"Jazz Careers in New York": Dave Gibson
Jazz Studies Online: You're not from New York originally. What lured you here? What features did the city offer then that others did not? If you've stayed here, have your motivations for being here changed?
Bebop
"Jazz Careers in New York": Dado Moroni
Jazz Studies Online: You're not from New York originally. What lured you here? What features did the city offer then that others did not? Given that you still make a point of visiting here regularly, have your motivations for coming here changed at all?
"Jazz Careers in New York": Bobby Sanabria
Jazz Studies Online: You're from New York. What kept you here when you decided to pursue a career as a jazz musician? What features did the city offer then that others did not? Given that you stayed in New York (or nearby) have your motivations for being here changed?
The Jazz Review, Vol.1, No.1 (Nov. 1958)
This PDF is a full-text searchable reproduction of the entire issue of this publication with all images, including advertisements.
Central Avenue Bop Bibliography
Central Avenue Bop Bibliography
A resource for “Central Avenue Bop,” by Maxine Gordon
Bryant, Clora, Buddy Collette, William Green, Steven Isoardi, Jack Kelson, Horace Tapscott, Gerald Wilson, and Marl Young, ed. 1998. Central Avenue Sounds: Jazz in Los Angeles. Berkeley: University of California Press.
Callender, Red & Elaine Cohen. 1985. Unfinished Dream: The Musical World of Red Callender. London: Quartet Books.
Collette, Buddy & Steven Isoardi. 2000. Jazz Generations: A Life in American Music and Society. London: Continuum.
Randy Weston and Robin Kelley: Dialogue on Monk (Part II)
Randy Weston and Robin Kelley discuss the life and music of Thelonious Monk at the Dwyer Cultural Center, October 13, 2009.
Randy Weston and Robin Kelley: Dialogue on Monk
Randy Weston and Robin Kelley discuss the life and music of Thelonious Monk at the Dwyer Cultural Center, October 13, 2009.
"You Think You Know Me...": Part II
The continuation of Gwen Ansell's discussion of black radio stations and their struggle with the apartheid regime in South Africa. Click here for Part I.
"You Think You Know Me...": Jazz Broadcasting Under Apartheid (I)
Gwen Ansell discusses the strategies that South African musicians and radio stations used to overcome the apartheid regime's efforts at cultural cleansing by introducing black audiences to jazz, and thus making jazz "the quintessential music of struggle" in that country. Click here for Part II.
Jazz in South African Social Clubs (I)
South Africa is unusual in that jazz is the center of a lively popular music culture in that country, and not just a niche market. A major part of the South African jazz audience are members of organizations known as stockvels, which are part savings clubs, part music appreciation societies, and part social networking and patronage hubs. Gatherings there typically involve not only listening to jazz records, but improvising dance performances to them.
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