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Harris In Print--The African Diaspora: A Musical Perspective
Performer/composer Jerome Harris, known for his work with Sonny Rollins, Jack DeJohnette, Don Byron, Ray Anderson and others, has contributed a major piece of jazz scholarship to the newly-published collection of essays The African Diaspora: A Musical Perspective.

Harris's piece, "Jazz on the Global Stage," is a wide-ranging "insider's view" of the history, present state, and future implications of the spreading and flourishing of jazz in locales far from its African American birthplace. In the volume's introduction, the editor--award-winning jazz scholar Ingrid Monson--writes that "Harris provides the most comprehensive portrait currently available of jazz outside the United States." In addition, Harris provocatively probes what jazz's global presence may mean for the future of the music's aesthetics and for African American identity. "Jazz on the Global Stage" was excerpted in the summer 1998 issue of Jazz Changes, the journal of the International Association of Schools of Jazz.

The African Diaspora: A Musical Perspective is published by Garland Publishing, Inc.; on-line ordering is available at www.routledge-ny.com. Potential reviewers should contact Tony Clark at (917) 351-7124 or at "tclark@routledge-ny.com". The book's back-cover blurb is reprinted below.

The African Diaspora: A Musical Perspective (Ingrid Monson, editor)

The African Diaspora presents musical case studies from various regions of the African diaspora--including Africa, the Caribbean, Latin America, North America, and Europe--that engage with broader interdisciplinary discussions about race, gender, politics, nationalism, and music. In eleven original essays, including an introduction by the editor, this collection examines such diverse musics and issues as the blues aesthetic and the African diaspora in jazz performance; different versions of the 1939 song "Mbube," also known as "The Lion Sleeps Tonight"; the globalization of jazz from an insider's perspective; the power of women in the popular wassoulou music of Mali; the mamaya repertory of Guinea in the 1930s and '40s; Yoruba folk opera; traditional Ewe music as taught by the Dagbe Cultural Institute in Ghana; the role of militarism in Haitian vodou music; musical revivals and social movements in contemporary Martinique; and the role of African diaspora in the music and statements of jazz drummer Art Blakey. The contributors in this volume aim to address why music claims such pride of place in the African diasporic imagination and to provide particular examples of the interweaving of the local and the global in the lives of musicians and their audiences.

Contributors: Gage Averill, Eric Charry, Steven Cornelius, Lucy DurĂ¡n, Veit Erlmann, Akin Euba, Julian Gerstin, Jerome Harris, Travis A. Jackson, LansinĂ© Kaba, Ingrid Monson, Yuen-Ming David Yih.

Ingrid Monson is the Quincy Jones Professor of Music at Harvard University; she was formerly Associate Professor of Music at Washington University in St. Louis. She is the author of Saying Something: Jazz Improvisation and Interaction, winner of the Sonneck Society's 1996 Irving Lowens award for the best book on American music. Her articles have been published in Ethnomusicology, Critical Inquiry, World of Music, Journal of the American Musicological Society, Women and Jazz, and the Black Music Research Journal.

The African Diaspora: A Musical Perspective, Ingrid Monson, editor (New York and London: Garland Publishing, Inc., 2000)

ISBN: 0-8153-2382-4

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