KLEIDONAS, A. 2010, Composition and improvisation as correlation fields of architecture and music: An interdisciplinary research for 'open' and flexible work-production processes, 2nd. IASJ Jazz Education Conference 2010, Corfu, Ionian University, Department of Music.

KRAMER, M. 2011, Ambivalence, Paradox and the Poison-Remedy of Brazilian Improvisation: A Conversation with Jose Miguel Wisnik, viewed 26 August 2011, Critical Studies in Improvisation /Etudes critiques en improvisation Vol 7, viewed 22 June 2013, 121. http://www.criticalimprov.com/article/viewArticle/1367/2027#

LEHMANN, AC, SLOBODA, JA & WOODY, RH, 2007, 'Psychology for Musicians: Understanding and Acquiring the Skills' in Creech, A. 2008, Psychology of Music 2008 36: 383, New York, Oxford University Press, Sage database. LEVITIN, D. J. 2006, This is your brain on music: the science of a human obsession, New York, Dutton. LEWIS, G. E. 2006, Improvisation and the orchestra: A composer reflects. Contemporary Music Review, Vol. 25, Nos. 5/6, October/December 2006, pp. 429 - 434, Routledge.

MA, Y.Y. 2013, The Silk Road Project. Allston, Massachusetts, The Silk Road Project, Inc., viewed 15 September 2012, http://www.sillcroadproject.org/tabid/177/defaul.aspx.

MANNES, E. 2008, The Music Instinct: Science and Song, In MARINO, D. (Ed.), Australia, ABC1 TV.

MANUEL, P. 1989, Modal Harmony in Andalusian, Eastern European, and Turkish Syncretic Musics Yearbook for Traditional Music, Vol. 21, pp. 70-94. Jstor database.

MAZZOLA, G, PARK, J & THALMANN, F. 2011, Musical Creativity: strategies and Tools in Composition and Improvisation, Berlin Heidelberg, Springer-Verlagen.

MCGEE, T. J. 2003, Improvisation in the arts of the Middle Ages and Renaissance, Kalamazoo, Western Michigan University, Medieval Institute Publications.

MCLAUGHLIN, J. 2010, John McLaughlin Remembers - 60 Years Old, p. 4, (para 10), accessed 15 February 2012, http://www.shakenstir.co.uk/index.php/features/john-mclaughlin-times-remembered/features/16294/4/.

MCMULLEN, T. 2010, Subject, Object, Improv: John Cage, Pauline Oliveros, and Eastern (Western) Philosophy in Music, Critical Studies in Improvisation / Etudes critiques en improvisation, Vol 6, No 2 (2010), viewed 17 July 2011, University of Guelph, Canada, http://www.criticalimprov.com/article/viewArticle/851/1918#_edn1.

MELVIN, A. 2010, The creative symbiosis of composer and performer (An examination of collaborative practice in partially improvised works), Brunel University School of Arts PhD Theses, London, Brunel University Research Archive database.

MITCHELL, N. 2011, The precipice of creativity: the improvising mind, 'All In The Mind' series, Melbourne, ABC Radio National.

MONSON, I. 1998, 'Oh Freedom: George Russell, John Coltrane, and Modal Jazz', in B. Nettl and B. Russell (eds), In the course of performance: studies in the world of musical improvisation, Chicago, University of Chicago Press.

MOORE, R. (1992) The Decline of Improvisation in Western Art Music: An Interpretation of Change, International Review of the Aesthetics and Sociology of Music, Vol. 23, No. 1 (Jun., 1992), 23, 61-84, Jstor database.

NAPIER, J. 2006, A Subtle Novelty: Repetition, transmission and the valorisation of innovation within North Indian Classical Music, Critical Studies in Improvisation / Etudes critiques en improvisation, Vol 1, No 3 (2006), University of Guelph, Canada, viewed 26 July 2011, http://www.criticalimprov.com/article/viewFile/55/105.

NETTL, B. 1974, Thoughts on Improvisation: a comparative approach, The Musical Quarterly (1974), Vol. LX, No. 1, pp. 1-19, viewed 21 February 2011, http://mq.oxfordjournals.org/.

NETTL, B. 1998, In the course of performance: studies in the world of musical improvisation, Chicago, The University of Chicago Press.

NETTL, B. 2000, 'Universals of Music and Universals among Music', in N, L. WALLIN, B. MERKER, & S. BROWN (Eds.), The Origins ofM usic. Cambridge, MA, Massachusetts Institute of Technology.

NICHOLSON, S. 2005, Is Jazz Dead? (or has it moved to a new address), New York, Routledge. O'DWYER, T. 2012, The adventure of the refrain: composing with improvised music, Queensland University of Technology (PhD by Creative Works), Brisbane, QUT ePrints.

PANIKKER, D, M. 2010, Indian American Jazz: An Emerging Hybrid, University of California M.A. thesis, Irvine, ProQuest LLC.

PANKEN, T. 2011, Anthony Braxton Turned 66 Yesterday, Today Is the Question: Ted Panken on Music, Politics and the Arts, viewed 6 August 2012, http://tedpanken.wordpress.com/2011/06/05/anthony-braxton-turned-66-yesterday.

PE&ALOSA, D. 2009, The Clave Matrix; Afro-Cuban Rhythm: Its Principles and African Origins, Redway, California, Bambe Inc.

PIETROPAOLO, D. 2003, 'Improvisation in the Arts', in MCGEE, T. J. (Ed.) Improvisation in the arts of the Middle Ages and Renaissance Kalamazoo, Western Michigan University, Medieval Institute Publications.

PINCKNEY, W. R, JR. 1989, Jazz in India: Perspectives on Historical Development and Musical Acculturation, Asian Music, Vol. 21, No. 1 (Autumn, 1989 - Winter, 1990), pp. 35-77, Jstor database.

PRASAD, A. 2010, Innerviews: Music Without Boarders, Cary, North Carolina, Abstract Logix Books.

PRESSING, J. 1987, 'Improvisation: Methods and Models', in SLOBODA, J. (Ed.) Generative processes in music, Oxford, Oxford University Press, viewed 22 February 2011. http://musicweb.ucsd.eduk-sdubnov/mu206/improv-methods.pdf

RACY, A. J. 2000, "The Many Faces of Improvisation: The Arab Taqcisim as a Musical Symbol," Ethnomusicology, Vol. 44, No. 2 (Spring - Summer, 2000), 302–320, Jstor database.

SHAND, J. 2008, 'Matt McMahon and Guy Strazz, 2@1' Arts and Entertainment - jazz, Sydney Morning Herald (20-21 September 2008) Sydney, Fairfax Media.

SMITH, H & DEAN, R. T. 2009, Practice-led research, research-led practice in the creative arts, Edinburgh, Edinburgh University Press.

SHER, C. 1997, The Latin Real Book, Petaluma, Ca, Sher Music Co.

SPOLIN, V. 1963, in Kindler, AR, Spontaneity and Improvisation in Psychoanalysis, Psychoanalytic Inquiry: A Topical Journal for Mental Health Professionals, 30:3, pp. 222-234, accessed 22 March 2012, http://www.tandfonline.com/loi/hpsi20.

STORB, I. 2000, 'An interview with Dave Brubeck', Jazz meets the world - the world meets Jazz, Hamburg-London, LIT verlagen Munster,

Berlin, Edward A. King qf Ragtime: Scott Joplin and His Era. Oxford: Oxford University Press, 1994.

Giddins, Gary. Visions of Jazz: The First Century. Oxford: Oxford University Press, 1998.

Gilroy, Paul. The Black Atlantic: Modernity and Double Consciousness. Cambridge: Cambridge University Press, 1993.

Harris, Jerome. "Jazz on the Global Stage In The African Diaspora: A Musical Perspective, edited by Ingrid Monson, 103-134, New York: Routledge, 2003.

Monson, Ingrid. Freedom Sounds: Civil Rights Call Out to Jazz and Africa. Oxford: Oxford University Press, 2007.

Monson, Ingrid, "Introduction: In The African Dispora: A Musical Perspective, edited by Ingrid Monson, 1-19. New York: Iloutledge, 2003.

Porter, Eric. What Is This Thing Called Jazz? African American Musicians as Artists, Critics, and Activists. Berkeley: University of California Press, 2002.

A framed set of the same orange cover book with the title "Philosophy of Jazz" printed on cover with different color PoJ.fm logos.jpeg

Improvisation in Jazz[edit]

Aaron, Tossi. "Music Improvisation and Related Arts." Music Education Journal 66.5 (1980): 78–83.

Albright, Ann Cooper and David Gere, eds. Taken by Surprise: A Dance Improvisation Reader. Hanover, CT: Wesleyan University Press, 2003.

Alperson, Philip A. "On Musical Improvisation." The Journal of Aesthetics and Art Criticism 43.1 (1984): 17–29.

Alperson, Philip A. ‘Improvisation: An Overview.’ Oxford Encyclopedia of Aesthetics. Ed. Michael Kelly. Oxford: Oxford University Press, 1998, online edition. See also ‘Improvisation: Overview.’ Oxford Encyclopedia of Aesthetics, Second Edition, Vol. 3. Ed. Michael Kelly, New York: Oxford University Press, 2014, 439–441.

Bailey, Derek. Improvisation: Its Nature and Practice in Music. Ashbourne, Derby: Moorland, 1980. See also the second edition published in London: British Library 1992 and New York: De Capo, 1993.

Barnes, John. ‘Improvisation.’ The Oxford Encyclopedia of Theatre and Performance. Ed. Dennis Kennedy. Oxford: Oxford University Press, 2005, online edition.

Bertinetoto, Alessandro. "Paganini Does Not Repeat. Musical Improvisation and the Type/Token Ontology." Teorema XXXI.3 (2012): 105–126.

Bitz, Michael. "Teaching Improvisation outside of Jazz Settings." Music Education Journal 84.4 (1998): 21–24 and 41.

Bresnahan, Aili. "Improvisational Artistry in Live Dance Performance As Embodied and Extended Agency.’" Dance Research Journal 46.1 (2014): 84–94.

Brown, Lee B. "Musical Works, Improvisation and the Principle of Continuity." The Journal of Aesthetics and Art Criticism 54 (1996): 353-69.

Brown, Lee B. "Feeling My Way’: Jazz Improvisation and Its Vicissitudes – A Plea for Imperfection." The Journal of Aesthetics and Art Criticism 58.2, Improvisation in the Arts (2000a): 113–124.

Brown, Lee B. "Do Higher-Order Music Ontologies Rest on a Mistake?" The British Journal of Aesthetics 51.2 (2011a): 169–184.

Brown, Lee B. "Further Doubts about Higher-Order Ontology: Reply to Andrew Kania." British Journal of Aesthetics 52.1 (2012): 103–106.

Carter, Curtis L. "Improvisation in Dance." The Journal of Aesthetics and Art Criticism 58.2, Improvisation in the Arts (2000): 181–190.

Davies, David. Philosophy of the Performing Arts, Massachusetts: Wiley-Blackwell, 2011.

Davies, Stephen. Musical Works & Performances: a Philosophical Exploration (Oxford: Clarendon Press, 2001).

De Spain, Kent. Landscape of the Now: A Topography of Movement Improvisation. New York: Oxford University Press, 2014.

Gates, Henry Louis. The Signifyin(g) Monkey: A Theory of African-American Literary Criticism. New York:

Gilmour, John C. "Improvisation in Cézanne’s Late Landscapes." The Journal of Aesthetics and Art Criticism 58.2, Improvisation in the Arts (2000): 191–204.

Gioia, Ted. The Imperfect Art: Reflections on Jazz and Modern Culture. Oxford: Oxford University Press, 1988.

Goldman, Danielle. I Want to be Ready: Improvised Dance as a Practice of Freedom. Ann Arbor: University of Michigan Press, 2010.

Goodman, Nelson. Languages of Art: An Approach to a Theory of Symbols, Indianapolis/Cambridge: Hackett Publishing Company Inc., 1976.

Hagberg, Garry L. "The Aesthetics of Jazz Improvisation." Oxford Encyclopedia of Aesthetics. Ed. Michael Kelly. Oxford: Oxford, 1998, online edition. See also "Jazz Improvisation." Oxford Encyclopedia of Aesthetics, Second Edition, Vol. 3, Ed. Michael Kelly. New York: Oxford University Press, 2014. 441–448.

Hagberg, Garry L. "Foreword: Improvisation in the Arts." The Journal of Aesthetics and Art Criticism 58.2, "Improvisation in the Arts" (2000): 95–97.

Hagberg, Garry L. "On Representing Jazz: An Art Form in Need of Understanding." Philosophy and Literature 26 (2002): 188–190.

Hamilton, Andy. "The Art of Improvisation and the Aesthetics of Imperfection." British Journal of Aesthetics 40.1 (2000): 168–185.

Hebidge, Dick. "Even unto Death: Improvisation, Edging, and Enframement." Critical Inquiry 27.2 (2001): 333–353.

Hill, Constance Valis. "Stepping, Stealing, Sharing, and Daring." Taken by Surprise: A Dance Improvisation Reader. Eds. Ann Cooper Albright and David Gere. Hanover, CT: Wesleyan University Press, 2003, 89–102.

Howell, Anthony. The Analysis of Performance Art: A Guide to Its Theory and Practice (Contemporary Theatre Studies). New York: Routledge, 2013.

Kania, Andrew. "All Play and No Work: the Ontology of Jazz." The Journal of Aesthetics and Art Criticism 69.4 (2011): 391–403.

Kernfeld, Barry. "Improvisation." The New Grove Dictionary of Jazz, Second Edition. Ed. Barry Kernfeld. New York: Grove’s Dictionaries Inc., 2002, 313–323.

Matheson, Katy. "Improvisation." International Encyclopedia of Dance. New York: Oxford University Press, 2005, online edition.

McFee, Graham. The Philosophical Aesthetics of Dance: Identity, Performance and Understanding. Hampshire: Dance Books Ltd., 2011.

McFee, Graham. Understanding Dance. London: Routledge, 1992.

McGillicuddy, Louisa. "Marina Abramović at the Serpentine." Vogue UKRAINIAN (June 13, 2014). http://www.vogue.co.uk/news/2014/06/13/marina-abramovic-at-the-serpentine-artist-exhibition.

Napier, Mick. "What’s Better? Short Form or Long Form?" The Second City Almanac of Improvisation. Ed. Anne Libera. Evanston, IL: Northwestern University Press, 2004., 118–121.

Osipovich, David. "What is a Theatrical Performance?" The Journal of Aesthetics and Art Criticism 64.4 (2006): 461–470.

Paxton, Steve. "About Contact Improvisation." From Contact Quarterly web site, as reprinted from Contact Quarterly 5.1 (1979), http://www.contactquarterly.com/contact-improvisation/about/cq_ciAbout.php.

Sansom, Matthew. "Imaging Music: Abstract Expressionism and Free Improvisation." Leonardo Music Journal 11 (2001): 29–34.

Sawyer, R. Keith. "Creativity as Mediated Action: A Comparison of Improvisational Performance and Product Creativity." Mind, Culture and Activity 2.3 (1995): 172-91.

Sawyer, R. Keith. "Improvisation and the Creative Process: Dewey, Collingwood, and the Aesthetics of Spontaneity." The Journal of Aesthetics and Art Criticism 58.2, Improvisation in the Arts (2000): 149–161.

Scruton, Roger. The Aesthetics of Music. Oxford: Oxford University Press, 1999.

Spolin, Viola. Improvisation for the Theatre. Evanston, IL: Northwestern University Press, 1963. Third Edition, published 1999.

Sterritt, David. "Revision, Prevision, and the Aura of Improvisatory Art." The Journal of Aesthetics and Art Criticism 58.2, Improvisation in the Arts (2000): 163–172.

Wexman, Virginia Wright. "The Rhetoric of Cinematic Improvisation." Cinema Journal 20.1 (1980): 29–41.

Wollheim, Richard. Art and Its Objects, Second Edition. New York: Cambridge University Press, 1980 [first edition was Harper and Row, 1968].

Young, James O. and Matheson, Carl. "The Metaphysics of Jazz." In The Journal of Aesthetics and Art Criticism 58.2, "Improvisation in the Arts" (2000): 125–34.

Alperson, Philip A. "Creativity in Art." In The Oxford Handbook of Aesthetics, Ed. Jerrold Levinson, (Oxford: Oxford University Press, 2003): 245-57.

Alperson, Philip A. "A Topography of Improvisation." The Journal of Aesthetics and Art Criticism 68.3, Symposium: Musical Improvisation (2010): 273-80.

Beardsley, Monroe C. "On the Creation of Art." The Journal of Aesthetics and Art Criticism 23.3 (1965): 291-304.

Berliner, Paul F. Thinking in Jazz. Chicago: University Chicago Press, 1994.

Bertinetto, Alessandro. "Improvisation and Artistic Creativity." Proceedings of the European Society for Aesthetics 3 (2011): 81-103.

Bertinetto, Alessandro. "Improvisational Listening?" Proceedings of the European Society for Aesthetics 4 (2012): 83-104.

Brown, Lee B. ‘Phonography, Repetition and Spontaneity.’ Philosophy and Literature 24.1 (2000b): 111-25.

Brown, Lee B. "Improvisation." Eds. Theodore Gracyk and Andrew Kania. The Routledge Companion to Philosophy and Music. New York: Routledge, 2011b. 59-69.

Carvalho, John M. "Repetition and Self-Realization in Jazz Improvisation." The Journal of Aesthetics and Art Criticism 68.3, Symposium: Musical Improvisation (2010): 285-90.

Cochrane, Richard. "Playing by the Rules: A Pragmatic Characterization of Musical Performances." The Journal of Aesthetics and Art Criticism 58.2, Improvisation in the Arts (2000): 135-42.

Collier, James Lincoln. Jazz: The American Theme Song, New York: Oxford University Press, 1993.

Davies, David. Art As Performance. Massachusetts: Blackwell Publishing Ltd., 2004.

Davies, Stephen. "The Ontology of Musical Works and the Authenticity of their Performances." Noûs 25.1 (1991): 21–41.

Davies, Stephen. "Ontologies of Musical Works." Themes in the Philosophy of Music. Oxford: Oxford University Press, 2003. 30–46.

Davies, Stephen. "Versions of Musical Works and Literary Translations." Philosophers on Music: Experience, Meaning, and Work. Ed. Kathleen Stock. Oxford: Oxford University Press, 2007, 79–92.

Day, William. "Knowing as Instancing: Jazz Improvisation and Moral Perfectionism." The Journal of Aesthetics and Art Criticism 58.2, Improvisation in the Arts (2000): 99–112.

Day, William. "The Ends of Improvisation." The Journal of Aesthetics and Art Criticism 68.3, Symposium: Musical Improvisation (2010): 291–296.

De Spain, Kent. "Dance Improvisation: Creating Chaos." Contact Quarterly 18.1 (1993): 21-7.

Dodd, Julian. "Musical Works: Ontology and Meta-Ontology." Philosophy Compass 3.6 (2008): 1113-134.

Dodd, Julian. "Upholding Standards: A Realist Ontology of Standard Form Jazz." The Journal of Aesthetics and Art Criticism 72.3 (2014): 277-90.

Floyd, Samuel A., Jr. The Power of Black Music: Interpreting Its History from Africa to the United States. New York and Oxford: Oxford University Press, 1995.

Goehr, Lydia. The Imaginary Museum of Musical Works. Oxford: Clarendon Press, 1992.

Gould, Carol S. and Kenneth Keaton. "The Essential Role of Improvisation in Musical Performance." The Journal of Aesthetics and Art Criticism 50.2, Improvisation in the Arts (2000): 143-48.

Gracyk, Theodore. Rhythm and Noise: An Aesthetics of Rock. Durham, NC: Duke University Press, 1996.

Hagberg, Garry L. "On Rhythm." The Journal of Aesthetics and Art Criticism 68.3, Symposium: Musical Improvisation (2010): 281-84.

Hamilton, Andy. "The Art of Recording and the Aesthetics of Perfection." British Journal of Aesthetics 43.4 (2003): 346-62.

Iseminger, Gary. "Sonicism and Jazz Improvisation." The Journal of Aesthetics and Art Criticism 68.3, Symposium: Musical Improvisation (2010): 297-99.

Kania, Andrew. "New Waves in Music Ontology." New Waves in Aesthetics. Ed. Kathleen Stock and Katherine Thomson-Jones. Basingstoke: Palgrave Macmillan, 2008a. 20-40.

Kania, Andrew. "Piece for the End of Time: In Defence of Musical Ontology.” British Journal of Aesthetics 48.1 (2008b): 65-79.

Kania, Andrew. "The Methodology of Musical Ontology: Descriptivism and its Implications." British Journal of Aesthetics 48 (2008c): 426-44.

Kania, Andrew. "In Defence of Higher-Order Musical Ontology: A Reply to Lee B. Brown." British Journal of Aesthetics 52.1 (2012): 97-102.

Lewis, George. "Improvised Music after 1950: Afrological and Eurological Perspectives." Black Music Research Journal 16.1 (1996): 91-122.

Lewis, George. "Improvisation: Improvisation and Experimental Music." In the Oxford Encyclopedia of Aesthetics, Second Edition, Vol. 3. Ed. Michael Kelly, New York: Oxford University Press. 448-52.

Mackenzie, Ian. "Improvisation, Creativity and Formulaic Language." The Journal of Aesthetics and Art Criticism 58.2, Improvisation in the Arts (2000): 173-80.

Monson, Ingrid. Saying Something: Jazz Improvisation and Interaction. Chicago: University of Chicago Press, 1994.

Piekut, Benjamin and George E. Lewis, eds. Oxford Handbook of Critical Improvisation Studies. Oxford: Oxford University Press, 2015.

Ridley, Aaron. "Against Musical Ontology." Journal of Philosophy 100 (2003): 203-220.

Santi, Marina. Improvisation: Between Technique and Spontaneity. Cambridge, Cambridge Scholar Publishing, 2010.

Sawyer, R. Keith. "Improvisational Creativity: An Analysis of Jazz Performance." Creativity Research Journal 5.3 (1992): 253–63.

Sawyer, R. Keith. "The Semiotics of Improvisation: The Pragmatics of Musical and Verbal Performance." Semiotica 108.3-4 (1996): 296-306.

Sawyer, R. Keith. ‘The Emergence of Creativity.’ Philosophical Psychology 12.4 (1999): 447–69.

Sawyer, R. Keith. Creating Conversations: Improvisation in Everyday Discourse. Cresskill, NJ: Hampton Press Inc., 2001.

Bibliography

Alperson, Philip. "A Topography of Improvisation." Journal of Aesthetics and Art Criticism 68, no. 3 (June 1, 2010): 273-80.
---. "On Musical Improvisation." Journal of Aesthetics and Art Criticism 43 (September 1, 1984): 17-30.

Benson, Bruce Ellis. "The Fundamental Heteronomy of Jazz Improvisation." Revue Internationale de Philosophie 60, no. 4:238 (January 1, 2006): 453-67.
---. "The Improvisation of Hermeneutics: Jazz Lessons for Interpreters." In Hermeneutics at the Crossroads. Bloomington: Indiana Univ Pr, 2006. http://ezproxy.lvc.edu:2048/login?url=http://search.ebscohost.com/login.aspx?direct=true&db=phl&AN= PHL2086620&site=ehost-live.

Bertinetto, Alessandro. "Improvisational Listening?" Proceedings of the European Society for Aesthetics 4 (December 1, 2012): 83-104.
---. "On Artistic Luck." Proceedings of the European Society for Aesthetics 5 (January 1, 2013): 120-40.
---. "Paganini Does Not Repeat: Musical Improvisation and the Type/Token Ontology." Teorema 31, no. 3 (January 1, 2012): 105-26.
---. "Performing the Unexpected: Improvisation and Artistic Creativity." Daimon, Revista de Filosofia 57 (September 1, 2012): 117-35.

Bresnahan, Alli. "Improvisation in the Arts." Philosophy Compass 10, no. 9 (September 1, 2015): 573-82.

Brown, Lee B. "'Feeling My Way': Jazz Improvisation and Its Vicissitudes--A Plea for Imperfection." Journal of Aesthetics and Art Criticism 58, no. 2 (March 1, 2000): 113-23.
---. "Musical Works, Improvisation, and the Principle of Continuity." Journal of Aesthetics and Art Criticism 54, no. 4 (September 1, 1996): 353-69.

Campesi, Daniele. "Interpretazione e improwisazione nell'estetica della formativita di Luigi Pareyson: ltinera, no.. 10 (2015) 273.

Carvalho, John M. "Repetition and Self-Realization in Jazz Improvisation." Journal of Aesthetics and Art Criticism 68, no. 3 (June 1, 2010): 285-90.

Colapietro, Vincent. "Situation, Meaning, and Improvisation: An Aesthetics of Existence in Dewey and Foucault." Foucault Studies 11 (February 1, 2011): 20–40.

Cosottini, Mirio. "Five Improvisations: Aspetti Nonlineari Di Un'improwisazione." Aisthesis: Pratiche, Linguaggi e Saperi Dell'estetico, Ontologie Musicality, 6 (January 1, 2013): 155-72.

Day, William. "Knowing As Instancing: Jazz Improvisation and Moral Perfectionism." Journal of Aesthetics and Art Criticism 58, no. 2 (March 1, 2000): 99-111.
---. "The Ends of Improvisation." Journal of Aesthetics and Art Criticism 68, no. 3 (June 1, 2010): 291-96.

Goldoni, Daniele. "Composizione e Improwisazione: Dove Sta La Differenza?" Aisthesis: Pratiche, Linguaggi e Saperi Dell'estetico, Ontologie Musicali, 6 (January 1, 2013): 133-53.

Gould, Carol 5, and Kenneth Keaton. "The Essential Role of Improvisation in Musical Performance." Journal of Aesthetics and Art Criticism 58, no. 2 (March 1, 2000): 143-48.

Haas, Andrew. "The Birth of Language out of the Spirit of Improvisation." International Journal of Philosophical Studies 20, no. 3 (July 1, 2012): 331-47.

Garry L. "Foreword: Improvisation in the Arts." Journal of Aesthetics and Art Criticism 58, no. 2 (March 1, 2000): 95-97.
---. "Jazz Improvisation: A Mimetic Art?" Revue Internationale de Philosophie 60, no. 4:238 (January 1, 2006): 469-85.

Hamilton, Andy. "The Art of Improvisation and the Aesthetics of Imperfection." British Journal of Aesthetics 40, no. 1 Special Issue (January 1, 2000): 168-85.

Iseminger, Gary. "Sonicism and Jazz Improvisation." Journal of Aesthetics and Art Criticism 68, no. 3 (June 1, 2010): 297-99.

Kanellopoulos, Panagiotis A. "Freedom and Responsibility: The Aesthetics of Free Musical Improvisation and Its Educational Implications A View from Bakhtin." Philosophy of Music Education Review 19, no. 2 (September 1, 2011): 113-35.

London, Justin. "Ephemeral Media, Ephemeral Works, and Sonny Boy Williamson's 'Little Village." Journal of Aesthetics and Art Criticism 71, no. 1 (December 1,2013): 45-53.

Love, Stefan Canis. "The Jazz Solo as Virtuous Act." Journal of Aesthetics and Art Criticism 74, no. 1 (December 1, 2016): 61-74.

MacKenzie, lain. "Improvisation, Creativity, and Formulaic Language." Journal of Aesthetics and Art Criticism 58, no. 2 (March 1, 2000): 173-79.

Maheux, Jean-Francois, and Caroline Lajoie. "On Improvisation in Teaching and Teacher Education." Complicity: An International Journal of Complexity and Education 8, no. 2 (January 1,2011): 86-92.

Moller, Niklas. "All That Jazz: Linguistic Competence and Improvisation." Philosophical Studies: An International Journal for Philosophy in the Analytic Tradition 167, no. 2 (January 1, 2014): 237-50.

Moten, Fred. In The Break: The Aesthetics of the Black Radical Tradition. University of Minnesota Press, 2003.

Natoli, Cesare. "Improwisazione Musicale e Complessita." Tropos: Rivista Di Ermeneutica e Critica Filosofica, Rethinking Creativity. Between Art and Philosophy, 4, no. 2 (January 1, 2011): 87-102.

Sawyer, R Keith. "Improvisation and the Creative Process: Dewey, Collingwood, and the Aesthetics of Spontaneity." Journal of Aesthetics and Art Criticism 58, no. 2 (March 1, 2000): 149-61.

Schroeder, David. "Four Approaches to Jazz Improvisation Instruction." Philosophy of Music Education Review 10, no. 1 (March 1, 2002): 36-40.

Shem-Tov, Naphtaly. "Improvisational Teaching as Mode of Knowing." Journal of Aesthetic Education 45, no. 3 (September 1, 2011): 103-13.

Zanetti, Roberto. "Per una logica dell'improvvisazione musicale. Riflessioni sul rapport tra originale ed esemplare nell'estetica di Pareyson." Itinera, N. 10 (2015), 259.

A framed graphic of a closeup of a guitar viewed from bottom up along neck colored with swaths of psychedelic neon greens, reds, and yellows and PoJ.fm logos.

Jazz and the Personal[edit]

SCHULTZ, WILLIAM J. "Jazz," Nation, CXV (Oct. 25, 1922), 438-39. An early article of general mope.

SELDES, GILBERT. "Jazz Opera or Ballet?" Modern Music, III (Jan.-Feb., 1926), 10-16. A discussion of a prevalent question of the twenties—the influence of bus on the composition of John Alden Carpenter.

"Toujours Jazz," Did, LXXV (Aug., 1923), 151-66. General comment and analysis.

SHAW, ARTIE. The Trouble with Cinderella. New York: Farrar, Straus and Young, 1952. 394 pp. The inner workings of a Jess musician exposed.

SHERLOCK, CHARLES REGINALD. "From Breakdown to Rag-time," Cos-mopolitan, XXXI (Oct., 1901), 631-39. An early article with particular refer-ence to minstrel influences.

SINGLETON, Zurry. "I remember the Queen," Jazz Record, No. 58 (Sept., 1947), 10-11. A jazz musician reminisces about Bessie Smith.

Storxin, J. S. "Jazz and its fore-runners as an example of acculturation," American Sociological Review, VIII (Oct., 1943), 570-75. An interesting article from a sociological point of view.

SMITH, CHARLES EDWARD. "Swing," New Republic, XCIV (Feb. 16, 1938), 39-41. The development of swing discussed.

FREDERIC RAMSEY JR., CHARLES PAYNE ROGERS and WILLIAM RUSSELL. The Jazz Record Book. New York: Smith & Durrell, 1942. 515 pp. Extensive annotated discography with an Introductory historical section.

STEARNS, MARSHALL "Toward a Definition of Jazz," Record Changer, X (Oct., 1951), 3-5, 12. Interested in the serious study of jam, a critic reports on preliminary meetings of his Jam Institute.

STEWART-BAXTER, DERRICK. "The Australian Jazz Band, Graeme Bell," Record Changer, VII (July, 1948), 8-9, 29. Report on Australia's outstanding band.

THOMPSON, KAY C. "Improvisa-tion: the Fact and the Fable," Record Changer, VIII (June, 1949), 5, 15. visatlfme or. discussion of the role of Immo-

THOMSON, VIRGIL. 'Jazz," American Mercury, II (Aug., 1924), 465-67. A general article often cited in later works.

DE TOLEDANO, RALPH, (Ed). Frontiers of Jazz. New York: Oliver Durrell, 1947. 178 pp. A fine anthology of articles on Jam.

TURNER, W. J. "Jazz Music," New Statesman, XVI (Feb. 5, 1921), 532. A very reasonable discussion of the ob-jections to jam In his time.

Ulanov, Barry. Duke Ellington's. New York: Creative Age, 1946. Spanish translation: Buenos Aires: Editorial Estuardo, 1946. Biography of one of the most important Jazz musicians.

—. "The Function of the Critic in Jazz," Metronome, LXV (Aug., 1949), 16-17. A general dissuasion of the subject.

—. A History of Jazz in Amer-ica, New York: Viking, 1952. 382 pp. A general book emphasising specific viewlminta of the author.

WEBB, H. BROOK. "The Slang of Jazz," American Speech, XII (Oct., 1937), 179-84. A report on language.

WHEELOCK, RAYMOND. "Did Swing Come from the Indians?" Edam-tiond Music Magazine, XXIII (Nov., 1943), 20-1, 50. One of the most incredibly misinformed articles ever written about lass.

WHITEMAN, PAUL, and MARY MARGARET MCBRIDE. "Jazz," Saturday Evening Post, CXCVIII (Feb. 27, 1926), 3.5, 90, 92; CXCVIII (Mar. 6, 1926), 32-3, 180, 185.86, 188, 191; CXCVIII (Mar. 13, 1926), 28-9, 136-37, 141-42, 147. Reprinted in book form; New York: J. H. Sears, 1926.

WILLIAMS, EUGENE. "A History of Jazz Information," Jazz Information, II (Nov., 1941), 93.101. The history of one of the so-called "small" jam magazines.

Allison, William Murray. "The Impact of Improvisational Musics on the Creative Processes of Classically and Jazz Trained Student Musicians." Master’s Thesis, Humboldt State University, Education, 2005. Retrieved from http://hdl.handle.net/2148/692.

Avanti, P. "Modernity legato: Black, white and blues." Doctoral Dissertation, 2008. Retrieved from UMI number: 3343916.

Bailey, Derek. Improvisation, Its Nature and Practice in Music. New York, NY: Da Capo Press, 1992.

Balara, L. The personal and social dimensions of collective jazz improvisation (Doctoral Dissertation), 2008. Retrieved from UMI number: 9972575.

Barenbolm, D. & Said, E. Parallels and Paradoxes: Explorations in music and society. New York, NY: Vintage Books: A Division of Random House, 2004.

Barrett, F. Yes to the mess: Surprising leadership lessons from jazz. Boston, MA: Harvard Business School Publishing, 2008.

Belgard, D. The culture of spontaneity: Improvisation and the arts in postwar America. Chicago. IL: The University of Chicago Press, 1998.

Benson, B. The Improvisation of Musical Dialogue. Cambridge, UK: Press Syndicate of the University of Cambridge, 2003.

Berliner, Paul F. Thinking in Jazz: The Infinite Art of Improvisation. Chicago, IL: University of Chicago Press, 1994.

Borgo, David. Sync or storm: Improvising music in a complex age. New York, NY: The Continuum International Publishing Group, 2005.

Borrof, E. Music in Europe and the United States: A history. Englewood Cliffs, NJ: Prentice Hall, 1971.

Briggs, N. L. Creative Improvisation: A Musical Dialogue (Unpublished doctoral dissertation). University of San Diego. San Diego, CA, 1986. ProQuest Dissertations & Theses Global.

Brown, L. (2010). John Coltrane and black america’s quest for freedom. New York, NY: Oxford University Press

Crouch, S. (1998). Always in pursuit: Fresh American perspectives. New York, NY: Vintage Books.

Csikszentmihaly, M. (1997). Flow and creativity. North American Montessori Teachers Association Journal, 22(2), pp. 57-59.

Devashish (2014). The jazz master. San Germain, Peurto Rico: Inner World Publications.

Evans, N. (2000). Writing jazz: Race, nationalism, and modern culture in 1920’s. New York, NY: Garland Publishing.

Faulkner, R. & Becker, H. (2009). "Do you know...?": The jazz repertoire in action. Chicago, IL: University of Chicago Press.

Feather, L. (1987). The jazz years: earwitness to an era. New York, NY: Da Capo Press, Inc.

Ferguson, J. (2011). 1959 the year that changed jazz forever Part 1[Video File]. Retrieved from http://www.youtube.com/watch?v=DICKcYxMMio

Fischlion, D., Heble, A. & Lipsitz, G. (2013). The fierce urgency of now: Improvisation, rights, and the ethics of co-creation. London, UK: Duke University Press

Goddard, M., Halligan, B. & Hegarty, P. (2012). Reverberations the philosophy, aesthetics and politics of noise. London, UK: Continuum International Publishing Group.

Grout, D. & Palisca, C. (1996). A history of western music (5th ed). New York, NY: Norton & Company.

Harris, R., & Terberg-Stern, R. (2006). The Columbia guide to African American history since 1939. New York, NY: Columbia University Press

Heble, A. & Wallace, R. (2013). People get ready the future of jazz is now. London. UK: Duke University Press.

Heffley, M. (2005). Northern Sun/Southern Moon: Europe’s Reinvention of Jazz. London, UK: Yale University Press.

Huang, T. & Charyton, C. (2008). A comprehensive review of the psychological effects of brainwave entrainment. Alten Ther Health Med., 14(5), pp. 38-50.

James, G. (2014). Stolen Legacy: For centuries the world has been misled about the original sources of the arts and sciences. Floyd, VA: A&D Books.

Jarvinen, T. (1997). Tonal dynamics and metrical structures in jazz improvisation. (Unpublished Doctoral dissertation). University of Jyvaskyla, Jyvaskyla, Finland.

Katznelson, I. (2005). When affirmative action was white: an untold history of racial inequality in twentieth-century America. New York, NY: W. W. Norton and Company.

Kelley, R. (2012). Africa speaks, America answers: Modern jazz in revolutionary times. Cambridge, MA: Harvard University Press.

Kezer, R. (2014). Integral nonviolent conflict: Reframing the idea of civil resistance against violent oppression. (Unpublished doctoral dissertation). California Institute of Integral Studies, San Francisco, CA.

Lewis, G. (1996). "Improvised music after 1950: Afrological and eurological perspectives." Black Music Research Journal, 16(1), 91-122.

Lewis, G. (2008). A power greater than itself: The aacm and american experimental music. Chicago, IL: University of Chicago Press.

Limb, C. (2010). Why neuroeducation? Neuroeducation initiative. Baltimore, MD: School of Education Johns Hopkins University.

López-González, M. & Limb, C. (2012). Musical creativity and the brain. New York, NY: The Dana Foundation.

Massey, D. & Denton, N. (1993). American apartheid: segregation and the making of the underclass. Cambridge, Ma.: Harvard University Press.

McClary, S. & Walser, R. (1994). Theorizing the body in African-American music. Selected papers from the 1993. Vol. 14, No. 1, Selected Papers from the 1993 National Conference on Black Music Research (Spring, 1994), 75-84.

Means, R. & Dolman, B. (2005). "Notes on Negro jazz: 1920–1950; the use of biographical materials in sociology." The Sociological Quarterly. www.jstor.org/stable/4105420

Mills, C. (1999). The Racial Contract. Ithaca, NY: Cornell University Press.

Mitchell, D. (2010). Music education aids children’s speech and language skills. Retrieved from http://www.emaxhealth.com/000/music-education-aids-childrens-speech-language-skills.html

Monson, I. (1995). "The problem of white hipness: Race, gender, and cultural conceptions in jazz historical discourse." Journal of the American Musicological Society Music Anthropologies and Music Histories, 48(3), 396-422.

Monson, I. (1996). Saying Something, Jazz Improvisation and Interaction. Chicago, IL: University of Chicago Press.

Monson, I. (2005). Freedom Sounds: Civil Rights Call Out to Jazz and America. New York, NY: Oxford University Press.

Montuori, A. (1997). "Reflections on Transformative Learning: Social Creativity, Academic. Discourse and the Improvisation of Inquiry." ReVision, 20(1), 34-37.

Montuori, A. & Purser, R. (1999) Social Creativity. Creskill, NJ: Hampton Press, Inc.

Montuori, A. (2003). "The complexity of improvisation and improvisation of complexity: Social science, art and creativity." Human Relations, 56(2), 237-255.

Montuori, A. (2008). "The joy of inquiry." Journal of Transformative Education, Vol. 6 no. (1), 8-26.

Montuori, A. (2012). "Creative inquiry: Confronting the challenges of scholarship in the 21st century." Futures, Volume 44, Issue 1, February 2012, 64–70.

Murray, A. (1985). Good Morning Blues: The Autobiography of Count Basie as told to Albert Murray. New York, NY: Random House, Inc.

Nachmanovitch, S. (1991). Free play: Improvisation in Life and Art. New York, NY: Tarcher.

Okazaki, K. (2011). The clinical use of musical components and their impact in improvisational music therapy. New York, NY: New York University.

Panken, T. (2011, December). A Jazzis article on McCoy Tyner from 2003 (plus interviews). Retrieved from http://tedpanken.wordpress.com/2011/12/11/a-jazziz-article-on-mccoy-tyner-from-2003-plus-interviews/

Peretti, Burton. (1994). The Creation of Jazz; Music, Race, and Culture in Urban America. Chicago, IL: University of Illinois Press.

Pedrson, A. (2001). God, Creation, and All That Jazz. St. Louis, MO: Chalice Press

Pignato, J. (2010). An analysis of practical challenges posed by teaching improvisation: Case studies in New York state schools (Unpublished Doctoral dissertation). Boston University. Boston, MA.

Raeburn, B. B. (2004). "Psychoanalysis and Jazz." The International Journal of Psychoanalysis, 85(4), 995-997. DOI:10.1516/XK57-KJJ2-VM.

Sacks, Oliver. (2007). Musicophilia: Tales of Music and The Brain. New York, NY: Vintage Books.

Sarath, E. (2013). Improvisation, Creativity, and Consciousness: Jazz as Integral Template for Music, Education and Society. Albany, NY: State University of New York Press.

Sawyer, Keith. (2007). Group Genius, the Creative Power of Collaboration. New York, NY: Basic Books.

Scaruffi, Pietro. (2007). A History of Jazz Music 1900-2000. USA: Perfect Paperback.

Scott, C. (1958). Music; Its Secret Influence Athroughout the Ages. New York, NY: Samuel Weiser, Inc.

Sehgal, K. (2008). Jazzocracy: Jazz, Democracy and the Creation of a New Nation. Mishawaka, IN: Better World Books.

Sloboda, J. (1985). The Musical Mind. Oxford, UK: Oxford University Press.

Solis, Gabriel & Nettl, Bruno. (2009). Musical Improvisation: Art, Education, and Society. Chicago, IL., University of Illinois Press.

Stewart, E. & Bennett, M. (1991). American Cultural Patterns: A Cross-cultural Perspective. Boston.MA: Nicholas Brealey Publishing Teachers College Columbia University. (Producer) (2009).

Marsalis, W.; Day O’Conner, S.: Let Freedom Swing; Conversations on Jazz and Democracy. [Motion Picture]. New York, NY: Teacher's College Press.

Washburne, Christopher. (1997). The Clave of Jazz: A Caribbean Contribution to the Rhythmic Foundation of an African-American Music. Black Music Research Journal, Vol. 17, (1), 59-80.

Nat Shapiro and Nat Hentoff, (eds.). Hear Me Talkin' to Ya. New York: Rinehart, 1955; R: New York: Dover, 1966.

Andre Hodeir. Jazz: Its Evolution and Essence, trans. David Noakes. New York: Grove Pr, 1956.

Marshall W. Stearns. The Story of Jazz. New York: Oxford University Press, 1956; R: 1970.

Nat Hentoff and Alberti. McCarthy, eds., Jazz (New York: Rinehart, 1959; R: New York: Da Capo, 1974).

Leonard Feather, The Encyclopedia of Jazz (New York: Horizon Pr, 1960).

Leonard Feather, The Encyclopedia of Jazz in the Sixties (New York: Horizon Pr, 1966).

Alan P. Merriam and Fradley H. Garner, "Jazz-The Word," Ethno 12 (1968): 373-96.

Gunther Schuller, Early Jazz (New York: Oxford U Pr, 1968).

John Chilton, Who's Who of Jazz Storyville to Swing Street (London: Bloomsbury Bk Shop, 1970; 4th ed. rev., London: Macmillan, 1985).

Ross Russell, Jazz Style in Kansas City and the Southwest (Berkeley and Los Angeles: U of Cal Pr, 1971).

Ekkehard _Jost, Free Jazz (Graz: Universal Ed, 1974).

Roger D. Kinkle, The Complete Encyclopedia of Popular Music and Jazz, 1900-1950 (New Rochelle, N.Y.: Arlington House, 1974).

Robert S. Gold, Jazz Talk (Indianapolis: Bobbs-Merrill, 1975; R: New York: Da Capo, 1982).

Leonard Feather and Ira Gitler, The Encyclopedia of Jazz in the Seventies (New York: Horizon Pr, 1976).

Albert Murray, Stomping the Blues (New York: McGraw-Hill, 1976).

James Lincoln Collier, The Making of Jazz (Boston: Houghton Mifflin, 1978).

Donald Kennington, The Literature of Jazz (Chicago: American Library Assoc, 1980).

Daniel Allen, Jazz, vol. 2 of Bibliography of Discographies (New York: Bowker, 1981).

Bernhard Hefele, Jazz Bibliography: International Literature on Jazz (Munich: Saur, 1981).

Joachim E. Berendt, The Jazz Book: From New Orleans to Jazz Rock and Beyond, trans. Helmut and Barbara Bredigkeit with Dan Morgenstern (London and New York: Granada, 1983).

Carl Gregor Herzog zu Mecklenburg, International Bibliography of Jazz Books, vol. I, 1921-1949 (Baden-Baden: Valentin Koemer, 1983).

Linda Dahl, Stormy Weather: The Music and Lives of a Century of Jazzwomen (New York: Pantheon, 1984).

Gunther Schuller, The Swing Era: The Development of Jazz, 1930-1945 (New York: Oxford U Pr, 1989).

Roger T. Dean, New Structures in Jazz and Improvised Music since 1960 (Milton Keynes: Open U Pr, 1992).

Ted Gioia, West Coast Jazz: Modern Jazz in California, 1945-1960 (Berkeley and Los Angeles: U of Cal Pr, 1992).

William Howland Kenney, Chicago Jazz: A Cultural History, 1904-1930 (New York: Oxford U Pr, 1993).

Paul Berliner, Thinking in Jazz: The Infinite Art of Improvisation (Chicago: U of Chicago Pr, 1994).

Eddie S. Meadows, ed., Jazz Research and Reference Materials, 2nd ed. rev. (New York: Garland Publ, 1995).

Scott DeVeaux, The Birth of Bebop: A Social and Musical History (Berkeley and Los Angeles: U of Cal Pr, 1997).

Mark C. Gridley, Jazz Styles, 6th ed. (Upper Saddle River, NJ.: Prentice-Hall, 1997).

Lewis Porter, ed., Jazz: A Century of Change (New York: Schirmer, 1997).

Stuart Nicholson, Jazz-Rock: A History (New York: Schirmer, 1998).

Periodicals: Down Beat (1934-).

Jazz Hot (1935-39, 1945-).

Jazz Magazine (19544 jazz Monthly (1955-71).

Coda (1958-).

The Jazz Review (1958-61).

Storyville (19654 Jazzforschung (1969-).

Journal ofJazz Studies (1973-79), succeeded by Annual Review of Jazz Studies (1982-).

Cadence (1976-2019).

JazzTimes (1980-).

TOMMY IGOE/ VIC FIRTH GROOVE ESSENTIALS FOR THE ADVANCED C21 DRUMMER + mp3CD HUDSON £10.00 SPIRAL-BOUND 120pp

PETER IND JAZZ VISIONS- LENNIE TRISTANO AND HIS LEGACY EQUINOX £10.00 H/C DJ 214pp

CHRIS INGHAM BILLIE HOLIDAY UNANIMOUS £2.00 P/B 138pp

ARTHUR JACKSON THE WORLD OF BIG BANDS- THE SWEET & SWINGING YEARS DAVID & CHARLES £5.00 H/C DJ 130pp

EDGAR JACKSON (compiler) PARLOPHONE RHYTHM STYLE- BAND PERSONNELS with INDEX PARLOPHONE £5.00 P/B 112pp

JAKE JACOBSON (foreward BILLY TAYLOR) HEARTS & HANDS- MUSICAL INSTRUMENT MAKERS OF AMERICA KONEMANN £5.00 H/C DJ LF 275pp

BURNETT JAMES BILLIE HOLIDAY SPELLMOUNT £2.00 H/C 94pp

BURNETT JAMES COLEMAN HAWKINS SPELLMOUNT £2.00 H/C 92pp

BURNETT JAMES ESSAYS ON JAZZ- many from JAZZ MONTHLY JAZZ BOOK CLUB £5.00 H/C no DJ 204pp

MICHAEL JAMES KINGS OF JAZZ-2 DIZZY GILLESPIE CASSELL £2.00 H/C 89pp

KEITH JARRETT THE KOLN CONCERT- ORIGINAL TRANSCRIPTION SCHOTT £10.00 P/B 88pp

JAZZ CRITIQUE THE RIVERSIDE BOOK- COMPLETE DISCOGRAPHY JAZZ CRITIQUE JAPAN £10.00 P/B 280pp

JORGEN GRUNNET JEPSEN DISCOGRAPHY OF COUNT BASIE 1959 DEBUT £5.00 P/B 31pp

JORGEN GRUNNET JEPSEN DISCOGRAPHY OF FATS NAVARRO / CLIFFORD BROWN DEBUT RECORDS £10.00 COMB-BOUND

JORGEN GRUNNET JEPSEN JAZZ RECORDS 1942-62 VOL 1 A-Bl KARL EMIL KNUDSEN £15.00 P/B no loose pages

JORGEN GRUNNET JEPSEN JAZZ RECORDS 1942-62 VOL 5 M-N KARL EMIL KNUDSEN £15.00 P/B no loose pages

JORGEN GRUNNET JEPSEN JAZZ RECORDS 1942-62 VOL 7 S-Te KARL EMIL KNUDSEN £15.00 P/B no loose pages

JORGEN GRUNNET JEPSEN JAZZ RECORDS 1942-62 VOL 8 Te-Z KARL EMIL KNUDSEN £15.00 P/B no loose pages

JORGEN GRUNNET JEPSEN JAZZ RECORDS 1942-65 VOL 1 A-Bl KARL EMIL KNUDSEN £15.00 P/B no loose pages

JORGEN GRUNNET JEPSEN JAZZ RECORDS 1942-65 VOL 2 Bl-Co KARL EMIL KNUDSEN £15.00 P/B no loose pages

DEREK JEWELL DUKE- A PORTRAIT OF DUKE ELLINGTON ELM TREE £5.00 H/C DJ 192pp

DEREK JEWELL DUKE- A PORTRAIT OF DUKE ELLINGTON 1977 NORTON £2.00 H/C DJ 264pp

DEREK JEWELL THE POPULAR VOICE- A MUSICAL RECORD OF THE 60s & 70s SPHERE £2.00 P/B 256pp

DEREK JEWELL THE POPULAR VOICE- A MUSICAL RECORD OF THE 60s AND 70s ANDRE DEUTSCH £5.00 H/C DJ 264pp

MAX JONES TALKING JAZZ MACMILLAN £10.00 H/C DJ 256pp

QUINCY JONES THE COMPLETE- MY JOURNEY & PASSIONS- intro MAYA ANGELOU INSIGHT EDITIONS £10.00 H/C DJ 142pp NEW

RP JONES JAZZ- AN OUTLINE- METHUEN OUTLINES £5.00 H/C DJ 96pp

LEROI JONES (AMIRI BARAKA) BLUES PEOPLE- NEGRO MUSIC IN WHITE AMERICA JAZZ BOOK CLUB £5.00 H/C DJ 244pp

CLIFFORD JONES (ed) BLACK & WHITE PART 2 1946 DISCOGRAPHICAL SOCIETY £2.00 P/B 22pp

CLIFFORD JONES (ed) BOB CROSBY BAND- ESSAYS + DISCOGRAPHY DISCOGRAPHICAL SOCIETY £2.00 P/B 28pp

MAX JONES / JOHN CHILTON LOUIS- THE LOUIS ARMSTRONG STORY STUDIO VISTA £15.00 H/C DJ 256pp

MAX JONES / JOHN CHILTON LOUIS- THE LOUIS ARMSTRONG STORY MAYFLOWER £3.00 P/B 302pp

EKKEHARD JOST EUROPAS JAZZ 1960-80 text in German FISCHER £5.00 P/B 470pp

ASHLEY KAHN THE HOUSE THAT TRANE BUILT- THE STORY OF IMPULSE RECORDS GRANTA £10.00 H/C 338pp

MAX KAMINSKY MY LIFE IN JAZZ JAZZ BOOK CLUB £5.00 H/C DJ 242pp

GARSON KANIN BLOW UP A STORM- JAZZ NOVEL CARDINAL £2.00 P/B 314pp

MAREKmKAREWICZ THIS IS JAZZ- PHOTOGRAPHS- SHORT TEXT IN POLISH & ENGLISH KAREWICZ £20.00 H/C 158pp

ORRIN KEEPNEWS THE VIEW FROM WITHIN- JAZZ WRITINGS 1948-87 OUP £5.00 H/C DJ 240pp

ORRIN KEEPNEWS / BILL GRAUER A PICTORIAL HISTORY OF JAZZ- PEOPLE & PLACES 1966 SPRING £5.00 H/C NO DJ 282pp

KEITH KELLER OH, JESS!- A JAZZ LIFE OF JESS STACY- WITH DISCOGRAPHY MAYAN £10.00 P/B 225pp

KITTY KELLEY HIS WAY- UNAUTHORIZED BIOGRAPHY OF FRANK SINATRA BANTAM £5.00 H/ DJ 575pp

FRANCES KENNETT LADY JAZZ- NOVEL SET IN SOHO 1930s SPHERE £2.00 P/B 416pp

BARRY KERNFELD WHAT TO LISTEN FOR IN JAZZ YALE UP £11.00 P/B INCLUDES CD 247pp

BARRY KERNFELD (ed) THE BLACKWELL GUIDE TO RECORDED JAZZ BLACKWELL £2.00 P/B 484 pp

BARRY KERNFELD (ed) THE NEW GROVE DICTIONARY OF JAZZ MACMILLAN £15.00 H/C DJ 1358pp

KEN KESSLER / STEVE HARRIS SOUND BITES- 50 YEARS OF HI-FI NEWS COUNTY & LEISURE £6.00 P/B 224pp

COLIN KING AND ALL THAT JAZZ- SHORT BIOGRAPHIES + CD CAXTON EDITIONS £2.00 H/C DJ 128pp

MILES KINGTON THE JAZZ ANTHOLOGY HARPER COLLINS £2.00 P/B 316pp

BILL KIRCHNER (ed) THE OXFORD COMPANION TO JAZZ OXFORD UP £20.00 H/C DJ 850pp

W T ED KIRKEBY AIN'T MISBEHAVIN'- THE STORY OF FATS WALLER JAZZ BOOK CLUB £5.00 H/C DJ 248pp

PIET KLAASE JAM SESSION- PORTRAITS OF JAZZ MUSICIANS DRAWN ON THE SCENE DAVID & CHARLES £14.00 H/C D/J 192pp

HENK KLUCK BLEY PLAY- THE PAUL BLEY RECORDINGS KLUCK £25.00 P/B 212pp

KEITH KNOX JAZZ AMOUR AFFAIR- EN BOK OM LARS GULLINS- Swedish text SVENSK MUSIK £15.00 H/C 220pp

REINHARD KOCHL / PETER TIPPELT DUSKO GOJKOVIC- JAZZ IST FREIHEIT with live cd GERMAN TEXT CONBRIO £15.00 P/B 254pp

CLEO LAINE CLEO- AUTOBIOGRAPHY SIMON & SCHUSTER £2.00 H/C 352pp

CLEO LAINE YOU CAN SING IF YOU WANT TO GOLLANCZ £5.00 H/C DJ 127pp

RALPH LAING / MICHAEL COATES / BERNARD SHIRLEY JAZZ CATALOGUE 1970- UK JAZZ RELEASES JAZZ JOURNAL 1971 £10.00 SPIRAL BOUND 214pp

RALPH LAING / MICHAEL COATES / BERNARD SHIRLEY JAZZ CATALOGUE 1971- UK JAZZ RELEASES JAZZ JOURNAL 1972 £10.00 SPIRAL BOUND 526pp

DUNCAN LAMONT THE STREET FIGHTER'S GUIDE TO IMPROVISATION JAZZWISE £15.00 P/B 150pp

IAIN LANG JAZZ IN PERSPECTIVE- THE BACKGROUND OF THE BLUES HUTCHINSON 40s £4.00 H/C DJ BADLY TORN 148pp

IAIN LANG JAZZ IN PERSPECTIVE- THE BACKGROUND OF THE BLUES JAZZ BOOK CLUB £5.00 H/C DJ 148pp

IAIN LANG THE BACKGROUND TO THE BLUES WORKERS MUSIC ASSN £5.00 P/B 56pp

COLIN LARKIN VIRGIN ENCYCLOPEDIA OF BLUES VIRGIN £15.00 P/B 415pp

COLIN LARKIN VIRGIN ENCYCLOPEDIA OF JAZZ REVISED/ UPDATED VIRGIN £29.00 H/C- DJ

PHILIP LARKIN ALL WHAT JAZZ- A RECORD DIARY 1970 FABER £4.00 P/B 310pp

COLIN LARKIN (ED) GUINNESS WHO'S WHO OF JAZZ 2ND EDITION 1995 GUINNESS £7.00 P/B 508pp

COLIN LARKIN ed VIRGIN ENCYCLOPEDIA OF JAZZ 1992 VIRGIN £10.00 PH/C DJ 1024pp

ARNOLD LAUBICH / RAY SPENCER ART TATUM- A GUIDE TO HIS RECORDED MUSIC SCARECROW/ IJS £5.00 H/C 330pp

MIKE LEADBITTER / NEIL SLAVEN BLUES RECORDS 1943-1966 HANOVER 1968 £40.00 H/C 382pp

EDWARD LEE JAZZ- AN INTRODUCTION KAHN & AVERILL £5.00 H/C DJ 188pp

GENE LEES LEADER OF THE BAND- THE LIFE OF WOODY HERMAN OUP £5.00 H/C DJ 414 pp

GENE LEES LEADER OF THE BAND- THE LIFE OF WOODY HERMAN OUP £5.00 P/B 414pp

GENE LEES MEET ME AT JIM & ANDY'S- JAZZ MUSICIANS AND THEIR WORLD OXFORD UP £5.00 H/C DJ 265pp

GENE LEES WAITING FOR DIZZY- 14 JAZZ PORTRAITS OUP £5.00 P/B 250pp

EUGENE LEES (ed) DOWN BEAT JAZZ RECORD REVIEWS VOL IV- 1959 DOWN BEAT £20.00 P/B 210pp

SPENCER LEIGH SWEEPING THE BLUES AWAY- CELEBRATION OF THE MERSEYSIPPI JAZZ BAND IPM £7.50 P/B 176pp

HAL LEONARD JAZZ STANDARDS- MELODY LINE, CHORDS & LYRICS HAL LEONARD £3.00 P/B 256pp

HERMAN LEONARD L'OEIL DU JAZZ (THE EYE OF JAZZ0)- photos + short french text FILIPACCI £10.00 H/C DJ156pp

NEIL LEONARD JAZZ AND THE WHITE AMERICANS JAZZ BOOK CLUB £5.00 H/C DJ 212pp

PETER LESLIE THE BOOK OF BILK- 41 CHARACTERS IN SEARCH OF AN ACKER MACKIBBON & KEE £2.00 H/C 96pp

FLOYD LEVIN CLASSIC JAZZ- A PERSONAL VIEW OF THE MUSIC & MUSICIANS U CALIFORNIA £5.00 H/C DJ 337pp

PETER LEVINSON TOMMY DORSEY- LIVIN' IN A GREAT BIG WAY DA CAPO £4.00 H/C DJ 352pp

PETER LEVINSON TRUMPET BLUES- THE LIFE OF HARRY JAMES OUP £5.00 H/C DJ 334pp

SHAWN LEVY RAT PACK CONFIDENTIAL 4TH ESTATE £3.00 P/B 378pp

PAUL LINDEMEYER CELEBRATING THE SAXOPHONE HEARST BOOKS £5.00 H/C DJ LF 96pp

MARTIN LINDSAY TEACH YOURSELF JAZZ TEACH YOURSELF £2.00 H/C DJ 150pp

JEAN PIERRE LION BIX- THE DEFINITIVE BIOGRAPHY OF A JAZZ LEGEND CONTINUUM £25.00 H/C DJ 348pp

PETE LOCKETT INDIAN RHYTHMS FOR DRUMSET + cd HUDSON MUSIC £5.00 P/B 135pp

ALAN LOMAX MISTER JELLY ROLL PAN giant £2.00 P/B 254pp

ALAN LOMAX MISTER JELLY ROLL- drawings by David Stone Martin JAZZ BOOK CLUB £5.00 H/C noDJ 296pp

ALAN LOMAX MISTER JELLY ROLL- FOREWARD BY KINGSLEY AMIS 1991 VIRGIN £5.00 P/B 318pp

STEPHEN LONGSTREET JAZZ FROM A TO Z- A GRAPHIC DICTIONARY CATBIRD 1989 £5.00 P/B

TOM LORD CLARENCE WILLIAMS- BIO-DISCOGRAPHY STORYVILLE £20.00 H/C 626pp

KIP LORNELL VIRGINIA'S BLUES, COUNTRY & GOSPEL RECORDS 1902-1943 UP KENTUCKY £15.00 H/C DJ 238pp

JACQUES LOWE JAZZ- PHOTOGRAPHS OF THE MASTERS- text Bob Blumental ARTISAN £20.00 H/C DJ 252pp

JACQUES LOWE THE INCREDIBLE MUSIC MACHINE- 100 GLORIOUS YEARS QUARTET £5.00 H/C DJ 290pp

HUMPHREY LYTTELTON I PLAY AS I PLEASE JAZZ BOOK CLUB £5.00 H/C DJ 200pp

HUMPHREY LYTTELTON I PLAY AS I PLEASE MACGIBBON 1954 £10.00 H/C DJ 200pp

HUMPHREY LYTTELTON I PLAY AS I PLEASE- AUTOBIOGRAPHY PAN £10.00 P/B 188pp

HUMPHREY LYTTELTON JAZZ & BIG BAND QUIZ BATSFORD £2.00 H/C 96pp

HUMPHREY LYTTELTON SECOND CHORUS JAZZ BOOK CLUB £5.00 H/C DJ 198pp

HUMPHREY LYTTELTON SECOND CHORUS 1958 MCBIBBON & KEE £5.00 H/C DJ 196pp

HUMPHREY LYTTELTON THE BEST OF JAZZ 2- ENTER THE GIANTS UNWIN £2.00 P/B 239pp

HUMPHREY LYTTELTON THE BEST OF JAZZ 2- ENTER THE GIANTS ROBSON £5.00 H/C DJ 239pp

HUMPHREY LYTTELTON THE BEST OF JAZZ 2- ENTER THE GIANTS CRESCENDO £5.00 P/B 238pp

HUMPHREY LYTTELTON THE BEST OF JAZZ- BASIN STREET TO HARLEM PENGUIN £2.00 P/B 238pp

HUMPHREY LYTTELTON THE BEST OF JAZZ- BASIN STREET TO HARLEM (ex_library) ROBSON £2.00 H/C NO DJ 214pp

WINGY MANONE / PAUL VANDERVOORT II TRUMPET ON THE WING- FORWARD BY BING CROSBY JAZZ BOOK CLUB £5.00 H/C DJ 256pp

WYNTON MARSALIS / FRANK STEWART SWEET SWING BLUES ON THE ROAD NORTON £5.00 H/C DJ LF 190pp

GRAHAM MARSH / BARRIE LEWIS THE BLUES ALBUM COVER ART COLLINS & BROWN £10.00 P/B 112pp

GRAHAM MARSH / GLYN CALLINGHAM BLUE NOTE ALBUM COVER ART- THE ULTIMATE COLLECTION CHRONICLE £15.00 P/B 290pp

GRAHAM MARSH / GLYN CALLINGHAM CALIFORNIA COOL- WEST COAST COVER ART- CONTEMPORARY & PACIFIC JAZZ COLLINS & BROWN £20.00 P/B 112pp

GRAHAM MARSH / GLYN CALLINGHAM COAST TO COAST ALBUM COVERS- PRESTIGE/ RIVERSIDE/ ATLANTIC etc COLLINS & BROWN £10.00 H/C 225pp

GRAHAM MARSH / GLYN CALLINGHAM THE COVER ART OF BLUE NOTE RECORDS (large format) COLLINS & BROWN £15.00 P/B 127pp

PETER MARTLAND E M I- THE FIRST HUNDRED YEARS BATSFORD £20.00 H/C DJ 356pp

KENNY MATHIESON COOKIN'- HARD BOP & SOUL JAZZ 1954-65 CANONGATE £5.00 P/B 376pp

HENRI MATISSE JAZZ- COLLAGES WITH COMMENTARY BRAZILLER £6.00 H/C DJ

DAVE MCALEER ENCYCLOPEDIA OF HITS OF THE 50s- ALL THE UK AND US TOP TEN HITS BLANFORD £5.00 P/B 152pp

ALBERT MCCARTHY BIG BAND JAZZ BARRIE & JENKINS £5.00 H/C DJ 360pp

ALBERT MCCARTHY JAZZ DISCOGRAPHY 1958 US & INTERNATIONAL ISSUES CASSELL 1960 £5.00 P/B 272pp spine worn

ALBERT MCCARTHY THE DANCE BAND ERA SPRING BOOK £5.00 H/C DJ 176pp

ALBERT MCCARTHY THE TRUMPET IN JAZZ- NEW ORLEANS TO SWING CITIZEN PRESS £5.00 P/B 84pp

ALBERT MCCARTHY (ed) JAZZBOOK 1955 CASSELL £5.00 H/C NO DJ 172pp

ALBERT MCCARTHY / MAX HARRISON et al JAZZ ON RECORD 1917-67- THE INDISPENSIBLE GUIDE HANOVER £5.00 P/B 414pp

ALBERT McCARTHY / MAX JONES (ed) PIANO JAZZ 2- EARL HINES/ RAGTIME/ JAMES P JOHNSON/ JELLY 1945 JAZZ MUSIC BOOKS £5.00 P/B 26pp

JOHN MCDERMOTT / EDDIE KRAMER HENDRIX- SETTING THE RECORD STRAIGHT LITTLE BROWN £10.00 H/C DJ 458pp

K KELLY MCELROY BEST OF THE MODERN JAZZ RECORDINGS mid 1950s- 1970s & BEYOND CD GUIDE UPTOWN MEDIA £8.00 P/B 96pp

MARIAN MCPARTLAND ALL IN GOOD TIME OXFORD U P £5.00 H/C DJ 174pp

BARRY MCRAE THE JAZZ HANDBOOK LONGMAN 1987 £2.00 H/C DJ 272pp

DAVID MEEKER JAZZ IN THE MOVIES- new edition TALISMAN £10.00 H/C DJ unpaginated

GEORGE MELLY OWNING UP PENGUIN 1970 £3.00 P/B 251pp

GEORGE MELLY OWNING UP- THE TRILOGY PENGUIN £5.00 P/B 594pp

GEORGE MELLY RUM BUM AND CONCERTINA FUTURA £3.00 P/B 195pp

GEORGE MELLY SCOUSE MOUSE- or I NEVER GOT OVER IT- AN AUTOBIOGRAPHY WEIDENFELD £5.00 H/C DJ clipped 208pp

DAVID MELTZER (ed) READING JAZZ- WAYS JAZZ WAS MYTHOLOGISED & COLONIALISED BY WHITES MERCURY HOUSE USA £5.00 P/B 317pp

DOUG MERIIWETHER JR WE DON'T PLAY REQUESTS- MUSICAL BIOGRAPHY/ DISCOGRAPHY OF BUDDY RICH PRIVATE £35.00 H/C 240pp

MEZZ MEZZROW / BERNARD WOLFE REALLY THE BLUES JAZZ BOOK CLUB £5.00 H/C noDJ 382pp

MEZZ MEZZROW / BERNARD WOLFE REALLY THE BLUES CORGI £2.00 P/B 380pp

MEZZ MEZZROW / BERNARD WOLFE REALLY THE BLUES FLAMINGO £3.00 P/B 404pp

MEZZ MEZZROW / BERNARD WOLFE REALLY THE BLUES RANDOM HOUSE £7.00 H/C NO DJ 388pp

MEZZ MEZZROW / BERNARD WOLFE REALLY THE BLUES- INTRO BY BARRY GIFFORD SOUVENIR PRESS £8.00 P/B 404pp

MARK MILLER A CERTAIN RESPECT FOR TRADITION- WRITINGS ON JAZZ 1980-2005 MERCURY £5.00 P/B 169pp

SPIKE MILLIGAN THE BOOK OS THE GOONS- icludes GOON SHOW SCRIPTS CORGI £2.00 P/B 144pp

CHARLES` MINGUS BENEATH THE UNDERDOG PENGUIN £5.00 P/B 263pp

WILLIAM MINOR / BILL WISHNER MONTEREY JAZZ FESTIVAL- 40 LEGENDARY YEARS- endpapers by David Stone Martin ANGEL CITY PRESS £10.00 H/C DJ 176pp

KUNIAKI MOGUSHI JOHN COLTRANE DISCOGRAPHY- WITH ALBUM COVERS JAZZ SPOT INFO £5.00 P/B 27pp

GUNNAR MOLLERSTREDT GOTEBORG JAZZ- MUSICIANS & BANDS IN THE 50s- in Swedish WEXALA FORLAG £10.00 P/B 144pp

INGRID MONSON SAYING SOMETHING- JAZZ IMPROVISATION & INTERACTION 1996 UNIV OF CHICAGO £12.00 P/B 253pp

BILL MOODY LOOKING FOR CHET BAKER- AN EVAN HORNE MYSTERY POISONED PEN £5.00 P/B 240pp

DUDLEY MOORE MUSICAL BUMPS- AN OFFBEAT MUSICAL COMPANION ROBSON £2.00 H/C DJ 168pp

ALUN MORGAN COUNT BASIE SPELLMOUNT £2.00 H/C pencil annotaions 94pp

DEXTER MORRILL WOODY HERMAN- A GUIDE TO THE BIG BAND RECORDINGS 1936-1987 GREENWOOD PRESS £25.00 H/C 130pp

TIM MOTION AN EYE FOR THE SOUND- IMAGES OF JAZZ & JAZZ MUSICIANS SMITHMARK £10.00 H/C DJ 128pp

CHRIS MURPHY MILS TO GO- THE LOST YEARS 1973-198 THUNDER'S MOUTH £5.00 H/C DJ 250pp

ALBERT MURRAY STOMPING THE BLUES QUARTET £10.00 H/C DJ 264pp

ALBERT MURRAY STOMPING THE BLUES QUARTET £5.00 P/B 264pp

CHARLES SHAAR MURRAY SHOTS FROM THE HIP- ROCK JOURNALISM PENGUIN £3.00 P/B 481pp

DONALD MYRUS I LIKE JAZZ- A FIRST BOOK ABOUT JAZZ FOR SWINGING PEOPLE MACMILLAN £8.00 H/C DJ 116pp

TADAUKI NAITHO MILES- PHOTOS OF MILES DAVIS HIDDEN DRIVE £15.00 P/B unpaginated

PATRICK NEATE TWELVE BAR BLUES- JAZZ NOVEL PENGUIN £3.00 P/B 401pp

ROBERT NEFF / ANTHONY CONNOR BLUES- INTERVIEWS & PHOTOGRAPHS DAVID R GODINE £5.00 H/C DJ 140pp

SILJE NERGAARD BE STILL MY HEART- THE ESSENTIAL (scores) NORSKA NOTSERVICE £5.00 P/B 96pp

	NEW MUSICAL EXPRESS	THE STAN KENTON STORY- STAR SERIES NO 1	NME	£3.00	P/B unpaginated

FRANCIS NEWTON (ERIC HOBSBAWN) THE JAZZ SCENE JAZZ BOOK CLUB £5.00 H/C DJ 300pp

STUART NICHOLSON BILLIE HOLIDAY VICTOR GOLLANCZ £10.00 H/C DJ 310pp

STUART NICHOLSON ELLA FITZGERALD 1917-1996 VICTOR GOLLANCZ £5.00 P/B 286pp

STUART NICHOLSON ELLA FITZGERALD 1917-1996 INDIGO UK £3.00 P/B 334pp

STUART NICHOLSON IS JAZZ DEAD? (OR HAS IT MOVED TO A NEW ADDRESS?) ROUTLEDGE £10.00 P/B 270pp

STUART NICHOLSON REMINISCING IN TEMPO- A PORTRAIT OF ELLINGTON SIDGWICK £8.00 H/C DJ 538pp

HARRY NICOLAUSSON SWEDISH JAZZ DISCOGRAPHY SWEDISH MUSIC £25.00 H/C 416pp

OLE J NIELSEN JAZZ RECORDS 1942-80- VOL 6 DUKE ELLINGTON STAINLESS/WINTERMOON £20.00 H/C 610pp

ERIC NISENSON OPEN SKY- SONNY ROLLINS AND HIS WORLD OF IMPROVISATION ST MARTINS £10.00 H/C DJ 216pp

JEFF NUTTALL THE BALD SOPRANO- A PORTRAIT OF LOL COXHILL TAK TAK TAK £30.00 P/B 120pp

PHILP OAKES AT THE JAZZBAND BALL- A MEMORY OF THE '50S ANDRÉ DEUTSCH £7.00 H/C DJ 251pp

PAOLO OCHIUTO UMBRIA & JAZZ- MOSTLY PHOTOS, ITALIAN TEXT UMBRIA £12.00 H/C DJ 157pp

PAUL OLIVER BLUES FELL THIS MORNING JAZZ BOOK CLUB £5.00 H/C no DJ 355pp

PAUL OLIVER BLUES OFF THE RECORD- 30 YEARS OF BLUES COMMENTARY DA CAPO £5.00 P/B 296pp

PAUL OLIVER CONVERSATION WITH THE BLUES JAZZ BOOK CLUB £5.00 H/C DJ 217pp

PAUL OLIVER SAVANNAH SYNCOPATORS- AFRICAN RETENSIONS IN THE BLUES STUDIO VISTA blues p/b £5.00 P/B 112pp

PAUL OLIVER THE STORY OF THE BLUES BARRIE & JENKINS £10.00 H/C DJ 176pp

PAUL OLIVER / MAX HARRISON / WILLIAM BOLCOM THE NEW GROVE GOSPEL BLUES & JAZZ MACMILLAN 1986 £5.00 P/B 395pp

BENGT OLSSON MEMPHIS BLUES STUDIO VISTA blues p/b £12.00 P/B 112pp

ROBERT O'MEALLY (ED) THE JAZZ CADENCE OF AMERICAN CULTURE 1998 COLUMBIA U P USA £5.00 P/B 665pp

RICHARD OSBORNE VINYL- A HISTORY OF THE ANALOGUE RECORD ROUTLEDGE £12.00 P/B 212pp

JOHNNY OTIS UPSIDE YOUR HEAD!- RHYTHM & BLUES ON CENTRAL AVENUE WESLEYAN UP £8.00 H/C DJ 174pp

HUGHES PANASSIÉ THE REAL JAZZ- REVISED AND ENLARGED 1967 JAZZ BOOK CLUB £5.00 H/C DJ 284pp

HUGHES PANASSIÉ / MADELEINE GAUTIER DICTIONARY OF JAZZ- forward by Louis Armstrong JAZZ BOOK CLUB £5.00 H/C DJ 288pp

FRANCIS PAUDRAS LA DANSE DES INFIDELES- BUD POWELL large format lavishly illustrated L'INSTANT £70.00 H/C DJ 410pp

JOAQUIM PAULO JAZZ COVERS 1940s-1990s + interviews - 2 vol edition h/c with slipcase TASCHEN £120.00 H/C slipcase

ROY PELLETT (compiler) THE BEST OF JAZZ SCORE- ANECDOTES & REMINISCENCES BBC £3.00 H/C DJ 160pp

RICHARD PETERS THE SINATRA SCRAPBOOK- includes COMPLETE RECORDING SESSIONS 1939-82 SOUVENIR PRESS £5.00 P/B 160pp

TOM PIAZZA THE GUIDE TO CLASSIC RECORDED JAZZ 1995 UNIVERSITY OF IOWA £10.00 P/B 390pp

JUSTINE PICARDIE / DOROTHY WADE ATLANTIC & THE GODFATHERS OF ROCK & ROLL 4TH ESTATE £5.00 P/B 310pp

CHARLES PIGNONE THE SINATRA TREASURES- INTIMATE PHOTOS, MEMENTOS AND MUSIC BULLFINCH £5.00 H/C 192pp + CD

LES PINE / TINA ROME A MAN CALLED ADAM - JAZZ NOVEL SIGNET £2.00 P/B 128pp

MIKE PINFOLD LOUIS ARMSTRONG- LIFE AND TIMES OMNIBUS £5.00 P/B 142pp

HENRY PLEASANTS DEATH OF A MUSIC?- DECLINE OF THE EUROPEAN TRADITION & RISE OF JAZZ JAZZ BOOK CLUB £5.00 H/C no DJ 191pp

JOHN POLING ESQUIRE'S WORLD OF JAZZ ( BEAUTIFULLY ILLUSTRATED) ARTHUR BARKER '62 £28.00 H/C/D/J 224pp

LEWIS PORTER LESTER YOUNG - TWAYNE'S MUSIC SERIES MACMILLAN £25.00 H/C DJ 190pp

ROY PORTER THERE AND BACK 1991- WEST COAST BOP DRUMMER AUTOBIOGRAPHY BAYOU PRESS UK £5.00 H/C DJ 196pp

BRIAN PRIESTLEY CHARLIE PARKER SPELLMOUNT £2.00 H/C 94pp

BRIAN PRIESTLEY JAZZ ON RECORD- A HISTORY 1988 ELM TREE £10.00 H/C DJ 224pp

	RACE & CLASS VOL 43/1	MARSALIS FAMILY & DEMOCRATIC IMPERATIVE/ CAPE-TOWN HIP-HOP	RACE & CLASS	£2.00	P/B 110pp

DOUG RAMSEY TAKE FIVE- THE PUBLIC & PRIVATE LIVES OF PAUL DESMOND PARKSIDE £80.00 H/C DJ 370pp

FREDERIC RAMSEY / CHARLES EDWARD SMITH JAZZMEN JAZZ BOOK CLUB £5.00 H/C no DJ 360pp

FREDERIC RAMSEY JR/ CHARLES EDWARD SMITH ed JAZZMEN- NEW ORLEANS/ CHICAGO/ NEW YORK/ HOT JAZZ TODAY '57 SIDGWICK & JACKSON £5.00 H/C NO DJ 360pp

KEN RATTENBURY DUKE ELLINGTON- JAZZ COMPOSER YALE UP £7.00 H/C DJ 326pp

	RECORD COLLECTOR	RARE RECORD PRICE GUIDE 2010	RECORD COLLECTOR	£5.00	P/B 1406pp

CAROLE REIFF NIGHTS IN BIRDLAND 1954-60- PHOTOGRAPHS + ESSAY BY JACK KEROUAC SIMON & SCHUSTER £5.00 P/B 123pp

ROBERT REISNER BIRD- THE LEGEND OF CHARLIE PARKER QUARTET £5.00 P/B 256pp

ROBERT REISNER BIRD- THE LEGEND OF CHARLIE PARKER MCGIBBON & KEE £10.00 H/C NO DJ 256pp

ROBERT REISNER BIRD- THE LEGEND OF CHARLIE PARKER DA CAPO £10.00 256pp

ROBERT REISNER BIRD- THE LEGEND OF CHARLIE PARKER JAZZ BOOK CLUB £5.00 H/C NO DJ 216pp

PETER RETZLAFF / JIM RUPP BABY STEPS TO GIANT STEPS- JAZZ DRUMMING ONE TEMPO AT A TIME HUDSON MUSIC £5.00 P/B 76pp + cd

RICKY RICCARDI WHAT A WONDERFUL WORLD- THE MAGIC OF LOUIS ARMSTRONG'S LATER YEARS PANTHEON £10.00 H/C DJ 369pp

JOHN RIDGWAY THE SINATRAFILE PART ONE- RADIO/ TV/ CONCERTS/ RECORDS etc JOHN RIDGEWAY £15.00 P/B 300pp

JOHN RIDGWAY THE SINATRAFILE PART THREE- FILMOGRAPHY & SUPPLEMENT JOHN RIDGEWAY £15.00 P/B 300pp

JOHN RIDGWAY THE SINATRAFILE PART TWO- with HARRY JAMES/ TOMMY DORSEY/ COLUMBIA JOHN RIDGEWAY £15.00 P/B 300pp

PAULINE RIVELLI / ROBERT LEVIN (ed) GIANTS OF BLACK MUSIC DA CAPO £5.00 P/B 128pp

ALAN ROBERTSON JOE HARRIOTT- FIRE IN HIS SOUL 2003 NORTHWAY £7.00 P/B 255pp

JOHN ROCKWELL SINATRA- AN AMERICAN CLASSIC RANDOM HOUSE £5.00 H/C 251pp

RICHARD RODGERS MUSICAL STAGES- AN AUTOBIOGRAPHY RANDOM HOUSE £5.00 H/C NO DJ 338pp

PAUL ROLAND ed JAZZ SINGERS- THE GREAT SONG STYLISTS IN THEIR OWN WORDS HAMLYN £10.00 H/C DJ 160pp

JULIA ROLF (ed) JAZZ- THE COMPLETE STORY FLAME PUBLISHING £10.00 P/B 528pp

JULIA ROLF (ed) THE DEFINITIVE ILLUSTRATED ENCYCLOPEDIA OF JAZZ & BLUES 2007 FLAME TREE £10.00 H/C DJ 448pp

AL ROSE I REMEMBER JAZZ- RECOLLECTIONS OF 6 DECADES AMONG THE GREAT JAZZMEN EQUATION BOOKS £2.00 P/B 254pp

TIMME ROSENKRANTZ SWING PHOTO ALBUM 1939 SCORPION PRESS '64 £9.00 H/C 44pp

ROSS RUSSELL BIRD LIVES!- THE HIGH LIFE AND HARD TIMES OF CHARLIE PARKER QUARTET £5.00 P/B 404pp

ROSS RUSSELL THE SOUND- JAZZ NOVEL MCFADDEN £5.00 P/B 192pp

TONY RUSSELL BLACKS WHITES AND BLUES STUDIO VISTA blues p/b £5.00 P/B 112pp

WILLIAM RUSSELL (compiler) OH, MISTER JELLY!- A JELLY ROLL MORTON SCRAPBOOK (large format) JAZZ MEDIA £100.00 H/C DJ 720pp

WILLIAM RUSSO COMPOSING FOR THE JAZZ ORCHESTRA U CHICAGO PRESS £8.00 P/B 90pp

BRIAN RUST JAZZ RECORDS 1897-1942 VOL 1 A-LYM STORYVILLE £20.00 H/C 992pp

BRIAN RUST JAZZ RECORDS 1897-1942 VOL 2 LYM-Z STORYVILLE £20.00 H/C 1998pp

BRIAN RUST JAZZ RECORDS 1932-1942 RUST £20.00 H/C 680pp

BRIAN RUST MY KIND OF JAZZ 1990 ELM TREE £10.00 H/C DJ 200pp

BRIAN RUST THE AMERICAN RECORD LABEL BOOK DA CAPO £20.00 H/C 336pp

BRIAN RUST / EDWARD WALKER BRITISH DANCE BANDS 1912-1939 - very few pen annotations STORYVILLE 1973 £100.00 H/C NO DJ 410pp

JEFF SALEM MESSIN WID DA BULL- DRUM PARTS FOR FUNKY CHARTS + CD HUDSON £10.00 P/B 120pp

GENE SANTORO DANCING IN YOUR HEAD- JAZZ, BLUES, ROCK & BEYOND OXFORD U P £5.00 H/C DJ 303pp

GENE SANTORO STIR IT UP- MUSICAL MIXES FROM ROOTS TO JAZZ OXFORD U P £5.00 H/C DJ 192pp

WINTHROP SARGEANT JAZZ: HOT AND HYBRID- new enlarged edition JAZZ BOOK CLUB £5.00 H/C no DJ 287pp

TONY SCADUTO FRANK SINATRA—A "CONTROVERSIAL BIOGRAPHY" SPHERE £2.00 P/B 159pp

WILLIAM SCHAFER BRASS BANDS & NEW ORLEANS JAZZ 1977 LOUISIANA STATE U P £12.00 HC DJ 134pp

WILLIAM J SCHAFER THE ORIGINAL JELLY ROLL BLUES- THE STORY OF FERDINAD LAMOTTE FLAME TREE £5.00 P/B 256pp

GUNTHER SCHULLER EARLY JAZZ OXFORD UP £15.00 H/C DJ 1ST ED 400pp

	SCHWANN	SCHWANN SPECTRUM  CATALOGUE- POLULAR / JAZZ ETC 1994	SCHWANN	£5.00	P/B 722pp

CASEY SCOTT ONE MORE TIME- JAZZ NOVEL TOWER £2.00 P/B 188pp

REBECCA SCOTT A FINE KIND OF MADNESS- RONNIE SCOTT REMEMBERED HEADLINE £5.00 H/C DJ 341pp

CHRIS SEARLE RED GROOVE- JAZZ WRITING FROM THE MORNING STAR rrp12.99 FIVE LEAVES £10.00 P/B 284pp new

GENE SEYMOUR JAZZ- THE GREAT AMERICAN ART FRANKLIN WATTS £3.00 P/B 176pp

JAMES D SHACTER LOOSE SHOES- THE STORY OF RALPH SUTTON signed R Shacter & R Sutton JAYNAR PRESS £10.00 H/C DJ 391pp

JAMES D SHACTER PIANO MAN- THE STORY OF RALPH SUTTON JAYNAR PRESS £10.00 H/C DJ232pp

KEITH SHADWICK GRAMOPHONE JAZZ GOOD CD GUIDE 1997 GRAMOPHONE £4.00 P/B 672pp

KEITH SHADWICK GRAMOPHONE JAZZ GOOD CD GUIDE 2ND EDITION GRAMOPHONE £4.00 P/B 672pp

KEITH SHADWICK JAZZ- LEGENDS OF STYLE- SHORT ILLUSTRATED BIOGRAPHIES 2000 EAGLE EDITIONS £5.00 H/C D/J 352pp

KEITH SHADWICK THE ENCYCLOPEDIA OF JAZZ & BLUES SILVERDALE £10.00 H/C D/J 704pp

KEITH SHADWICK THE ILLUSTRATED STORY OF JAZZ- FORWARD BY PHIL WOODS WH SMITH £5.00 H/C D/J 190pp

HOWARD SHANET LEARN TO READ MUSIC FABER £2.00 P/B 172pp

HARRY SHAPIRO / CAESAR GLEBEEK JIMI HENDIX ELECTRIC GYPSY- revised & updated MANDARIN £5.00 P/B 769pp

NAT SHAPIRO / NAT HENTOFF (ed) HEAR ME TALKIN' TO YA PENGUIN £3.00 P/B 414pp

NAT SHAPIRO / NAT HENTOFF ed HEAR ME TALKIN' TO YA- JAZZ TOLD BY THE MEN (& WOMEN!) WHO MADE IT SOUVENIR PRESS £5.00 P/B 382pp

NAT SHAPIRO / NAT HENTOFF ed HEAR ME TALKING TO YA PETER DAVIES £9.50 H/C DJ tear to dj

NAT SHAPIRO / NAT HENTOFF ed THE JAZZ MAKERS PETER DAVIES £5.00 H/C DJ 366pp

ARNOLD SHAW HONKERS & SHOUTERS- GOLDEN YEARS OF RHYTHM & BLUES COLLIER MACMILLAN £15.00 P/B 555pp

ARNOLD SHAW LET'S DANCE- POPULAR MUSIC IN THE 1930s OXFORD UP £5.00 H/C DJ 241pp

ARNOLD SHAW SINATRA- A BIOGRAPHY WH ALLEN £5.00 H/C no DJ 392pp

ARNOLD SHAW THE ROCKIN' 50s- THE DECADE THAT TRANSFORMED THE POP MUSIC SCENE DA CAPO £5.00 P/B 296pp

ARNOLD SHAW THE STREET THAT NEVER SLEPT- 52nd STREET NYC COWARD MCCANN £10.00 H/C DJ378pp

DON SHEPHERD / ROBERT SLATZER BING CROSBY- THE HOLLOW MAN STAR £2.00 P/B 326pp

CHRIS SHERIDAN COUNT BASIE- A BIO-DISCOGRAPHY GREENWOOD PRESS £50.00 H/C 1350pp

ALYN SHIPTON A NEW HISTORY OF JAZZ 2001 CONTINUUM £10.00 H/C DJ 965pp

ALYN SHIPTON A NEW HISTORY OF JAZZ- REVISED AND UPDATED 2007 CONTINUUM £10.00 P/B 800pp

JACK SHNEIDMAN 1001 JAZZ LICKS- COMPLETE JAZZ VOCABULARY FOR THE IMPROVISOR CHERRY LANE £8.00 P/B 112pp

BEN SIDRAN TALKING JAZZ- ILLUSTRATED ORAL HISTORY POMEGRANATE £5.00 H/C DJ 210pp

PETER SILVESTER A LEFT HAND LIKE GOD- A STUDY OF BOOGIE WOOGIE QUARTET 1988 £15.00 H/C DJ 322pp

HERBERT A SIMMONS MAN WALKING ON EGGSHELLS- JAZZ NOVEL METHUEN £5.00 H/C no DJ 250pp

HERBERT A SIMMONS MAN WALKING ON EGGSHELLS- JAZZ NOVEL JAZZ BOOK CLUB £5.00 H/C DJ 250pp

GEORGE T SIMON GLENN MILLER AND HIS ORCHESTRA CROWELL £4.00 H/C NO DJ 472pp

GEORGE T SIMON SIMON SAYS- SIGHTS & SOUNDS OF THE SWING ERA 1935-55 ARLINGTON HOUSE £8.00 H/C DJ 490pp

GEORGE T SIMON THE BIG BANDS- ENLARGED & REVISED 1971 EDITION- forward by FRANK SINATRA MACMILLAN £5.00 P/B 584pp

GEORGE T SIMON THE BIG BANDS- ENLARGED & REVISED 1971 EDITION- FORWARD BY SINATRA MACMILLAN £10.00 H/C D/J torn 584pp

NANCY SINATRA FRANK SINATRA- AN AMERICAN LEGEND- large format scrapbook VIRGIN £5.00 H/C DJ 368pp

NANCY SINATRA FRANK SINATRA- MY FATHER HODDER £4.00 H/C D/J 340pp

FRANK SINATRA / GUY GARWOOD SINATRA IN HIS OWN WORDS OMNIBUS £3.00 P/B 128pp

THANA SKOURAS (ed) THE TALE OF RODGERS & HAMMERSTEIN'S 'SOUTH PACIFIC' LEHMANN £5.00 H/C 66pp

NICOLAS SLOMINSKY THESAURUS OF SCALES & MELODIC PATTERNS AMSCO £10.00 P/B 243pp

WILLIE THE LION SMITH MUSIC ON MY MIND- forward by DUKE ELLINGTON DA CAPO £5.00 P/B 318pp

WILLIE THE LION SMITH MUSIC ON MY MIND- forward by DUKE ELLINGTON JAZZ BOOK CLUB £5.00 H/C DJ 318pp

JAY D SMITH / LEN GUTTRIDGE JACK TEAGARDEN- STORY OF A JAZZ MAVERICK JAZZ BOOK CLUB £5.00 H/C no DJ 208pp

	SMITHSONIAN	SEEING JAZZ- ARTISTS & WRITERS ON JAZZ- profusely illustrated	CHRONICLE	£8.00	P/B  144pp

YDO SOL FACES OF JAZZ- POLAROID PORTRAITS NIESWAND VERLAG £15.00 H/C large format

EILEEN SOUTHERN THE MUSIC OF BLACK AMERICANS 2ND EDITION 1971 NORTON USA £8.00 P/B 602pp

MICHAEL SPARKE / PETER VENUDOR STAN KENTON- THE STUDIO SESSIONS- A DISCOGRAPHY BALBOA BOOKS £20.00 P/B 228pp

DAVID SPITZER JAZZSHOTS- B&W PHOTOGRAPHS ZERKIM PRESS £20.00 P/B unpaginated

MARSHALL STEARNS THE STORY OF JAZZ OXFORD UP £4.00 P/B 379pp

MARSHALL / JEAN STEARNS JAZZ DANCE- THE STORY OF AMERICAN VERNACULAR DANCE SCHIRMER £5.00 P/B 464pp

LAWRENCE STEWART THE GERSHWINS- WORDS UPON MUSIC VERVE RECORDS £12.00 H/C 48pp

REX STEWART BOY MEETS HORN BAYOU PRESS £12.00 H/C DJ 234pp

CHUCK STEWART / PAUL CARTER HARRISON CHUCK STEWART'S JAZZ FILES - PHOTOS + SHORT TEXT QUARTET £10.00 H/C DJ 144p

DERRICK STEWART-BAXTER MA RAINEY & THE CLASSIC BLUES SINGERS STUDIO VISTA blus p/b £5.00 P/B 112pp

DENNIS STOCK JAZZ STREET- PHOTOS with text by NAT HENTOFF ANDRÉ DEUTSCH '60 £70.00 H/C DJ 132pp

JOHN STODDARD JAZZ ON THE BARBARY COAST STORYVILLE £5.00 H/C 192pp

W ROYAL STOKES GROWING UP WITH JAZZ- 24 MUSICIANS TALK ABOUT THEIR LIVES OXFORD UP £5.00 H/C DJ 242 pp

W ROYAL STOKES LIVING THE JAZZ LIFE- CONVERSATIONS WITH 40 MUSICIANS OXFORD UP £5.00 P/B 278pp

W ROYAL STOKES THE JAZZ SCENE - AN INFORMAL HISTORY FROM NEWORLEANS-1990 OXFORD UP £5.00 H/C DJ 260pp

JERRY STOLL / MICHAEL EHLERS JAZZ MEMORIES- A BOOK OF DAYS POMEGRANATE £5.00 H/C BOX

JAY ALLISON STUART CALL HIM GEORGE- BIOGRAPHY OF GEORGE LEWIS JAZZ BOOK CLUB £5.00 H/C no DJ 285pp

EVE STWERTKA DUKE ELLINGTON- A LIFE IN MUSIC 1993 FRANKLIN WATTS £3.00 P/B 143 pp

DEREK STYLES MAKANDA KEN MCINTYRE- PEACE THRU JAZZ- BIO-DISCOGRAPHY CADENCE £20.00 P/B 339pp

TODD SUCHERMAN METHODS AND MECHANICS FOR USEFUL MUSICAL DRUMMING HUDSON £5.00 P/B + CD 128pp

	SWING JOURNAL	1978 JAZZ RECORDS-1- Japanese text	SWING JOURNAL	£10.00	P/B 380pp

	SWING JOURNAL	1978 JAZZ RECORDS-2- Japanese text	SWING JOURNAL	£10.00	P/B 380pp

JOHN SZWED SO WHAT- DEFINITIVE BIOGRAPHY OF MILES HEINEMANN £5.00 P/B PROOF COPY 470pp

JOHN SZWED SPACE IS THE PLACE- THE LIFE & TIMES OF SUN RA PAYPACK PRESS £10.00 P/B P/B 476 pp

TETSUYA TAJIRI GIL EVANS DISCOGRAPHY 1941-82 TAJIRI £10.00 P/B 61pp

LEE TANNER DIZZY- JOHN BIRKS IN HIS 75TH YEAR POMEGRANATE £5.00 H/C- DJ 86pp

LEE TANNER JAZZ IMAGE- MASTERS OF JAZZ PHOTOGRAPHY ABRAMS £6.00 H/C DJ 176pp

BILLY TAYLOR JAZZ COMBO ARRANGING-- TRIOS/ QUARTETS/ QUINTETS O/P CHARLES HANSEN £5.00 P/B 25pp

STEPHEN TAYLOR FATS WALLER ON THE AIR- RADIO BROADCASTS & DISCOGRAPHY SCARECROW £20.00 H/C 335pp

YUVAL TAYLOR ed THE FUTURE OF JAZZ- SYMPOSIUM- TED GIOIA/ JOHN SZWED etc A CAPPLLA £5.00 P/B 241 pp

STUDS TERKEL GIANTS OF JAZZ JAZZ BOOK CLUB £5.00 H/C DJ 215pp

	THE SOURCE VOL 1 # 4 ND	CHALLENGING JAZZ CRITICISM- KRIN GABBARD/ NICHOLAS COOK etc	LCM	£5.00	P/B 134pp

BOB THOMAS ASTAIRE- THE MAN, THE DANCER WEIDENFELD & NICHOLSON £5.00 H/C DJ clipped 340pp

BOB THOMAS THE ONE AND ONLY BING- FORWARD BY BOB HOPE MICHAEL JOSEPH £5.00 H/C DJ 150pp

J C THOMAS CHASIN' THE TRANE- MUSIC AND MYSTIQUE OF COLTRANE 1976 ELM TREE UK £8.00 H/C DJ 188pp

W E TIMNER ELLINGTONIA- THE RECORDED MUISIC OF DUKE ELLINGTON & HIS SIDEMEN IJS/ SCARECROW £10.00 H/C 533pp

ART TIPALDI CHILDREN OF THE BLUES- 49 MUSICIANS SHAPING A NEW BLUES TRADITION BACKBEAT £5.00 P/B 324pp

	TOP NUMBERS	JAZZ CLASSIC- PHOTOS WITH SHORT CAPTIONS	TOP NUMBERS	£2.00	P/B 96pp

NICK TOSCHES WHERE DEAD VOICES GATHER CAPE £6.00 P/B 330pp

CLARK TRACEY THE GODFATHER OF BRITISH JAZZ- LIFE & MUSIC OF STAN TRACEY EQUINOX £25.00 H/C 331pp

JACK TRACEY (ed) DOWN BEAT JAZZ RECORD REVIEWS VOL II- 1957 DOWN BEAT £20.00 P/B 210pp

SHEILA TRACY BANDS, BOOZE AND BROADS- HISTORY OF BIG BANDS MAINSTREAM £4.00 P/B 318pp

SHEILA TRACY BANDS, BOOZE AND BROADS- HISTORY OF BIG BANDS MAINSTREAM £3.00 H/C DJ 318pp

SINCLAIR TRAILL (ed) CONCERNING JAZZ JAZZ BOOK CLUB £5.00 H/C DJ 178pp

SINCLAIR TRAILL (ed) CONCERNING JAZZ- MEZZ MEZZROW/ STANLEY DANCE/ HUGHES PANASSIE etc FABER £5.00 H/C no DJ 178pp

SINCLAIR TRAILL (ed) PLAY THAT MUSIC- A GUIDE TO PLAYING JAZZ JAZZ BOOK CLUB £5.00 H/C DJ 112pp

SINCLAIR TRAILL / GERALD LASCELLES (ed) JUST JAZZ - 2 with discography PETER DAVIES £5.00 H/C DJ 254pp

SINCLAIR TRAILL / GERALD LASCELLES (ed) JUST JAZZ 4- BASIE/ DUKE/ BIRD/ FILM/ BRITISH JAZZ/ WHITE JAZZ etc JAZZ BOOK CLUB £5.00 H/C no DJ 159pp

SINCLAIR TRAILL / GERALD LASCELLES (ed) JUST JAZZ with discography PETER DAVIES £5.00 H/C DJ 224pp

JAMES A TREICHEL WOODY HERMAN & THE SECOND HERD CHRONOLOGY JOYCE MUSIC £10.00 P/B 56pp

MARK TUCKER ELLINGTON-THE EARLY YEARS U ILLINOIS £7.50 P/B 34pp

MARK TUCKER (ED) THE DUKE ELLINGTON READER OXFORD UP £5.00 P/B 536pp

MARK TUCKER (ED) THE DUKE ELLINGTON READER OXFORD UP £10.00 H/C DJ 536pp

JANNA TULL STEED DUKE ELLINGTON- A SPIRITUAL BIOGRAPHY CROSSROAD £2.00 H/C 190pp

BARRY ULANOV A HANDBOOK OF JAZZ- forward by Kingsley Amis JAZZ BOOK CLUB £5.00 H/C no DJ 204pp

MICHAEL ULLMAN JAZZ LIVES- PORTRAITS IN WORDS & PICTURES PERIGEE £5.00 P/B 244pp

PETER VACHER MIXED MESSAGES- AMERICAN JAZZ STORIES new/rrp 14.99 FIVE LEAVES £12.00 P/B 314pp new

PETER VACHER SOLOISTS AND SIDEMEN- AMERICAN JAZZ STORIES NORTHWAY £5.00 P/B 233pp

KEN VAIL MILES' DIARY- THE LIFE OF MILES DAVIS 1947-61 SANCTUARY £10.00 P/B 174pp

PETER VAN AMSTEL A BREACH IN THE DIKE- THE PROMOTION OF DUTCH MUSIC ABROAD DUTCH JAZZ CONNECTION £5.00 P/B in Dutch & English

ED VAN DER ELSKEN JAZZ- PHOTOGRAPHS FRAGMENT £5.00 P/B DJ

LANCE VAN LENTEN CREATIVE JAZZ EXERCISES FOR ALL INSTRUMENTS VOL 2 CHARLES COLIN £5.00 P/B 58pp

JOEL VANCE FATS WALLER- HIS LIFE AND TIMES ROBSON £5.00 P/B 179pp

RALPH VENABLES / CLIFFORD JONES (eds) CREAM OF THE WHITE CLARINETS DISCOGRAPHICAL SOCIETY £2.00 P/B 17pp

PETE VENUDOR / MICHAEL SPARKE STANDARD KENTON DIRECTORY VOL 1- DISCOGRAPHY/ TRANSCOGRAPHY PRIVATE £10.00 P/B 40pp

BORIS VIAN ed MIKE ZWERIN ROUND ABOUT CLOSE TO MIDNIGHT- JAZZ WRITINGS QUARTET £15.00 H/C DJ 178pp

STEVE VOCE WOODY HERMAN APOLLO £2.00 P/B 112pp

MAURICE WALLER / ANTHONY CALABRESE FATS WALLER CASSELL £5.00 H/C DJ 235pp

CHARLES H WAREING / GEORGE GARLICK BUGLES FOR BEIDERBECKE JAZZ BOOK CLUB £5.00 H/C DJ 333pp

ETHEL WATERS HIS EYE IS ON THE SPARROW- AN AUTOBIOGRAPHY JAZZ BOOK CLUB £5.00 H/C NO DJ 260pp

BEN WATSON DEREK BAILEY & THE STORY OF FREE IMPROVISATION VERSO £10.00 H/C DJ 450pp

CHRIS WAY THE BIG BANDS GO TO WAR MAINSTREAM £5.00 H/C BO DJ 286pp

GEORGE WEIN MYSELF AMONG OTHERS DA CAPO £8.00 P/B 546pp

CLAIRE WELCH JAZZ LEGENDS- MILES DAVIS/ JOHN COLTRANE/ ACKER BILK/ JAMIE CULLUM (!) GREEN UMBRELLA £1.00 H/C 96pp

DICKY WELLS / STANLEY DANCE THE NIGHT PEOPLE- foreward by COUNT BASIE HALE £5.00 H/C DJ 120pp

JOHN WHITE ARTIE SHAW- NON-STOP FLIGHT EAST NOTE £10.00 P/B 182pp

KEVIN WHITEHEAD NEW DUTCH SWING- JAZZ + CLASSICAL + ABSURDISM BILLBOARD £15.00 H/C DJ 336pp

KEVIN WHITEHEAD WHY JAZZ? - A CONCISE GUIDE OXFORD U P £4.00 H/C DJ 172pp

KEVIN WHITEHEAD (ed) BIMHUIS 25- STORIES OF 25 YEARS BIMHUIS £15.00 P/B DJ 214pp

BOB WILBER MUSIC WAS NOT ENOUGH BAYOU £5.00 P/B 216pp

ALEC WILDER AMERICAN POPULAR SONG OUP £20.00 H/C NO DJ 536pp

RICHARD WILLAMS JAZZ- A PHOTOGRAPHIC DOCUMENTARY STUDIO EDITIONS £5.00 H/C DJ 144pp

RICHARD WILLAMS MILES DAVIS- THE MAN IN THE GREEN SHIRT BLOOMSBURY £5.00 H/C DJ LF 192pp

IAIN CAMERON WILLIAMS UNDER A HARLEM MOON- HARLEM TO PARIS YEARS OF ADELAIDE HALL CONTINUUM £5.00 H/C DJ 428pp

JOHN WILLIAMS NIGHT SONG- JAZZ NOVEL JAZZ BOOK CLUB £5.00 H/C DJ 192pp

MARTIN WILLIAMS JAZZ MASTERS OF NEW ORLEANS DA CAPO £5.00 P/B 286pp

MARTIN WILLIAMS JAZZ MASTERS OF NEW ORLEANS MACMILLAN £5.00 H/C DJ 286pp

MARTIN WILLIAMS JAZZ PANORAMA- FROM THE PAGES OF JAZZ REVIEW JAZZ BOOK CLUB £5.00 H/C DJ 318pp

MARTIN WILLIAMS THE JAZZ TRADITION OXFORD U P £4.00 H/C DJ 232pp

MARTIN WILLIAMS THE JAZZ TRADITION MENTOR 1971 £3.00 P/B 190pp

MARTIN WILLIAMS (ed) THE ART OF JAZZ JAZZ BOOK CLUB £5.00 H/C DJ 248pp

VALERIE WILMER JAZZ PEOPLE ALTERNATIVE £15.00 P/B 167pp

EARL WILSON SINATRA WH ALLEN £5.00 H/C 377pp

JOHN S WILSON THE COLLECTOR'S JAZZ- TRADITIONAL & SWING KEYSTONE BOOKS £5.00 P/B 320pp

PETER NIKLAS WILSON SONNY ROLLINS- THE DEFINITIVE MUSICAL GUIDE BERKELEY HILLS £5.00 P/B 244PP

FRANCIS WOLFF THE BLUE NOTE PHOTOGRAPHS- A BOOK OF 30 POSTCARDS POMEGRANATE £10.00 P/B 34pp

FRANCIS WOLFF / JIMMY KATZ BLUE NOTE PHOTOGRAPHY PREZZO £100.00 H/C 205pp

WOODY WOODYARD JAZZ AMERICANA TREND £10.00 P/B 128pp

LAURIE WRIGHT "FATS" IN FACT- THE CAREER & WORKS OF FATS WALLER STORYVILLE £20.00 H/C 552pp

LAURIE WRIGHT KING OLIVER STORYVILLE £30.00 H/C 438pp

LAURIE WRIGHT MR JELLY LORD- CHRONOLOGY/ DISCOGRAPHY/ MISCELLANEOUS MORTONIA STORYVILLE £10.00 H/C 240pp

LAURIE WRIGHT (ed) STORYVILLE 1996-1997 STORYVILLE £20.00 H/C 226pp

LAURIE WRIGHT (ed) STORYVILLE 1998-1999 STORYVILLE £20.00 H/C 254pp

LAURIE WRIGHT (ed) STORYVILLE 2000-2001 STORYVILLE £20.00 H/C 262pp

LAURIE WRIGHT (ed) STORYVILLE 2002-2003 STORYVILLE £20.00 H/C 242pp

DAVID YAFFE FASCINATING RHYTHM- READING JAZZ IN AMERICAN WRITING PRINCETON U P £5.00 H/C DJ 230pp

SCOTT YANOW THE JAZZ SINGERS- ULTIMATE GUIDE- 500 PROFILES BACKBEAT £10.00 P/B 263pp NEW

SCOTT YANOW TRUMPET KINGS- THE PLAYERS WHO SHAPED THE SOUND OF THE JAZZ TRUMPET BACKBEAT £10.00 P/B 423pp

RAFI ZABOR THE BEAR COMES HOME - JAZZ NOVEL VINTAGE £3.00 P/B 480pp

MIKE ZWERIN CLOSE ENOUGH FOR JAZZ QUARTET

A framed graphic with rich dark blue background with multiple decreasing in size iconic trumpeter silhouettes standing on top of a musical stave and black PoJ.fm logos highlighted in white.

Jazz Historiography[edit]

See Alan P. Merriam. "A Short Bibliography of Jazz," Notes, Vol. 10, No. 2 (March, 1953).

Read online Aronson, David. "Jazz: a music in exile." In International Social Science Journal, XXXIV, 4, 583–598, 1982. Posted at the UNESCO Digital Library website. Language: English. Also available in: Français, Español.

Ake, David. Jazz Cultures. Berkeley, CA: University of California Press, 2002.

Anderson, lain. "Jazz Outside the Marketplace: Free Improvisation and Nonprofit Sponsorship of the Arts 1965–1980." American Music 20, no. 2 (Summer 2002): 131-67. http://doi.org/10.2307/1350138.

Anon (n.d.) "Bill Evans and Classical Music, Glen Gould, Maurice Ravel," http://www.billevans.nl/Classical.htm (accessed January 2010).

Baraka, Amin, and Stanley Crouch (1986) "Jazz Criticism and its Effect on the Art Form." In New Perspectives on Jazz, ed. David Baker, 55-87. Washington and London: Smithsonian Institution Press.

Bartlett, Andrew W. (1995) "Cecil Taylor, Identity Energy, and the Avant-Garde African American Body." Perspectives of New Music 33(1-2) (Winter-Summer): 274-93.

Bergstein, Barry (1992) "Miles Davis and Karlheinz Stockhausen: A Reciprocal Relationship." The Musical Quarterly 76(4): 502-25.

Barrett, Joshua (1992) "Louis Armstrong and Opera." The Musical Quarterly 76(2) (Summer): 216-41. do1:10.1093/mq/76.2.216

Bohlman, Philip V. (1993) 'Musicology as a Political Act'. Journal of Musicology 11(4) (Autumn): 411-36. doi:10.1525/jm.1993.11.4.03a00010

Borders, Florence E. (1988) 'Researching Creole and Cajun Musics in New Orleans'. Black Music Research Journal 8(1): 15-31. doi:10.2307/779501

Brown, Lee B. (1999) 'PostmodernistJazz Theory: Afrocentrism, Old and New'. Journal of Aesthetics and Art Criticism 57(2) (Spring): 235-46. doi: 10.2307/432315

---(2000) "Feeling My Way: Jazz Improvisation and its Vicissitudes—a Plea for Imperfection". Journal of Aesthetics and Art Criticism 58(2) (Spring): 113-23. do1:10.2307/432090.

Byrne, Edmond (1998) 'The Influence of Claude Debussy's and Maurice Ravers Music on Jazz, as Seen in the Compositions of Bix Beiderbecke, Bill Evans and Miles Davis'. DMA dissertation, New England Conservatory of Music, 1998.

---(2008) Discussion and Analysis of 'Peace Piece'. http://forums.allaboutjazz.com/ showthread.php7t.36488 (accessed January 2010).

Coady, Christopher (2009) "Ellington in the Third Stream: A New Perspective on the Fugal Works of the Modern Jazz Quartet." Jazzforschung/Jazz Research 41: 65-82.

Cooke, Mervyn (2002) "Jazz Among the Classics, and the Case of Duke Ellington." In The Cambridge Companion to Jazz, ed. Mervyn Cooke and David Horn, 153-73. Cambridge: Cambridge University Press.

Dahlhaus, Carl (1983) Foundations of Music History, trans J. B. Robinson. Cambridge: Cambridge University Press.

Deleuze, Gilles, and Felix Guattari (1987 [1980]) A Thousand Plateaus: Capitalism and Schizophrenia, trans. Brian Massumi. London and New York: Continuum.

DeVeaux, Scott (1991) 'Constructing the Jazz Tradition: Jazz Historiography'. Black American Literature Forum 25(3) (Autumn): 525-60. doi:10.2307/3041812.

---(2001-2002) 'Struggling with Jazz'. Current Musicology 71(3) (Spring): 353-74.

Fiehrer, Thomas (1991) 'From Quadrille to Stomp: The Creole Origins of Jazz'. Popular Music 10(1) (January): 21-38. dot 10.1017/S0261143000004293

Fox, Charles (1959-60) 'Jazz since 1945'. Proceedings of the Royal Musical Association 86: 15-27. do1:10.1093/jrma/86.1.15

Gabbard, Krin (1995a) 'Introduction: Writing the Other History'. In Representing Jazz, ed. Krin Gabbard, 1-8. Durham, NC and London: Duke University Press.

---(1995b) 'Introduction: The Jazz Canon and its Consequences'. In Jazz Among the Discourses, ed. Krin Gabbard, 1-28. Durham, NC and London: Duke University Press.

Gennari, John. 1991. 'Jazz Criticism: Its Development and Ideologies'. Black American Literature Forum 25(3) (Autumn): 449-523. do1:10.2307/3041811.

Grainger, Percy (1925) 'Jazz'. Musikbkitter des Anbruch 7(4) (April): 210-12.

Heble, Ajay (2000) Landing on the Wrong Note: Jazz, Dissonance and Critical Practice. New York and London: Routledge.

Hersch, Charles (2001) 'Review: America without Dissonance: Ken Burns's Jazz"'. Polity 34(1) (Autumn): 107-16. doi:10.2307/3235511

Israels, Chuck (1985) 'Bill Evans (1929-1980): A Musical Memoir'. The Musical Quarterly 71(2): 109-15. dol:10.1093/mq/LXXI.2.109

Johnson, Bruce (1993) 'Hear Me Talkin' to Ya: Problems of Jazz Discourse'. Popular Music 12(1) (January): 1-12. doi:10.1017/30261143000005316

---(2002) 'Jazz as Cultural Practice'. In The Cambridge Companion to Jazz, ed. Mervyn Cooke and David Horn, 96-113. Cambridge: Cambridge University Press.

Jones, Leroi [Amiri Baraka] (1967) 'Jazz and the White Critic'. In Keeping Time: Readings in Jazz History, ed. Robert Walser, 255-61. Oxford and New York: Oxford University Press.

Joyner, David (2000) 'Analyzing Third Stream'. Contemporary Music Review 19(1): 63-87. doi:10.1080/07494460000640141.

Kahn, Ashley (2000) Kind of Blue: The Making of the Miles Davis Masterpiece. London: Grants Books.

Klei, Alice van der (2002) 'Repeating the Rhizome'. SubStance 31(1): 48-55. dot 10.2307/3685805

Kofsky, Frank (1971) "The Jazz Tradition: Black Music and its White Critics." Journal of Black Studies 1(4) (June): 403-33. do i:10.1177/002193477100100402.

Levine, Lawrence W. (1989) "Jazz and American Culture." Journal of American Folklore 102(403) (January-March): 6-22. doi:10.2307/540078.

Lopes, Paul (1999) "Diffusion and Syncretism: The Modern Jazz Tradition." Annals of the American Academy of Political and Social Science 566 (November): 25-36. dol:10.1177/0002716299566001003.

---(2002) The Rise of a Jazz Art World. Cambridge: Cambridge University Press. doi:10.1017/CB09780511489495.

Noiriel, Gerard (1994) "Foucault and History: The Lessons of a Disillusion." Journal of Modern History 66(3) (September): 547- 68. doi:10.1086/244886.

Peretti, Burton W. 2001. "Speaking in the Groove: Oral History and Jazz." Journal of American History 88(2) (September): 582-95. doi:10.2307/2675107.

Pettinger, Peter. Bill Evans: How My Heart Sings. New Haven: Yale University Press, 2002.

Pond, Steven F. "Jamming the Reception: Ken Burns, Jazz, and the Problem of “America's Music.”" Notes 60, no. 1 (September 2003): 11–45. Accessed March 7, 2021. http://www.jstor.org/stable/4487065.

Porter, Eric (2002) What is This Thing Called Jazz? African American Musicians as Artists, Critics, and Activists. Berkeley, CA: University of California Press.

Porter, Lewis (1988) 'Some Problems in Jazz Research'. Black Music Research Journal 8(2) (Autumn): 195-206. doi:10.2307/779352.

Radano, Ronald (1986) 'Braxton's Reputation'. The Musical Quarterly 72(4): 503 -22. doi:10.1093/mq/LXXII.4.503.

(1992) 'Jazzin' the Classics: The AACM's Challenge to Mainstream Aesthetics'. Black Music Research Journal 12(1) (Spring): 79 95. doi:10,2307/779283.

(1993) New Musical Figurations: Anthony Braxton's Cultural Critique. Chicago: University of Chicago Press.

Regis, Helen A. (1999) 'Second Lines, Minstrelsy, and the Contested Landscapes of New Orleans Afro-Creole Festivals'. Cultural Anthropology 14(4) (November): 472-504. doi:10.1525/can.1999.14.4.472.

Shipton, Alyn (2007) A New History of Jazz. London and New York: Continuum.

Tomlinson, Gary (1991) 'Cultural Dialogics and Jazz: A White Historian Signifies'. Black Music Research Journal 11(2) (Autumn): 229-64. doi:10.2307/779268.

Tucker, Mark (1998) 'Review: Musicology and the New Jazz Studies'. Journal of the American Musicological Society 51(1): 131-48.

Veyne, Paul (1984 [1971]) Writing History: Essays on Epistemology, trans. Mina Moore-Rinvolucri, Manchester: Manchester University Press. doi:10.1525/ jams. 1998.51.1.03a00040

Wall, Tim (2008) 'Salford New Jazz Histories Seminar November 22, 2008'. http:// wallofsound.wordpress,com/2008/11/22/salford-new-jazz-histories-seminar/.

Walser, Robert, ed. (1999) Keeping Time: Readings in Jazz History. Oxford and New York: Oxford University Press.

--- (2002) "Valuing Jazz." In The Cambridge Companion to Jazz, ed. Mervyn Cooke and David Horn, 301-20. Cambridge: Cambridge University Press.

A framed colored graphic of overlapping transparent Hubble telescope 🔭 photographs of galaxies with PoJ.fm logos added.

Boundaries of Jazz[edit]

Anderson, I. (2002) "Jazz Outside the Marketplace: Free Improvisation and Nonprofit Sponsorship of the Arts, 1965–1980," American Music, 20(2), 131–167.

Anderson, I. (2007) This Is Our Music: Free Jazz, the Sixties, and American Culture, Philadelphia: University of Pennsylvania Press.

Appelrouth, S. (2011) "Boundaries and Early Jazz: Defining a New Music," Cultural Sociology, 5(2), 225–242.

Arbitron (2022) "How America Listens: The American Audio Landscape." Arbitron.com. Accessed September 13, 2022.

Banks, P. A. (2010) "Black Cultural Advancement: Racial Identity and Participation in the Arts among the Black Middle Class," Ethnic and Racial Studies, 33(2), 272–289.

Bounds, P. (2012) "From Folk to Jazz: Eric. Hobsbawm, British Communism and Cultural Studies," Critique, 40(4), 575–593.

Brown L. (Ed) (2010) John Coltrane & Black America's Quest for Freedom: Spirituality and The Music. New York: Oxford University Press.

Carletta, David M. (2007) "'Those White Guys are Working for Me:' Dizzy Gillespie, Jazz, and the Cultural Politics of the Cold War During the Eisenhower Administration," International Social Science Review, 82(3/4), 115–134.

Chilton, M. (2012) "Jazz is celebrated by stars of music and film," The Telegraph, 1 May. Jazz is celebrated by stars of music and film. Accessed November 21, 2013.

Cohen, H. G. (2004) "The Marketing of Duke Ellington: Setting the Strategy for an African American Maestro," The Journal of African American History, 89(4), 291–315.

DeVeaux, S. (1991) "Constructing the Jazz Tradition: Jazz Historiography," Black American Literature Form, 25(3), 525–560.

Dougherty, C. K. (2007) "The Coloring of Jazz: Race and Record Cover Design in American Jazz, 1950 to 1970," Design Issues, 23(1), 47-60.

Farley, J. (2011) "Jazz as a Black American Art Form: Definitions of the Jazz Preservation Act," Journal of American Studies, 45(1), 113-129.

Frith, S. (2007) "Is Jazz Popular Music?" Jazz Research Journal, 1(1), 7-23.

George, C. (2012) "Keeping It 'Reals': Narratives of New Orleans Jazz History as Represented in HBO's Treme," Television & New Media, 13(3), 225-234.

Graham, R. (2011) "Jazz Consumption among African Americans from 1982 to 2008,"Journal of Black Studies, 46(6), 993-1018.

Graham, T. A. (2013) The Great American Songbooks: Musical Texts, Modernism, and the Value of Popular Culture, Oxford: Oxford University Press.

Gray, H. (2005) Cultural Moves: African Americans and the Politics of Representation, Berkeley and Los Angeles: University of California Press.

Gridley, Mark. (2007) "Misconceptions in Linking Free Jazz with the Civil Rights Movement," College Music Symposium, 47, 139-155.

Grindstaff, L. (2008) "Culture and Popular Culture: A Case for Sociology," The ANNALS of the American Acarlomy of Political and Social Science, 619(1), 206-222.

Heble, Ajay and Wallace, R. (eds.) (2013) People Get Ready: The Future of Jazz Is Now! Durham: Duke University Press.

Hersch, C. B. (2007) Subversive Sounds: Race and the Birth of Jazz in New Orleans, Chicago: University of Chicago Press.

Hobsbawm, E. J. and Newton, E J. (1975) The Jazz Scene, Cambridge: Da Capo Press.

Jordan, M. F (2010) Le Jazz: Jazz and French Cultural Identity, Urbana: University of Illinois Press.

Kreiss, D. (2008) "Appropriating the Master's Tools: Sun Ra, the Black Panthers, and Black Consciousness (1952-73)," Black Music Research Journal, 28(1), 57-81.

Laver, M. T. (2009) "'The Greatest Jazz Concert Ever': Pierre Bourdieu and the Shifting Ontology of Bebop," Critical Studies in Improvisation, 5(1).

Levine, L. (1989) "Jazz and American Culture," The Journal of American Folklore, 102(403), 6-22.

Lipsitz, G. (2007) Footsteps in the Dark: The Hidden Histories of Popular Music, Minneapolis: University of Minnesota Press.

Lopes, P. D. (2002) The Rise of a Jazz Art World, Cambridge: Cambridge University Press.

(2005) "Signifying Deviance and Transgression: Jazz in the Popular Imagination," American Behavioral Scientist, 48(1), 1468-1481.

Markus, G. (2006) "Adorno and Mass Culture: Autonomous Art Against the Culture Industry," Thesis Eleven, 86(1), 67-89.

Maxwell, W. J. (2004) "Ralph Ellison and the Constitution of Jazzocracy," Journal of Popular Music Studies, 16(1), 40-57.

Mckay, G. (2006) Circular Breathing: The Cultural Politics of Jazz in Britain, Durham: Duke University Press.

Nicholson, S. (2005) Is Jazz Dead?: Or Has It Moved to a New Address, London: Routledge.

Nielsen (2012) The Nielsen Company & Billboard's 2012 Music Industry Report. Available at: <http://www.businesswire.cominews/home/20130104005149/en/Nielsen-Company-Billboard%E2%80% 99s-2012-Music-Industry-Report> [Accessed 21 November 2013]

O'Meally, R. G., Edwards, G. H. and Griffin, F. J. (eds.) (2004) Uptown Conversation: The New Jazz Studies, New York: Columbia University Press.

Payton, N. (2011) "On Why Jazz Isn't Cool Anymore," Nicholas Payton, [blog] 27 Nov. Available at: <http://nicholaspayton.wordpress.com/2011/11/27/on-why-jazz-isnt-cool-anymore> [Accessed 21 November 2013].

Peretti, B. W. (2011) "Jazz, Culture, and Race in the New Deal Era," Reviews in American History, 39(1), pp. 156-162.

Rustin, N. T. (2006) "Cante Hondo: Charles Mingus, Nat Hentoff, and Jazz Racism," Critical Sociology, 32(2/)3, pp. 309-331.

Savran, D. (2009) Highbrow/Lowdown: Theater, Jazz, and the Making of the New Middle Class, Ann Arbor: University of Michigan Press.

Smith, J. A. (2010). "'Sell It Black': Race and Marketing in Miles Davis's Early Fusion Jazz," Jazz Perspectives, 4(1), pp. 7-33.

Taylor, P. and Morin, R. (2009) Forty Years After Woodstock, A Gentler Generation Gap, Pew Research Center. Available at: <http://www.pewsocialtrends.org/2,009/08/12/forty-years-after-woodstockbra-gentler-generation-gap/4> [Accessed 21 November 2013].

Tucker, S. (2012) "Deconstructing the Jazz Tradition," in Ake, D., Garrett, C. H. and Goldmark, D. (eds.) Jazz/NotJazz: The Music and Its Boundaries. Berkeley: University of California Press, pp. 264-284.

Von Eschen, P. M. (2009) Satchmo Blows Up the World: Jazz Ambassadors Play the Cold War, Cambridge: Harvard University Press.

Walls, S. C. (2009) "Jazz Is Dead. Long Live Jazz," Newsweek, 21 Dec. p. 68.

Whyton, Tony. (ed.) (2011) Jazz (The Library of Essays of Popular Music), Farnham: Ashgate.

Williams, J. A. (2010) "The Construction of Jazz Rap as High Art in Hip-Hop Music," The Journal of Musicology, 27(4), pp. 435-459.

Ake, D., Garrett, C. H. and Goldmark, D. (eds.) Jazz/NotJazz: The Music and Its Boundaries. Berkeley: University of California Press.

Anderson, I. (2007) This is Our Music: Free Jazz, the Sixties, and American Culture, Philadelphia: University of Pennsylvania Press.

Heble, Ajay. and Wallace, R. (eds.) (2013) People Get Ready: The Future of Jazz Is Now! Durham: Duke University Press.

Lopes, P. D. (2002) The Rise of a Jazz Art World, Cambridge: Cambridge University Press.

Townsend, Peter. Jazz in American Culture. Jackson, MI: University of Mississippi Press.

A framed graphic of several overlapping photographic transparencies of colored hard candies 🍬 with PoJ.fm logos added.

Metaphysics of Improvisation[edit]

Abdul, Raoul. Blacks in Classical Music. New York: Dodd, Mead, and Company, 1977.

Ackerman, Diane. Deep Play. New York: Vintage, 1999.

Adorno, Theodor W. “Perennial Fashion--Jazz.” In Prisms, Studies in Contemporary German Social Thought, 121–132. Translated by Samuel and Shierry Weber. Cambridge, MA: MIT Press, 1967, 1981.

Ake, David. Jazz Cultures. Roth Family Foundation: Music in America Imprint Series. Berkeley, CA: University of California Press, 2002.

———. “Learning Jazz, Teaching Jazz.” In The Cambridge Companion to Jazz, 255–269. Edited by Mervyn Cooke, and David Horn. New York: Cambridge University Press, 2002.

Albright, Ann Cooper, and David Gere, eds. Taken by Surprise: A Dance Improvisation Reader. Middletown, CT: Wesleyan University Press, 2003.

Alperson, Philip. “Aristotle on Jazz: Philosophical Reflections on Jazz and Jazz Education.” Council for Research in Music Education Bulletin no. 95 (Winter 1987): 39-60.

———. “Improvisation: An Overview.” In Encyclopedia of Aesthetics, Volume 2, 478–479. Edited by Michael Kelly. New York: Oxford University Press, 1998.

———. “On Musical Improvisation.” The Journal of Aesthetics and Art Criticism 43, no. 1 (Fall 1984): 17–29.

———. “A Topography of Improvisation.” The Jounral of Aesthetics and Art Criticism 68, no. 3 (Summer 2010): 273–280.

———. “When Composers Have To Be Performers.” The Journal of Aesthetics and Art Criticism 49, no. 4 (Autumn 1991): 369–373.

Ammons, A. R. Glare. New York: W. W. Norton and Company, 1997.

———. Set in Motion: Essays, Interviews, and Dialogues. Poets on Poetry Series. Edited by Zofia Burr. Ann Arbor, MI: University of Michigan Press, 1996.

———. Tape for the Turn of the Year. New York: W. W. Norton and Company, 1965, 1993.

Amram, David. Offbeat: Collaborating with Kerouac. New York: Thunder’s Mouth Press, 2002.

Antin, David. I Never Knew What Time It Was. Berkeley, CA: University of California Press, 2005.

———. Talking. Introduction by Marjorie Perloff. Kulchur Foundation, 1972; reprint edition, n.p.: Dalkey Archive Press, 2001.

———. Talking at the Boundaries. New York: New Directions, 1976.

———. What It Means To Be Avante-Garde. New York: New Directions, 1993.

Armistead, Samuel G. “Improvised Oral Poetry in the Hispanic Tradition.” Voicing the Moment: Improvised Oral Poetry and Basque Tradition, 29–44. Edited by Samuel G. Armistead and Joseba Zulaika. Reno, Nevada: University of Nevada, Reno Center for Basque Studies, 2005.

Armistead, Samuel G., and Joseba Zulaika, eds. Voicing the Moment: Improvised Oral Poetry and Basque Tradition. Center for Basque Studies Conference Papers Series, no. 3. Reno, Nevada: University of Nevada, Reno Center for Basque Studies, 2005.

Arnold, Joan. Medieval Music. Oxford Topics in Music Series. New York: Oxford University Press, 1985.

Appel, Alfred, Jr. Jazz Modernism: From Ellington and Armstrong to Matisse and Joyce's. New York: Alfred A. Knopf, 2002.

Arias, Ricardo. “I Know It’s Only Noise but I Like It: Scattered Notes on the Pleasures of Experimental Improvised Music.” Leonardo Music Journal 12 (2002): 31–32.

Ardila, Alfredo. “There Is Not Any Specific Brain Area for Writing: From Cave-Paintings to Computers.” International Journal of Psychology 39, no. 1 (2004): 61–67.

Asher, Don. “Lab Notes: Experiments in Chemistry and Jazz.” Harper’s Magazine 298, no. 1788 (May 1999): 61–70.

Ausubel, David P., Herbert M. Schiff, and Morton Goldman. “Qualitative Characteristics in the Learning Process Associated with Anxiety.” The Journal of Abnormal and Social Psychology 48, no. 4 (1953): 537–547.

Aulestia, Gorka. Improvisational Poetry from the Basque Country. Basque Series. Translated by Lisa Corcostegui and Linda White. Foreword by William A. Douglass. Las Vegas, NV: University of Nevada Press, 1990, 1995.

Bailey, Derek. Improvisation: Its Nature and Practice in Music. Ashborune, UK: Moorland, 1980; reprint edition, New York: Da Capo Press, 1992.

Baker, David N. New Perspectives on Jazz: Report on a National Conference Held at Wingspread, Racine, Wisconsin, September 8-10,1986. Washington, D.C.: Smithsonian Institution Press, 1990.

Baker, Houston A., Jr. Blues, Ideology and Afro-American Literature. Chicago: University of Chicago Press, 1984.

Baker-Sennett, Jacquelyn, and Eugene Matusov. “School Performance: Improvisational Processes in Development and Education.” In Creativity in Performance, Publications in Creativity Research Series, 197–212. Edited by R. Keith Sawyer. Greenwich, CT: Ablex Publishing, 1997.

Balliett, Whitney. American Musicians II: Seventy-two Portraits in Jazz. New York: Oxford University Press, 1986, 1996.

———. Improvising: Sixteen Jazz Musicians and Their Art. New York: Oxford University Press, 1977.

Bartula, Malgorzata, and Stefan Schroer. On Improvisation: Nine Conversations with Roberto Ciulli. Dramaturgies: Texts, Cultures and Performances Series, Volume 12. Translated by Geoffrey Davis. New York: Peter Lang, 2003.

Bayles, Martha. “Miles Davis: The Chameleon of Cool: An Innovator with Dueling Ambitions.” The New York Times, Arts and Leisure (May 13, 2001): 1, 19.

Becker, Howard S. “Etiquette of Improprovisation.” Mind, Culture, and Activity 7, no. 3 (2000): 171–176.

———. “ Examples and Generalizations.” Mind, Culture, and Activity 7, no. 3 (2000): 197–200.

———. “The Work Itself.” In Art from Start to Finish: Jazz, Painting, Writing, and Other Improvisations, 21–30 . Edited by Howard S.Becker, Robert R. Faulkner, and Barbara Kirshenblatt-Gimblet. Chicago: University of Chicago Press, 2006.

Becker, Howard S., Robert R. Faulkner, and Barbara Kirshenblatt-Gimblett, eds. Art from Start to Finish: Jazz, Painting, Writing, and Other Improvisations. Chicago: University of Chicago Press, 2006.

Belgrad, Daniel. The Culture of Spontaneity: Improvisation and the Arts in Postwar America. Chicago: University of Chicago Press, 1998.

Benson, B.E. “Ingarden and the Problem of Jazz.” Tijdschr Filosof 55, no. 4 (December 1993): 677–693.

Benson, Bruce Ellis. The Improvisation of Musical Dialogue: A Phenomenology of Music. New York: Cambridge University Press, 2003.

Berendt, Joachim E. The Jazz Book: From Ragtime to Fusion and Beyond. Revised Edition. Translated by H. and B. Biedigkeit. West port, CT: Lawrence Hill and Company, 1953, 1982.

Berger, Harris M. Metal, Rock, and Jazz: Perception and the Phenomenology of Musical Experience. Music/Culture Series. Hanover, NH: Wesleyan University Press, University Press of New England, 1999.

Bergerot, Franck, and Arnaud Merlin. The Story of Jazz: Bop and Beyond. Discoveries Series. Translated by Marjolijn de Jager. New York: Harry N. Abrams, 1991, 1993.

Berliner, Paul F. “Give and Take: The Collective Conversation of Jazz Performance.” In Creativity in Performance, Publications in Creativity Research Series, 9–42. Edited by R. Keith Sawyer. Greenwich, CT: Ablex Publishing, 1997.

———. The Soul of Mbira: Music and Traditions of the Shona People of Zimbabwe. Chicago: University of Chicago Press, 1978.

———. Thinking in Jazz: The Infinite Art of Improvisation. Chicago Studies in Ethnomusicology. Chicago: University of Chicago Press, 1994.

Bernstein, Charles, ed. Close Listening: Poetry and the Performed Word. New York: Oxford University Press, 1998.

Blesh, Rudi. Shining Trumpets: A History of Jazz. Second Edition. New York: Alfred A. Knopf, 1946, 1958; reprint ed., New York: Da Capo, 1976, 1980.

———, and Harriet Janis. They All Played Ragtime. Fourth Edition. New York: Alfred A. Knopf, 1950; reprint ed., New York: Oak Publications, 1971.

Blom, Lynne Anne, and L. Tarin Chaplin. The Moment of Movement: Dance Improvisation. Pittsburgh, PA: University of Pittsburgh Press, 1988.

Blum, Stephen. “Recognizing Improvisation.” In In the Course of Performance: Studies in the World of Musical Improvisation, Chicago Studies in Ethnomusicology Series, 26–46. Edited by Bruno Nettl and Melinda Russell. Chicago: University of Chicago Press, 1998.

Bolden, Tony. Afro-Blue: Improvisations in African American Poetry and Culture. Urbana, IL: University of Illinois Press, 2004.

Borgo, David. “The Play of Meaning and the Meaning of Play in Jazz.” Journal of Consciousness Studies: Controversies in Science and the Humanities, Volume 11 (Art and the Brain Part III), no. 3-4 (March-April 2004): 174–190.

———. Sync or Swarm: Improvising Music in a Complex Age. New York: Continuum, 2005.

Boulez, Pierre. “Constructing an Improvisation: Deuxieme Improvisation sur Mallarme.” In Orientations, 155–173. Translated by Martin Cooper. Boston: Faber and Faber, 1986.

Bowen, José A. “The History of Remembered Innovation: Tradition and Its Role in the Relationship between Musical Works and Their Performances.” The Journal of Musicology 11, no. 2 (Spring 1993): 139–173.

“Breakthrough Books: Jazz.” Lingua Franca: The Review of Academic Life. Volume 5, no. 4 (May/June 1995): 12–13.

Brinkley, Douglas. Introduction to and commentary on “In the Kerouac Archives.” The Atlantic Monthly Volume 282, no. 5 (November 1998): 49–76.

Brinner, Benjamin. Knowing Music, Making Music: Javanese Gamelan and the Theory of Musical Competence and Interaction. Chicago Studies in Ethnomusicology. Chicago: University of Chicago Press, 1995.

Britt, Stan. Dexter Gordon: A Musical Biography. London: Quartet Books, 1989; reprint edition, New York: Da Capo, n.d.

Brockman, Nicole M. From Sight to Sound: Improvisational Games for Classical Musicians. Bloomington, IN: Indiana University Press, 2009.

Brown, Lee B. “Adorno’s Critique of Popular Culture: The Case of Jazz Music.” Journal of Aesthetic Education 26, no. 1 (Spring 1992): 17–31.

———. “‘Feeling My Way’: Jazz Improvisation and Its Vicissitudes—A Plea for Imperfection.” The Journal of Aesthetics and Art Criticism 58, no. 2 (Spring 2000): 113–124.

———. “Jazz.” In Encyclopedia of Aesthetics, Volume 3, 1-9. Edited by Michael Kelly. New York: Oxford University Press, 1998.

———. “The Theory of Jazz Music: It Don’t Mean a Thing ...,” Journal of Aesthetics and Art Criticism 49, no. 2 (Spring 1991): 115–127.

———. “Musical Works, Improvisation, and the Principle of Continuity.” Journal of Aesthetics and Art Criticism 54, no. 4 (Fall 1996): 353–369.

———. “Phonography.” In Aesthetics: Reader in Philosophy of the Arts, 252–257. Edited by David Goldblatt and Lee B. Brown. Upper Saddle River, NJ: Prentice Hall, 1997.

———. Review of Jazz Among the Discourses and Representing Jazz', edited by Krin Gabbard. The Journal of Aesthetics and Art Criticism 55, no. 3 (Summer 1997): 325–329.

Brown, Steven, Michael J. Martinez, and Lawrence M. Parsons. “Music and Language Side by Side in the Brain: A PET Study of the Generation of Melodies and Sentences.” European Journal of Neuroscience 23 (2006): 2791-2803.

Brown, Wesley. Tragic Magic. Hopewell, NJ: Ecco Press, 1978, 1995. See a review of this work by Aram Mrjoian, "The True Jazz of Wesley Brown's 'Tragic Magic', The Masthead, Southeast Review, Volume 39.1.

Bruner, Jerome S., Alison Jolly, and Kathy Sylva, eds. Play: Its Role in Development and Evolution. New York: Basic Books, 1976.

Bruns, Gerald. “De Improvisatione: An Essay on Kora in Hell.” In Inventions: Writing, Textuality, and Understanding in Literary Theory, 145–159. New Haven, CT: Yale University Press, 1982.

Bruscia, K. E. Improvisational Models of Music Therapy. Springfield, IL: Charles C. Thomas, 1987.

———. “A Survey of Treatment Procedures in Improvisational Music Therapy,” Psychology of Music 16, no. 1 (1988): 10–24.

———. Defining Music Therapy. Spring City, PA: Spring House Books, 1989.

Buchanan, Herbert H. “Bop Harmony––A New Interdisciplinary Approach: PROLOG, Logic, and Artificial Intelligence.” Annual Review of Jazz Studies 4, 179–188. Edited by Dan Morgenstern, Charles Nanry, and David A. Cayer. New Brunswick, NJ: Transaction, 1988.

Budds, Michael J. Jazz in the Sixties: The Expansion of Musical Resources and Techniques. Expanded Edition. Iowa City, IA: University of Iowa Press, 1990.

Bunt, Leslie. Music Therapy: An Art beyond Words. New York: Routledge, 1994.

Burnett, Michael. Jazz and American Music. Oxford Topics in Music Series. New York: Oxford University Press, 1985.

Burrows, Jared B. “Musical Archtypes and Collective Consciousness: Cogntive Distribution and Free Improvisation.” Critical Studies in Improvisation 1, no. 1 (2004) [online journal only].

———. Resonances: Exploring Improvisation and Its Implications for Music Education. Dissertation, Simon Fraser University, 2004. Cantrick, Robert. “Does ‘Musical Improvisation’ Refer?” Journal of Aesthetics and Art Criticism 43, no. 2 (Winter 1985): 192–193.

Carner, Gary. The Miles Davis Companion: Four Decades of Commentary. New York: Schirmer Books, 1996.

Carr, Ian. Keith Jarrett: The Man and His Music. London: Grafton, 1991; reprint edition, New York: Da Capo Press, 1991.

Carter, Curits L. “Improvisation in Dance.” ' The Journal of Aesthetics and Art Criticism 58, no. 2 (Spring 2000): 181–190.

Carvalho, John M. “Repetition and Self–Realization in Jazz Improvisation.” The Jounral of Aesthetics and Art Criticism 68, no. 3 (Summer 2010): 285–290.

Cash, Debra. “ Response to Becker’s ‘The Etiquette of Improvisation’.” Mind, Culture, and Activity 7, no. 3 (2000): 177–179.

Cavell, Stanley. “Music Discomposed,” in Must We Mean What We Say? A Book of Essays, 180–212. New York: Charles Scribner’s Sons, 1969; reprint edition, New York: Cambridge University Press, 1976.

Caves, Richard E. “Economic Analysis and Steps toward Completing the Work.” In Art from Start to Finish: Jazz, Painting, Writing, and Other Improvisations, 135–148 . Edited by Howard S.Becker, Robert R. Faulkner, and Barbara Kirshenblatt–Gimblet. Chicago: University of Chicago Press, 2006.

Chan, Sau Y. “Exploding the Belly: Improvisation in Cantonese Opera.” In In the Course of Performance: Studies in the World of Musical Improvisation, Chicago Studies in Ethnomusicology Series, 199–218. Edited by Bruno Nettl and Melinda Russell. Chicago: University of Chicago Press, 1998.

Chanan, Michael. Repeated Takes: A Short History of Recording and Its Effects on Music. New York: Verso, 1995.

Charney, Maurice. “Nonsense, both Calculated and Spontaneous, Is One of the Chief By– Products of Language,” 25–31. In Comedy High and Low: An Introduction to the Experience of Comedy. New York: Oxford University Press, 1978; reprint ed., New York: Peter Lang, 1993.

Charters, Samuel. The Roots of the Blues: An African Search. Salem, NH: Marion Boyars, 1981; reprint edition, New York: Da Capo, 1991.

Cheney, Gay. Basic Concepts in Modern Dance: A Creative Approach. Third Edition. Dance Horizons Book. Pennington, NJ: Princeton Book Company, 1969, 1975, 1989.

Chernoff, John Miller. African Rhythm and African Sensibility: Aesthetics and Social Action in African Musical Idioms. Chicago: University of Chicago Press, 1979.

Christian, Harry. “Convention and Constraint Among British Semi–Professional Jazz Musicians. In Lost in Music: Culture, Style and the Musical Event, Sociological Review Monograph 31, 220–240. Edited by Avron Levine White. New York: Routledge, 1987.

Christian, William A., Jr. “The Sting in the Tail: The Flourishing and Decline of Improvised Verse in the Mountains of Cantabira.” Voicing the Moment: Improvised Oral Poetry and Basque Tradition, 121–134. Edited by Samuel G. Armistead and Joseba Zulaika. Reno, Nevada: University of Nevada, Reno Center for Basque Studies, 2005.

Chukovsky, K. “The Sense of Nonsense Verse.” In Play: Its Role in Development and Evolution, 596–602. Edited by Jerome S. Bruner, Alison Jolly, and Kathy Sylva. New York: Basic Books, 1976.

Cobussen, Marcel. “Noise and Ethics: On Evan Parker and Alain Badiou.” Culture, Theory & Critique 46, no. 1 (2005): 29–42.

Cochrane, Richard. “Playing by the Rules: A Pragmatic Characterization of Musical Performances.” The Journal of Aesthetics and Art Criticism 58, no. 2 (Spring 2000): 135–142.

Coker, Jerry. Improvising Jazz. A Fireside Book. Forewords by Stan Kenton and Gunther Schuller. New York: Simon and Schuster, 1964, 1987.

Cole, Bill. Miles Davis: A Musical Biography. New York: Morrow Quill Paperbacks, 1974.

Coleman, Janet. The Compass: The Improvisational Theatre that Revolutionized American Comedy. New York: Alfred A. Knopf, 1990; reprint edition, Chicago: University of Chicago Press, 1991.

Collier, James Lincoln. Duke Ellington. Great Achievers Series. New York: Collier, 1993.

———. “Jazz.” In The New Grove Dictionary of American Music, Volume 2, 535– 562. Edited H. Wiley Hitchcock and Stanley Sadie. London: MacMillan, 1986.

———. Jazz: The American Theme Song. New York: Oxford University Press, 1993.

Conroy, Frank. “Stop Nitpicking a Genius,” Jazz: A Special Section, New York Times Magazine, June 25, 1995.

Conti–Entin, Carol. Improvisation and Spiritual Disciplines: Continuing the Divine–Human Duet. Pendle Hill Pamphlet no. 288. Wallingford, PA: Pendle Hill Publications, 1989.

Cook, Richard. It’s About That Time: Miles Davis On and Off Record. New York: Oxfrod University Press, 2007. 324

Cooke, Mervyn, and David Horn, eds. The Cambridge Companion to Jazz. New York: Cambridge University Press, 2002.

Corbett, John. “Ephemera Underscored: Writing Around Free Improvisation.” In Jazz among the Discourses, 217–242. Edited by Krin Gabbard. Durham, NC: Duke University Press, 1995.

———. Extended Play: Sounding Off from John Cage to Dr. Funkenstein. Durham, NC: Duke University Press, 1994.

———. “Out of Nowhere: Meditations on Deleuzian Music, Ant–Cadential Strategies, and Endpoints in Improvisation.” In The Other Side of Nowhere: Jazz, Improvisation, and Communities in Dialogue, 387–396. Edited by Daniel Fischlin and Ajay Heble. Middletown, CT: Wesleyan University Press, 2004.

Coulthard, Karl. “Looking for the Band: Walter Benjamin and the Mechanical Repreoudction of Jazz.” Critical Studies in Improvisation 3, no. 1 (2007) [online journal only].

Courtney, Richard. “Theater and Spontaneity.” The Journal of Aesthetic and Art Criticism 32, no. 1 (Autumn 1973): 79–88.

Coveney, Michael. The World According to Mike Leigh. London: HarperCollins, 1996.

Crease, Robert. “The Improvisational Problem.” Man and World 27, no. 2 (April 1994): 181–193.

———. “Jazz and Dance.” In The Cambridge Companion to Jazz, 69–80. Edited by Mervyn Cooke, and David Horn. New York: Cambridge University Press, 2002.

———. “Responsive Order: The Phenomenology of Dramatic and Scientific Performance.” In Creativity in Performance, Publications in Creativity Research Series, 213– 226. Edited by R. Keith Sawyer. Greenwich, CT: Ablex Publishing, 1997.

Crispell, Marilyn. “Elements of Improvisation.” In Arcana: Musicians on Music, 190– 192. Edited by John Zorn. New York: Granary Books, 2000.

Czikszentmihalyi, Mihaly, and Grant Rich. “Musical Improvisation: A Systems Approach.” In Creativity in Performance, Publications in Creativity Research Series, 43–66. Edited by R. Keith Sawyer. Greenwich, CT: Ablex Publishing, 1997.

Davidson, Clifford. “Improvisation in Medieval Drama.” In Improvisation in the Arts of the Middle Ages and Renaissance, Early Drama, Art, and Music Monograph Series, Volume 30, 193–221. Edited by Timothy J. McGee. Kalamazoo, MI: Medieval Institute Publications, Western Michigan University, 2003.

Davies, David. Art as Performance. New Directions in Aesthetics Series. Malden, MA: Blackwell, 2004.

Davies, Stephen. Musical Works and Performances: A Philosophical Exploration. New York: Oxford University Press, Clarendon Press, 2001.

Davis, Francis. “Blue Heaven: The Making of Miles Davis’s Masterpiece.” Review of Ashley Kahn, ‘Kind of Blue:’ The Making of the Miles Davis Masterpiece (New York: Da Capo Press, 2000), and Eric Nisenson, The Making of ‘Kind of Blue’ (New York: St. Martin’s Press, 2000). The New Yorker (December 4, 2000): 96, 98–100.

———. Outcats: Jazz Composers, Instrumentalists, and Singers. New York: Oxford University Press, 1990.

Davis, Miles, and Quincy Troupe. Miles: The Autobiography. New York: Simon and Schuster, 1989.

Day, William. “The Ends of Improvisation.” The Jounral of Aesthetics and Art Criticism 68, no. 3 (Summer 2010): 291–296.

———. “Knowing as Instancing: Jazz Improvisation and Moral Perfectionism.” The Journal of Aesthetics and Art Criticism 58, no. 2 (Spring 2000): 99–112.

de Lerma, Dominique–Rene, ed. Reflections on Afro–American Music. Kent, OH: Kent State University Press, 1973.

de Ràfols, Wilfredo. “New Text, Old Theories: Oral and Improvisational Imperatives in Federico García Lorca’s ‘Romance Sonámbulo’.” Voicing the Moment: Improvised Oral Poetry and Basque Tradition, 161–182. Edited by Samuel G. Armistead and Joseba Zulaika. Reno, Nevada: University of Nevada, Reno Center for Basque Studies, 2005.

Dean, Roger T. Creative Improvisation: Jazz, Contemporary Music, and Beyond. Buckingham, UK: Open University Press, 1989.

———. New Structures in Jazz and Improvised Music since 1960. Buckingham, UK: Open University Press, 1992.

Demsey, David. “Jazz Improvisation and Concepts of Virtuosity.” In The Oxford Companion to Jazz, 788–798. Edited by Bill Kirchner. New York: Oxford University Press, 2000.

Dessen, Michael. “Improvising in a Different Clave: Steve Coleman and AfroCuba de Matanzas.” In The Other Side of Nowhere: Jazz, Improvisation, and Communities in Dialogue, 173–194. Edited by Daniel Fischlin and Ajay Heble. Middletown, CT: Wesleyan University Press, 2004.

de Mantaras, Ramon Lopez, and Josep Lluis Arcos. “AI and Music: From Composition to Expressive Performance.” ' Artificial Intelligence (Fall 2002): 43–57.

DeVeaux, Scott. The Birth of Bebop: A Social and Musical History. Berkeley, CA: University of California Press, 1997.

———. “This Is What I Do.” In Art from Start to Finish: Jazz, Painting, Writing, and Other Improvisations, 118–125 . Edited by Howard S.Becker, Robert R. Faulkner, and Barbara Kirshenblatt–Gimblet. Chicago: University of Chicago Press, 2006.

———. Jazz in America: Who’s Listening? Research Division Report #31, National Endowment for the Arts. Carson, CA: Seven Locks Press, 1995.

Dietrich, Arne. “Neurocognitive Meachanisms Underlying the Experience of Flow.” Consciousness and Cognition 13 (2004): 746–761.

Dodge, Roger Pryor. Hot Jazz and Jazz Dance: Collected Writings 1929–1964. Edited by Pryor Dodge. Introduction by Dan Morgenstern. New York: Oxford University Press, 1995.

Dokecki, Paul. The Tragi-Comic Professional: Basic Considerations for Ethical Reflective-Generative Practice. Pittsburgh, PA: Duquesne University Press, 1996.

Dorian, Frederick. The History of Music in Performance: The Art of Musical Interpretation from the Renaissance to Our Day. The Norton Library Series. Foreword by Eugene Ormandy. New York: W. W. Norton and Company, 1942.

Dreyfus, Laurence. Bach and the Patterns of Invention. Cambridge, MA: Harvard University Press, 1996.

Dunachie, S. “An Investigation of the Improvisations of Mentally Handicapped Adults,” Music Therapy Research Register (The Association of Professional Music Therapists in Great Britain), 1991.

Durant, Alan. “Improvisation in the Political Economy of Music.” In Music and Politics of Culture, 252–282. Edited by Christopher Norris. New York: St. Martin’s Press, 1989.

Dyer, Geoff. But Beautiful: A Book about Jazz. New York: North Point Press, Farrar, Straus and Giroux, 1996.

Edidin, Aron. “Three Kinds of Recording and the Metaphysics of Music.” ' British Journal of Aesthetics 39, no. 1 (January 1999): 24–39.

Elliot, David J. “Jazz Education as Aesthetic Education,” Journal of Aesthetic Education 20, no. 1 (Spring 1986): 41–53.

Elworth, Steven B. “Jazz in Crisis, 1948–1958: Ideology and Representation.” In Jazz among the Discourses, 57–75. Edited by Krin Gabbard. Durham, NC: Duke University Press, 1995.

Enstice, Wayne, and Paul Rubin. Jazz Spoken Here: Conversations with Twenty-Two Musicians. Baton Rouge, LA: Louisiana State University Press, 1992; reprint edition, New York: Da Capo, 1994.

Esterhammer, Angela. “The Cosmopolitan Improvvisatore: Spontaneity and Performance in Romantic Poetics.” ' European Romantic Review 16, no. 2 (April 2005): 153–165.

———. “The Improviser’s Disorder: Spontaneity, Sickness, and Social Deviance in Late Romanticism.” European Romantic Review 16, no. 3 (July 2005): 329–340.

———. “Spontaneous Overflows and Revivifying Rays: Ramanticism and the Discourse of Improvisation.” The 2004 Garnett Sedgewick Memorial Lecture. Vancouver, BC, Canada: Ronsdale Press, 2004. Faulkner, Robert B. “Shedding Culture.” In Art from Start to Finish: Jazz, Painting, Writing, and Other Improvisations, 91–117 . Edited by Howard S.Becker, Robert R. Faulkner, and Barbara Kirshenblatt-Gimblet. Chicago: University of Chicago Press, 2006.

Feather, Leonard. The Encyclopedia Yearbooks of Jazz. New York: Horizon Press, 1956, 1958; reprint edition, New York: Da Capo, 1993.

Feinstein, Sascha, and Yusef Komunyakaa, eds. The Jazz Poetry Anthology. Bloomington, IN: Indiana University Press, 1991.

Feldenkrais, Moshe. The Potent Self: A Guide to Spontaneity. Edited by Michaeleen Kimmey. San Francisco: Harper and Row, 1985; reprint edition, San Francisco: HarperSanFrancisco, 1992.

Ferand, Ernest T. Anthology of Music: Improvisation in Nine Centuries of Western Music. Edited by K.G. Fellerer. Köln: Arno Volk Verlag, 1961.

Ferand, Ernst. Die Improvisation in der Musik: Eine Entwicklungsgeschichtliche und Psychologische Untersuchung. Zürich: Rhein–Verlag, 1938.

Fernandez, James W. “Playfulness and Planfulness: Improvisation and Revitalization in Culture.” Voicing the Moment: Improvised Oral Poetry and Basque Tradition, 97–120. Edited by Samuel G. Armistead and Joseba Zulaika. Reno, Nevada: University of Nevada, Reno Center for Basque Studies, 2005.

Finkelstein, Sidney. Jazz: A People’s Music. Foreword by Geoffrey Jacques. New York: International Publishers, 1948, 1988.

———. How Music Expresses Ideas. New York: International Publishers, 1952.

Finnegan, Ruth. Oral Poetry: Its Nature, Significance and Social Context. New York: Cambridge University Press, 1977.

Fischlin, Daniel, and Ajay Heble. “The Other Side of Nowhere: Jazz, Improvisation, and Communities in Dialogue.” In The Other Side of Nowhere: Jazz, Improvisation, and Communities in Dialogue, 1–44. Edited by Daniel Fischlin and Ajay Heble. Middletown, CT: Wesleyan University Press, 2004.

———, eds. The Other Side of Nowhere: Jazz, Improvisation, and Communities in Dialogue. Middletown, CT: Wesleyan University Press, 2004.

Fischlin, Daniel, and Ajay Heble, and Benjamin Lefebvre. “Toward Further Dialogue: A Bibliography on Improvisation.” In The Other Side of Nowhere: Jazz, Improvisation, and Communities in Dialogue, 397–416. Edited by Daniel Fischlin and Ajay Heble. Middletown, CT: Wesleyan University Press, 2004.

Fitterling, Thomas. Thelonious Monk: His Life and Music. Foreword by Steve Lacy. Translated by Robert Dobbin. Berkeley, CA: Berkeley Hills Books, 1997.

Floyd, Leela. Indian Music. Oxford Topics in Music Series. New York: Oxford University Press, 1980.

Floyd, Samuel A., Jr. The Power of Black Music: Interpreting Its History from Africa to the United States. New York: Oxford University Press, 1995.

Foley, John Miles. “Comparative Oral Traditions.” Voicing the Moment: Improvised Oral Poetry and Basque Tradition, 65–82. Edited by Samuel G. Armistead and Joseba Zulaika. Reno, Nevada: University of Nevada, Reno Center for Basque Studies, 2005.

Fox, Jonathan, ed. The Essential Moreno: Writings on Psychodrama, Group Method, and Spontaneity by J.L. Moreno, M.D. New York: Springer, 1987.

Freeman, Jane. “Shakespeare’s Rhetorical Riffs.” In Improvisation in the Arts of the Middle Ages and Renaissance, Early Drama, Art, and Music Monograph Series, Volume 30, 247–272. Edited by Timothy J. McGee. Kalamazoo, MI: Medieval Institute Publications, Western Michigan University, 2003.

Frith, Simon. Performing Rites: On the Value of Popular Music. Cambridge, MA: Harvard University Press, 1996.

———, ed. World Music, Politics and Social Change: Papers from the International Association for the Study of Popular Music. Music and Society Series. New York: Manchester University Press, 1989.

Gabbard, Krin. Hotter than That: The Trumpet, Jazz, and American Culture. New York: Faber and Faber, 2008.

———. “Improvisation and Imitation: Marlon Brando as Jazz Actor.” In The Other Side of Nowhere: Jazz, Improvisation, and Communities in Dialogue, 298–318. Edited by Daniel Fischlin and Ajay Heble. Middletown, CT: Wesleyan University Press, 2004.

———. Jammin’ at the Margins: Jazz and the American Cinema. Chicago: University of Chicago Press, 1996.

———, ed. Jazz Among the Discourses. Durham, NC: Duke University Press, 1995.

———, ed. Representing Jazz. Durham, NC: Duke University Press, 1995.

Gair, Christopher. The Beat Generation. Beginner’s Guides Series. Oxford: One World, 2008.

Gardner, William, and Barbara Rogoff. “Children’s Deliberateness of Planning According to Task Circumstances.” Developmental Psychology 26, no. 3 (1990): 480–487.

Gatherer, Derek. “The Evolution of Music––A Comparison of Darwinian and Dialectical Methods.” Journal of Social and Evolutionary Systems 20, no. 1 (1997): 75–92.

———. “Feyerabend, Dawkins and the Politics of Cultural Diversity.” Anarchist Studies 5 (1997): 23–43.

Gayle, Addison, Jr., ed. The Black Aesthetic. Garden City, NY: Anchor Books, 1972.

Gendron, Bernard. “‘Moldy Figs’ and Modernists: Jazz at War (1942–1946).” In Jazz Among the Discourses, 31–56. Edited by Krin Gabbard. Durham, NC: Duke University Press, 1995.

Geng, Veronica. “Poems,” in The Talk of the Town. The New Yorker (May 28, 1979): 29–31.

Gibson, Will. “Material Culture and Embodied Action: Sociological Notes on the Examination of Musical Instruments in Jazz Improvisation.” The Sociological Review (2006): 171– 187.

Giddens, Gary, and Scott DeVeaux. Jazz. New York: W. W. Norton, 2009.

Gilroy, Andrea, and Colin Lee, eds. Art and Music Therapy and Research. New York: Routledge, 1995.

Gioia, Ted. The History of Jazz. New York: Oxford University Press, 1997.

———. The Imperfect Art: Reflections on Jazz and Modern Culture. New York: Oxford University Press, 1988.

———. West Coast Jazz: Modern Jazz in California 1945–1960. New York: Oxford University Press, 1992.

Giddens, Gary. Dancing in Your Head: Jazz, Blues, Rock, and Beyond. New York: Oxford University Press, 1994.

———. Faces in the Crowd: Players and Writers. New York: Oxford University Press, 1992.

———. “Oxford and All That Jazz.” New York Times Book Review (October 26, 1997): 59.

———. Visions of Jazz: The First Century. New York: Oxford University Press, 1998.

Gilmour, John C. “Improvisation in Cezanne’s Late Landscapes.” The Journal of Aesthetics and Art Criticism 58, no. 2 (Spring 2000): 191–204.

Gitler, Ira. The Masters of Bebop: A Listener’s Guide. Updated and Expanded Edition. Foreword by Stanley Crouch. New York: Da Capo Press, 1966, 1983, 2001.

Gladwell, Malcolm. Blink: The Power of Thinking without Thinking. New York: Little, Brown and Company, 2005.

Godlovich, Stan. Musical Performance: A Philosophical Study. New York: Routledge, 1998.

Goertzen, Valerie Woodring. “Setting the Stage: Clara Schumann’s Preludes.” In In the Course of Performance: Studies in the World of Musical Improvisation, Chicago Studies in Ethnomusicology Series, 237–260. Edited by Bruno Nettl and Melinda Russell. Chicago: University of Chicago Press, 1998.

Goldberg, Joe. Jazz Masters of the Fifties. Macmillan Jazz Masters Series. New York: Macmillan, 1965; reprint edition, New York: Da Capo, n.d.

Goldson, Elizabeth, ed. Seeing Jazz: Artists and Writers on Jazz. New York: Chronicle Books, 1997.

Gombrich, E.H. “Watching Artists at Work: Commitment and Improvisation in the History of Drawing.” In Topics of Our Time: Twentieth–Century Issues in Learning and in Art, 92–130. Berkeley: University of California Press, 1991.

Gordon, Robert. Jazz West Coast: The Los Angeles Jazz Scene of the 1950s. London: Quartet Books, 1986.

Gottlieb, Robert, ed. Reading Jazz: A Gathering of Autobiography, Reportage, and Criticism from 1919 to Now. New York: Pantheon, 1996.

Gould, Carol S., and Kenneth Keaton. “The Essential Role of Improvisation in Musical Performance.” The Journal of Aesthetics and Art Criticism 58, no. 2 (Spring 2000): 143–148.

Gracyk, Theodore A. “Adorno, Jazz, and the Aesthetics of Popular Music.” The Musical Quarterly 76, no. 4 (Winter 1992): 526–542.

———. Rhythm and Noise: An Aesthetics of Rock. Durham, NC: Duke University Press, 1996.

Green, Benny. The Reluctant Art: Five Studies in the Growth of Jazz. Expanded Edition. London: MacGibbon and Kee, 1962; reprint edition, New York: Da Capo, 1991.

Greenbaum, Charles W. “Effect of Situational and Personality Variables on Improvisation and Attitude Change.” Journal of Personality and Social Psychology 4, no. 3 (1966): 260– 269.

Greenblatt, Stephen. “The Improvisation of Power.” In Renaissance Self–Fashioning: From More to Shakespeare, 222–254. Chicago: University of Chicago Press, 1980.

Greenwald, Anthony G., and Rosita Daskal Albert. “Acceptance and Recall of Improvised Arguments.” Journal of Personality and Social Psychology 8, no. 1 (1968): 31–34.

Gross, Larry. “The Fragment Itself.” In Art from Start to Finish: Jazz, Painting, Writing, and Other Improvisations, 149–157 . Edited by Howard S.Becker, Robert R. Faulkner, and Barbara Kirshenblatt–Gimblet. Chicago: University of Chicago Press, 2006.

Guenther, Herbert. Ecstatic Spontaneity: Sahara’s Three Cycles of Doha. Nanzan Studies in Asian Religions Series. Berkeley, CA: Asian Humanities Press, 1993.

Guillou, Jean. The Art of Improvisation, Dorian Recordings, DOR–90101, 1991.

Gushee, Lawrence. “The Improvisation of Louis Armstrong.” In In the Course of Performance: Studies in the World of Musical Improvisation, Chicago Studies in Ethnomusicology Series, 291–334. Edited by Bruno Nettl and Melinda Russell. Chicago: University of Chicago Press, 1998.

Gysin, Brion. Back in No Time: The Brion Gysin Readers. Edited by Jason Weiss. Middletown, CT: Wesleyan University Press, 2001.

Hagberg, Garry. “Foreword: Improvisation in the Arts.” The Journal of Aesthetics and Art Criticism 58, no. 2 (Spring 2000): 95–98.

———. “Jazz Improvisation.” In Encyclopedia of Aesthetics, Volume 2, 479–482. Edited by Michael Kelly. New York: Oxford University Press, 1998.

———. “On Rhythm.” The Jounral of Aesthetics and Art Criticism 68, no. 3 (Summer 2010): 281–284.

Hagendorn, Ivar. “Cognitive Dance Improvisation: How Study of the Motor System Can Inspire Dance (and Vice Versa).” Leonardo 36, no. 3 (2003): 221–227.

Hajdu, David. “Not Quite All That Jazz.” Review of Jazz by Ken Burns, Jazz: A History of America’s Music by Geoffrey C. Ward and Ken Burns, Collected Works: A Journal of Jazz 1954–2000 by Whitney Balliett. The New York Review of Books 48, no. 2 (February 8, 2001): 31–33.

Hall, Edward T. “Improvisation as an Acquired, Multilevel Process.” Ethnomusicology 36, no. 2 (Spring/Summer 1992): 223–235.

Hamel, Peter Michael. Through Music to the Self: How to Appreciate and Experience Music Anew. Translated by Peter Lemesurier. Dorset, UK: Element Books, 1976, 1978.

Hamilton, Andy. “The Aesthetics of Imperfection,” Philosophy 65 (July 1990): 323–340.

———. “The Art of Improvisation and the Aesthetics of Imperfection.” The British Journal of Aesthetics 40, no. 1 (January 2000): 168–185.

Hamilton, James R. “Musical Noise.” The British Journal of Aesthetics 39, no. 4 (October 1999): 350–363.

Harris, Michael D. “Art Works.” In Art from Start to Finish: Jazz, Painting, Writing, and Other Improvisations, 200–215. Edited by Howard S. Becker, Robert R. Faulkner, and Barbara Kirshenblatt–Gimblett. Chicago: University of Chicago Press, 2006.

Harris, William J. “”’How You Sound??’: Amiri Baraka Writes Free Jazz.” In Uptown Conversation: The New Jazz Studies', 312–325. Edited by Robert G. O’Meally, Brent Hayes Edwards, and Farah Jasmine Griffin. New York: Columbia University Press, 2004.

Harris–Kelley, Deidra. “Revisitng Romare Bearden’s Art of Improvisation.” In Uptown Conversation: The New Jazz Studies, 249–255. Edited by Robert G. O’Meally, Brent Hayes Edwards, and Farah Jasmine Griffin. New York: Columbia University Press, 2004.

Hancock, Gerre. Improvising: How to Master the Art. Oxford Keyboard Methods Series. New York: Oxford University Press, 1994.

Hartman, Charles O. Jazz Text: Voice and Improvisation in Poetry, Jazz, and Song. Princeton: Princeton University Press, 1991.

334 Harwood, Eve. “Go On, Girl! Improvisation in African–American Girls’ Singing Games.” In In the Course of Performance: Studies in the World of Musical Improvisation, Chicago Studies in Ethnomusicology Series, 113–126. Edited by Bruno Nettl and Melinda Russell. Chicago: University of Chicago Press, 1998.

Hausman, Carl R. “Some Further Suggestions on Novelty and Creation.” The Journal of Aesthetics and Art Criticism 35, no. 2 (Winter 1976): 222–225.

Hebdige, Dick. “Even Unto Death: Improvisation, Edging, Enframement.” Critical Inquiry 27, no. 2 Winter 2001): 333–353.

Heble, Ajay. Landing on the Wrong Note: Jazz, Dissonance and Critical Practice. New York: Routledge, 2000.

Heffley, Mike. Northern Sun, Southern Moon: Europe’s Reinvention of Jazz. New Haven, CT: Yale University Press, 2005.

Hein, Hilde. “Play as an Aesthetic Concept.” The Journal of Aesthetics and Art Criticism 27, no. 1 (Autumn 1968): 67–71.

Henderson, David. “What the Drums Had to Say––And What We Wrote about Them.” In Creativity in Performance, Publications in Creativity Research Series, 67–93. Edited by R. Keith Sawyer. Greenwich, CT: Ablex Publishing, 1997.

Hentoff, Nat, Albert J. McCarthy, eds. Jazz. New York: Holt, Rinehart and Winston, 1959; reprint edition, New York: Da Capo, 1975.

Henzell, John. “Research and the Particular: Epistemology in Art and Psychotherapy.” In Art and Music Therapy and Research, 185–205. Edited by Andrea Gilroy and Colin Lee. New York: Routledge, 1995.

Hobsbawm, Eric. The Jazz Scene. New York: Pantheon, 1993.

———. Uncommon People: Resistance, Rebellion, and Jazz. New York: New Press, 1998.

Hodeir, Andre. Jazz: Its Evolution and Essence. Translated by David Noakes. A Black Cat Book. New York: Grove Press, 1956.

Hodgson, John, and Ernest Richards. Improvisation. Revised Edition. London: Methuen, 1966, 1974; reprint edition, New York: Grove Press, 1979.

Hodson, Robert. Interaction, Improvisation, and Interplay in Jazz. New York: Routledge, 2007.

Holland, Bernard. “Playing Fast or Loose with Time.” Classical View Column, Arts and Leisure Section. New York Times, October 19, 1995, 33.

Horn, David. “The Identity of Jazz.” In The Cambridge Companion to Jazz, 9–32. Edited by Mervyn Cooke, and David Horn. New York: Cambridge University Press, 2002.

Horsley, Imogene, and Michael Collins, Eva Badura–Skoda, Dennis Libby, Nazir A. Jairazbhoy. “Improvisation.” In The New Grove Dictionary of Music and Musicians, Volume 9, 31–56. Edited by Stanley Sadie. New York: Grove, 1980.

Huizinga, Johan. Homo Ludens: A Study of the Play Element in Culture. Boston: Beacon Press, 1944, 1950.

———. Homo Ludens: Vom Ursprung der Kultur im Spiel. Hamburg: Rowohlt, 1956.

Hunt, Tim. Kerouac’s Crooked Road: The Development of a Fiction. Foreword by Ann Charters. Hamden, CT: Archon Books, 1981; reprint edition, Berkeley, CA: University of California Press, 1996.

Iseminger, Gary. “Sonicism and Jazz Improvisation.” The Jounral of Aesthetics and Art Criticism 68, no. 3 (Summer 2010): 297–299.

Iyer, Vijay. “Exploding the Narrative in Jazz Improvisation.” In Uptown Conversation: The New Jazz Studies, 393–403. Edited by Robert G. O’Meally, Brent Hayes Edwards, and Farah Jasmine Griffin. New York: Columbia University Press, 2004.

———. “Improvisation, Temporality and Embodied Experience.” Journal of Consciousness Studies: Controversies in Science and the Humanities, Volume 11 (Art and the Brain Part III), no. 3–4 (March–April 2004): 159–173.

Jackson, Bruce. “Wallace Stevens’s Jar.” In Art from Start to Finish: Jazz, Painting, Writing, and Other Improvisations, 216–228. Edited by Howard S.Becker, Robert R. Faulkner, and Barbara Kirshenblatt–Gimblet. Chicago: University of Chicago Press, 2006.

Jackson, Travis A. “’Always New and Centuries Old’: Jazz, Poetry and Tradition as Creative Adaptation.” In Uptown Conversation: The New Jazz Studies, 357–373. Edited by Robert G. O’Meally, Brent Hayes Edwards, and Farah Jasmine Griffin. New York: Columbia University Press, 2004.

———. “Jazz as Musical Practice.” In The Cambridge Companion to Jazz, 83–95. Edited by Mervyn Cooke, and David Horn. New York: Cambridge University Press, 2002.

Jarrett, Michael. “Cutting Sides: Jazz Record Producers and Improvisation.” In The Other Side of Nowhere: Jazz, Improvisation, and Communities in Dialogue, 319–352. Edited by Daniel Fischlin and Ajay Heble. Middletown, CT: Wesleyan University Press, 2004.

Jencks, Charles, and Nathan Silver. Adhocism: The Case for Improvisation. Garden City, NY: Doubleday and Company, 1972.

Jenkins, Todd S. Free Jazz and Free Improvisation: An Encyclopedia: Volume 1: A–J. Westport, CT: Greenwood Press, 2004.

———. Free Jazz and Free Improvisation: An Encyclopedia: Volume 2: K–Z. Westport, CT: Greenwood Press, 2004.

John–Steiner, Vera. Notebooks of the Mind: Explorations of Thinking. Revised Edition. Foreword by Howard E.Gruber. New York: Oxford University Press, 1985, 1997.

Johnson, Bruce. “Jazz as Cultural Practice.” In The Cambridge Companion to Jazz, 96–113. Edited by Mervyn Cooke, and David Horn. New York: Cambridge University Press, 2002.

Johnson–Laird, Philip N. “Freedom and Constraint in Creativity.” In The Nature of Creativity: Contemporary Psychological Perspectives, 202–219. Edited by Robert J. Sternberg. New York:Cambridge University Press, 1988.

Johnstone, Keith. Impro: Improvisation and the Theatre. Theatre Arts Book Series. New York: Routledge and Methuen, 1979.

Jones, LeRoi. Black Music. New York: Quill, 1967.

Jost, Ekkehard. Free Jazz. The Roots of Jazz Series. Graz: Universal Edition A.G. Wien, 1974; reprint edition, New York: Da Capo Press, 1994.

Joyce, Michael. “’How do I know I am Finnish?’ The Computer, the Archive, the Literary Artist, and the Work as Social Object.” In Art from Start to Finish: Jazz, Painting, Writing, and Other Improvisations, 69–90 . Edited by Howard S.Becker, Robert R. Faulkner, and Barbara Kirshenblatt–Gimblet. Chicago: University of Chicago Press, 2006.

Kagan, Larry. “Object/Shadows—Notes on a Develoing Art Form.” In Art from Start to Finish: Jazz, Painting, Writing, and Other Improvisations, 158–172. Edited by Howard S.Becker, Robert R. Faulkner, and Barbara Kirshenblatt–Gimblet. Chicago: University of Chicago Press, 2006.

Kahn, Ashley. Kind of Blue: The Making of the Miles Davis Masterpiece. Foreword by Jimmy Cobb. New York: Da Capo, 2000.

———. ‘A Love Supreme:’ The Story of John Coltrane’s Signature Album. Foreword by Elvin Jones. New York: Viking, 2002.

Kaltenbrunner, Thomas. Contact Improvisation: Moving, Dancing, Interaction. Meyer and Meyer Sports Series. Lansing, MI: Meyer and Meyer, 1998.

Kartomi, Margaret J. “Musical Improvisation by Children at Play.” The World of Music 33, no. 3 (1991): 53–65.

Keil, Charles, and Steven Feld. Music Grooves: Essays and Dialogues. Chicago: University of Chicago Press, 1994.

Kelley, Robin D.G. “Beneath the Underground: Exploring New Currents in ‘Jazz’.” In Uptown Conversation: The New Jazz Studies, 404–416. Edited by Robert G. O’Meally, Brent Hayes Edwards, and Farah Jasmine Griffin. New York: Columbia University Press, 2004.

———. “Miles Davis: The Chameleon of Cool: A Jazz Genius in the Guise of a Hustler.” The New York Times, Arts and Leisure (May 13, 2001): 1, 20.

Kendall, G. Yvonne. “Ornamentation and Improvisation in Sixteenth–Century Dance.” In Improvisation in the Arts of the Middle Ages and Renaissance, Early Drama, Art, and Music Monograph Series, Volume 30, 170–192. Edited by Timothy J. McGee. Kalamazoo, MI: Medieval Institute Publications, Western Michigan University, 2003.

Kenny, Barry J., and Martin Gellrich. “Improvisation.” In The Science and Psychology of Music Performance: Creative Strategies for Teaching and Learning, 117–134. Edited by Richard Parncutt and Gary E.McPherson. New York: Oxford University Press, 2002.

Kenney, William Howland. “Historical Context and the Definition of Jazz: Putting More of the History in ‘Jazz History’.” In Jazz Among the Discourses, 100–116. Edited by Krin Gabbard. Durham, NC: Duke University Press, 1995.

Kerman, Joseph. Review of Beethoven’s Concertos: History, Style, Performance, by Leon Plantinga, and Beethoven: Piano Concerto Nos. 1–5 and Choral Fantasy, Robert Levin, fortepiano. The New York Review of Books 46, no. 11 (June 24, 1999): 27–30.

Kernfeld, Barry. The Blackwell Guide to Recorded Jazz. The Blackwell Guides Series. Cambridge, MA: Blackwell, originally published in 1991.

———. “Improvisation.” In The New Grove Dictionary of Jazz, 554–563. Edited Barry Kernfeld. New York: St. Martin’s Press, 1988, 1994.

———. What to Listen for in Jazz. New Haven, CT: Yale University Press, 1995. Kernfeld, Barry, ed. The New Grove Dictionary of Jazz. New York: St. Martin’s Press, 1988, 1994. 337.

Kerouac, Jack. Book of Sketches 1952–1957. Introduction by George Condo. New York: Penguin Books, 2006.

King, Andrew P., and Meredith J. West. “Presence of Female Cowbirds (Molothrus ate rater) Affects Vocal Imitation and Improvisation in Males.” ' Journal of Comparative Psychology 103, no. 1 (1989): 39–44.

King, Homay. “Free Indirect Affect in Cassavetes’ Opening Night and Faces.” Camera Obscura 56, Volume 19. no. 2 (2004): 104–139.

King, Jonny. What Jazz Is: An Insider’s Guide to Understanding and Listening to Jazz. Foreword by Christian McBride. New York: Walker and Company, 1997.

Kirchner, Bill, ed. A Miles Davis Readers. Washington, D.C.: Smithsonian Institution Press, 1997.

———, ed. The Oxford Companion to Jazz. Oxford Companions Series. New York: Oxford University Press, 2000.

Kiremidjian, G.D. “The Aesthetics of Parody.” The Journal of Aesthetics and Art Criticism 28, no. 2 (Winter 1969): 231–242.

Kivy, Peter. “Note–for–Note: Work, Performance and Early Notation.” In New Essays on Musical Understanding, 3–17. New York: Oxford University Press, Clarendon Press, 2001.

Klausner, David N. “The Improvising Vice in Renaissance England.” In Improvisation in the Arts of the Middle Ages and Renaissance, Early Drama, Art, and Music Monograph Series, Volume 30, 273–288. Edited by Timothy J. McGee. Kalamazoo, MI: Medieval Institute Publications, Western Michigan University, 2003.

Klein, Gary. Sources of Power: How People Make Decisions. Cambridge, MA: Mit Press, 1998.

Knobe, Joshua. “Intentional Action and Side Effects in Ordinary Language.” Analysis 63, no. 3 (New Series no. 279) (July 2003): 190–193.

Korrick, Leslie. “Improvisation in the Visual Arts: The View from Sixteenth–Century Italy.” In Improvisation in the Arts of the Middle Ages and Renaissance, Early Drama, Art, and Music Monograph Series, Volume 30, 289–318. Edited by Timothy J. McGee. Kalamazoo, MI: Medieval Institute Publications, Western Michigan University, 2003.

Kotek, Joseph. “The Share of Jazz in Czechoslovakian Art of the Avant Garde in the Twenties.” (In Czech) Estetika 24 (1987): 34–39. 338 339.

Kundera, Milan. “Improvisation in Honor of Stravinsky.” In Testaments Betrayed: An Essay in Nine Parts, 55–98. Translated by Linda Asher. New York: HarperPerennial, 1995.

Lang, Paul Henry. “Ornamentation and Improvisation.” In Musicology and Performance, 210–231. Edited by Alfred Mann and Goerge J. Buelow. New Haven, CT: Yale University Press, 1997.

Larkin, Philip. All What Jazz: A Record Diary 1961–1971. Second Edition. New York: Farrar, Straus, Giroux, 1985.

Laszlo, Ervin. “Cybernetics of Musical Activity.” The Journal of Aesthetics and Art Criticism 31, no. 3 (Spring 1973): 375–387.

Lawson, Bill E. “Jazz and the African–American Experience: The Expressiveness of African– American Music.” In Language, Mind, and Art: Essays in Appreciation and Analysis, in Honor of Paul Ziff, Synthese Library: Studies in Epistemology, Logic, Methodology, and Philosophy of Science: Volume 240, 131–142. Edited by Dale Jamieson. Boston: Kluwer Academic Publishers, 1994.

Lecercle, Jean–Jacques. Philosophy of Nonsense: The Intuitions of Victorian Nonsense Literature. New York: Routledge, 1994.

Lee, Colin. “The Analysis of Therapeutic Improvisatory Music.” In Art and Music Therapy and Research, 35–50. Edited by Andrea Gilroy and Colin Lee. New York: Routledge, 1995.

———. “The Analysis of Therapeutic Improvisatory Music with People Living with the Virus HIV and Aids.” Unpublished Ph.D. Thesis, City University, London.

———. “Foreword: Endings,” Journal of British Music Therapy 5, no. 1 (1991): 3–4.

———. “Structural Analysis of Post–tonal Therapeutic Improvisatory Music,” Journal of British Music Therapy 4 (1990): 6–20.

———. “Structural Analysis of Therapeutic Improvisatory Music,” Journal of British Music Therapy 3 (1989): 11–19.

Lees, Gene. Cats of Any Color: Jazz Black and White. New York: Oxford University Press, 1994.

Lemons, Gay. “When the Horse Drinks: Enahncing Everyday Creativity Using Elements of Improvisation.” Creativity Research Journals 17, no. 1 (2005): 25–36.

Leonard, George. “The Art of Thought: David Antin, Improvisation, Asia.” Review of Contemporary Fiction (2001): 106–124.

Levin, Gail, and Marianne Lorenz. Theme and Improvisation: Kandinsky and the American Avant–Garde 1912–1950. Boston: Little, Brown and Company, Bulfinch Press Books, 1992.

Levin, Robert. “A Note on Performance and Improvisation,” liner note to Wolfgang Amadeus Mozart, Piano Concertos no. 17 K.453 and no. 20 K.466, Robert Levin fortepiano, Christopher Hogwood, The Academy of Ancient Music, 1997.

Levinson, Jerrold. “Musical Thinking.” Midwest Studies in Philosophy 29 (2003): 59–68.

Lewis, Alan. “The Social Interpretation of Modern Jazz.” Canadian Music Review (1981): 138–165. Reprinted in Lost in Music: Culture, Style and the Musical Event, Sociological Review Monograph 31, 33–55. Edited by Avron Levine White. New York: Routledge, 1987.

Lewis, George E. “Afterword to ‘Improvised Music after 1950’: The Changing Same.” In The Other Side of Nowhere: Jazz, Improvisation, and Communities in Dialogue, 163–172. Edited by Daniel Fischlin and Ajay Heble. Middletown, CT: Wesleyan University Press, 2004.

———. “Improvised Music After 1950: Afrological and Eurological Perspectives.” In The Other Side of Nowhere: Jazz, Improvisation, and Communities in Dialogue, 131–162. Edited by Daniel Fischlin and Ajay Heble. Middletown, CT: Wesleyan University Press, 2004.

———. “Teaching Improvised Music: An Ethnographic Perspective.” In Arcana: Musicians on Music, 78–109. Edited by John Zorn. New York: Granary Books, 2000.

Libera, Anne. The Second City Almanac of Improvisation. Evanston, IL: Northwestern University Press, 2004.

Litweiler, John. Ornette Coleman: A Harmolodic Life. New York: William Morrow and Company, 1992; reprint edition, New York: Da Capo, 1994.

Lock, Graham. Forces in Motion: The Music and Thoughts of Anthony Braxton. London: Quartet Books, 1988; reprint edition, New York: Da Capo Press, 1988.

———. Chasing the Vibration: Meetings with Creative Musicians. A Stride Conversation Piece. Devon, UK: Stride Publications, 1994.

Locke, Alain. The Negro and His Music. New York: Arno Press and The New York Times, 1969.

Lopes, Paul. The Rise of a Jazz Art World. New York: Cambridge University Press, 2002.

Lord, Albert Bates. Epic Singers and Oral Tradition. Myth and Poetics Series. Ithaca, NY: Cornell University Press, 1991.

———. The Singer of Tales. Harvard Studies in Comparative Literature, Volume 24. Cambridge, MA: Harvard University Press, 1960.

Lott, Eric. “Double V, Double–Time: Bebop’s Politics of Style.” In Jazz among the Discourses, 243–255. Edited by Krin Gabbard. Durham, NC: Duke University Press, 1995.

Lubet, Steven, and Thomas Hankinson. “In Facetiis Verititas: How Improvisational Comedy Can Help Trial Lawyers Get Some Chops.” Texas Review of Entertainment and Sports Law 7, no. 1 (2006): 1–13.

Macan, Edward. Rocking the Classics: English Progressive Rock and the Counterculture. New York: Oxford University Press, 1996.

McGee, Timothy J. “Cantare all’improvviso: Improvising to Poetry in Late Medieval Italy.” In Improvisation in the Arts of the Middle Ages and Renaissance, Early Drama, Art, and Music Monograph Series, Volume 30, 31–70. Edited by Timothy J. McGee. Kalamazoo, MI: Medieval Institute Publications, Western Michigan University, 2003.

———, ed. Improvisation in the Arts of the Middle Ages and Renaissance. Early Drama, Art, and Music Monograph Series, Volume 30. Kalamazoo, MI: Medieval Institute Publications, Western Michigan University, 2003.

MacKenzie, Ian. “Improvisation, Creativity, and Formulaic Language.” The Journal of Aesthetics and Art Criticism 58, no. 2 (Spring 2000): 173–180.

Mackey, Nathaniel. “Other: From Noun to Verb.” In Jazz among the Discourses, 76–99. Edited by Krin Gabbard. Durham, NC: Duke University Press, 1995.

———. “Paracritical Hinge.” In The Other Side of Nowhere: Jazz, Improvisation, and Communities in Dialogue, 367–386. Edited by Daniel Fischlin and Ajay Heble. Middletown, CT: Wesleyan University Press, 2004.

Magoun, Francis P., Jr. “The Oral–Formulaic Character of Anglo–Saxon Narrative Poetry.” In An Anthology of Beowulf Criticism, 189–222. Edited by Lewis E. Nucholson. Notre Dame, IN: University of Notre Dame Press, 1963.

Magrini, Tullia. “Improvisation and Group Interaction in Italian Lyrical Singing.” In In the Course of Performance: Studies in the World of Musical Improvisation, Chicago Studies in Ethnomusicology Series, 169–198. Edited by Bruno Nettl and Melinda Russell. Chicago: University of Chicago Press, 1998.

Maitland, Jeffrey. “Creativity.” The Journal of Aesthetics and Art Criticism 34, no. 4 (Summer 1976): 397–409.

Malcolm, Noel. The Origins of English Nonsense. New York: HarperCollins, 1997.

Manuel, Peter. “Improvisation in Latin American Dance Music.” In In the Course of Performance: Studies in the World of Musical Improvisation, Chicago Studies in Ethnomusicology Series, 127–148. Edited by Bruno Nettl and Melinda Russell. Chicago: University of Chicago Press, 1998.

Martin, Bill. Avant Rock: Experimental Music from the Beatles to Bjork. Foreword by Robert FriChicago: Open Court, 2002.

———. Listening to the Future: The Time of Progressive Rock 1968–1978. Feedback: The Series in Contemporary Music, Volume 2. Chicago: Open Court, 1997.

———. Music of Yes: Structure and Vision in Progressive Rock. Chicago: Open Court, 1996.

Martin, Linda, and Kerry Segrave. Anti–Rock: The Opposition to Rock ‘n’ Roll. Hamden, CT: Archon Books, 1988; reprint edition, New York: Da Capo, 1993.

Martin, Peter J. “Improvisation in Jazz: Towards a Sociological Model.” Manchester Sociology Occasional Papers Series, no. 45, Department of Sociology, University of Manchester, January 1996.

———. “Essay Reviews: Ron David, Jazz for Beginners (New York: Writers and Readers, 1995), Barry Kernfeld, What to Listen for in Jazz (New Haven, CT: Yale University Press, 1995); Tom Piazza, The Guide to Classic Recorded Jazz (Iowa City, IA: University of Iowa Press, 1995); David W. Stowe, Swing Changes: Big Band Jazz in New Deal America's (Cambridge, MA: Harvard University Press, 1994).” Popular Music 15, no. 2 (1996): 227–232.

———. “Spontaneity and Organization.” In The Cambridge Companion to Jazz, 133–152. Edited by Mervyn Cooke, and David Horn. New York: Cambridge University Press, 2002.

Martino, Pat, and Bill Milkowski. Here and Now! The Autobiography of Pat Martino. Milwaukee, WI: Backbeat Books, 2011.

Matefy, Robert E. “Attitude Change Induced by Role Playing as a Function of Improvisation and Role–Taking Skill.” Journal of Personality and Soical Psychology 24, no. 3 (1972): 343–350.

Mechsner, Franz. “A Psychological Approach to Human Voluntary Movments.” Journal of Motor Behavior 36, no. 4 (2004): 355–370.

Megill, Donald M., and Richard S. Demory. Introduction to Jazz History. Englewood Cliffs, NJ: Prentice Hall, 1984.

Meisel, Perry. The Cowboy and the Dandy: Crossing Over from Romanticism to Rock and Roll. New York: Oxford University Press, 1999.

Meltzer, Richard. The Aesthetics of Rock. Introduction by Greil Marcus. New York: Something Else Press, 1970; reprint edition, New York: Da Capo, 1987.

Mercer, Michelle. Footprints: The Life and Work of Wayne Shorter. Preface by Wayne Shorter. Foreword by Herbie Hancock. New York: Jeremy P. Tarcher/Penguin, 2004.

Menger, Pierre–Michel. “Profiles of the Unfinished: Rodin’s Work and the Varieties of Incompleteness.” In Art from Start to Finish: Jazz, Painting, Writing, and Other Improvisations, 31–68 . Edited by Howard S.Becker, Robert R. Faulkner, and Barbara Kirshenblatt–Gimblet. Chicago: University of Chicago Press, 2006.

Merod, Jim, ed. Boundary 2: Special Issue: Jazz as Cultural Archive 22, no. 2 (Summer 1995).

Milkowski, Bill. Jaco: The Extraordinary and Tragic Life of Jaco Pastorius “The World’s Greatest Bass Player.” San Francisco: Miller Freeman Books, 1995.

Miller, D. Gary. Improvisation, Typology, Culture, and ‘The New Orthodoxy.’ Washington, D.C.: University Press of America, 1982.

Mingus, Charles. Beneath the Underdog. Edited by Nel King. New York: Penguin, 1971.

Monroe, James T. “Improvised Invective in Hispano–Arabic Poetry and Ibn Quzman’s ‘Zajal 87’ (When Blond Meets Blonde).” Voicing the Moment: Improvised Oral Poetry and Basque Tradition, 135–160. Edited by Samuel G. Armistead and Joseba Zulaika. Reno, Nevada: University of Nevada, Reno Center for Basque Studies, 2005.

Monson, Ingrid. “Doubleness and Jazz Improvisation: Irony, Parody, and Ethnomusicology.” Critical Inquiry 20 (Winter 1994): 283–313.

———. “Jazz Improvisation.” In The Cambridge Companion to Jazz, 114–132. Edited by Mervyn Cooke, and David Horn. New York: Cambridge University Press, 2002.

———. “Oh Freedom: George Russell, John Coltrane, and Modal Jazz.” In In the Course of Performance: Studies in the World of Musical Improvisation, Chicago Studies in Ethnomusicology Series, 149–168. Edited by Bruno Nettl and Melinda Russell. Chicago: University of Chicago Press, 1998.

———. “Preface.” In The Other Side of Nowhere: Jazz, Improvisation, and Communities in Dialogue, xi–xiv. Edited by Daniel Fischlin and Ajay Heble. Middletown, CT: Wesleyan University Press, 2004.

———. “Riffs, Repetition, and Theories of Globalization.” ' Ethnomusicology 43, no. 1 (Winter 1999): 31–65.

———. Saying Something: Jazz Improvisation and Interaction. Chicago Studies in Ethnomusicology. Chicago: University of Chicago Press, 1996.

———. “What’s Sound Got to Do with It? Jazz, Poststructuralism, and the Construction of Cultural Meaning.” In Creativity in Performance, Publications in Creativity Research Series, 95–114. Edited by R. Keith Sawyer. Greenwich, CT: Ablex Publishing, 1997.

Moutsopoulos, Evanghelos A. “L’Improvise.” Diotima 13 (1985): 195–199.

Murphy, Timothy S. “Composition, Improvisation, Constitution: Forms of Life in the Music of Pierre Boulez and Ornette Coleman.” Angelaki: Journal of the Theoretical Humanities 3, no. 2 (1998): 75–102.

Murray, Albert. “Improvisation and the Creative Process.” In The Jazz Cadence of American Culture, 111–113. Edited by Robert G. O’Meally. New York: Columbia University Press, 1998.

Mühl, Anita M. Automatic Writing. Dresden: Theodor Steinkopf, 1930; reprint ed., Kessinger Publishing, n.d.

Nachmanovitch, Stephen. Free Play: Improvisation in Life and Art. Los Angeles, CA: Jeremy P. Tarcher, 1990.

———. “Freedom: Commentary on Paper by Philip A. Ringstrom.” ' Psychoanalytic Dialogues 11, no. 5 (2001): 771–784.

Nagy, Gregory. Homeric Questions. Austin, TX: University of Texas Press, 1996.

———. Homeric Responses. Austin, TX: University of Texas Press, 2003.

———. Poetry as Performance: Homer and Beyond. New York: Cambridge University Press, 1996.

Napier, John. “Novelty that Must Be Subtle: Continuity, Innovation and ‘Improvisation’ in North Indian Music.” Critical Srudies in Improvisation 1, no. 3 (2006) [online journal only].

Neal, Mark Anthony. “’... A Way Out of No Way:’ Jazz, Hip–Hop, and Black Social Improvisation.” In The Other Side of Nowhere: Jazz, Improvisation, and Communities in Dialogue', 195–223. Edited by Daniel Fischlin and Ajay Heble. Middletown, CT: Wesleyan University Press, 2004.

Nettl, Bruno. “Introduction: An Art Neglected in Scholarship.” In In the Course of Performance: Studies in the World of Musical Improvisation, Chicago Studies in Ethnomusicology Series, 1–26. Edited by Bruno Nettl and Melinda Russell. Chicago: University of Chicago Press, 1998.

———. The Study of Ethnomusicology: Twenty–nine Issues and Concepts. Urbana, IL: University of Illinois Press, 1983.

———. “Preface.” The World of Music 33, no. 3 (1991): 3–5.

———. “Thoughts on Improvisation: A Comparative Approach,” The Musical Quarterly 60, no. 1 (1974): 1–19.

———, and Ronald Riddle. “Taqsim Nahawand Revisited: The Musicianship of Jihad Racy.” In In the Course of Performance: Studies in the World of Musical Improvisation, Chicago Studies in Ethnomusicology Series, 369–394. Edited by Bruno Nettl and Melinda Russell. Chicago: University of Chicago Press, 1998.

———, and Melinda Russell, eds. In the Course of Performance: Studies in the World of Musical Improvisation. Chicago Studies in Ethnomusicology Series. Chicago: University of Chicago Press, 1998.

———, ed. The World of Music: Journal of the International Institute for Traditional Music, Special Issue: New Perspectives on Improvisation, Volume 33, no. 3 (1991).

Nevile, Jennifer. “Disorder in Order: Improvisation in Italian Choreographed Dances of the Fifteenth and Sixteenth Centuries.” In Improvisation in the Arts of the Middle Ages and Renaissance, Early Drama, Art, and Music Monograph Series, Volume 30, 145–169. Edited by Timothy J. McGee. Kalamazoo, MI: Medieval Institute Publications, Western Michigan University, 2003.

Nicholson, Stuart. “Fusions and Crossovers.” In The Cambridge Companion to Jazz, 217– 252. Edited by Mervyn Cooke, and David Horn. New York: Cambridge University Press, 2002.

———. Is Jazz Dead? (Or Has It Moved to a New Address). New York: Routledge, 2005.

———. Jazz: The 1980s Resurgence. London: Simon and Schuster, 1990; reprint ed., New York: Da Capo Press, 1995.

———. Jazz–Rock: A History. Introduction by Bill Laswell. Discography by Jon Newey. New York: Schirmer Books, 1998.

Nielsen, Aldon L. “Clark Coolidge and a Jazz Aesthetic.” Pacific Coast Philology 28, no. 1 (September 1993): 94–112.

Nisenson, Eric. Ascension: John Coltrane and His Quest. New York: St. Martin’s Press, 1993; reprint edition, New York: Da Capo, 1995.

———. Blue: The Murder of Jazz. New York: St. Martin’s Press, 1997.

———. The Making of Kind of Blue: Miles Davis and His Masterpiece. New York: St. Martin’s Press, 2000.

———. Open Sky: Sonny Rollins and His World of Improvisation. Foreword by Sonny Rollins. New York: St. Martin’s Press, 2000.

———. ‘Round About Midnight: A Portrait of Miles Davis. Updated Edition. New York: Da Capo, 1982, 1996.

Nordoff, Paul, and Clive Robbins. Creative Music Therapy: Individualised Treatment for the Handicapped Child. New York: John Day, 1977.

Novack, Cynthia J. "Sharing the Dance: Contact Improvisation and American Culture". In New Directions in Anthropological Writing: History, Poetics, Cultural Criticism. Madison, WI: University of Wisconsin Press, 1990.

Ochs, Larry. “Devices and Strategies for Structured Improvisation.” In Arcana: Musicians on Music, 325–335. Edited by John Zorn. New York: Granary Books, 2000.

Oliphant, Dave, ed. The Bebop Revolution in Words and Music. Harry Ransom Humanities Research Center, The University of Texas at Austin.

Oliveros, Pauline. “Harmonic Anatomy: Women in Improvisation.” In The Other Side of Nowhere: Jazz, Improvisation, and Communities in Dialogue, 50–70. Edited by Daniel Fischlin and Ajay Heble. Middletown, CT: Wesleyan University Press, 2004.

———. “Tripping on Wires: the Wireless Body: Who Is Improvising.” Critical Studies in Improvisation 1, no. 1 (2004) [online journal only].

O’Meally, Robert G., ed. The Jazz Cadence of American Culture. New York: Columbia University Press, 1998.

———, Brent Hayes Edwards, and Farah Jasmine Griffin, eds. Uptown Conversation: The New Jazz Studies. New York: Columbia University Press, 2004.

Owens, Thomas. “Analyzing Jazz.” In The Cambridge Companion to Jazz, 286–297. Edited by Mervyn Cooke, and David Horn. New York: Cambridge University Press, 2002.

———. Bebop: The Music and the Players. New York: Oxford University Press, 1995.

Partee, Moriss Henry. “Inspiration in the Aesthetics of Plato.” The Journal of Aesthetics and Art Criticism 30, no. 1 (Autumn 1971): 87–95.

Panish, Jon. The Color of Jazz: Race and Representation in Postwar American Culture. Jackson, MI: University Press of Mississippi, 1997.

Pavlicevic, Mercedes. “Music and Emotion: Aspects of Music Therapy Research.” In Art and Music Therapy and Research, ??–??. Edited by Andrea Gilroy and Colin Lee. New York: Routledge, 1995.

———. “Music in Communication: Improvisation in Music Therapy.” Unpublished Ph.D. Thesis, Edinburgh University, n.d. ———. “Dynamic Interplay in Clinical Improvisation,” Journal of British Music Therapy 4 (1990): 5–10. ———. “Interpersonal Processes in Clinical Improvisation.” In Music and the Healing Process. Edited by B. Saperson, R. West, and A. Wigram. Chichester, UK: Carden Publications, forthcoming. Peretti, Burton W. “Caliban Reheard: New Voices on Jazz and American Consciousness.” Popular Music 13, no. 2 (1994): 151–164. ———. The Creation of Jazz: Music, Race, and Culture in Urban America. Illini Books Series. Music in American Life Series. Blacks in the New World Series. Urbana, IL: University of Illinois Press, 1992. ———. Jazz in American Culture. American Ways Series. Chicago: Ivan R. Dee, 19997. 347 348 ———. “Oral Histories of Jazz Musicians: The NEA Transcripts as Texts in Context.” In Jazz Among the Discourses, 117–133. Edited by Krin Gabbard. Durham, NC: Duke University Press, 1995. Perlman, Alan M., and Daniel Greenblatt. “Miles Davis Meets Noam Chomsky: Some Observations on Jazz Improvisation and Language Structure.” In The Sign in Music and Literature, The Dan Danciger Publications Series, 169–183. Edited by Wendy Steiner. Austin, TX: University of Texas Press, 1981. Petkov, Steven, and Leonard Mustazza, eds. The Frank Sinatra Reader. New York: Oxford University Press, 1995. Peters, Gary. “Can Improvisation be Taught?” Journal of Art and Design Education (2005): 299–307. ———. The Philosophy of Improvisation. Chicago: The University of Chicago Press, 2009. Pettinger, Peter. Bill Evans: How My Heart Sings. New Haven, CT: Yale University Press, 1998. Piazza, Tom. Blues Up and Down: Jazz in Our Time. New York: St. Martin’s Press, 1997. Polk, Keith. “Instrumentalists and Performance Practices in Dance Music, c. 1500.” In Improvisation in the Arts of the Middle Ages and Renaissance, Early Drama, Art, and Music Monograph Series, Volume 30, 98–116. Edited by Timothy J. McGee. Kalamazoo, MI: Medieval Institute Publications, Western Michigan University, 2003. Porter, Lewis. John Coltrane: His Life and Music. The Michigan American Music Series. Ann Arbor, MI: University of Michigan Press, 1998. Potash, Chris. The Jimi Hendrix Companion: Three Decades of Commentary. New York: Schirmer Books, 1996. Pound, Louise. “The Beginnings of Poetry.” Proceedings of the Modern Language Association 32, no. 2 (1917): 201–232. Pressing, Jeff. “Free Jazz and the Avant–Garde.” In The Cambridge Companion to Jazz, 202–216. Edited by Mervyn Cooke, and David Horn. New York: Cambridge University Press, 2002. ———. “Improvisation: Methods and Models,” in Generative Processes in Music: The Psychology of Performance, Improvisation, and Composition, 129–178. Edited by John A. Sloboda. New York: Oxford University Press, Clarendon Press, 1988. ———. “Psychological Constraints on Improvisational Expertise and Communication.” In In the Course of Performance: Studies in the World of Musical Improvisation, Chicago Studies in Ethnomusicology Series, 47–68. Edited by Bruno Nettl and Melinda Russell. Chicago: University of Chicago Press, 1998. Prévost, Eddie. “The Discourse of a Dysfunctional Drummer: Collaborative Dissonances, Improvisation, and Cultural Theory.” In The Other Side of Nowhere: Jazz, Improvisation, and Communities in Dialogue, 353–366. Edited by Daniel Fischlin and Ajay Heble. Middletown, CT: Wesleyan University Press, 2004. Price, Kingsley. “The Performing and the Non–Performing Arts.” The Journal of Aesthetics and Art Criticism 29, no. 1 (Autumn 1970): 53–62. Prieto, Eric. “Ethnography, Improvisation, and the Archimedean Fulcrum: Michel Leiris and Jazz.” International Journal of Francophone Studies 6, no. 1 (2003): 5–16. Prögler, J.A. “Searching for Swing: Participatory Discrepancies in the Jazz Rhythm Section.” Ethnomusicology 39, no. 1 (Winter 1995): 21–54. Prouty, Kenneth E. “Orality, Literacy, and Mediating Musical Experience: Rethinking Oral Tradition in the Learning of Jazz Improvsation.” Popular Music and Society 29, no. 3 (July 2006): 317–334. Racy, Ali Jihad. “Creativity and Ambience: An Ecstatic Feedback Model from Arab Music.” The World of Music 33, no. 3 (1991): 7–28. ———. “Improvisation, Ecstasy, and Performance Dynamics in Arabic Music.” In In the Course of Performance: Studies in the World of Musical Improvisation, Chicago Studies in Ethnomusicology Series, 95–112. Edited by Bruno Nettl and Melinda Russell. Chicago: University of Chicago Press, 1998. Radano, Ronald M. “Critical Alchemy: Anthony Braxton and the Imagined Tradition.” In Jazz among the Discourses, 189–216. Edited by Krin Gabbard. Durham, NC: Duke University Press, 1995. ———. New Musical Figurations: Anthony Braxton’s Cultural Critique. Chicago: University of Chicago Press, 1993. Ramalho, Geber L., Pierre–Yves Rolland, and Jean–Gabriel Ganascia. “An Artifically Intelligent Jazz Performer.” Journal of New Music Research 28, no. 2 (1999): 105–129. Rasula, Jed. “The Media of Memory: The Seductive Menace of Records in Jazz History.” In Jazz among the Discourses, 134–164. Edited by Krin Gabbard. Durham, NC: Duke University Press, 1995. Ratliff, Ben. “Fixing, for Now, the Image of Jazz.” The New York Times, Arts and Leisure (January 7, 2001): 1, 32–33, 40. 349 ———. “Jazz in the Catbird Seat: It wasn’t Always So.” The New York Times (January 6, 2001): B9, B11. ———. “Miles Davis: Restless Grooves.” The New York Times (May 25, 2001): E1, E22. Ramshaw, Sara. “Deconstrcutin(g) Jazz Improvisation: Derrida and the Law of the Singular Event.” Critical Studies in Improvisation 2, no. 1 (2006) [online journal only]. Reason, Dana. “’Navigable Structures and Transforming Mirrors’: Improvisation and Interactivity.” In The Other Side of Nowhere: Jazz, Improvisation, and Communities in Dialogue, 71–86. Edited by Daniel Fischlin and Ajay Heble. Middletown, CT: Wesleyan University Press, 2004. Reeves, Scott D. Creative Jazz Improvisation. Second Edition. Upper Saddle River, NJ: Prentice Hall, 1989, 1995. Rehak, Melanie. “Things Fall Together.” The New York Times Magazine (March 26, 2000): 36–39. Reily, Suzel Ana. “Tom Jobim and the Bossa Nova Era.” Popular Music 15, no. 1 (January 1996): 1–16. Reisner, Robert, ed. Bird: The Legend of Charlie Parker. New York: Citadel Press, 1962; reprint edition, New York: Da Capo, 1977. Ringstrom, Philip A. “Cultivating the Improvisational in Psychoanalytic Treatment.” Psychoanalytic Dialogues 11, no. 5 (2001): 727–754. ———. “’Yes, and ...’—How Improvisation Is the Essence of Good Psychoanalytic Dialogue.” Psychoanalytic Dialogues 11, no. 5 (2001): 797–806. Rinzler, Paul. “Preliminary Thoughts on Analyzing Musical Interaction Among Jazz Performers.” Annual Review of Jazz Studies 4, 153–160. Edited by Dan Morgenstern, Charles Nanry, and David A. Cayer. New Brunswick, NJ: Transaction, 1988. Roach, Joseph. “Kinship, Intelligence, and Memory as Improvisation: Culture and Performance in New Orleans.” In Performance and Cultural Politics, 217–236. Edited by Elin Diamond. New York: Routledge, 1996. Roberts, Fletcher. “What Jazz Looked Like, not so Long Ago.” Review of Jazz by Ken Burns. The New York Times Television, Section 13 (January 7–13, 2001): 4–5. Robinson, J. Bradford. “The Jazz Essays of Theodor Adorno: Some Thoughts on Jazz Reception in Weimar Germany.” Popular Music 13, no. 1 (1994): 1–25. 350 351 Rockwell, John. All American Music: Composition in the Late Twentieth Century. New York: Vintage, 1983. Rosenfeld, Randall A. “Performance Practice, Experimental Archaeology, and the Problem of the Respectability of Results.” In Improvisation in the Arts of the Middle Ages and Renaissance, Early Drama, Art, and Music Monograph Series, Volume 30, 71–97. Edited by Timothy J. McGee. Kalamazoo, MI: Medieval Institute Publications, Western Michigan University, 2003. Rosenthal, David H. Hard Bop: Jazz and Black Music 1955–1965. New York: Oxford University Press, 1992. Rothenberg, David. Sudden Music: Improvisation, Sound, Nature. Athens, GA: University of Georgia Press, 2002. Rowan, Dean C. “Modes and Manifestations of Improvisation in Urban Planning, Design, and Theory.” Critical Studies in Improvisation 1, no. 1 (2004) <http://www.critimprov.com>. Rubin, David C. Memory in Oral Traditions: The Cognitive Psychology of Epic, Ballads, and Counting–out Rhymes. New York: Oxford University Press, 1995. Rudd, E. “A Phenomenological Approach to Improvisation in Music Therapy: A Research Method,” The Sixth World Congress Of Music Therapy, Rio de Janeiro, July 15–20, 1990. ———, ed. Music and Health. London: Chester, 1986. Ruff, Willie. A Call to Assembly: An American Success Story. New York: Penguin, 1991. Ruhleder, Karen, and Fred Stoltzfus. “The Etiquette of the Master Class: Improvisation on a Theme by Howard Becker.” Mind, Culture, and Activity 7, no. 3 (2000): 186–196. Ryle, Gilbert. “Improvisation.” In On Thinking, 121–130. Edited by Konstantin Kolenda. Introduction by G.J. Warnock. Totowa, NJ: Rowman and Littlefield, 1979. Sachs, Curt. The Wellsprings of Music. Edited by Jaap Kunst. The Hague, Netherlands, Martinus Nijhoff, 1962; reprint edition, New York: Da Capo, n.d. Sales, Grover. Jazz: America’s Classical Music. Foreword by Gene Lees. Englewood Cliffs, NJ: Prentice Hall, 1984; reprint edition, New York: Da Capo, 1992. Sallis, James, ed. The Guitar in Jazz: An Anthology. Lincoln, NB: University of Nebraska Press, 1996. Sansom, Matthew. “Imaging Music: Abstract Expressionsim and Free Improvisation.” Leonardo Music Journal 11 (2001): 29–34. ———. “Improvisation and Identity: A Qualitative Study.” Critical Studies in Improvisation 3, no. 1 (2007) [online journal only]. ———. Musical Meaning: A Qualitative Investigation of Free Improvisation. Ph.D. Thesis, University of Sheffield, 1997. Santoro, Gene. Dancing in Your Head: Jazz, Blues, Rock, and Beyond. New York: Oxford University Press, 1994. ———. Myself When I am Real: The Life and Music of Charles Mingus. New York: Oxford University Press, 2000. ———. Stir It Up: Musical Mixes from Roots to Jazz. New York: Oxford University Press, 1997. Sarath, Edward. Music Theory through Improvisation: A New Approach to Musicianship Training. New York: Routledge, 2010. Saul, Scott. Freedom Is, Freedom Ain’t: Jazz and the Making of the Sixties. Cambridge, MA: Harvard University Press, 2003. Sawyer, R. Keith, ed. Creativity in Performance. Publications in Creativity Research Series. Greenwich, CT: Ablex Publishing, 1997. Sawyer, R. Keith. Creating Conversations: Improvisation in Everyday Discourse. Cresskill, NJ: Hampton Press,2001. ———. “Improvisation and the Creative Process: Dewey, Collingwood, and the Aesthetics of Spontaneity.” The Journal of Aesthetics and Art Criticism 58, no. 2 (Spring 2000): 149–162. ———. “Improvisational Cultures: Collaborative Emergence and Creativity in Improvisation.” Mind, Culture, and Activity 7, no. 3 (2000): 180–185. ———. “Improvisational Theater: An Ethnotheory of Conversational Practice.” In Creativity in Performance, Publications in Creativity Research Series, 171–196. Edited by R. Keith Sawyer. Greenwich, CT: Ablex Publishing, 1997. ———. Pretend Play as Improvisation: Conversation in the Preschool Classroom. Mahway, NJ: Lawrence Erlbaum, 1997. ———. Social Emergence: Societies as Complex Systems. New York: Cambridge University Press, 2005. Sayer, Tim. “A Conceptual Tool for Improvisation.” Contemporary Music Review 25, no. 1/2 (February/April 2006): 163–172. Scanlan, Tom. The Joy of Jazz: Swing Era 1935–1947. Golden, CO: Fulcrum, 1996. Schulenberg, David. “Composition and Improvisation in the School of J.S. Bach.” In Bach Perspectives, Volume 1, 1–42. Lincoln, NB: University of Nebraska Press, 1995. ———. “Improvisation.” In Oxford Composer Companions: J.S. Bach, Oxford Composer Companions Series, 239–240. Edited by Malcolm Boyd. New York: Oxford University Press, 1999. Schuller, Gunther. Musings: The Musical Worlds of Gunther Schuller: A Collection of His Writings. New York: Oxford University Press, 1986. Scott, Christina L. “Embodied Cognition through Improvisation Improves Memory for a Dramatic Monologue.” Discourse Processes 31, no. 3 (2001): 293–305. Segal, Greg. “Some Thoughts on Improvisation.” The Improvisor: The International Journal of Free Improvisation [online journal only]. Sheets–Johnstone, Maxine. “Thinking in Movement.” The Journal of Aesthetics and Art Criticism 39, no. 4(1981): 399–407. Shipton, Alyn. A New History of Jazz. New York: Continuum, 2001. Sidran, Ben. Black Talk. Foreword by Archie SheNew York: n.p., 1971; reprint edition, New York: Da Capo, 1981. ———. Talking Jazz: An Oral History. Expanded Edition. Petaluma, CA: n.p., 1992; New York: Da Capo, 1995. Silverstein, Michael. “The Improvisational Performance of Culture in Realtime Discursive Practice.” In Creativity in Performance, Publications in Creativity Research Series, 265–312. Edited by R. Keith Sawyer. Greenwich, CT: Ablex Publishing, 1997. Simpson, Erik. “’The Minstrels of Modern Italy’: Improvisation Comes to Britain.” European Romantic Review 14 (September 2003): 345–367. Simosko, Vladimir, and Barry Tepperman. Eric Dolphy: A Musical Biography and Discography. Washington, D.C.: Smithsonian Institution Press, 1974; Reprint edition, New York: Da Capo, 1979. Singer, Barry. “Jazz Solos as Sonic Wallpaper.” The New York Times, Arts and Leisure Part 2 (March 26, 2000): 33, 36. 354 Slade, Peter. Experience of Spontaneity. London: Longmans, Green and Company, 1968. Slawek, Stephen. “Keeping It Going: Terms, Practices, and Processes of Improvisation in Hindustani Instrumental Music.” In In the Course of Performance: Studies in the World of Musical Improvisation, Chicago Studies in Ethnomusicology Series, 335–368. Edited by Bruno Nettl and Melinda Russell. Chicago: University of Chicago Press, 1998. Sloboda, John A. Exploring the Musical Mind: Cognition, Emotion, Ability, Function. New York: Oxford University Press, 2005. ———, ed. Generative Processes in Music: The Psychology of Performance, Improvisation, and Composition. New York: Oxford University Press, Clarendon Press, 1988. Small, Christopher. Music of the Common Tongue: Survival and Celebration in Afro–American Music. New York: Riverrun, 1987. ———. Musicking: The Meanings of Performing and Listening. Music/Culture Series. Hanover, NH: Wesleyan University Press, University Press of New England, 1998. Smith, Chris. “A Sense of the Possible: Miles Davis and the Semiotics of Improvised Performance.” In In the Course of Performance: Studies in the World of Musical Improvisation, Chicago Studies in Ethnomusicology Series, 261–290. Edited by Bruno Nettl and Melinda Russell. Chicago: University of Chicago Press, 1998. Smith, Gregory E. “In Quest of a New Perspective on Improvised Jazz: A View from the Balkans.” The World of Music 33, no. 3 (1991): 29–52. Smith, Hazel, and Roger T. Dean. Improvisation, Hypermedia and the Arts since 1945. Performing Arts Studies Series, Volume 4. Amsterdam, Netherlands: Harwood Academic Publishers, 1997. Smith, Julie Dawn. “Playing Like a Girl: The Queer Laughter of the Feminist Improvising Group.” In The Other Side of Nowhere: Jazz, Improvisation, and Communities in Dialogue, 224–243. Edited by Daniel Fischlin and Ajay Heble. Middletown, CT: Wesleyan University Press, 2004. Smith, LaDonna. “Improvisation as a Form of Cultural Recreation.” The Improvisor: The International Journal of Free Improvisation [online journal only]. ———. “Improvisation in Childhood Music: Training and techniques for Creative Music Making.” The Improvisor: The International Journal of Free Improvisation [online journal only]. ———. “The Moment as Teacher.” The Improvisor: The International Journal of Free Improvisation [online journal only]. ———. “What To Do at the Fork in the Road? Improvisation as a Model of Social Behavior and Cultural Navigational Technique.” The Improvisor: The International Journal of Free Improvisation [online journal only]. Snead, James A. “Repetition as a Figure of Black Culture.” In The Jazz Cadence of American Culture, 62–81. Edited by Robert G. O’Meally. New York: Columbia University Press, 1998. Snow, Michael. “A Composition on Improvisation.” In The Other Side of Nowhere: Jazz, Improvisation, and Communities in Dialogue, 45–49. Edited by Daniel Fischlin and Ajay Heble. Middletown, CT: Wesleyan University Press, 2004. Solis, Gabriel, and Bruno Nettl, eds. Musical Improvisation: Art Education, and Society. Urbana, IL: University of Illinois Press, 2009. Soulos, Marshall. “Improvising Character: Jazz, the Actor, and Protocols of Improvisations.” In The Other Side of Nowhere: Jazz, Improvisation, and Communities in Dialogue, 268–297. Edited by Daniel Fischlin and Ajay Heble. Middletown, CT: Wesleyan University Press, 2004. Southern, Eileen. The Music of Black Americans: A History. Second Edition. New York: W. W. Norton, 1971, 1983. Spade, Paul Vincent. “Do Composers Have To Be Perfomers Too?” The Journal of Aesthetics and Art Criticism 49 (1991): 365–369. Sparti, Barbara. “Improvisation and Embellishment in Popular and Art Dances in Fifteenth– and Sixteenth–Century Italy.” In Improvisation in the Arts of the Middle Ages and Renaissance, Early Drama, Art, and Music Monograph Series, Volume 30, 117–144. Edited by Timothy J. McGee. Kalamazoo, MI: Medieval Institute Publications, Western Michigan University, 2003. Spellman, A. B. Four Lives in the Bebop Business. New York: Pantheon, 1966; reprint edition, New York: Limelight Editions, 1985. Stanyek, Jason. “Transmissions of an Interculture: Pan–African Jazz and Intercultural Improvisation.” In The Other Side of Nowhere: Jazz, Improvisation, and Communities in Dialogue, 87–130. Edited by Daniel Fischlin and Ajay Heble. Middletown, CT: Wesleyan University Press, 2004. Starks, George L., Jr. “Jazz Literature and the African American Aesthetic.” In The African Aesthetic: Keeper of the Traditions, Contributions in Afro–American and African Studies, Number 153, pp.143–157. Edited by Kariamu Welsh–Asante. West Port, CT: Greenwood Press, 1993. 355 356 Stearns, Marshall. The Story of Jazz. New York: Oxford University Press, 1956, 1970. Sterritt, David. “Revision, Prevision, and the Aura of Improvisatory Art.” The Journal of Aesthetics and Art Criticism 58, no. 2 (Spring 2000): 163–172. ———. Screening the Beats: Media Culture and the Beat Sensibility. Carbondale, IL: Southern Illinois University Press, 2004. Stevick, Robert D. “The Oral–Formulaic Analyses of Old English Verse.” Speculum 37, no. 3 (July 1962): 382–389. Stewart, Gary. Breakout: Profiles in African Rhythm. Chicago: University of Chicago Press, 1992. Stokes, W. Royal. Living the Jazz Life: Conversations with Forty Musicians about Their Careers in Jazz. NewYork: Oxford University Press, 2000. Stoppard, Tom. Travesties. New York: Grove Press, 1975. Such, David G. Avant–Garde Jazz Musicians: Performing “Out There.” Iowa City, IA: University Of Iowa Press, 1993. Sudhalter, Richard M. Lost Chords: White Musicians and Their Contribution to Jazz, 1915– 1945. New York: Oxford University Press, 1999. Sudnow, David. Ways of the Hand: The Organization of Improvised Conduct. Cambridge, MA: Harvard University Press, 1978. ———. Ways of the Hand: A Rewritten Account. Foreword Hubert L. Cambridge, MA: MIT Press, 1978, 2001. ———. Talk’s Body: A Meditation between Two Keyboards. New York: Alfred E. Knopf, 1979. Sudo, Philip Toshio. Zen Guitar. A Fireside Book. New York: Simon and Schuster, 1997. Suhor, Charles. “Jazz Improvisation and Language Performance: Parallel Competencies.” Et Cetera: A Review of General Semantics 43, no. 2 (Summer 1986): 133–140. Sutton, R. Anderson. “Do Javanese Gamelan Musicians Really Improvise?” In In the Course of Performance: Studies in the World of Musical Improvisation, Chicago Studies in Ethnomusicology Series, 69–94. Edited by Bruno Nettl and Melinda Russell. Chicago: University of Chicago Press, 1998. Swindell, Warren. “Aesthetics and African American Musical Expression.” In The African Aesthetic: Keeper of the Traditions, Contributions in Afro–American and African 357 Studies, Number 153, 175–194. Edited by Kariamu Welsh–Asante. West Port, CT: Greenwood Press, 1993. Szekeley, Michael. “Becoming–Still: Persoectives on Musical Ontology after Deleuze and Guattari.” Social Semiotics 13, no. 2 (2003): 113–128. Szwed, John. So What: The Life of Miles Davis. London: William Heinemann, 2002. Tanner, Paul O. W., Maurice Gerow, and David W. Megill. Jazz. Sixth Edition. Dubuque, IA: William C. Brown, 1988. Taylor, Arthur. Notes and Tones: Musician–to–Musician Interviews. Expanded Edition. New York: Da Capo Press, 1982, 1993. Taylor, Billy. Jazz Piano: History and Development. Dubuque, IA: William C. Brown, 1982. Taylor, Yuval, ed. The Future of Jazz. Chicago: A Cappella, 2002. Thom, Paul. For an Audience: A Philosophy of the Performing Arts. The Arts and Their Philosophies Series. Philadelphia, PA: Temple University Press, 1993. Thomas, Lorenzo. “Ascension: Music and the Black Arts.” In Jazz among the Discourses, 256–274. Edited by Krin Gabbard. Durham, NC: Duke University Press, 1995. Tirro, Frank. Jazz: A History. Second Edition. New York: W. W. Norton and Company, 1977, 1993. Titlestad, Michael. “Contesting Maps: Musical Improvisation and Narrative.” Pretexts: Literary and Cultural Studies 10, no. 1 (2001): 21–36. Tomlinson, Gary. “Cultural Dialogics and Jazz: A White Historian Signifies.” Black Music Research Journal 11, no. 2 (Fall 1991): 229–264; reprinted (shorter version) in Disciplining Music: Musicology and Its Canons, 64–94. Edited by Katherine Bergeron and Philip V. Bohlman. Chicago: University of Chicago Press, 1992. Tosches, Nick. Where Dead Voices Gather. New York: Little, Brown and Company, 2001. Trapero, Maximiano. “Improvised Oral Poetry in Spain.” Voicing the Moment: Improvised Oral Poetry and Basque Tradition, 45–64. Edited by Samuel G. Armistead and Joseba Zulaika. Reno, Nevada: University of Nevada Center, Reno for Basque Studies, 2005. Treitler, Leo. “Medieval Improvisation.” The World of Music 33, no. 3 (1991): 66–91. Trotter, Charlie. Workin’: More Kitchen Sessions. Berkeley, CA: Ten Speed Press, 2004. 358 Tucker, Mark, ed. The Duke Ellington Reader. New York: Oxford University Press, 1993. Tucker, Sherrie. “Bordering on Community: Improvising Women Improvising Women–in– Jazz.” In The Other Side of Nowhere: Jazz, Improvisation, and Communities in Dialogue, 244–267. Edited by Daniel Fischlin and Ajay Heble. Middletown, CT: Wesleyan University Press, 2004. Valone, James J. “Musical Improvisation as Interpretative Activity,” Journal of Aesthetics and Art Criticism 44 (1985): 193–194. van der Bliek, Rob, ed. The Thelonious Monk Reader. Readers on American Musicians Series. New York: Oxford University Press, 2001. Veneciano, Jorge Daniel. “Louis Armstrong, Bricolage, and the Aesthetics of Swing.” In Uptown Conversation: The New Jazz Studies, 256–277. Edited by Robert G. O’Meally, Brent Hayes Edwards, and Farah Jasmine Griffin. New York: Columbia University Press, 2004. Viswanathan, T., and Jody Cormack. “Melodic Improvisation in Karnatak Music: The Manifestations of Raga.” In In the Course of Performance: Studies in the World of Musical Improvisation, Chicago Studies in Ethnomusicology Series, 219–236. Edited by Bruno Nettl and Melinda Russell. Chicago: University of Chicago Press, 1998. Walser, Robert. ‘Out of Notes:’ Signifiaction, Interpretation, and the Problem of Miles Davis.” In Jazz among the Discourses, 165–188. Edited by Krin Gabbard. Durham, NC: Duke University Press, 1995. ———. “Valuing Jazz.” In The Cambridge Companion to Jazz, 301–320. Edited by Mervyn Cooke, and David Horn. New York: Cambridge University Press, 2002. ———, ed. Keeping Time: Readings in Jazz History. New York: Oxford University Press, 1999. Walton, Ortiz. Music: Black, White, and Blue. New York: William Morrow and Company, 1972. Washing ton, Salim. “’All the Things You Could Be by Now’: Charles Mingus Presents Charles Mingus and the Limits of Avant–Garde Jazz.” In Uptown Conversation: The New Jazz Studies, 27–49. Edited by Robert G. O’Meally, Brent Hayes Edwards, and Farah Jasmine Griffin. New York: Columbia University Press, 2004. Watson, Ben. Derek Bailey and the Story of Free Improvisation. New York: Verso, 2004. Webster, William E. “Music Is Not a ‘Notational System’.” The Journal of Aesthetics and Art Criticism 29, no. 4 (Summer 1971): 489–497. 359 ———. “A Theory of the Compositional Work of Music.” The Journal of Aesthetics and Art Criticism 33, no. 1 (Autumn 1974): 59–66. Weintraub, Wiktor. “The Problem of Improvisation in Romantic Literature.” Comparative Literature 16, no. 2 (Spring 1964): 119–137. Wertz, S.K. “The Capriciousness of Play: Collingwood’s Insight.” The Journal of the Philosophy of Sport 30, no. 2 (November 2003): 159–165. West, M.L. Ancient Greek Music. New York: Oxford University Press, Clarendon Press, 1992. Westland, Gordon. “The Investigation of Creativity.” The Journal of Aesthetics and Art Criticism 28, no. 2 (Winter 1969): 127–131. Wheaton, Jack. All That Jazz. New York: Ardsley, 1994. White, Avron Levine. “Popular Music and the Law––Who Owns the Song?” In Lost in Music: Culture, Style and the Musical Event, Sociological Review Monograph 31, 164–190. Edited by Avron Levine White. New York: Routledge, 1987. ———. “A Professional Jazz Group.” In Lost in Music: Culture, Style and the Musical Event, Sociological Review Monograph 31, 191–219. Edited by Avron Levine White. New York: Routledge, 1987. ———, ed. Lost in Music: Culture, Style and the Musical Event. Sociological Review Monograph 31. New York: Routledge, 1987. Whitehead, Kevin. Why Jazz? A Concise Guide. New York: Oxford University Press, 2011. Whitmore, Philip J. Unpremeditated Art: The Cadenza in the Classical Keyboard Concerto. Oxford Monographs in Music. New York: Oxford University Press, 1991. Wieseltier, Leon. “Washington Diarist: Carvin’ the Bird.” Review of Jazz by Ken Burns, Jazz: A History of America’s Music by Geoffrey C. Ward and Ken Burns. The New Republic (January 22, 2001): http://www.thenewrepublic.com/012201/wieseltier012201.html Williams, Martin. Hidden in Plain Sight: An Examination of American Arts. New York: Oxford University Press, 1992. ———. Jazz Changes. New York: Oxford University Press, 1992. ———. The Jazz Tradition. Second Revised Edition. New York: Oxford University Press, 1970, 1993. 360 ———. Where’s the Melody: A Listener’s Introduction to Jazz. New York: Pantheon, 1966; reprint edition, New York: Da Capo, 1983. Williams, Richard. The Blue Moment: Miles Davis’s ‘Kind of Blue’ and the Remaking of Modern Music. New York: W. W. Norton, 2010. Williams, William Carlos. I Wanted To Write A Poem: The Autobiography of the Works of a Poet. Reported and edited by Edith Heal. New York: New Directions, 1958. ———. Imaginations. Edited with introductions by Webster Schott. New York: New Directions, 1970. Wilmer, Valerie. Jazz People. Third Edition. London: Allison and Busby, 1977; reprint edition, New York: Da Capo, 1990. Woideck, Carl, ed. The John Coltrane Companion: Five Decades of Commentary. New York: Schirmer Books, 1998. Wolf, Robert. Jump Start: How to Write from Everyday Life. New York: Oxford University Press, 2001. Wollner, Gertrude Price. Improvisation in Music: Ways Toward Capturing Musical Ideas and Developing Them. Boston: Bruce Humphries Publishers, 1963. Yanal, Robert J. “What Is Set–Theoretical Musical Anlysis?” The Journal of Aesthetics and Art Criticism 35, no. 4 (Summer 1977): 471–473. Yanow, Scott. The Jazz Singers: The Ultimate Guide. Milwaukee, WI: Backbeat Books, 2008. Young, James O., and Carl Matheson. “The Metaphysics of Jazz.” The Journal of Aesthetics and Art Criticism 58, no. 2 (Spring 2000): 1125–134. Zaeer, Linda Marie. “Medieval and Modern Deletions of Repellent Passages.” In Improvisation in the Arts of the Middle Ages and Renaissance, Early Drama, Art, and Music Monograph Series, Volume 30, 222–246. Edited by Timothy J. McGee. Kalamazoo, MI: Medieval Institute Publications, Western Michigan University, 2003. Zemke, John. “Improvisation, Inspiration and Basque Verbal Contest: Identity in Performance.” Voicing the Moment: Improvised Oral Poetry and Basque Tradition, 83–96. Edited by Samuel G. Armistead and Joseba Zulaika. Reno, Nevada: University of Nevada, Reno Center for Basque Studies, 2005. Zinsser, William. Willie and Dwike: An American Profile. New York: Harper and Row, 1984. Zorn, John, ed. Arcana: Musicians on Music. New York: Granary Books, 2000.

Zumthor, Paul. Oral Poetry: An Introduction. Translated by Kathryn Murphy-Judy. Foreword by Walter J. Ong. Theory and History of Literature, Volume 70. Minneapolis, MN: University of Minnesota Press, 1983, 1990.

The New Grove Dictionary of Music and Musicians Jazz Bibliography[edit]

BIBLIOGRAPHY GENERAL REFERENCE

G. Poole. Enciclopedia de swing. (Buenos Aires, 1939) (Buenos Aires,1944).

N. Ortiz Oderigo. Panorama de la miisica afroamericana.

W. Laade, W. Ziefle and D. Zimmerle. Jazz-Lexikon (Stuttgart, 1953).

G. C. Testoni and others: Enciclopedia del jazz (Milan, 1953) 1953)

F. Usinger: Kleine Biographie des Jazz (Offenbach am Main,

L. Feather: The Encyclopedia of Jazz (New York, 1955, rev. 2/1960)

A. Dauer and S. Longstreet: Knaur's Jazz Lexikon (Munich, 1957)

J. Jorgensen and E. Wiedemann: Mosaik Jazzlexikon (Hamburg, 1966)

L. Feather: The Encyclopedia of Jazz in the Sixties (New York, 1967)

F. Tenot and P. Caries: Dictionnaire du jazz (Paris, 1967)

C. Schreiner: Jazz Aktuell (Mainz, 1968)

C. Bohlander and K. H. Holler: Reclams Jazzfuhrer (Stuttgart, 1970)

J. Chilton: Who's Who of Jazz (London and Philadelphia, 1970, 2/1972)

R. Kinkle: The Complete Encyclopedia of Popular Music and Jazz 1900-1950 (New Rochelle, NY, 1974)

L. Feather: Encyclopedia of Jazz in the Seventies (New York, 1976)

DISCOGRAPHIES

C. Delaunay: Hot Discography (Paris, 1936, rev. 2/1938)

H. Schleman: Rhythm on Record . . . 1906 to 1936 (London, 1936)

F. Ramsey jr and C. Smith: Jazz Record Book (New York, 1942) B

K. Mohr: Discographie du jazz (Geneva, 1945)

A. Mscohller: Dansk jazz discography (Copenhagen, 1945)

Schwaninger and A. Gurwitsch: Swing discographie (Geneva, 1945)

B. Rust: Jazz Records: 1897-1942 (London, 1965, rev. 2/1969)

H. Lange: Deutsche 78er Discographie 1903-1958 (Berlin, 1966)

A. McCarthy, ed.: Jazz on Record 1917-67 (London, 1968)

W. Bruyninckx: Fifty Years of Recorded Jazz: 1917-1967 (Mechelen 1969)

D. Langridge: Your Jazz Collection (London, 1970)

W. C. Allen: Studies in Jazz Discography (New Brunswick, 1971)

M. Harrison and others: Modern Jazz: the Essential Records (1945 1970) (London, 1975)

BIBLIOGRAPHIES

J. Ganfield: Books and Periodical Articles on Jazz in America from 1926-1932 (New York, 1933)

A. Merriam: A Bibliography of Jazz (Philadelphia, 1954/RI970)

R. Reisner: The Literature of Jazz (New York, 1954, rev. 2/1959)

J. Chaumier: La litteratur du jazz (Le Mans, 1963)

L. Kleberg: Svensk jazzbiografi (Stockholm, 1964)

A. Elings: Bibliografie van de nederlandse jazz (Nijmegen, 1966)

C. G. Herzog zu Mecklenburg: International Jazz Bibliography: la:: Books from 1919 to 1968 (Baden-Baden, 1969)

D. Kennington: The Literature of Jazz (London, 1970)

S. Winick: Rhythm: an Annotated Bibliography (Metuchen, 1974)

N. Wicker, ed.: Jazz Index, i-(1977-) [literature in periodicals, etc]

GENERAL HISTORIES

M. Howe: Blue Jazz (Bristol, 1934)

V. Skaarup and M. Goldstein: Jazz (Copenhagen, 1934)

A. Caraceni: II jazz dalle origini ad oggi (Milan, 1937, rev. 2/1945)

S. Kristensen: Hvad jazz (Copenhagen, 1938)

W. Hobson: American Jazz Music (New York, 1939/RI976)

F. Ramsey jr and C. Smith, eds.: Jazzmen (New York, 1939)

N. Hellstrom: Jazz: historia, tecnik, utouare (Stockholm, 1940)

A. Coeuroy: Histoire generale du jazz (Paris, 1942)

A. Niemoeller: Story of Jazz (Kansas City, 1946)

1. Laing: Jazz in Perspective (London, 1947/RI976)

L. Cerri: Musica d'oggi (Milan, 1948)

R. Goffin: Nouvelle histoire du jazz (Brussels, 1948)

B. Heuvelmans: De la bamboula au bebop (Paris, 1951)

M. Bouvier-Ajam: Connaissance du jazz (Paris, 1952)

N. Ortiz Oderigo: Historia del jazz (Buenos Aires, 1952)

B. Ulanov: History of Jazz in America (New York, 1952/R 1972)

S. Porto: Pequena histOria do jazz (Rio de Janeiro, 1953)

Nat Shapiro and Nat Hentoff, eds.: Hear me Talkin' to Ya' (New York,

A. Heerkens: Jazz (Baarn, 1956)

M. Stearns: The Story of Jazz (New York, 1956)

A. Francis: Jazz (Paris, 1958; Eng. trans., 1976)

J. Berendt: Das neue Jazzbuch: Eniwicklung and Bedeutung der Jazzmusik (Frankfurt am Main, 1959; Eng. trans., London, 1964)

W. Mellers: Music in a New Found Land (London, 1964)

C. Fox: Jazz in Perspective (London, 1969)

E. Southern: The Music of Black Americans (New York, 1971)

J. Storm Roberts: Black Music of Two Worlds (New York, 1972)

J. Berendt: The Jazz Book (New York, 1975)

SPECIALIST HISTORIES

F. Ramsey: Chicago Documentary (London, 1944)

R. Goffin: La Nouvelle Orleans (New York, 1946)

L. Feather: Inside Bebop (New York, 1949)

R. Blesh and H. Janis: They all Played Ragtime (New York, 1950, rep. 4/1971)

A. Morgan: Modern Jazz (London, 1956)

S. Charters: Jazz: New Orleans 1885-1957 (Belleville, NJ, 1958

2/1963)

S.Charters and L. K.u1n9s6ta2d) t: Jazz: a History of the New York Sane (Garden City, NY

I. Oilier: Jazz Masters of the Forties (New York, 1966)

H. Lange: Jazz in Deutschland (Berlin, 1966)

H. A. Kmen: Music in New Orleans: the Formative Years. 1791-1841 (Baton Rouge, 1967)

R. Pernet: Jazz in Little Belgium 1881-1966 (Brussels, 1967)

M. Dorigrit: Les origins du jazz: k style Nouvelle Orleans el ' prolongements (Paris, 1968)

R. Russell: Jazz Style in Kansas City and the South West (Berkeh;)' 1971, rev. 2/1973)

W. Shafer and J. Riedel: The Art of Ragtime (Baton Rouge, 1971)

John Szwed Bibliography[edit]

John Szwed's "Early Jazz History Bibliography" or access it at "Early Jazz History Bibliography."

Early Jazz History and Criticism Bibliography Pre-1940 Writings

Adorno, Theodore. “On Jazz” and “Farewell to Jazz” in Essays in Music. Berkeley: University of California Press, 2002, 470–495, 496–500

Aldrich, Robert. “Drawing a Line for Jazz,” New York Times, December 10, 1922 (Reprinted in Koenig 2002)

Alford, Harry L. “The Make-Up of a Modern Orchestra,” Metronome, July, 1923 (Reprinted in Koenig 2002)

[American jazz in France] The Nation, June 11, 1924 * “American Jazz Is Not African.” Metronome. October 1, 1926 * “America’s Folk Music.” ' The Outlook. February 2, 1927

“An Afternoon of Jazz,” The Musical Courier, February 14, 1924. (see Vincent Lopez)

(Editorial Notes) “Another Word about Jazz,” The Musical Observer. November. 1926 (Reprinted in Koenig 2002).

Ansermet, Ernest. “Sur un Orchestré Nègre,” Revue Romande, October, 1919 (reprinted as “A ‘Serious Musician Takes Jazz Seriously,” translated by Walter Schaap, in Robert Walser, ed. Keeping Time: Readings in Jazz History. NY: Oxford, 1999) and in Reading Jazz, Robert Gottlieb, ed., NY: Pantheon, 1996, 741–746.

Antheil, George. “A Discussion of the Debate—‘Is Jazz Music?’—In the July and August Issues of The Forum,” Forum. December 1928.

__________. “Jazz,” Life and Letters. July, 1928.

__________. "The Negro on the Spiral, or A Method of Negro Music" in Negro: An Anthology, Nancy Cunard and Hugh Ford, eds. NY: Frederick Ungar, 1970 [1934], 185.

“Anti-Ragtime,” The New Republic, November 6, 1915.

Ahold, Felix. “Die Jazzmusik.” Signale fuer die musikalische Welt, 87, 428–430.

“The Appeal of Primitive Jazz,” Literary Digest 55, no. 8 (1917), 28–29.

Austin, Cecil. “Jazz,” Music & Letters. July, 1925.

E. F. B. “Nothing Great Can Afford Shackles—In Youth There is Hope,” Musical Leader, January 4, 1923.

[Ballanta-Taylor, Nicholas G. J] “American Jazz is Not African,” New York Times, September 19, 1926, Sec. 20, 8. (Reprinted in Metronome 42, (October 1, 1927, 21)

__________. “Jazz Music and Its Relations to African Music,” Musical Courier 2, no. 5 (1938), 51.

Ballard, “Pat”. “Making the First Talking Picture of a Jazz Orchestra,” Metronome. November, 1929.

“Ban on Jazz Sacrilege,” The New York Times, November 4, 1922.

Baresel, Alfred. Das Jazz-Bucharest. Leipzig: Zimmerman, 1926 [several editions, including rev. 1929].

__________. “Jazz als Rettung.” Auftakt 6, No. 10 (1926).

__________. “Kunst-Jazz.” Melos 7 (1928), 354–357.

__________. “Und dennoch: Jazz.” Rheinische Musik und Theater Zeitung 28 (1926), 182, 184, 186.

Barton, William E., D.D. “Recent Negro Melodies,” New England Magazine, February, 1899.

Bauer, Marion. “L”Influence du jazz-band,” La Revue Musicale, April, 1924 (translated excerpt in Porter, 131–132).

Bell, Clive “‘Plus De Jazz,’” The New Republic, September,1921.

Benoist-Mechin, J. “Jazz Band,” The Musical Courier, February 21, 1924 (Reprinted in Koenig 2002).

[Bernie, Ben] “Defends ‘Jazz Tempo,’” Sheet Music News, March, 1924 (Reprinted in Koenig 2002).

Buchanan, Charles L. “The National Music Fallacy—Is American Music to Rest on a Foundation of Ragtime and Jazz?” Arts and Decoration. February 1924.

Benson, Timothy and Éva Forgás, eds. Between Worlds: A Sourcebook of Central European Avant-Gardes, 1919–1930. Los Angeles: Los Angeles County Museum of Art and Cambridge: MIT Press, 2002.

Beston, Walter. “Der Jazz.” Rheinische Musik-und Theater-Zeitung 28 (1926), 218–219.

Berger, Francisco. “A Jazz Band Concert,” Monthly Musical Record, 1919 (translated in Porter, 1999, 128–132.

Berger, Francesco. “Some English Observations upon a First Hearing of a Jazz Band Concert,” The Metronome. October, 1927.

Bernhard, Paul. Jazz: Eine musikalische Zeitfrage. Munich: Delphin, 1927.

Bickford, Myron A. “Something About Ragtime,” The Cadenza, September,1913 (Reprinted in Koenig 2002).

Bliss, Arthur. “Music in America (An Impression),” The Sackbut. September, 1925 (Reprinted in Koenig 2002).

Blom, Eric. “The American Intoxicant,” The Sackbut. April, 1927.

Blom, Eric. “Musical Hope for Musical Comedy,” CSM. September 10, 1927 (Reprinted in Koenig 2002).

“‘Blues Are Blues, They Are’ Says Expert in ‘Blues’ Case,” Variety, October 19,1917 (Reprinted in Koenig 2002).

“Both Jazz Music and Jazz Dancing Barred From All Louisville Episcopal Churches,” The New York Times, September, 1921.

“The Boys Who Arrange the Tunes You Play,” Metronome, September, 1922 (Reprinted in Koenig 2002).

Barroll, Edward C. “Fixing the Blame for ‘Jazz,’” Metronome, September, 1922 (Reprinted in Koenig 2002).

Bragaglia, A. G. Jazz Band. Milan: Edizioni ‘Corbaccio”, 1929.

“Broadway Jazz.” Peabody Bulletin, 1926.

Buchanan, Charles L. “Gershwin and Musical Snobbery,” The Outlook. February 2, 1927.

Buchanan, Charles L. “Ragtime and American Music,” Opera Magazine, February, 1916.

__________. “Two Views of Ragtime: Ragtime and American Music,” Seven Arts II: 2 (July 1917), 377–382.

Bukofzer, Manfred. “Soziologie der Jazz.” Melos 8 (1929), 387–391.

Burian, E. F. Jazz. Prague: Aventinum, 1928.

Butler, Henry F. “Accursed Jazz,” The Baton, April, 1924.

Hershey, Burnet. “Jazz Latitude,” The New York Times Book Review & Magazine, June 25, 1922.

Cadman, Charles Wakefield. “Cadman on ‘Ragtime,’” The Musical Courier, August 12,1914.

Campbell, E. Sims. “Early Jam,” The Negro Caravan, Sterling Brown, Arthur P. Davis, and Ulysses Lee, eds. NY: Dryden, 1941, 983–990 (reprinted from Esquire, 10 (December, 1941).

“Capacity House Fervently Applauds As Jazz Invades Realm of Serious Music,” Musical America, February 23, 1924.

Caraceni, Augusto. Il jazz dalle origini ad oggi. Milan: Zerboni, 1937.

__________. and André Schaeffner. 'Le Jazz. Paris: Aveline, 1926.

Casella, Alfredo. “1900,” Christian Science Monitor. December 11, 1926 (Reprinted in Koenig 2002).

[Cassella, Alfredo] “Casella on Jazz,” The Music Courier, July 12, 1923 (Reprinted in Koenig 2002).

Castle, Irene. Castles in the Air. [1958] reprint, NY: DaCapo, 1980.

__________. My Husband. [1919] reprint, NY: DaCapo, 1979.

“Castles Dance Fox Trot; Call It Negro Step.” New York Herald, no date [fall, 1914] (in Castle Scrapbook, Billy Rose Theater Collection, New York Public Library).

Chenette, Ed. “Town Clef Topics,” Metronome, March, 1923.

__________. [Another name for jazz] Metronome, May, 1924.

“Charinski Defends Jazz,” Metronome, June,1922

Chop, Max. “Jazz als Lehrfach.” Signale fuer die musikalische Welt' 86 (1926), 43–44.

Chotzinoff, Samuel. “Jazz: A Brief History,” Vanity Fair 20 (June, 1923), 69, 104, 106.

Christensen, Axel “The Teaching of Ragtime Versus Classical,” Ragtime Review. August 1915.

“Clarence Williams, Inc., Enlarges Quarters,” Metronome, August, 1923 (Reprinted in Koenig 2002).

“Clarence Williams a Specialist on ‘Blues,’” Metronome, September, 1923 (Reprinted in Koenig 2002).

Clark, Kenneth S. “Of Interest to Composers,” The Musical Courier, November 16, 1922.

“Classical vs. Jazzical Music,” Literary Digest. June 12, 1920.

“Classics in ‘Jazz-Tempo,’” Sheet Music News, January 1924.

Clurman, Harold. “Letter to the Editor: The Future of Jazz,” New Republic, XLV: 585 (Feb 17 1926), 359.

Clyne, Anthony. “Jazz,” The Sackbut. August, 1925.

Colby, Carleton L. “Are American Hotels Sponsoring a Truly National Music?” Metronome, May, 1923.

Connor, Herbert. “Die ‘Zukunftsnusik” des Mister Whiteman.” Signale fuer die musikalische Welt 84 (1926), 1060–1061.

Cook, Will Marion. “Music of the Negro,” Illinois Record, May 14, 1898, Sec. 1, 4.

__________. “Negro Music,” New York Age, September 9, 1918, 6.

Copland, Aaron. “Jazz Structure and Influence,” Modern Music, 4:2 (Jan–Feb, 1927), 9–14.

__________. “Jazz Structure and Influence,” Modern Music. November/December 1926.

Cowell, Henry. “Bericht aus Amerika: Die kleineren Komponisten,” Melos 9 (December 1930), 526–529.

Cunliffe, Ronald. “George Gershwin’s ‘Rhapsody in Blue’,” Music Teacher. September, 1929.

Cunningham, Carl. “How’s Business With the Dance Orchestra Boys?” Metronome, December, 1923.

Curtis–Berlin, Natalie. “Black Singers and Players,” The Musical Quarterly 5 (1919), 502–503.

Cutting, Ernest. “Instrumentation for Theater Pit and Dance Orchestras,” Metronome. December, 1923.

Darrell, R.D. “All Quiet On the Western Front,” Disques 3, (September 1932), 290–294.

David, Hans Th. “Abschied vom Jazz.” Melos 9 (1980), 313–417.

Davidson, Harry. “What Has ‘Ragtime’ To Do With ‘American Music?’” Ragtime Review, August, 1916.

“The Decline of Jazz,” Musician, May,1922.

“Decries ‘Jazz Thinking',” New York Times, February 15, 1925, 17.

Delaunay, Charles. Hot Discography. NY: Commodore Record Shop, 1938 [French edition,1936].

del Castillo, Lloyd G. “Jazz—Is It Music or Something Else?” Jacob’s Band Monthly, June/July, 1924.

“Delving into the Genealogy of Jazz,” Current Opinion. August 1919.

“Debunking Jazz,” The Literary Digest. March 26, 1927.

“The Descent of Jazz upon Opera,” The Literary Digest. March 13, 1926.

D’estere, Neville. “A Syncopated Apology (Part I),” The British Musician, September, 1928.

__________. “A Syncopated Apology (Part II),” The British Musician, October, 1928.

Dickerson, Reed. “Hot Music: Rediscovering Jazz,” Harper's, April, 1936, 567–574.

“The Difference Between ‘Jazz’ and ‘Popular Music’,” Jacob’s Orchestra Monthly & The Cadenza, 1924.

“The Dixie Piccolo.” The Étude, January, 1925.

Dodge, Roger Pryor. Hot Jazz and Jazz Dance: Collected Writings 1929–1964. NY: Oxford University Press, 1995.

Downes, Olin. “A Concert of Jazz.” New York Times, Feb. 13, 1924, 16.

__________. “Goodman is Heard in ‘Swing Concert.” New York Times, January 17, 1938, 11.

__________. “Stirring Achievements of Orchestra of Colored Musicians—Greatness of Musical Future of the Black Race,” The Boston Sunday Post, August 14, 1918 (also in The New York Age, August 24, 1918.

“Drum Taps,” Metronome, July, 1922.

“Ducasse Uses Ragtime in New Tone Poem,” Musical America, March 10, 1923.

The Editor-in-Chief. “Variationettes,” The Musical Courier, March 30, 1922.

Elliott, Gilbert, Jr. “The Doughboy Carries His Music With Him,” Music Review, August, 1919.

__________. “Our Musical Kinship With the Spaniards,” Musical Quarterly, 8 (1922), 413–418.

Ellington, Duke. “Music ‘Tops” to You And Me . . . And Swing is a Part of It,” Tops (1938), 14–18. (Reprinted in Robert Walser, ed. Keeping Time: Readings in Jazz History. NY: Oxford, 1999).

Engel, Carl. “Jazz: A Musical Discussion,” The Atlantic Monthly, August. 1922

Engel, Carl. “Views and Reviews,” Musical Quarterly. 1926.

“Enigmatic Folksongs of the Southern Underworld,” Current Opinion', September, 1919.

Estes, Stephen A. “The ‘New’ Jazz,” The Music Lovers Magazine, September, 1922.

“The Ethics of Ragtime,” Orchestra Monthly. August 1912.

“‘An Experiment in Music,’” The Musical Courier. February 21, 1924.

Europe, James Reese. “A Negro Explains Jazz,” Literary Digest 61, no. 4 (1919), 28–29.

“Eva Gauthier,” Musical Digest, November, 1923.

“Eva Gauthier Comments on Her Experiment in Jazz,” Musical Observer, July, 1924.

“Eva Gauthier Would Make Reforms in Our Concert Halls,” Musical America, June 21, 1924.

“Fails to Stop Jazz, Is Arrested Later,” The New York Times, July 7,1922.

Fandel, Bert. “The Banjo Today and Yesterday,” Metronome, August, 1924
Farjeon, Harry. “Ragtime,” Musical Times, September 1, 1924
Farmer, Harcourt “The Marche Funebre of ‘Jazz,’” Musical America, June, 1919
Faulkner, Anne Shaw “Does Jazz Put the Sin in Syncopation?” Ladies’ Home Journal, August,

1921. Felber, Erwin. “Erotismus und Primitivismus in der neueren Musik.” Die Musik 21 (July, 1925), 724–731

‘Feste’. “Ad Libitum,” Musical Times, September 1, 1924
Finck, Henry T. “Jazz—Lowbrow and Highbrow,” The Étude, August, 1924

Fisher, Rudolf. “The Caucasian Storms Harlem, A The American Mercury, 11 (1927), 393–398 (reprinted in Robert Walser, ed. Keeping Time: Readings in Jazz History. NY: Oxford, 1999 Fitzgerald, F. Scott. “Echoes of the Jazz Age,” in The Crack-Up. NY” New Directions, 1945 Flamm, Nellie. “Songs and Dances of the Southland,” Metronome, January, 1923 * Fleischmann, Hugo R. “The First Opera and Operetta,” The Chesterian. March, 1928 Fletcher, John Gould. “A Jazz Critic,” The Dial 67 (Aug. 23, 1919), 155–156

“For Better or For Worse,” Musical Digest, February, 1924

Frank, Waldo. “Jazz and Folk Art,” New Republic, December 1, 1926, 42–43 (also in Waldo Frank, In the American Jungle, 119–123)

Frankenstein, Alfred V. “Jazz Arrives at the Opera,” Review of Reviewing. March, 1929 __________________. Syncopating Saxophones. Chicago, 1925
“Franz Lehar on Jazz,” Living Age. March 13, 1926
“Free Trade or War for Jazz?” Literary Digest. April 24, 1926
Freese, Myron V. “What Jazz Has Done to the Fretted Instruments,” Cadenza. February 1924. From Spirituals to Swing. Vanguard 169/71–72 (notes to boxed set: John Hammond, “Random

Notes on the ‘Spirituals to Swing” Recordings”(1959); concert review by John Sebastian from New Masses, January 3, 1939; Charles Edward Smith, “A Gateway in Times” (1959); Harry “Sweets” Edison Remembers ‘From Spirituals to Swing”“ (1999)”; original program to the concert with articles by John Dugan and John Hammond) Gade, Sven. Jazz Mad. NY: Jacobsen-Hodgkinson, 1927 [novel]

Garbett, Arthur S. “Why You Like Jazz,” Sunset Magazine. March, 1924
Gardner, Samuel “More Jazz for the Violin,” Musical America, November 4, 1923
Gates, W. F. “Ethiopian Syncopation—The Decline of Ragtime,” The Musician, October, 1902

Gaul, Harvey B. “The Spirit of ’76 in Jazz,” Metronome, September. 1922

Gaultier, Paul. “Ecrit et pensé en negre: du jazz-band au roman négre.” Revue Politique et Littéraire, January 21, 1922 (reprinted in “La France decouvre le jazz,” special issue of Jazz Magazine (Paris), No. 325 (January, 1984), 37)

“Getting Down to the Truth About Jazz,” The Étude, July. 1924
Gibbons, Frank J. “Pre-Jazz, Jazz, Post-Jazz,” Metronome, September, 1923
Gilbert, Henry F. “Concerning Jazz,” The New Music Review, December, 1922
Gillespie, Marian. “Rhythmic Symphonic Syncopation vs Modern Jazz,” Metronome, June, 1924 Gilbert, Will G. Jazzmuziek. s”Gravenhage: Kruseman, 1939

Gilman, Lawrence. “Paul Whiteman and the Palais Royalists Extend Their Kingdom.” New York Herald Tribune, Feb. 13, 1924, 9 Ginzburg, S. L., ed. D〉az-band. Leningrad: Academia, 1926

Godowsky, Leopold. “An Opinion on ‘Jazz,’” Metronome, June, 1922

Goffin. Robert. Aux frontières du jazz. Paris: Sagittaire, 1932 ___________. “The Best Negro Jazz Orchestra” [trans. from French by Samuel Beckett], Negro: An Anthology. [trans. from French by Samuel Beckett] London: Wishart, 1934 [1] ___________. “Hot Jazz,” Negro: An Anthology. [trans. from French by Samuel Beckett] London: Wishart, 1934, 378–379

Goldberg, Isaac. “Aaron Copland and His Jazz,” American Mercury. September, 1927 ______________. Jazz Music: What It Is and How To Understand It. Girard, Kansas:

Haldeman-Julius [Little Blue Book no. 470], 1927 Goldstein, Martin and Victor Skaarup. Jazz. Copenhagen: Pedersen, 1934 Goll, Ivan. "The Negroes are Conquering Europe" in The Weimar Sourcebook, James Kaes, ed. Berkeley: University of California Press, 1994, 559–660 (orginally publish as "Die Neger erobern Europa" in Die literarische Welt 12 (January 15, 1926, 3–4)

Gordon, H.S. “The Jazz Myth,” The Sackbut. November, 1925
“Gordon Colored Minstrels Coming,” Napoleon Pioneer, September 22, 1905

Graener, George. “Jazz–Glosse.” Allegemeine Musikzeitung 53 (1926), 121–122 Graham, Roger. “Jazz Origin Again Discovered,” Music Trade Review, 68, no. 24, 32–33 Grainger, Percy. “Jazz.” Anbruch 7 (April 1925)

____________. “Never Has Popular Music Been as Classical as Jazz,” Metronome. July 1, 1926

Gruenberg, Louis. “Der Jazz als ausgangspunkt.” Anbruch 7 (April 1925) ______________. “Vom Jazz und anderen Dingen.” in 25 Jahre neue Musik. Vienna: Universal– Edition, 1926

Guilliams, A. E. “Detrimental Effects of Jazz on Our Younger Generation,” Metronome,

February, 1923 Gutman, Hans. “Mechanisierung und Jazz.” Ambruch 8 (October–November, 1926) * Haggin, B.H. “Music—The Pedant Looks at Jazz,” Nation. December 9, 1925 * _________. “Music—Two Parodies,” The Nation. January 13, 1926

Hall, Edward Burlingame. “Jazz,” Harvard Graduate Magazine. March, 1925

Hall, Willard. “Jazz Explained: Writer Traces It to Fox Trot and Keen Sense of Rhythm” (with reply by R. W. Ricketts), Christian Science Monitor, 1919 (Reprinted in The Master Musician, October, 1919, 16) Handy, W. C. Blues: An Anthology. NY: Albert and Charles Boni, 1926 “Handy, Jazz Pioneer Gives Famous ‘Blues”; His Company Offers Program in Carnegie Hall.” New York Times, April 28, 1928, 13 “Has Jazz Hurt Concert-Giving? Managers Say ‘No!’,” Musical America. November 14, 1925 Hershey, Burnett. “Jazz Latitude,” New York Times Book Review and Magazine, June 25, 1922 , 8–9 (reprinted in Robert Walser, ed. Keeping Time: Readings in Jazz History. NY: Oxford, 1999 Heiniss, William. AIrrationale Prophezeihungen dem Jazz.” Das neue Frankfort 6 (1926/27), pp. 142–144

Henderson, W.J. “Ragtime, Jazz, and High Art,” Scribner’s, February, 1925

Hernandez, Juan. ALa Confession d”un enfant du jazz.” In “La France decouvre le jazz,” special

issue of Jazz Magazine (Paris), No. 325 (January, 1984), 64–65, 84 Henry, Leigh. “What’s Wrong with Jazz?” Musical Opinion. November, 1926 Heuss, Alfred. “Der Foxtrott im Konzertsaal.” Zeitschrift fuer Musik 9 (1923), 54 “‘High Class’ Jazz,” Music Leader, April 26, 1923 Hill, Edward Burlingame. “Copland’s Jazz Concerto in Boston,” Modern Music. May/June, 1927 Hirsch, Herbert Sachs “Dangers That Lie in Ragtime,” Musical America, September 21, 1912 “His Opinion Will Not Be Accepted,” New York Times, (October 8, 1924) Hobson, Wilder. American Jazz Music. NY: Norton, 1939 Holde, Artur. “Der Sommer der Misik in Frankfurt a Main.” Allegemeine Musikzeitung 54 (1927), 918–919 Holl, Karl. “Jazz im Konservatorium.” Melos 7 (1928), 30–32 Hopkins, Ernest J. “In Praise of ‘Jazz,” a Futurist Word Which Has Just Joined the Language,” San Francisco Bulletin, April 5, 1913 (reprinted in Porter, 1999, 6–8 Hornbostel, M. von. “Ethnologisches zu Jazz.” Melos 6 (1927), 510–512 “Hot Music in Carnegie.” New York Times, January 18, 1938, 22 Hourwich, Rebecca. “Where the Jazz begins,” Collier”s, January 23, 1926, 14 (reprinted in Lewis Porter, Jazz, A Century of Change. NY: Schirmer, 1999) Howgate, George W. “Jazz,” Forum. October, 1928.

Hubbard, W. L. “A Hopeful View of the Ragtime Roll,” Musician, August, 1920
Hughes, Langston “The Negro Artist and the Racial Mountain,” The Nation. June, 1926 * Hurston, Zora Neale. “Characteristics of Negro Expression,” in Negro: An Anthology, Nancy

Cunard, ed. London: Wishart, 1934 [reprinted in Signiyin[g], Sanctifyin”, & Slam Dunking: A Reader in African American Expressive Culture. Gena Dagel Caponi, ed. Amherst: University of Massachusetts Press, 1999] Iger, Artur. “Jazz-Industrie.” Auftakt 6, No. 10 (1926) ________. “Jazz-Mosaik.” Auftakt 6, No. 10 (1926)

“In the Matter of Jazz.” Musical Courier, February 1925
“Is Jazz ‘The American Soul’?” Musical America, November 24, 1923

Jacobs. “Negro Folk-Songs,” Donaldsonville Chief, May 25,1912 “James Reese Europe,” The Crisis, 2 (June, 1912), 67–68 Janowitz, Hans. Jazz Bonn: Weidle, 1999 [1927] [novel]

Jarecki, Tadeusz. “Jazzing Up the Symphony Orchestra,” The Chesterian. July, 1927 * “Jazz,” British Musician. August, 1929
“Jazz,” Life, Letters, and the Arts. July 31, 1920
“Jazz,” Opportunity. May, 1925
“Jazz,” Outlook, March 5, 1924

“Der Jazz.” Allegemeine Musikzeitung 55 (1928), 91 “Jazz and Jassism,” The Times-Picayune [New Orleans], June 20, 1018, 4 (Reprinted as AThe Location of ‘Jazz”“ in Robert Walser, ed. Keeping Time: Readings in Jazz History. NY: Oxford, 1999) Jazz Advertised 1910–1967, Vol. 1: Out of the New England Negro Press 1910–1934, Franz Hoffmann, ed. Berlin, Privately Printed, 1989 Jazz Advertised 1910–1967, Vol. 2: Out of the New England Negro Press 1935–1949, Franz Hoffmann, ed. Berlin, Privately Printed, 1980 Jazz Advertised 1910–1967, Vol. 4: Out of the Chicago Defender 1910–1934, Franz Hoffmann, ed. Berlin, Privately Printed, 1981 Jazz Advertised 1910–1967, Vol. 5: Out of the Chicago Defender 1935–1949, Franz Hoffmann, ed. Berlin, Privately Printed, 1981 Jazz Advertised 1910–1967, Vol. 7: Out of the New York Times, Franz Hoffmann, ed. Berlin, Privately Printed, 1989 Jazz Advertised 1910–1967, Index, Franz Hoffmann, ed. Berlin, Privately Printed, 1981 Jazz Reviewed, Vol. 1: Out of the New England Negro Press 1919–1950, Franz Hoffmann, ed. Berlin, Privately Printed, 1995

“Jazz Again,” The Music Courier, July 5, 1923 (letter in response, The Music Courier, August 30,

1923

“A Jazz Conference,” Music Leader, April 13, 1922
“Jazz and the Organist,” American Organist, January, 1923

“Jazz and Ragtime Are the Preludes to a Great American Music,” Current Opinion, August, 1920 * “Jazz as Folk-Music,” Musical America. December 19, 1925
“Jazz at its Worst,” The Musical Courier, February 14, 1924
“‘Jazz ‘Er Up!’ Broadway’s Conquest of Europe,” The New York Times, December 18, 1921 * “The Jazz Fiddler,” The Étude, June 1923

“Jazz Hymns Draw Fire,” New York Times, August 2, 1925, Sec. 1, 27 (See also APostpones Hymn Program,” New York Times, August 3, 1925, 18)

“Jazz Is Assuming Prominence as an American Music Idiom, Declares Skyscrapers’ Composer,” The Musical Digest. November 23, 1926
“Jazz or—” The Musical Courier, February 7, 1924 (reply to Vincent Lopez, see below)
“Jazz or ‘Modern Popular Music’ to Be Heard and Discussed at Composers’ League Lecture,”

The Musical Courier, February 7, 1924 (reply to Vincent Lopez, see below)

“Jazz Played Out,” The Literary Digest, January 14, 1922
“Jazz Referred to as the Inventive Spirit of America,” Metronome, September, 1924
“‘Jazz’ Waits at This Church,” Music Trades, May 13, 1922

“Jazzing Away Prejudice,” Chicago Defender, May 10, 1919, 20 (reprinted in Robert Walser, ed. Keeping Time: Readings in Jazz History. NY: Oxford, 1999)

“Jazzing Jazz to Death,” Melody. April 19, 1923
“Jazzing the Masters,” Metronome, December, 1923
“Jazzminia-The Home of the Sax,” Music Trade News, August, 1924

Jeanneret, Albert. “Le Negre et le jazz,” Revue Musicale, 8 (July, 1927), 24–27 Jemnitz, Alexander. “Der Jazz als form und inhalt.” Anbruch 7 (April 1925) [Johnson, Charles S.] “Jazz,” Opportunity, April, 1925 (reprinted in Porter, 1999, 122–125 _________________. “The Origins of Jazz,” Opportunity, April, 1928 (reprinted in Porter, 1999, 82–84 Johnson, James Weldon. The Autobiography of an Ex-Colored Man. New York, 1926 ___________________. Black Manhattan. NY, 1930 Jolo. “Ragtime vs. Classical,” Variety, December 23,1911

Jones, Isham. “American Dance Music Is Not Jazz,” The Étude, August, 1924
Judson, Arthur L. “Works of American Composers Reveal Relation of Ragtime to Art-Song,”

Musical America., December 2, 1911 Kaes, Anton, Martin Jay, and Edward Dimendberg, eds. The Weimar Republic Sourcebook. Berkeley: University Of California Press, 1994

“Kahn on Jazz,” Music Courier, November 20, 1924
“Kahn Wants a Jazz Opera to Produce on Metropolitan Stage,” Musical News, November 28,

1924 ^“Interview with Otto Kahn,” London Evening News. June 5, 1925 “Kampf um das Frankfurter Jazz-Konservatorium.” Neue Musik-Zeit Kaufmann, Helen. From Jehovah to Jazz: Music in America From Psalmody to the Present Day. NY: Dodd, Mead, 1937

Kaye, Joseph. “Says Jazz Would Galvanize American Opera,” Musical America, July 22, 1922 Kempf, Paul, Jr. “Striking the Blue Note in Music,” Musician 34 (August, 1929), 29
“King Jazz and the Jazz Kings,” Literary Digest. January 30, 1926

Kingsley, Walter. “France’s Ban on Jazz,” Metronome, July, 1924 _____________. “The Origin of Ragtime,” Metronome, July, 1924 _____________. “Whence Comes Jass,” New York Sun, August 5, 1917, 3 (Reprinted in Robert Walser, ed. Keeping Time: Readings in Jazz History. NY: Oxford, 1999) Knowlton, Don, “The Anatomy of Jazz,” Harper”s 152 (April, 1924), 578–585 * Kolisch, Mitzi. “Jazz in High Places,” Independent. April 10, 1926

Kool, Jaap. “The Triumph of the Jungle,” Living Age, February 7, 1925

Korngold, Julius. “Jazzkultur.” Allegemeine Musikzeitung 53 (1926), 225–26

Kramer, A. Walter “Extols Ragtime Article,” The New Republic, December 4,1915 Krehbiel, Henry Edward. Afro-American Folksongs: A Study in Racial and National Music.

NY: G. Schirmer, 1914 Kristl, William. “Moderne Tanzmusik.” Auftakt 5 (1925), 19–20 L. “Jazz Analyzed,” Commonweal 30 (April 28, 1939), 22–23 Larrazet, Georges. Le jazz: Prèscience d”un dynamissme nouveau. Paris: Flory, 1938

Lachenbruch, Jerome “Jazz and the Motion Picture,” Metronome, April, 1922
Laubenstein, Paul Fritz. “Jazz-Debit and Credit,” Musical Quarterly, October, 1929
“Leave ‘Jazz’ Alone,” The Musical Courier. October 26, 1922
Leighton, Frank and Burt “Origin of ‘Blues’ (or Jazz),” Variety, January 6, 1922

Leiris, Michel. “L’Autre qui apparait chez vous,” in “La France decouvre le jazz,” special issue of Jazz Magazine (Paris), No. 325 (January, 1984), 34–36 ___________. “Civilization” [1929], Sulfur 15 (1986), 93–96 ___________. “Jazz,” Sulfur 15 (1986), 97–104 ___________. Manhood, 1984

Levy, Newman. “Toward Defining the Jazz Formula,” Musical Digest, July 8, 1924
Lewis, Cary B. “William Marion Cook,” The Chicago Defender, May 1, 1915

“Links Concert and Jazz: Benefit by Paul Whiteman Orchestra Explained.” New York Times, April 13, 1924, II, 2

Lloyd, Llewelyn C. “Jazz and the Modern Spirit,” The Monthly Musical Record. November, 1926 * Loar, Lloyd. “Is ‘Jazz’ Constructive or Destructive?” Jacobs’ Band Monthly, May, 1924

Locke, Alain L. The Negro and His Music. Washington, DC, 1936

Lockwood, Georgiana. “Interesting People-Meyer Davis Runs Sixty-Two Jazz Orchestras,”

American Magazine, April, 1925 Loeb, Harold. “The Mysticism of Money ,” Broom 3 (1922), 115–130 __________ Life in a Technocracy: What It Might Be Like. NY: Viking 1933

“Lopez in Jazz Concert,” Sheet Music News, March, 1924
[Lopez, Vincent.] “Lopez on Jazz,” The Musical Courier, January 24, 1924 * ______________ “Vincent Lopez Comments on His Unique Experiment,” The Musical

Observer, May, 1924

Lorenz, Clarice. “Jazz—The Newest Musical Phenomenon,” Melody, July, 1924
Lowry, Helen Bullitt. “Putting the Music Into the Jazz,” The New York Times Book Review & Magazine, December 29, 1922
Ludwig, William “Jazz the Present-Day Live Issue in the Development of American Music,” Metronome, May, 1922

Lyle, Watson. “Negermusik.” Auftakt 5 (1925), 15–16

McCulloch, Lyle. “Intolerance and Jazz,” Melody. September, 1924
McMahon, John R. “Unspeakable Jazz Must Go!” Ladies’ Home Journal, December, 1921 * Malkiel, Henrietta. “Awaiting the Great American Opera: How Composers Are Paving the Way,”

Musical America. April 25, 1925

_____________. “New American Music Drama of Redemption Utilizes Jazz,” Musical America.

April 11, 1925 Maquire, Hélene. “The Revolt Against Formalism.” Musician 27 (Septe4mber, 1922), 26 * Mason, Daniel Gregory “Concerning Ragtime,” The New Music Review, March,1918. The Master Musician (1919–21) [complete run (photocopy) available from Tom Gracyk, tgracyk”garlic.com)

Mathews, Haydn M. “Jazz—Its Origin, Effect, Future,” The Flutist, February 1924 Mauck, E. “Die Musik im Karett.” Berliner Tageblatt, February 22, 1925

May, Earl Chaplin. “Where Jazz Comes From,” Popular Mechanics, 44 (January, 1926), 97–102

“A Medico on Jazz,” Musical Courier. August 11, 1927

Melichar, Alois. “Walzer und Jazz.” Die Musik 20 (1928), 510–512 Mendl, R.W. The Appeal of Jazz. London: Allan, 1927

“Meyer Davis Thinks Jazz Symbolic of America,” Metronome, September, 1923
Milhaud, Darius. “The Day After Tomorrow,” Modern Music. November–December 1925 * _____________. “The Development of the Jazz Band, and North American Negro Music,”

Metronome. December 15, 1925 _____________. “The Jazz Band and Negro Music,” Living Age 323 (October 18, 1924), 169–173 _____________. Études. Paris: A. Aveline, 1927 [____________] “Jazz, Says Darius Milhaud, Is the Most Significant Thing in Music Today,” 8

Musical Observer., March, 1923 Moore, A.L.H. “Paul Whitemand – The Reformer of Music,” British Musician. June, 1929 * Moderwell, Hiram Kelly. “A Modest Proposal,” Seven Arts, July, 1917 __________________. “Two Views of Ragtime: A Modest Proposal,” Seven Arts II: 2 (July 1917), 368–376

Motherwell, Hiram. “Hitching Jazz to a Star,” Musical America. March 10, 1929 __________________. “Ragtime,” The New Republic IV: 50 (Oct 16, 1915), 284–286

“More ‘Hot and Dirty’ Breaks,” The Étude. May, 1927

Morgan, William J. “A Defense of Jazz and Ragtime,” Melody, September, 1922
Mueller, E.J. “Jazz als Karikatur.” Auftakt 6, No. 10 (1926)
Murphy, Edward F. “Black Music,” Catholic World. October/March, 1929
Murphy, W.R. “Jazz Apotheosis is Philadelphia Event,” Musical America. December 12, 1925 * “The Musical Possibilities of Ragtime,” Metronome,1903
“Musician is Driven to Suicide by Jazz: Wouldn’t Play it, Couldn’t Get Employment,” The New

York Times, April 7, 1922

“The Nature and Function of Jazz,” Musical News and Herald, August 2, 1924
“Negro Melodies of Scotch Origin,” Metronome, October, 1906

Nelson, Stanley R. All About Jazz. London: Heath Cranton, 1934 Nevin, Gordon Balch. “Jazz – Whither Bound?,” The Étude. September, 1929

“A New York Diary,” New Republic. December 14, 1927
A New York Diary,” New Republic. May 9, 1928
Newell, George. “George Gershwin and Jazz,” Outlook. February 22, 1928
“Newman Excoriates Jazz,” Musical America. September 18, 1926
“Newman on Jazz,” Life, Letters, and the Arts. February 15, 1927

Nichols, E. J., and W. L. Werner. “Hot Jazz Jargon,” Vanity Fair 45, no. 3 (1935), 38, 71 * Niles, Abbe. “Blue Notes,” New Republic. February 3, 1926

_________. “Lady Jazz in the Vestibule,” The New Republic, December 23, 1925, 138–139 * _________. “A Note on Gershwin,” The Nation. February 13, 1929

(See also W. C. Handy, Blues: An Anthology. NY: Albert and Charles Boni, 1926) * “Novelty Is Spice,” Musical America, November 10, 1923

“On With the ‘Charleston’,” Literary Digest. September 19, 1925
“Orchestra Leaders Differ,” Sheet Music News, February, 1924
“Orchestras Oscillate Between Beethoven and Jazz,” Musical America. December 12, 1925 * “Origin of ‘Blues’ Numbers,” Sheet Music News, October, 1923
“The Origin of Ragtime,” Metronome, 1901

Osgood, Henry O. “The Anatomy of Jazz,” American Mercury 7:28 (April, 1926), 385–395

                                  * _____________. * _____________.

May 22, 1924 * ______________. 328–330 ______________. Otley, Roi. “Are You Listenin”?” [on Don Redman], New York Amsterdam News, June 14, 1933, 16 Panassiè, Hugues. Hot Jazz: The Guide to Swing Music. New York: Whitmark, 1936 [in French, 1934]

Patterson, Frank. “‘Jazz’—the National Anthem (part I),” Musical Courier, May 4, 1922 * Patterson, Frank. “‘Jazz”—the National Anthem (part II),” Musical Courier, May 11, 1922 * “Paul Whiteman and His Orchestra,” Musical America, June 7, 1924
“Paul Whiteman’s Experiment,” Sheet Music News, February, 1924
Perkins, Francis D. “Jazz Breaks Into Society,” Independent, January 3, 1925

Peyton, Dave. “The Musical Bunch,” Chicago Defender, April 28, March 10, and May 12, 1928 * Peyser, Herbert F. “Jazz Knocks in Vain at Opera’s Door,” Musician. March, 1929 (all on 6 of each edition). (Reprinted as “A Black Journalist Criticizes Jazz in Robert Walser, ed. Keeping Time: Readings in Jazz History. NY: Oxford, 1999) * “Philadelphia Hears First Complete Jazz Symphony,” Musical Courier. June 11, 1925 * Pickering, Ruth “The Economic Interpretation of Jazz,” The New Republic, May 11, 1921, “The Blues,” Modern Music. November/December 1926. “First He Played the Viola—And Now He’s Paul Whiteman,” Musical Courier, “The Jazz Bugaboo,” American Mercury 6: 23 (November, 1925),

  So This Is Jazz. Boston: Little, Brown, 1926
            9

323–324 “Plus Que Jazz.” New Statesman, October 1924

Poldowski. “The Influence of Jazz,” The Chesterian. September, 1927
“Popular Music Recital,” Sheet Music Review, February 1924

“Postpones Hymn Program,” New York Times, August 3, 1925, 18 (See also “Jazz Hymns Draw Fire,” New York Times, August 2, 1925, Sec. 1, 27)

“Primitive Savage Animalism, Preacher’s Analysis of Jazz,” The New York Times, March 3, 1922 “Putting Jazz in its Place,” Literary Digest 82 (July 5, 1924), 31–32
“Quality in ‘Blues,’” Metronome, September, 1923
“The Quarries for Jazz,” Literary Digest. May 29, 1926
“Queen Mary Bars Jazz,” The New York Times, July 28, 1922
“Radio Interest to Suppress Jazz,” Musical Courier. December, 1929
“‘Rag-Time’ on Parnassus,” Musical Opinion & Musical Trade Review, February, 1913 “Ragtime,” The Étude, June, 1899

“Ragtime,” The Musician, March, 1900 “Ragtime,” Shreveport Sunday Judge, May 4, 1899 “Ragtime Communication,” The Musical Courier, May 30, 1900

“‘Ragtime’ Spreading All Over Continent,” Variety. February 4, 1913.

Ramsey, Frederic, Jr. and Charles Edward Smith, eds. Jazzmen. New York: Harcourt, Brace, 1939 Rathaus, Karol. “Jazzdammerung? ́ Die Musik 19 (February, 1927), 333–336 “Rector Calls Jazz National Anthem,” New York Times (January 30, 1922) * “Remarks on Ragtime,” Musical Courier, May 28, 1913

“Representatives of 2,000,000 Women, Meeting in Atlanta, Vote to Annihilate Jazz,”

Music Courier, May 31, 1923

“Reviews of Recording Discs,” Variety, June 23, 1922

Risenfeld, Paul. “Der Amerikanismus in der heutigen Musik.” Rheinische Musik– und Theater- Zeitung 29 (1928), 303–305

“Riesenfeld as the Latest Defender of Jazz,” Metronome, December, 1922

Riviere, Georges Henri. “Ellington,” Documents, 1929 (reprinted in “La France decouvre le jazz,” special issue of Jazz Magazine (Paris), No. 325 (January, 1984), 50)

Rogers, J.A. “Jazz at Home.” The Survey, March 1, 1925 (also in The New Negro, Alain Locke,

ed. NY: Albert and Charles Boni, 1925 Rogers, M. Robert. “Jazz Influences on French Music,” The Musical Quarterly, Vol. 21 (January, 1935)

Rosenbaum, Sam L. “Ragtime in New Orleans,” Ragtime Review, August, 1915 * “Russian Conductor on ‘Jazz’,” Music Trade News, November, 1924

Saerchinger, Cesar. “Jazz.” Anbruch 7 (April 1925)

Sanborn, Pitts. “Jazz Worship,” Independent, May 12, 1924

Sargant, Norman and Tom Sargant. “Negro American Music or The Origin of Jazz,” Musical Times, 72 (1931), 653–655; 751–772; 847–848 Sargeant, Winthrop. Jazz: Hot and Hybrid. NY: Arrow, 1938 (New and Enlarged Edition. NY: Dutton, 1946

“Say Jazz Will Surely Live,” The New York Times, January 16, 1924
Scarborough, Dorothy. “The ‘Blues’ as Folk-Songs,” Journal of the Folklore Society of Texas,

1916 Schauffler, Robert Haven. “Jazz May Be Lowbrow, But -- “ Collier”s 72 (August 25, 1923), 10 Schaeffner, André and André Cœuroy. Le Jazz. Paris: Aveline, 1926 ______________________________. “Die Romantik der Jazz.” Auftakt 6, No. 10 (1926)

Schaufler, Robert Haven. “Who Invented Jazz,” Colliers, January 3, 1925 Schildberger-Gleiwitz, H. H. “Jazz-Musik.” Die Musik 17 (1925), 914–923

Schoen, Ernst. “Jazz und kunstmusik.” Melos 6 (1927) ___________. “Mátyás Seiber: Schule fuer Jazz Schlagzeug” Melos 9, 322–323 ___________. “Musik und Rundfunk.” Das neue Frankfurt 2 (1928), 29–31 ___________. “Paul Bernhard ‘Jazz, eine musikalishce Zeitfrage.”“ Melos 6, 537–538 * [Schoenberg, Hindemith, and the Blues]. Musical Courier, March, 1924

Schonemann, A. C. E. “Frank Westphal, Chicago Exponent of Jazz,” Melody, January, 1923

_________________. “Ted Lewis of Jazz Band Fame,” Melody, April 11, 1923

Schueck, Karl. “Jazz in America.” Melos 8 (1929), 220–222 Schulhoff, Erwin. “Eine Jazz-Affaire.” Auftakt 5 (1925), 220–222 _____________. “Der Mondaene Tanz.” Auftakt 4 (1024), 73–77 _____________. “Zeitkunst: Saxophon und Jazzband.” Auftakt 5 (1925), 17 Schultz, William J. “Jazz,” The Nation 115 (Oct. 25, 1922), 438–439 Schwers, Paul. “Jazz als akademishes Lehrfach.” Allgemeine Musikzeitung 54 (1927), 1194– 1195

“Scoffs at Fear of Jazz,” Variety. March 4, 1922.
Sabastian, J. “From Spirituals to Swing,” New Masses. December 9, 1925
Saerchinger, Cesar. “Is Jazz Coming or Going?” Metronome. February 1, 1926.

Seagrove, Gordon. “Blues is Jazz and Jazz is Blues.” Chicago Daily Tribune, July 11, 1915, E8

Seldes, Gilbert. “Jazz Music Not Such as ‘Enfant Terrible’ After All,” Musical America. July 19,

1924

____________. “Jerome Kern,” New Republic. October 20, 1926

___________. “Position of Jazz in American Musical Development,” Arts and Decoration, April, 1924 ____________ . The Seven Lively Arts. NY: Harper, 1924

____________’ “Shake Your Feet,” New Republic. November 4, 1925
____________. “Toujours Jazz,” Dial, August 23, 1923

____________. “What Happened to Jazz,” Saturday Evening Post (Jan. 22, 1927), 25, 102, 107

“The Selection of Accessories,” Jacobs’ Orchestra Monthly, September. 1911
Sexton, Susie. “Paul Whiteman Made Jazz Contagious,” American Magazine, June, 1924 * Sherlock, Charles Reginald. “From Breakdown to Ragtime,” Cosmopolitan, October,1901
Shultz, William J. “Jazz,” The Nation, October 25, 1922

Simon, Alicia. “Frau Musica in Amerika.” Signale fuer die musikalische Welt 84 (1926), 1609– 1614 ___________. “Jazz.” Auftakt 6, No. 10 (1926) Smith, Charles Edward. “Swing,” The New Republic February 10, 1938, 39–41 Smith, C.F. “Jazz: Some Little-Known Aspects,” The Symposium, Vol. 1, No. 4 (October, 1930) “Soldier-Man Blues From Somewhere in France,” Literary Digest, June 18, 1927, 50, 52 * “Some Further Opinions on ‘Jazz’ by Prominent Writers,” Metronome, August, 1922 Sonner, Rudolf. “Caféhausmusik.” Die Musik 21 (1929), 440–443 “Soulful Youths Buy Saxophones.” The New York Times, January 25, 1925. Soupault, Philippe. “Mily jouait du trombone,” in Le Neuf Muses, Paris, 1928 (reprinted in “La France decouvre le jazz,” special issue of Jazz Magazine (Paris), No. 325 (January, 1984), 57–57) “Sousa Expects Jazz to Wane; Denies It is Truly Jazz.” New York Times, April 26, 1928, 29 * Spaeth, Sigmund. “Jazz Is Not Music—A Reply to George Antheil in the July Forum,” Forum. August, 1928

Spaeth, Sigmund. “Jazzmania,” North American Review. May, 1928
[Spaeth, Sigmund] “Jazz Takes Root in Classics, Asserts Sigmund Spaeth,” Musical American,

December 27, 1924

Specht, Paul. “American Popular Music and its Progress,” Melody, July, 1924
Spier, William. W. C. Handy, ed. “An Anthology Concerning ‘Blues’—More Spirituals,” Musical

America. October 16, 1926 Spriggins, E. Belfield. “Excavating Local Jazz,” Louisiana Weekly, April 22, 1916

Spitzer, Marian. “The Lay of the Last Minstrels,” Saturday Evening Post, March 7, 1925 * Spry, Walter. “What Effect Has Jazz upon Present Day Music and Composers?” The Étude.

June, 1927

Squire, W. H. Haddon. “Jazz Dressed-Up and Uneasy,” CSM. January 8, 1927
“’Stale Bread’s’ Sadness Gave ‘Jazz’ to the World,” Literary Digest 61, no. 4 (1919), 47–48 Stefan, Paul. “Jazz.” Anbruch 7 (April 1925)

Steinhard, Erich. “Whiteman”s Jazzorchestra in Paris.” Auftakt 6, No. 10 (1926) * Stephens, Nan Bagby. “Negro Spirituals,” Metronome, April, 1924

“Stokowski Declares in Favor of ‘Jazz,’” Musical Observer, April 24, 1924
Stringham, Edwin J. “Jazz and American Music,” M.T.N.A Proceedings, 1925 * ________________. “‘Jazz’ An Educational Problem,” Musical Quarterly. April, 1926
Straus, Henrietta. “Jazz and ‘The Rhapsody in Blue,’” The Nation, March 5, 1924
“Stravinsky, Weill and Jazz,” CSM. May 18, 1929

Strobel, Heinrich. “Unzeitgemaesse Proteste.” Anbruch 10 (January, 1928), 25 Stuckenschmidt, H.H. “Die heutige Musik.” Das Kunstblatt 8 (1924), 189

Studebaker, J.W. “The Age of Jazz,” Journal of Education. January, 1929
“Students in Arms Against Jazz,” the Literary Digest, March 18, 1922

“A Subject of Serious Study,” New York Times (October 8, 1924) (reprinted in Lewis Porter, Jazz, A Century of Change. NY: Schirmer, 1999) “Suppression of ‘Ragtime,’” American Musician, July, 1901 “Swing Again,” Modern Music, 15 (March–April, 1938), 160–166

“Syncopated Music,” Brainard’s Musical Journal, Autumn, 1899
“Syncopated Rhythm Vs. ‘Ragtime,’” Musician, November, 1901
“Syncopating Symphonists,” Musical America. December 12, 1925
“Symphonic Jazz.” Flutist, February, 1925
[Taylor, Deems] “Our Jazz Symposium: Deems Taylor in The New York World,” Music News,

December 12, 1924 Terry, Richard. Voodooism in Music and Other Essays. London: Burns Oates, Washburne,1934 * “That ‘Jazz’ Wail Again,” Piano Trade Magazine, April,1922

Thompson, Oscar. “Jazz, As Art Music, Piles Failure on Failure,” Musical America. February,

13, 1926. _______________. “Twilight Descends on the Gods of Tin Pan Alley,” Musical America, August 16, 1924 Thompson, Virgil. “Enter American-Made Music: Why We Must Play More Than a Saxophone in the Concert of Nations,” Vanity Fair 25: 2 (Oct 1925), 71, 124 ______________. “The Future of American Music: Why Our Country Has Not Yet Produced a National School of Composition,” Vanity Fair 25: 1 (Sept 1925), 61, 116 ______________. “The Satirical Tendency in Modern Music: The Swing of the Musical Pendulum from Romance to Humour,” Vanity Fair 24: 3 (May 1925), 41, 102 ______________. “The Cult of Jazz,” Vanity Fair 24: 4 (June, 1925), 54, 118 ______________. “Jazz,” American Mercury 2: 8 (Aug 1924), 465–467

“Tilts at Carl Engel Over Jazz,” Musical America, May 13, 1922
“To Jazz or Not to Jazz,” The Étude, June, 1924
Toye, Francis “Ragtime: The New Tarantism,” English Review, March,1913
“The Trend of the Times,” Music Leader, June 19, 1924
Tschudi, Ernst Felix. “The Immortals Object,” Living Age. April 5, 1926
Turner, W. J. “Jazz Music,” New Statesman, February 5, 1921
__________. “Waltz-Kings and Jazz-King,” The New Statesman. April 17, 1926

“Two-Step to Jazz Sent by Wireless,” The New York Times, February 12, 1922

Valentine, Gamewell. “Jazz and Syncopated Music,” The Musical Courier, February 21, 1924 * Tyler, Marian. “Music—Jazz Leaves Home,” The Nation. January 20, 1926

Van Gogh, Rupert. “The Evolution of Jazz,” West African Review 6 March, 1935), 15–17 Van Vechten, Carl. “The Black Blues—Negro Songs of Disappointment in Love, Their Pathos Hardened With Laughter,” Vanity Fair 24: 6 (Aug 1925).

______________. “The Folksongs of the American Negro” 24: 5 (July 1925), 78 ______________. “George Gershwin, An American Composer Who is Writing Notable Music in the Jazz Idiom” 24: 1 (March 1925), 84.

Ventura, Ray. “Non le Jazz ne meurt pas! Il Evolue . . .,” L”Edition Musicale Vivante, 4 (September, 1931), 7–9 “Vienna is Alarmed by Inroads of Jazz; Kalman”s ‘Duchess of Chicago” Starts Controversy Over the Future of Operetta; American Influence Seen; Composers Turn Attention to Efforts to Harmonize Invading Melodies with Old Viennese Waltzes.” New York Times, April 15, 1928, II, 2

“Voliva Bans Jazz Records,” The New York Times, January 11, 1921 * Walker, Alfred. “Jazz!” The New York Times, December 17, 1922

“Wants Legislation to Stop Jazz as an Intoxicant,” New York Times, February 12, 1922, 1 “War on Ragtime,” American Musician, July, 1901

Werrenrath, Reinald “Jazz,” The Musical Courier, January 18, 1923

Weber, Wolfgang. “Negermusik B Eine Urform der Unsrigen?” Die Musik 19 (June, 1927) 697–702

Weill, Irving. “Jazz Gets a National Twist,” Musical America. August 25, 1928
Weissmann, Adolf. “The Standardization of Jazz,” CSM. October 22, 1927

“Weiteres vom Jazz-Konservatorium.” Zeitschrift fuer Musik 95 (1928), 32–33

Welles, Kingsley. “Is the Popularity of Jazz Music Waning?,” Radio Broadcasting. December,

1925 Westermeyer, Karl. Review of Paul Bernhard, Jazz. Signale fuer die musikalische Welt 85 (1927), 116 Westphal, Kurt. “Negermusik und ihre Apostel.” Allgemeine Musikzeitung 54 (11927), 421– 422 “* What About Ragtime?” Ragtime Review, August,1915

“What Is Jazz Doing to American Music?,” The Étude, August, 1924“The Étude’s Jazz Bomb,”

The Étude. September 1924.

“What Effect is Jazz Likely to Have Upon the Music of the Future?,” The Étude, September,

1924

“What’s the Matter With Jazz,” The Étude, August, 1924
“When European Composers Jazz,” The Literary Digest. March 17, 1928

“Where is Jazz Leading America?” The Etude 42 (September, 1924), 518, 595

“Where Jazz is Taking Us Musically,” Current Opinion, December, 1924
White, Edgar. “Jazz vs. the Arkansaw Traveler,” Musical Courier, November 20, 1924.
White, Clarence Cameron. “The Musical Genius of the American Negro,” The Étude, May, 1924 * “The Whiteman Concert,” Sheet Music News, March, 1924

Whiteman, Paul and Mary Margaret McBride. Jazz. NY: J. H. Sears, 1926 Whiteman, Paul. “The Progress of Jazz,” Vanity Fair 25: 5 (January 1926), 52, 98 “Whiteman to Define Jazz: Orchestra Plans Instructive Concert at Carnegie Hall.” New York Herald-Tribune, April 15, 1924

“Whitman and Whiteman.” Musical Courier, May 22, 1924

“Why ‘Jazz” Sends Us Back to the Jungle,” Current Opinion, September, 1918, 165 Wiener, Jean. “Le mouvement même de la vie,” Conferencia, September 1, 1926 (Reprinted in “La France decouvre le jazz,” special issue of Jazz Magazine (Paris), No. 325 (January, 1984), 40–41, 82–83) Wiesengrund-Adorno, Theodor. “Frankfurt a. M. [Die Jazzklasse des Hochschen Conservatorius.]” Die Musik 21 (May, 1929), 625–626 Wilson, Edmund. “The Aesthetic Upheaval in France: The Influence of Jazz in Paris and Americanization of French Literature and Art,” Vanity Fair, , Vol. 17 (February 1922) * Wilson, Edmund “ The Jazz Problem,” The New Republic XLV: 580 (January 13, 1926), 217–219 _____________. “Night Clubs,” New Republic, Vol. 44, No. 562 (September 9, 1925) _____________. “The Problem of the Higher Jazz,” New Republic, (January 13, 1926), 217, 229 (See also Edmond Wilson, The Higher Jazz Iowa City: : University of Iowa Press, 1998 [1939])

White, Elise Fellows. “College Jazz and What It Symbolizes,” Musical Observer, October, 1922 * “Win War on Jazz With Better Songs,” The New York Times. October 11, 1922
Winn, Edith Lynwood. “Questions and Answers,” Jacobs Orchestra Monthly, September, 1910
Wister, Isabel. “Yes, I Teach ‘Em Jazz,” The Étude, August 1923
“Wolverine Blues a Big Hit as Featured by New Orleans Rhythm Kings,” Metronome, June, 1923 Woolf, S. J. “Toscanini”s Ideas on Music Old and New: Though the Conductor of the Combined

Orchestras Reveres Beethoven He Can See Some Merit in Jazz.” New York Times, April 15, 1928, V, 3

“Would Mozart Write Fox-Trots If He Live To-Day?,” The Étude, September. 1924

Wyatt, Robert and John Andrew Johnson, eds. The George Gershwin Reader. NY: Oxford, 2004

= article reprinted in Karl Koenig, ed. Jazz in Print (1856–1929): An Anthology of Selected Early Readings in Jazz History.

Anthologies of Writing on Early Jazz

Koenig, Karl, ed. Jazz in Print (1856–1929): An Anthology of Selected Early Readings in Jazz History. Hillsdale, NY: Pendragon Press, 2002.

Lopes, Paul. The Rise of a Jazz Art World. Cambridge: Cambridge University Press, 2002.

Porter, Lewis. Jazz, A Century of Change. NY: Schirmer, 1999.

Walser, Robert, ed. Keeping Time: Readings in Jazz History. NY: Oxford, 1999.

1940–1960 Writings

Berendt, Joachim. The New Jazz Book. NY: Hill & Wang, 1959.

Berger, Monroe. “Jazz: Resistance to the Diffusion of a Culture Pattern,” Journal of Negro History, 32 (1947), 461–494.

Blackstone, Orin, ed. The Jazzfinder 49. New Orleans: privately printed, 1949.

Blesh, Rudy. This Is Jazz. London: Jazz Music Books, 1945.

__________. Shining Trumpets: A History of Jazz. NY: Knopf, 1949.

__________ and Harriet Janis. They All Played Ragtime. NY: Knopf, 1950.

Borneman, Ernest. A Critic Looks at Jazz. London: Jazz Music Books, 1946.

______________. “Creole Echoes,” The Jazz Review, Vol. 2, No. 8 (1959), 26–27.

______________. “Le Racine de la musique Américaine Noire.” Présence Africaine 4 (1948), 576–589.

Boulton, David. Jazz in Britain. London: Alwyn, 1958.

Caraceni, Augusto. Jazz. Rome: Zanbardi, 1945.

Carew, Roy J. “New Orleans Recollection,” Record Changer, April, 1943, 8–9; May, 1943, 10–11; June, 1943, 3–4; July, 1942, 3–4; September, 1943, 3–4; October, 1943, 3–4; November, 1943, 3; December, 1943, 14–15; January, 1944, 3 ___________. “Of This and That and Jelly Roll,” Jazz Journal, Vol. 10, No. 12 (1957), 10–12 Carmichael, Hoagy. The Stardust Road. NY: Rinehart, 1946 Charters, Samuel. Jazz: New Orleans 1885–1957. Belleville, NJ: Allen, 1958 (rev. ed, NY: Oak, 1963 Charters, Samuel B. and L. Kunstadt. Jazz: A History of the New York Scene. NY: Doubleday, 1962 Cœuroy, André. Histoire général du jazz. Paris: Denoel, 1942 Condon, Eddie and Richard Gehman, eds. Eddie Condon”s Treasury of Jazz. NY: Dial, 1956 Criel, Gaston. Swing. Paris: E.U.F., 1948 Dauer, Alfons M. Der Jazz. Kassel: Roth, 1958 Delaunay, Charles. “Delaunay in Trenches, Writes ‘Jazz Not American,”“ Down Beat, May 1, 1940, 6, 10 (reprinted as “From Somewhere in France” in Robert Walser, ed. Keeping Time: Readings in Jazz History. NY: Oxford, 1999) DeToledano, Ralph, Ed. Frontiers of Jazz. NY: Durrell, 1947 (Revised edition, NY: Frederick Ungar, 1962) Dexter, Dave. Jazz Cavalcade. NY: Criterion, 1946 Dodge, Roger Pryor. Hot Jazz and Jazz Dance: Collected Writings 1929–1964. NY: Oxford University Press, 1995 Dorigné, Michel. La guerre du jazz. Paris: Buckner, 1949 [Feather, Leonard. The Book of Jazz. NY: Horizon, 1957 _____________. Encyclopedia of Jazz. NY: Horizon, 1960 _____________ . Inside Be-Bop. NY: Robbins, 1949 Finkelstein, Sidney. Jazz: A People”s Music. NY: Citadel, 1948

Fletcher, Tom. 100 Years of the Negro in Show Business. [1954] reprint edition, NY: DaCapo, 1984 Gammond, Peter, ed. The Decca Book of Jazz. London: Muller, 1958 Gleason, Ralph J. Jam Session: An Anthology of Jazz. NY: Putnam, 1958 Goffin. Robert. Jazz From the Congo to the Metropolitan. Garden City: Doubleday, Doran, 1943. ____________. La Nouvelle-Orléans, capitale du jazz. NY: Maison Française, 1946 ____________ and Charles Delaunay, eds. Jazz 47. Paris, 1947 Grossman, William L. Jazz and Western Culture. NY: University Press, 1956 _________________ and Jack W’ Farrell. The Heart of Jazz. NY: University Press, 1956 Handy, W. C. “The Heart of the Blues,” Etude, 58 (1940), 152, 193, 211 Harris, Rex. Jazz. Middlesex, UK: Penguin, 1952 _________ and Brian Rust. Recorded Jazz: A Critical Guide. Harmondsworth, UK: Penguin, 1958 Hentoff, Nat and Albert J. McCarthy, eds. Jazz: New Perspectives on the History of Jazz. NY: Holt, Rinehart, 1959 Heuvelmans, Bernard. De la Bamboula au Be-Bop B Le Jazz. Paris: La Main Jetée, 1951 _________________. “Polygenes du jazz,” Jazz Hot, No. 61 (December, 1951), 16, 20 Hodes, Art and Chadwick Hansen, eds. Selections From the Gutter: Portraits From the Jazz Record. Berkeley: University Of California Press, 1977 Hodier, Andrè. Le jazz, cet inconnu. Paris: France Empire, 1945 ___________. Jazz: Its Evolution and Essence. London: Seeker & Warburg, 1956 Hoefer, George. “‘Man, I Invented Jazz in---” Claimed by More Folks!” Down Beat 16 (July 1, 1949, 11.

Hoffman, Daniel G. “The Folk Art of Jazz,” Antioch review 5 (1945), 110–120 Hornbostel, Erich M. von. “Ethnologisches zu Jazz,” Melos 6 (December, 1927), 510–512 Hughes, Langston. The Big Sea: An Autobiography. New York: Hill & Wang, 1940 Jazz Advertised 1919–1967, Vol. 3: Out of the New England Negro Press 1950–1967, Franz Hoffmann, ed. Berlin, Privately Printed, 1984 Jazz Reviewed, Vol. 1: Out of the New England Negro Press 1919–1950, Franz Hoffmann, ed. Berlin, Privately Printed, 1995 Jazz Advertised 1910–1967, Vol. 6: Out of the Chicago Defender 1950–1967, Franz Hoffmann, ed. Berlin, Privately Printed, 1984 Jazz Advertised 1910–1967, Index, Franz Hoffmann, ed. Berlin, Privately Printed, 1981 Jones, A.M. “Blue Notes and Hot Rhythm,” African Music, Vol. 1, No. 4 (1951), 9–12 Jones, Max and Albert McCarthy, eds. Jazz Review. London: Jazz Music Books, 1945 Kallen, Horace M. “Swing as Surrealist Music” in Art and Freedom. NY: Duell, Sloan & Pearce, 1942, Vol. 2, 824–834 Keepnews, Orrin, and Bill Grauer, Jr. A Pictorial History of Jazz. NY: Crown, 1955 King, Bruce. “A Reassessment of New Olreans Jazz on American Music Records,” Jazz Monthly Vol. 5, no. 2 (April, 1959), 6–11 Kinnell, Bill and James Asman, eds. American Jazz No. 1. Chilwell, UK: Jazz Appreciation Society, 1946 [24 pp.] _____________________________. American Jazz No. 2. Chilwell, UK: Jazz Appreciation Society, 1946 [22 pp.] _____________________________. Jazz Writings. Chilwell, UK: Jazz Appreciation Society, 1946 [24 pp.] Krupa, Gene and Leonard Bernstein. "Has Jazz Influenced the Symphony?" Esquire, February, 1947, reprinted in Esquiire’s World of Jazz, edited and updated edition, NY: Thomas Y. Crowell, 1947, 158–166, and Reading Jazz, Robert Gottlieb, ed. NY: Pantheon, 1996, 774–784 Lang, Ian. Jazz in Perspective. The Background of the Blues. London: Hutchinson, 1947 Legrand, Gèrard. Puissances du jazz. Paris: Arcanes, 1953 Malson, Lucien. Les maîtres du jazz. Paris: Presses Universitaires, 1952 McCarthy, Albert, ed. Jazzbook 1955. London: Cassell, 1955 ______________ and Max Jones, eds. The PL Yearbook of Jazz 1946. London: Poetry London,

15

______________________________. Jazzbook 1947. London: Poetry London, 1947 ______________________________. Jazz Folio. London: Jazz Sociological Society, 1944 ______________________________. Jazz Miscellany. London: Jazz Sociological Society, 1944 Miller, Paul Eduard. “Fifty Years of New Orleans Jazz,” in Esquire”s 1945 Jazz Book, Paul Eduard Miller, ed. New York: A. S. Barnes, 1945, 1–14 Morgan, Alun and Raymond Horricks, Modern Jazz: A Survey of Developments Since 1939. London: Gollancz, 1956 Nathan, Hans. “Early Banjo Tunes and American Syncopation,” Musical Quarterly, 42 (1956), 455–472 Newton, Frankie [Eric Hobsbawm]. The Jazz Scene. London: MacGibbon & Kee, 1959 “New Directions in Jazz Research,” Record Changer, July–August, 1953, 8–22 Ortiz Oderigo, Néstor R. Historia del jazz. Buenos Aires: Ricordi Americana, 1959 ___________________. Orígenes y Esencia del Jazz. Buenos Aires: Editorial Columbia, 1959 Panassiè, Hugues. The Real Jazz. NY: Smith & Durrell, 1942 ______________ , John Vyse, Art Hodes, et. al. American Jazz No. 1. Newark, UK: Jazz Appreciation Society, 1945 Paul, Elliot. That Crazy American Music: The Story of North American Jazz. Indianapolis: Bobbs–Merrill, 1957 Ramsey, Frederic, Jr. A Guide to Longplay Jazz Records. NY: Long Player Publications, 1954 Reddihough, John. "Country Brass Bands and New Orleans Jazz," Jazz Monthly, 2 no. 6 (1956), 7–8 Reinders, Robert C. "Sound of the Mournful Dirge," Jazz: A Quarterly of American Music no. 4 (1959), 296–298 Rosenthal, George S. and Franck Zachary, eds. Jazzways, Vol. 1, No. 1. Cincinnati: Jazzways, 1946 Sargeant, Winthrop. “Is Jazz Music?” American Mercury, October, 1943 (reprinted in Porter, 1999, 56–57) Sartre, Jean-Paul. “I Discovered Jazz in America,” Saturday Review of Literaqture, 30 (November 29, 1947), 48–49 Schillinger, Joseph. Metronome, LVII (July, 1942), 19, 23 Schwerkè, Irving. Kings Jazz and David. Paris: Presses Modernes, 1927 Shapiro, Nat and Nat Hentoff, eds. Hear Me Talkin” To Ya: The Story of Jazz by the Men Who Made It. NY: Rinehart, 1955 ________________________, eds. The Jazz Makers. NY: Holt, Rinehart & Winston, 1957 Slotkin, J.S. AJazz and Its Forerunners as an Example of Acculturation,” American Sociological Review, 8 (1943), 570–575 Smith, Charles Edward. “New Orleams and Traditons in Jazz,” Jazz, Nat Hentoff and Albert J. McCarthy, eds. NY: Rinehart, 1959, 21–41, 352–456 __________________. “The Origins of a Term, or, Jazz Me For a Donkey,” Down Beat 33, no. 3 (1960), 24–25 Smith, Charles Edward, and William Russell. “New Orleans Stryle,” Modern Music 18, (1941), 235–241 Smith, Charles Edward, Frederic Ramsey, Jr., Charles Payne Rogers, and William Russell. The Jazz Record Book. NY: Smith & Durrell, 1942 Stearns, Marshall W. The Story of Jazz. NY: Oxford University Press, 1958 Thompson, Kay. C. “The Western Heritage of Jazz,” Record Changer, Vol. 9, No. 4 (1950), 8, 17 Traill, Sinclair, ed. Concerning Jazz. London: Faber & Faber, 1957 Ulanov, Barry. A History of Jazz in America. NY: Viking, 1952 ___________. A Handbook of Jazz. NY: Viking, 1957 Vèmane, Henri. Swing et mœurs. Lille: Privately Printed, 1943 [32 pp.] Vian, Boris. Jazz in Paris: Chroniques de jazz pour la radio station de radio WNEW, New York (1948–1949). Paris: Pauvert, 1997 _________. Round About Close to Midnight: The Jazz Writings of Boris Vian, Mike Zwerin, ed. London: Quartet, 1988 Whiteman, Paul. How to Be a Bandleader. NY: R. M. McBride, 1941

Williams, Martin T., ed. The Art of Jazz: Essays on the Nature and Development of Jazz. Oxford, 1959 _______________., ed. Jazz Panorama. London: Jazz Book Club, 1965 Later Writings Abbott, Lynn and Doug Seroff. Out of Sight: The Rise of African American Popular Music, 18891895. Jackson: University of Mississippi, 2003 _____________________. “Black Music in the White City: African- Americans at the 1893 World”s Columbian Exposition,” 78 Quarterly, Vol. 1 No. 9 (no date), 47–60 (See also Abbott and Seroff, Out of Sight) ________________________. “100 Years From Today,” 78 Quarterly, Vol. 1, No. 5 (1990), 56–62; Vol. 1, No 6 (1991), 51–65; Vol. 1, No. 7 (1992), 79–95; Vol. 1, No. 9 (no date), 105–117; Vol. 1 No 10 (no date) [includes “The Origins of Ragtime”], 121–143 [Black press reportage on music in the 1890s] (See also Abbott and Seroff, Out of Sight) Appel, Alfred, Jr. Jazz Modernism From Ellington and Armstrong to Matisse and Joyce. NY: Knopf, 2002 Allen, Walter C. “The Revival Appraised,” Jazz Journal vol. 15, no. 9 (September, 1961), 1–4

Ake, David. ‘’Jazz Cultures’’. Berkeley: University of California Press, 2002, 10–41.

Antelyes, Peter. “Red Hot Mamas: Bessie Smith, Sophie Tucker, and the Ethnic Maternal Voice in American Popular Music,” in ‘’Embodied Voices: Representing Female Vocality in Western Culture’’, Leslie C. Dunn and Nancy A. Jones, eds. Cambridge: Cambridge University Press, 1994, 212–229.

Archer-Straw, Petrine. Negrophilia: Avant-Garde Paris and Black Culture in the 1920s. NY: Thames & Hudson, 2000 Barker, Danny. Buddy Bolden and the Last Days of Storyville. NY: Cassell, 1998 Bastin, Bruce. Never Sell a Copyright: Joe Davis and His Role in the New York Music Scene 1916–1978. Chigwell, UK: Storyville Publications, 1990 Bernotas, Robert W. “Critical Theory, Jazz, and Politics: A Critique of the Frankfurt School,” Ph.D dissertation, John Hopkins University,, 1987 Blake, Jody. Le Tumulte noir: Modernist Art and Popular Entertainment in Jazz–Age Paris, 1900–1930. University Park: The Pennsylvania State University Press, 1999 Borneman, Ernest. “Black Light and White Shadow: Notes For a History of American Negro Music,” Jazzforschung/Jazz Research 2. Graz: Universal Edition, 1970, 24–93 ______________. “Jazz and the Creole Tradition,” Jazzforschung/Jazz Research, 1, Graz: Universal Edition, 1969 ______________. “The Roots of Jazz,” Jazz. Nat Hentofrf and Albert J. McCarthy, eds. New York, Rinehart, 1959, 118–119 Borris, Siefried. “Jazz –Wesen und Werden,” Musik im Unterrecht 58, no. 4 (1967), 113–116, 118–119 Brooks, Tim. Lost Sounds: Blacks and the Birth of the Recording Industry 1890–1919 Urbana: University of Illinois Press, 2004 Brothers, Thomas. “Ideology and Aurality in the Vernacular Traditions of Africa-American Music (ca 1890–1950),” Black Music Research Journal, (1997), 169–209 ______________. “Solo and Cycle in African-American Jazz,” The Musical Quarterly, 78 (1995), 479–509 Brown, Theodore Dennis. “A History and Analysis of Jazz Drumming to 1942.” 2 vols. diss., Department of Music Education, University of Michigan, 1976 Buerkle, Jack and Danny Barker. Bourbon Street Black: The New Orleans Black Jazzman. NY: Oxford University Press, 1973 Carew, Roy J. “Reminiscing in Ragtime,” Jazz Journal 17, no. 11 (1964), 8–9 Carmichael, Hoagy. Sometimes I Wonder: The Story of Hoagy Carmichael. NY: Farrar, Straus & Giroux, 1965

Cassidy, Donna M. Painting the Musical City: Jazz and Cultural Identity in American Art, 1910–1940. Washington: Smithsonian Institution Press, 1997 Charters, Samuel and Len Constant. Jazz: A History of the New York Scene. Garden City: Doubleday, 1962 Chernoff, John Miller. “The Artistic Challenge of African Music: Thoughts on the Absence of Drum Orchestras in Black American Music,” Black Music Research Journal. 1–20 Chevan, David. “Musical Literacy and Jazz Musicians in the 1910s and 1920s,” Current Musicology. Nos. 71–73 (spring, 2001–spring, 2002), 200–231 ___________. “Written Music in Early Jazz.” Ph.D diss., City University of New York, 1997 Chilton, John. A Jazz Nursery: The Story of the Jenkins Orphanage Band of Charlotte, North Carolina. London: The Bloomsbury Bookshop, 1980 ___________. Who”s Who of Jazz: Storyville to Swing Street. NY: Time–Life Books, 1978 Chinitz, David. “‘Dance, Little Lady”: Poets, Flappers, and the Gebdering of Jazz” in Modernism, Gender, and Culture: A Cultural Studies Approach. Lisa Rado, ed. New York: Garland, 1997, 319–335 Cohen, Gerald. “Jazz Revisited: On the Origin of the Term,” Comments on Etymology, Vol. 32, no. 4–5 (December 2002–January 2003) [Dept. of Applied Arts & Cultural Studies, University of Missouri-Rolla] Collier, James Lincoln. “The Critics” in Jazz: The International Theme Song. NY: Oxford University Press, 1993, 225–262 __________________. The Reception of Jazz in America: A New View. Brooklyn: Institute for Studies in American Music, 1988 Collins, R. [Ralph] New Orleans Jazz: A Revised History. New York: Vantage Press, 1996 Cook, Eddie. “The Birth of the Jazz Age (80 Years of Recorded Jazz),” Jazz Journal International, April, 1997, 8–9 Cook, Susan C. “Jazz as Deliverance: The Reception and Institution of American Jazz During the Weimar Republic.” American Music, Spring, 1989, 30–46 Cooper, Harry. “On Beer Jazz: Replaying Adorno With the Grain,” October 75 (Winter, 1996), pp. 99–133 Crunden, Robert M. Body and Soul: The Making of American Modernism. Art, Music, and Letters in the Jazz Age. NY: Basic Books, 2000 Cruz, Jon. Culture on the Margins: The Black Spiritual and the Rise of American Cultural Interpretation. Princeton: Princeton University Press, 1999 Daniels, Douglas Henry. “Big Top Blues: Jazz-Minstrel Bands and the Young Family Traditions,” Jazzforshung/Jazz Research 18, Graz, 1986, 133–153 Dauer, Alfons. Tradition Afrikanischer Blasorchester und Entstshung des Jazz. 2 vols. Graz: Akademische Druk-u. Verlagsansradt, 1985 DaVeaux, Scott. “Constructing the Jazz Tradition: Jazz Historiography,” Black American Literature Forum, Vol. 25, No. 3 (Fall, 1991), 525–556 ____________. “The Emergence of the Jazz Concert, 1935–1945,” American Music 7, no. 1 (Spring, 1989), 6–29 Dawidoff, Robert “The Kind of Person You Have to Sound Like to Sing ‘Alexander’s Ragtime Band’,” Elazar Barkan and Ronald Bush, eds., Prehistories of the Future:The Primitivist Project and the Culture of Modernism (Stanford: 1995), 293–309 Deffaa, Chip. Voices of the Jazz Age: Profiles of Eight Vintage Jazzmen. Urbana: University of Illinois Press, 1990 [Sam Wooding, Benny Waters, Bix Beiderbecke, Joe Tarto, Bud Freeman, Jimmy McPartland, Freddie Moore, and Jabbo Smith] Dinerstein, Joel. Swing the Machine: Modernity, Technology, and African American Culture between the World Wars. Amherst: University of Massachusetts Press, 2003 Donaldson, Gary A. “A Window on Slave Culture: Dances at Congo Square in New Orleans, 1899–1862,” Journal of Negro History, Spring, 1984, 63–72 Douglas, Ann. Terrible Honesty: Mongrel Manhattan in the 1920”s. NY: Farrar, Straus and Giroux, 1995 Driggs, Frank, and Harris Lewine, Black Beauty, White Heat: A Pictorial History of Classic Jazz. NY: Morrow, 1982

Driggs, Frank, and Chuck Haddix. Kansas City Jazz: From Ragtime to Bebop – A History. NY: Oxford University Press, 2005 Dupree, Mary Herron. “Jazz,” the Critics, and American Art Music in the 1920”s,” American Music, Vol. 4, No. 3 (Fall, 1986), 287–301 Early, Gerald. “Pulp and Circumstance: The Story of Jazz in High Places,” The Culture of Bruising, 163–205. Boston: Ecco Press, 1994 [on Paul Whiteman] Ellison, Ralph. Living With Music: Ralph Ellison”s Jazz Writings, Robert O”Meally, ed. NY: Modern Library, 2001 Elworth, Steven B. “Jazz in Crisis, 1948–1958: Ideology and representation,” in Jazz Among the Discourses, Krin Gabbard, ed. Durham: Duke University Press, 1995, 57–75 Erenberg, Lewis A. Steppin” Out: New York Nightlife and the Transformation of American Culture,1890–1930. Chicago: University of Chicago, 1981 Erskine, Gilbert M. “Jazz Books and Comments,” Down Beat”s Music “63. Chicago: Maher, 1962, 85–90, 119–123 Fiehrer, Thomas. “From Quadrille to Stomp: The Creole Origins of Jazz,” Popular Music, 10/1 (1991), 21–38 Finkelstein, Sidney. “What Jazz Means to Me,” Studies in Ethnomusicology, Vol. 1. M. Kolinski, ed. NY: Folkways Records, 23–28 “The First Fifty Years of Jazz,” The Second Line, Vol. xvii (May–June, 1967), 49, 51–53; (July– August, 1968), 75–77 Floyd, Samuel A., Jr. Floyd, Samuel A., Jr., ed. Black Music in the Harlem Renaissance: A Collection of Essays. Knoxville: University of Tennessee Press, 1990 ________________ The Power of Black Music. NY: Oxford University Press, 1995 Flouritt, Dave. “Ragtime in Retrospect,” Storyville, no 36 (1971) 203–206 Foreman, Ronald C, Jr. “Jazz and Blues Records, 1020–32: Their Origins and Their Significance for the Record Industry and Society,” Ph.D dissertation, University of Illinois, 1968 Garner, Fradley and Alan Merriam. ““The Word Jazz.” The Jazz Review 3, no. 3 (1960), 39–40; no. 4 (1960), 40–42; no. 5 (1960), 40–41; no. 7 (1960), 36–37 Gebhardt, Nicholas. “Sidney Bechet” in Going For Jazz. Chicago: University of Chicago Press, 2001, 33–76 Gendron, Bernard. Between Montmartre and the Mudd Club: Popular Music and the Avant-Garde. Chicago: The University of Chicago Press, 2002 ______________. ““Moldy Figs” and Modernists: Jazz at War (1942–1946),” Jazz Among the Discourses, Krin Gabbard, ed. Durham: Duke University Press, 1995, 31–56 Gennari, John. “Jazz Criticism: Its Development and Ideologies,” Black American Literature Forum, Vol. 25, No. 3 (Fall, 1991), 449–524 Gillis, Frank. “Hot Rhythm in Piano Ragtime,” ‘’Music in the America's’’, George List and Juan Orrego–Salas, eds. Bloomington: Indiana University Press, 1967, 91–104.

“A Glimmer of Their Own Beauty”: Black Sounds of the Twenties. National Portrait Gallery. Washington: Smithsonian Institution, 1971 Gold, Robert S. A Jazz Lexicon. NY: Knopf, 1964 )republished as Jazz Talk, NY: Da Capo Press, 1972) Gracyk, Theodore A. “Adorno, Jazz, and the Aesthetics of popular Music,” Musical Quarterly 76 (Winter, 1992), 526–542 Gracyk, Tim. “Early Recordings of African Americans/Early Ragtime.” http://www.garlic.com/~tgracyk/early_ragtime.html __________. “’Jass’ and Tin Pan Alley.” http://www.garlic.com/tgracyk/jazband.hthl Gumbrecht, Hans Ulrich. In 1926: Living at the Edge of Time. Harvard, 1997 Gushee, Lawrence. “Black Professional Musicians in New Orleans,” Inter-American Music Review 11 (1991), 53–63 _______________. “How the Creole Band Came to Be,” Black Music Research Journal, Vol. 8, No. 1 (1988), 83–100 ______________. “The Nineteenth-Century Origins of Jazz,” Black Music Research Journal, Vol. 14, no. 1 (Spring, 1994), 1–24 (reprinted in Porter 1997) _______________. Notes to Steppin” On the Gas: Rags to Jazz 1913–1927. New World Records 269 (1977)

_______________. Pioneers of Jazz: The Story of the Creole Band. NY: Oxford University Press,2005 Hagert, Thomas. “Band and Orchestral Ragtime,” in Ragtime, Its History . . ., John Edward Hane, ed., 268–284 Hammond, John. “An Experience in Jazz History” [address given at Indiana University in 1969], in Robert Walser, ed. Keeping Time: Readings in Jazz History. NY: Oxford, 1999 _____________. John Hammond On Record: An Autobiography. NY: Ridge Press/Summit Books, 1977 Hansen, Chadwixk. “Social Influences on Jazz Style, Chicago 1920–1930,” American Quarterly 12 (1960), 493–507 Hardie, Daniel. Exploring Early Jazz: The Origins and Evolution of the New Orleans Style. Writers Club Press, 2002 Harrison, Max. “Around Paul Whiteman,” Jazz Monthly, June, 1970, 24–28 ___________. “Boogie-Woogie,” in Jazz, Nat Hentoff and Albert J. McCarthy, eds. NY: Rinehart, 1959, 107–135, 360–362 ___________. “Bunk Johnson American Music Titles,” Jazz Monthly (January, 1963), 25–26 ___________. “Notes Towards A Reassessment,” Jazz Monthly, vol. 13, no. 1 (March, 1967), 8–10 ___________. “Schuller’s Early Jazz,” Jazz Monthly, No. 176 (October, 1969), 25–31 Haskins, Jim. The Cotton Club: A Pictorial and Social History of the Most Famous Symbol of the Jazz Era. NY: Random House, 1977 Hennessey, Thomas J. From Jazz to Swing: African-American Jazz Musicians and their Music, 1890–1935. Detroit: Wayne State University, 1994 Hillman, Chris. “Regional Characteristics in Early Recorded Negro Music,” Storyville, 65 (June–July, 1976), 164–167 Holbrook, Dick. “Our Word JAZZ,” Storyville 50 (December, 1973–January 1974) Jasen, David A. and Gene Jones. Black Bottom Stomp: Eight Masters of Ragtime and Early Jazz. NY: Routledge, 2002 __________________________. Spreadin” Rhythm Around: Black Popular Songwriters, 1880–1930. NY: Schirmer, 1998 “Jazz et Anthropologie,” special edition of L”Homme: Revue française d”anthropologie, Nos. 158–159 (April/Septemer, 2001) Jerving, Ryan. “Early Jazz Literature (And Why You Didn’t Know),” American Literary Histrory, 16, no. 4 (2004), 648–674 ___________. “Jazz Language and Ethnic Novelty,” Modernism/Modernity, 10, no. 2 (2003), 239–268 Jones, A. M. “Blue Notes and Hot Rhythm,” African Music Society Newsletter, Vol. 1, no. 4 (June, 1951), 9–12 Jones, LeRoi [Amiri Baraka]. Blues People. NY: Morrow, 1963 Kennedy, Rick. Jelly Roll, Bix, and Hoagy: Gennett Studios and the Birth of Recorded Jazz. Bloomington: Indiana University Press, 1994 Kenny, William Howland. Chicago Jazz: A Cultural History, 1904–1930. NY: Oxford University Press, 1993 Kimball, Robert and William Bolcom. Reminiscing With Sissle and Blake. NY: Viking, 1973 King, Bruce. “The Formative Years,” Jazz Monthly, no. 148, vol. 13, no. 4 (June, 1967), 5–7 _________. “The Gigantic baby Dodds,” Jazz Journal, Vol. 3, no. 7 (August, 1960), 12–15 _________. “New Olrleans Jazz: Some Speculations,” Jazz Monthly July, 1967, 12–13 Kmen, Henry A. Music in New orleans: The Formative Years 1791–1841. Baton Rouge: Louisiana State University Press, 1966 ____________. “The Roots of Jazz in Place Congo: A Re-Appraisal,” Yearbook For Inter-American Musical Research, Vol. VIII (1972), Austin Texas, 5–16 Krasner, David. A Beautiful Pageant: African American Theatre, Drama, and Performance in the Harlem Renaissance 1910–1927. New York: Palgrave Macmillan, 2002 Lambert, Eddie. “William Russell’s New Orleans Recordings: Some Notes and Reflections,” Jazz Monthly, no. 183 (May, 1970), 3–8 Larkin, Philip. All What Jazz: A Record Diary 1961–1971. NY: Farrar Straus Giroux, 1985

Lemke, Sieglinde, Primitivist Modernism: Black Culture and the Origins of Transatlantic Modernism. New York: Oxford University Press, 1998 Lange, Horst. Als der Jazz begann, 1916–1923. Berlin: Colloquium Verlag, 1991 Lee, Robert Charles. “The Afro-American Foundations of the Jazz Idiom,” Jazz Forum, no 11 (1971), 68–79; no. 12 (1971), 68–81; no. 13–14 (1971), 86–93; no. 15 (1972), 74–77.

________________. “Semantic Phenonena in early Jazz Popularization and Its Social Opposition,” ‘’Jazz Forum’’ no. 5 (1969), 52. Leonard, Neil. Jazz and the White Americans: The Acceptance of a New Art Form. Chicago: The University of Chicago Press, 1962 Levine, Lawrence W. “Jazz and American Culture,” in The Unpredictable Past. NY, 1993 Lopes, Paul. The Rise of a Jazz Art World. Cambridge: Cambridge University Press, 2002 Lowe, Allen. American Pop From Minstrel to Mojo. Redwood, NY: Cadence Jazz Books, 1997 __________. That Devilin” Tune: A Jazz History. Berkeley: Music and Arts Programs of America, 2001 Lucas, John. The Radical Twenties. Aspects of Writing, Politics and Culture. Nottingham: Five Leaves, 1997 Marcus, Greil. Lipstick Traces: A Secret History of the 20 Century. Cambridge: Harvard University Press, 1989 McCarthy, Albert. Big Band Jazz. NY: Putnam”s, 1974 ______________. The Dance Band Era. The Dancing Decades From Ragtime to Swing: 1920– 1950. London: November Books, 1971 Melzer, Annabelle. Dada and Surrealist Performance. Baltimore: The Johns Hopkins Press, 1976 Merrian, Alan P. “Jazz and African Studies,” Down Beat’s Music 1961. Chicago: Maher, 1961, 42 Merriam, Alan P. and Fradley H. Garner. “Jazz—the Word,” Ethnomusicology, 12 (1968), 373–396 Meyer, Dan. “Slap That Bass! New Orleans String Bass Pioneers.” http://www.geocities.com/infrogmation/NewBass.html Meyer, Peg. Backwoods Jazz in the Twenties Cape Girardeau: Southeast Missouri State University, 1989 [white riverboat musicians] Meyer, Sheldon. “The Story of Jazz Books in America 1935–55,” Jazz Review, Vol. 2, No. 10 (November, 1959), 64–65 Miller, Mark. Some Hustling This! Taking Jazz to the World, 1914–929. Toronto: The Mercury Press, 2005 Minne, Pierre. “Une Resurgence de la Mentalité Africaine aux U. S A: La Musique de Jazz de la Nouvelle Orleans,” Présence Africaine 77 (1971), 109–130 Moore, Macdonald Smith. Yankee Blues: Musical Culture and American Identity. Bloomington: Indiana University Press, 1985 Morris, Ronald L. Wait Until Dark: Jazz and the Underworld 1880–1940. Bowling Green University Popular Press, 1980 Ogden, Kathy L. The Jazz Revolution: Twenties America and the Meaning of Jazz. NY: Oxford University Press, 1989 Oja, Carol J. Making Music Modern: New York in the 1920”s. NY: Oxford University Press, 2000 Oliphant, Dave. Texan Jazz. Austin: University of Texas Press, 1996 Oliver, Paul. “That Certain Feeling: Blues and Jazz . . . in 1890?”, Popular Music, Vol. 10, No. 1 (1991), 11–19 Ortiz, Oderigo, Néstor R. Historia del Jazz. Buernos Aires: Ricordi Americana, 1852 Ostendorf, Berndt. “The Musical World of Doctorow’s Ragtime,” American Quarterly, December, 1991 Ostransky, Leroy. Jazz City: The Impact of Our Cities on the Development of Jazz. Englewood Cliffs: Prentice-Hall, 1978

          th
                    21

Peretti, Burton W. The Creation of Jazz: Music, Race, and Culture in Urban America. Urbana: University of Illinois Press, 1992 ______________. Jazz in American Culture. Chicago: Ivan R. Dee, 1997 Peress, Maurice. From Dvorak to Duke Ellington: A Conductor Rediscovers America's Music and Its African-American Roots. New York: Oxford University Press, 2003 Petersen, Harney. “The Real Truth About Jazz Origins,” The record Changer, January, 1954, 4 Pickering, Michael. “Eugene Stratton and early Ragtime in Britain,” Black Music Research Journal, Vol. 20, No. 2 (Fall, 2000), 151–180 Pleasants, Henry. Death of a Music. London: Gollanz, 1961 _____________. Serious Music and All That Jazz! NY: Simon & Schuster, 1969 Porter, Eric. What is This Thing Called Jazz?: African American Musicians as Artists, Critics, and Activists. Berkeley: University of California Press, 2002, 1–53 Radano, Ronald. “Hot Fantasies: American Modernism and the Idea of Black Rhythm,” in Music and the Racial Imagination, Philip Bohlman and Ronald Radano, eds. Chicago: University of Chicago Press, 1997 _____________. Lying Up a Nation: Race and Black Music. Chicago: University of Chicago Press, 2003.

Raeburn, Bruce, Jewish Jazzmen in New Orleans, 1890–1940. Jazz Archivist 12 (1997), 1–12 Ramsey, Guthrie P., Jr. “Cosmopolitan or Provincial? Ideology in Early Black Music Historiography, 1867–1940.” Black Music review vol. 16, no. 1 (Spring, 1966), 11–42 Reed, Ishmael. Mumbo Jumbo. Garden City: Doubleday, 1972 [novel]

Rasula, Jed. “The Jazz Audience.” The Cambridge Companion to Jazz, Mervyn Cooke and David Horn, eds. Cambridge: Cambridge University Press, 2002, 55–68.

_________. “Jazzbandism.” The Georgia Review, Vol. LX, no. 1 (Spring. 2006), 61–124.

Riis, Thomas L. Just Before Jazz: Black Musical Theater in New York 1890 to 1915. Washington: Smithsonian Institution Press, 1989.

____________. More Than Just Minstrel Shows: The Rise of Black Musical Theatre at the Turn of the Century. Brooklyn: Institute for Studies in American Music, 1992.

Rose, Al. Eubie Blake: A Biography. NY: Schirmer, 1979.

_______. Storyville, New Orleans. University: University of Alabama Press, 1974.

_______. I Remember Jazz: Six Decades Among the Great Jazzmen. Baton Rouge, Louisiana State University Press, 1987.

_______ and Edmond Souchon. New Orleans Jazz: A Family Album. Baton Rouge: Louisiana State University Press, 1967.

Russell, Bill. Bill Russell’s American Music. Mike Hazeldine, ed. New Orleans: Jazzology Press, 1993 __________. Jazz Scrapbook. New Orleans: The Historic New Orleans Collection, 1998 __________. New Orleans Style. Barry Martyn and Mike Hazeldine, eds. New Orleans: Jazzology Press, 1994.

Russell, Ross. Jazz Style in Kansas City and the Early Southwest. Berkeley: University of California Press, 1971 Rust, Brian. “The First Jazz Record of All?” http://www.hensteeth.com/e_discog/firstjaz.htm Sager, Davis. “History, Myth, and Legend: The Problem of Early Jazz.” The Cambridge Companion to Jazz, Mervyn Cooke and David Horn, eds. Cambridge: Cambridge University Press, 2002, 270–285 Schiff, David. Gershwin: Rhapsody in Blue. Cambridge: Cambridge University Press, 1997 Schuller, Gunther. Early Jazz. NY: Oxford University Press, 1968 ______________. Musings: The Musical Worlds of Gunther Schuller. NY: Oxford, 1986 (essays on James Reese Europe, Scott Joplin, Duke Ellington, Paul Whiteman) Schiedt, Duncan. The Jazz State of Indiana. Duncan Scheidt, 1977 Scott, Emmett. J. Scott”s Official History of The American Negro in World War I , 1919, (Chapter 21: “Negro Music That Stirred France”) Smith, Charles Edward. “Can Jazz Be Defined?” Metronome, Vol. 78, No. 7 (1961), 12–13 Southern Eileen. The Music of Black Americans: A History. NY: Norton, 1971

Spencer, Jon Michael. The New Negroes and Their Music. Knoxville: University of Tennessee Press, 1997 Spottswood, Richard. “Gouges, Vamps, Zulus and Scronch and Where They”ve Been Hiding.” http://www.vjmuk.demon.co.uk/articles.htm Stewart, Jack. “The Cuban Danzon: Before There Was Jazz: 1906 to 1929.” http://www.arhoolie.com/catalog/titles/7032c.shtml Stoddard, Tom. Jazz on the Barbary Coast. Chigwell, UK: Storyville, 1982 Starr, S. Frederick. Bamboula! The Life and Times of Louis Moreau Gottschalk. NY: Oxford University Press, 1995 Sudhalter, Richard. Lost Chords: White Musicians and their Contribution to Jazz 1915–1945. NY: Oxford University Press, 1999 Sweetman, Ron. “Recording Activity in New Orleans in the ‘Twenties: A Discography of a Decade in the Crescent City.” http://www.bluesworld.com/NODiscog.html Thygesen, Helge, Mark Berresford, and Russ Shor. Black Swan: The Record Label of the Harlem Renaissance. Nottingham, 1996 Tower, Beeke S. “Jungle Music and Song of Machines: Jazz and American Dance in Weimar Culture,” Envisioning America: Prints, Drawings, and Photographs by George Grosz and His Contemporaries, 1915–1933. (Cambridge, Ma.: Busch-Reisinger Museum, 1990), 87–105 Turner, Frederick. Remembering Song: Encounters With the New Orleans Jazz Tradition. NY: Viking, 1982 Van Der Merwe, Peter. Origins of the Popular Style: The Antecedents of Twentieth–Century Popular Music. NY: Oxford, 1989 Vincent, Ted. “The Community That gave Jazz to Chicago,” Black Music Research Journal, Vol. 12, No. 1 (Spring, 1992), 43–56 __________. Keep Cool: The Black Activists Who Built the Jazz Age. London: Pluto Press, 1995 Virgo, E.S. “The Earliest Boogie Woogie,” 78 Quarterly, Vol. 1, No. 8 (no date), 113–122 Wang, Richard. “Researching the New Orleans-Chicago Jazz Connection: Tools and Methods,” Black Music Research Journal, Vol. 8, No. 1 (1988), 101–112 Watkins, Glenn. Proof Through the Night: Music and the Great War. Berkeley: University of California, 2002 ____________. Pyramids at the Louvre: Music, Culture and Collage from Stravinsky to the Postmodernists. Cambridge: Harvard University Press, 1994 Waterman, Richard A. [“as told to Lynn S, Summers”] “African Influence and the Blues,” Living Blues, no. 6 (Autumn, 1971), 30–36 Welburn, Ron. “American Jazz Criticism, 1914–1940.” Dissertation., New York University, 1983 ___________. “James Reese Europe and the Infancy of Jazz Criticism,” Black Music Research Journal, Vol. 7 (1987), 35–44 ___________. “Jazz Magazines of the 1930”s: An Overview of Their Provocative Journalism,” American Music, 5 (1987), 155–277 White, Shane. Stories of Freedom in Black New York. Cambridge: Harvard University Press, 2002 Williams, Martin. “Jazz: What Happened in Kansas City?” Americam Music vol. 3, no. 4 (Summer, 1985). 171–179 Wilson, John S. Jazz: The Transition Year, 1940–1960. NY: Appelton-Century-Crofts, 1966 Woll, Allen. Black Musical Theatre From Coontown to Dreamgirls. Baton Rouge: Louisiana State University Press, 1989 Wondrich, David. Stomp and Swerve: American Music Gets Hot, 1843–1924. Chicago: Chicago Review Press, 2003 Wright, Laurie. “King” Oliver. Chigwell, UK: Storyville Publications, 1987 ____________. Mr. Jelly Lord. Chigwell, UK: Storyville Publications, 1980

Autobiographies and Biographies of Early Jazz Musicians and Singers Armstrong, Louis. Satchmo: My Life in New Orleans. Englewood Cliffs: Prentice-Hall, 1954 Goffin, Robert. Horn of Plenty: The Story of Louis Armstrong. NY: Allen, Towne & Heath, 1947 Meryman, Richard. Louis Armstrong B A Self Portrait. Millerton, NY: Eakins, 1071 Barker, Danny. A Life in Jazz. Alyn Shipton, ed. NY: Oxford University Press, 1986 Bechet, Sidney. Treat It Gentle. Twayne, 1960 Chilton, John. Sidney Bechet: The Wizard of Jazz. NY: Oxford University Press, 1987 Sudhalter, Richard M & Philip R. Evans. Bix: Man & Legend. New Rochelle: Arlington House, 1974 [Bix Beiderbecke] Berton, Ralph. Remembering Bix: A Memoir of the Jazz Era. NY: Harper & Row, 1974 [Bix Beiderbecke] Bernhardt, Clyde E. B. I Remember. Philadelphia: University of Pennsylvania Press, 1986 Rose, Al. Eubie Blake. NY: Schirmer Books, 1979 Hardie, Daniel. The Loudest Trumpet: Buddy Bolden and the Early History of Jazz. iUniverse.com, 2000 Marquis, Donald M. In Search of Buddy Bolden, First Man of Jazz. Baton Rouge: Louisiana State University Press, 1978 Bradford, Perry. Born With the Blues: Perry Bradford”s Own Story The True Story of the Pioneering Blues Singers and Musicians in the Early Days of Jazz. NY: Oak Publications, 1965 Bushell, Garvin. Jazz From the Beginning. Ann Arbor: University of Michigan Press, 1988 Collins, Lee. Oh, Didn”t He Ramble: The Life Story of Lee Collins as Told to Mary Collins. Frank J. Gillis and John W. Miner, eds. Urbana: University of Illinois Press, 1974 Condon, Eddie and Thomas Sugrue. We Called It Music. NY: Holt, 1947 Giddins, Gary. Bing Crosby: A Pocketful of Dreams, The Early Years, 1903–1940. Boston: Little, Brown, 2001 Gara, Larry. The Baby Dodds Story. Los Angeles: Contemporary Press, 1959 Ellington, Duke. Music is My Mistress. Garden City: Doubleday, 1973 Tucker, Mark. Ellington: The Early Years. Urbana, Ill., 1991 Badger, Reid. A Life in Ragtime A Biography of James Reese Europe. NY: Oxford University Press, 1995 Foster, Pops. Pops Foster: The Autobiography of a New Orleans Jazzman. Berkeley: University of California Press, 1971 Williams, Iain Cameron. Underneath a Harlem Moon: The Harlem to Paris Years of Adelaide Hall. London: Continuum, 2002 Handy, W. C. Father of the Blues: An Autobiography. NY: Macmillan, 1941 Holiday, Billie. Lady Sings the Blues. NY: Doubleday, 1956 Sissle, Noble. “Memoirs of ‘Jim” Europe.” Unpublished manuscript, c. 1942. Library of Congress http://memory.loc.gov/cgi-bin/query/r?ammem/aaodyssey: “field(NUMBER+”band(musmisc+ody0717)) Johnson, Willie G (Bunk). “The Bunk Johnson Story,” 100–107 Sonnier, Austin M., Jr. Willie Geary “Bunk” Johnson. NY, 1977 Brown, Scott E. James P. Johnson: A Case of Mistaken Identity. Metuchen, NJ: Scarecrow, 1986 Davin, Tom. “Conversations with James P. Johnson,” The Jazz Review Berlin, Edward A. King of Ragtime: Scott Joplin and His Era. NY: Oxford University Press, 1994 Mezzrow, Milton “Mezz” and Bernard Wolfe. Really the Blues. NY: Random House, 1946 Tosches, Nick. Where Dead Voices Gather. Boston: Little, Brown, 2001 [Emmett Miller] Lomax, Alan. Mister Jelly Roll. NY: Duell, Stone & Pearce, 1950 Patras, Phil. Dead Man Blues: Jelly Roll Morton Way Out West. Berkeley: University of California Press, 2001 Reich, Howard and William Gaines. Jelly's Blues: The Life, Music, and Redemption of Jelly Roll

                                   Morton. New York: Da Capo, 2003
24

Russell, William. “Oh, Mister Jelly Roll”: A Jelly Roll Morton Scrapbook. Copenhagen: JazzMedia Aps., 1999 Allen, Walter C., and Brian Rust. King Joe Oliver. London: Sidwich & Jackson, 1960 . Brunn, Henry O. The Story of the Original Dixieland Jazz Band. Baton Rouge: Louisiana State University Press, 1960 Singer, Barry. Black and Blue: The Life and Lyrics of Andy Razaf. NY: Schirmer, 1992 Albertson, Chris. Bessie. NY: Stein & Day, 1972 [Bessie Smith St. Cyr, Johnny. “Jazz As I Remember It,” Jazz Journal, September, 1966, 6–9 Smith, Catherine Parsons. William Grant Still: A Study in Contradictions. Berkeley: University of California Press, 2000 Smith, Willie “The Lion.” with George Hoefer. Music On My Mind. Garden City: Doubleday, 1964 Tucker, Sophie. Some of These Days; The Autobiography of Sophie Tucker. Garden City: Doubleday, 1945 DeLong, Thomas. Paul Whiteman, King of Jazz. Piscatawy, NJ: New Century, 1983 Rayno, Don. Paul Whiteman: Pioneer in American Music. Metuchen, NJ: Scarecrow Press, 2003 Lord, Tom. Clarence Williams. Chigwell, UK: Storyville Publications Early Jazz Outside of the United States Atkins, E. Taylor. Blue Nippon: Authenticating Jazz in Japan. Durham: Duke University Press, 2001 _____________. Jazz Planet Jackson, MS: University of Mississippi Press, 2003 Ballantine, Christopher. “Concert and Dance: Thou Foundations of Black Jazz in South African Popular Music.” Col. 10, No. 2 (1991), 121–145 __________________. Marabi Nights: Early South African Jazz and Vaudeville. Johannesburg, 1994. Berresford, Mark. “American Ragtime Performers in Britain,” 78 Quarterly, Vol. 1, No. 8 (no date), 113–122 “Billy Arnold: Like a Story Book.” Reprinted in “La France decouvre le jazz,” special issue of Jazz Magazine (Paris), No. 325 (January, 1984), 60–61) Boujut, Michel. “Jazz et surrealisme: une possible alliance,” from Dictionaire du Surréalisme, Fribourg, 1982 (reprinted in “La France decouvre le jazz,” special issue of Jazz Magazine (Paris), No. 325 (January, 1984), 46–47)

                 Budd, Michael J., ed. Jazz & the Germans: Essays on the Influence of “hot” American Idioms on th
20 Century German Music. Hillsdale, NY: Pendragon Press, 2003

Cerchiari, Luca. Jazz e Fascismo. Palermo: L’Epos. 2003 Chesnel, Jacques. Le jazz en quarantaine 1940–1946: occupation/libération. Cherbourg 1994 Clifford, James. “On Ethnographic Surrealism,” in The Predicament of Culture. Cambridge:

   Harvard University Press, 1988, 117–151

Cocteau, Jean. “La vérité sur un autre scandale,” Conferencia, September 1, 1926 (reprinted in “La France decouvre le jazz,” special issue of Jazz Magazine (Paris), No. 325 (January, 1984), 55 Collier, James Lincoln. The Reception of Jazz in America: A New View. Brooklyn: Institute for Studies in American Music, 1988 Collins, Edmund John. “Jazz Feedback to Africa,” American Music, Vol. 5. no. 2 (Summer, 1987), 176–193 Cook, Susan C. “Jazz As Deliverance: The Reception and Institution of American Jazz During the Weimar Republic,” American Music, Spring, 1989, 00. 30–47 Cowley, John. “Cultural ‘Fusuions’: Aspects of British West Indian Music in the USA and Britain 1918–1951,” Popular Music 5 (1985), 81–96 Damon, S. Foster. “American Influence on Modern French Music,” The Dial LXV (July 18, 1918,

     93–95

25

Delaunay, Charles. Delaunay’s Dilemma: de la peinture ou Jazz. Paris: Editions W, 1985 Denis–Constant, Martin. “L”Histoire sous toute ses faces,” in “La France decouvre le jazz,” special issue of Jazz Magazine (Paris), No. 325 (January, 1984), 38–39, 85 __________________ and Livier Roueff, La France du jazz: Musique modermité, et identité dans la première moitié du xx siècle. Marseille: Parentheses, 2002 [includes reprints of early French articles on jazz] Englund, Bjorn. “Chocolate Kiddlies: The Show that Brought Jazz to Europe and Russia in 1925,” Storyville 61 (October–November, 1975), 44–50 Franklin, A. David. ”A Preliminary Study of the Acceptance of Jazz by French Music Critics in the 1920”s,” Annual Review of Jazz Studies, 4 (1988), 1–8 Gendron, Bernard. “Jamming at Le Boeuf: Jazz and the Paris Avant–Garde,” Discourse 12: 1 (1989–90), 3–27 Godbolt, Jim. A History of Jazz in Britain 1919–50. London: Quartet, 1984 Goffin, Robert. “Le plus beau Te Deum.” Reprinted in “La France decouvre le jazz,” special issue of Jazz Magazine (Paris), No. 325 (January, 1984), 62–63 Goddard, Chris. Jazz Away From Home. NY: Paddington Press, 1979 Hobsbawm. Eric. “Jazz Comes to Europe,” Uncommon People. NY: The New Press, 1998, 265–273 Jackson, Jeffrey H. Making Jazz French: Music and Modern Life in Interwar Paris. Durham, NC: Duke University Press, 2003 “Jazz Bitterly Opposed in Germany.” New York Times, March 11, 1928 Johnson, Bruce. “The Jazz Diaspora.” The Cambridge Companion to Jazz, Mervyn Cooke and David Horn, eds. Cambridge: Cambridge University Press, 2002, 9–32 Jones, Andrew. Yellow Music: Media Culture and Colonial Modernity in the Chinese Jazz Age. Durham, NC: Duke University Press, 2001 Kantor, Michael H. Different Drummers: Jazz in the Culture of Nazi Germany. NY: Oxford University Press, 1992 (especially the introduction, “The Ambiguous Culture: Jazz and the Weimar Republic,” 3–28 Kenny, William H., III. “Le Hot: The Assimilation of American Jazz in France, 1917–1940,” American Studies, Vol. 25, No. 1 (Spring, 11984), 5–24 Knauer, Wolfgang. Jazz in Deutschland. Hofheim, 1996. Kool, Jaap. “The Triumph of the Jungle,” The Living Age. 8 Series, Vol. 37 (Jan.Mar, 1925), 338–343 [originally in Uhu, a Berlin monthly, Nov 1924], “La France decouvre le jazz,” special issue of Jazz Magazine (Paris), No. 325 (January, 1984) Lambert, Constant. Music Ho! London, 1934 Lange, Horst. Jazz in Deutschland: Die deutsche Jazz-Chronik, 1900–1960. Berlin, 1966 Levi, Ezio and Gian Carlo Testoni. Introduzione alla vera Musica di Jazz. Milana: Edizione Magazzino Musicale, 1938–XVI (includes a discography of jazz records issued in Iraly on 53–110) Lotz, Rainer E. Black People: Entertainers of African descent in Europe, and Germany. Bonn: Birgit Lotz, 1997. [book/CD set] ____________. German Ragtime & Prehistory of Jazz, Vol. 1: The Sound Documents of an Era. Chigwell, UK: Storyville Publications. ____________. “Foolishness Rag: The Perception of Ragtime in Europe,” 78 Quarterly, Vol. 1, No. 8 (no date), 113–122 Martinez, Jose Maria Garcia. Del Fox-Trot al Jazz Flamenco [jazz in Spain] Milhaud, Darius. “La musique ‘pas sérieuse,” in “La France decouvre le jazz,” special issue of Jazz Magazine (Paris), No. 325 (January, 1984), 55,83 Miller, Mark. Such Melodious Racket: The Lost History of Jazz in Canada. Toronto: Mercury, 1997. Parsonage, Catherine. “A Critical Reassessment of the Reception of Early Jazz in Britain,” Popular Music 22, No. 3 (2003), 315–336 Perloff, Nancy. Art and the Everyday: Popular Entertainment and the Circle of Eric Satie. NY: Oxford University Press, 1991 Réda, Jacques. “Charles Albert Cingria: le syncopé angle-négre,” in “La France decouvre le jazz,” special issue of Jazz Magazine (Paris), No. 325 (January, 1984), 52–53, 85–86

                 th
             26

Resula, Jed. “Jazz As a Decal for the European Avant-Garde” in Blackening Europe: The African American Presence. Heike Raphael–Hernandez, eds. London: Routledge, 2004, 35–52 (See also under Later Writings) Riviere, George Henri. “Une Marriage d”amour,” in “La France decouvre le jazz,” special issue of Jazz Magazine (Paris), No. 325 (January, 1984), 47–51, 85 Roberts, John Storm. Latin Jazz. NY: Schirmer, 1999 Robinson, J. Bradford “Jazz Reception in Weimar Germany: In Search of a Shimmy Figure,” Music and Performance During the Weimar Republic, ed. Bryan Gilliam. Cambridge University Press, 1994, 107–134 Rye, Howard. “Fearsome Means of Discord: Early Encounters with Black Jazz,” Black Music in Britain, Paul Oliver, ed. Philadelphia, 1990 Shack, William A. Harlem in Montmartre: A Paris Jazz Story Between the Great Wars. Berkeley: University of California Press, 2001 Simon, Géza Glbor. Magyar Jazztörténet. Budapest, 1999. [history of Hungarian jazz with CDs] Skvorecký, Josef. “Preface: Red Music,” The Bass Saxophone. New York:, 1977 Starr, S. Frederick. Red & Hot: The Fate of Jazz in the Soviet Union. NY: Oxford University Press, 1983 Stockman, Hardy. Cape Town Jazz 1959–1963. Copenhagen, 2002. Stovall, Tyler. Paris Noir: African Americans in the City of Light. Boston: Houghton Mifflin, 1996 Stretton, Gordon. “Tu verras Montmartre.” in “La France decouvre le jazz,” special issue of Jazz Magazine (Paris), No. 325 (January, 1984), 58–59) Sullivan, Jack. New World Symphonies: How American Culture Changed European Music. New Haven: Yale University Press, 1999 Szwed, John. “Afro Blue” [South African jazz], Village Voice, August 25, 1987, Jazz Supplement, 11–12 __________. “Way Down Yonder in Buenos Aires” [Oscar Alemán], Village Voice, January 18, 1983 , 83 __________. “World Views Collide: The History of Jazz and Hot Dance,” Village Voice, February 25, 1986 Taylor, Denise Pilmer. La Musique pour tout le monde: Jean Wiéner and the Dawn of French Jazz. University of Michigan PhD, 1998 Tower, Beeke S. “Jungle Music and Song of Machines: Jazz and American Dance in Weimer Culture,” Envisioning America. Cambridge, MA: Busch-Reisinger Museum, 1991, 87–105 Weidermann, Erik. Jazz i Danmark B ityverne, trediverne og fyrrerne. Copenhagen, 1985 Weiss, Jeffrey. The Popular Culture of Modern Art: Picasso, Duchamp, and Avant-Gardism. New Haven: Yale University Press, 1994 Zwerin, Mike. La Tristesse de Saint Louis: Swing Under the Nazis. London: Quartet, 1985 Dance Atkins, Cholly and Jacqui Malone. Class Act: The Jazz Life of Choreographer Cholly Atkins. New York: Columbia University Press, 2001 Castle, Irene. Castles in the Air. Garden City: Doubleday, 1958 __________. My Husband. NY: Scribers, 1919 Castle, (Mr. & Mrs.) Vernon. Modern Dancing. NY: World Syndicate, 1914 Dayal, Samir. “Blackness as Symptom: Josephine Baker and European Identity.” in Blackening Europe: The African American Presence. Heike Raphael-Hernandez, eds. London: Routledge, 2004, 35–52 DeFrantz, Thomas F., ed. Dancing Many Drums: Excavations in African American Dance. Madison: University of Wisconsin Press, 2002 Dixon Stovall, Brenda. Digging the Africanist Presence in American Performance: Dance and Other Contexts. Dixon Gottschild, Brenda. Waltzing in the Dark: African American Vaudeville and Race Politics in the Swing Era. New York: St. Martins, 2000

Emery, Lynne Fauley. Black Dance in the United States from 1619 to 1970. Palo Alto: National Press Books, 1972 Hill, Constance Valis Hill. Brotherhood in Rhythm: The Jazz Tap Dancing of the Nicholas Brothers. New York: Oxford University Press, 2000

“Jazz Music and the Modern Dance,” Melody, December,1920

Kracauer, Siegfried. “Travel and Dance,” in The Mass Ornament, translated. & edited by Thomas Y. Levin. Cambridge, MA: Harvard University Press,1995 [1925]), 65–73 Kurath, Gertrude P, and Nadia Chilkovsky. “Jazz Choreology,” Man and Culture: Preceedings of the Fifth International Congress of Anthroplogical Sciences, Anthony Wallace, ed. Philadelphia: University of Pennsylvania Press, 1960, 152–159 Malone, Jacqui. Steppin” On the Blues: The Visible Rhythms of African American Dance. Urbana: University of Illinois Press, 11996 Miller, Norma, with Evette Jensen. Swinging at the Savoy: The Memoir of a Jazz Dancer. Philadelphia: Temple University Press, 1996 Burt, Ramsay. Alien Bodies: Representations of Modernity, ‘Race’ and Nation in Early Modern Dance. Routledge 1998

“Shady Dance Steps Barred by Police,” The New York Times, December 10, 1922 Stearns, Marshall and Jean. Jazz Dance: The Story of American Vernacular Dance. NY:

Schirmer, 1968 Szwed, John and Morton Marks. “The Afro-American Transformation of European Set Dances and Dance Suites,” Dance Research Journal Vol. 20, No. 1 (Summer, 1988), 29–36 Tower, Beeke S. “Jungle Music and Song of Machines: Jazz and American Dance in Weimer Culture,” Envisioning America. Cambridge, MA: Busch-Reisinger Museum, 1991, 87–105

= article reprinted in Karl Koenig, ed. Jazz in Print (1856–1929): An Anthology of Selected Early Readings in Jazz History.

Bibliography Mecklenburg, Carl Gregor Herzog zu. International Jazz Bibliography: Jazz Books From 1919 to 1968. Baden Baden: Verlag Heitz, 1969 ______________________________. International Bibliography of Jazz Books, Vol. I: 1921–1949. Baden–Baden: Verlag Valentine Koerner, 1983 ______________________________. International Bibliography of Jazz Books, Vol. II: 1959–1959. Baden-Baden: Verlag Valentine Koerner, 1988 Merriam, Alan. P. and Robert J. Benford. A Bibliography of Jazz. Philadelphia: The American Folklore Society, 1954 [NOTE: many of the pre-1930 items are reprinted in Koening 2002]

Reviews[edit]

blah