The Ebony Magazine Archive covers civil rights, education, entrepreneurship and other social topics with an African-American focus, including more than 800 issues providing a broad view of African-American culture from its first issue in 1945 through 2014.
Facsimiles of 105 full text American jazz journals published between 1914 and 2006. Significant journals include, among others, Cadence, Down Beat, Mississippi Rag, and Record Changer. Images, advertisements included.
All About JazzIncludes jazz reviews, interviews, news, forums, videos, downloads, photos, clubs, calendars and more
Hamilton College Jazz ArchiveEstablished in 1995, this Archives holds a collection of videotaped interviews with jazz musicians arrangers, writers and critics.
Jazz CornerPortal for the official websites of hundreds of jazz musicians and organizations
Chronicles the music and careers of the people who created, enhanced and continue in the tradition of New Orleans jazz at the local, national and international levels
Monterey Jazz Festival CollectionThis exhibit provides information about the Monterey Jazz Festival, its history, and many of the musicians who performed there. As more content is added to this exhibit, it will be possible to access information about audio and video recordings in the Festival's archive at Stanford University, and you will be able to search or browse through the listings to discover musical performances and other events.
A research unit of The New York Public Library, this Center is generally recognized as one of the leading institutions of its kind in the world. For over 80 years it has collected, preserved, and provided access to materials documenting black life, and promoted the study and interpretation of the history and culture of peoples of African descent.
Through world-class collections, scholarship, concerts, exhibitions and programs, Smithsonian Jazz at the National Museum of American History explores and celebrates the American experience through the transformative power of jazz.
Jazz Diaspora by Bruce JohnsonThis book is about the international diaspora of jazz, well underway within a year of the first jazz recordings in 1917. It studies the processes of the global jazz diaspora and its implications for jazz historiography in general, arguing for its relevance to the fields of sonic studies and cognitive theory.
Publication Date: 2019-10-16
Jews and Jazz by Charles B. HerschJews and Jazz: Improvising Ethnicity explores the meaning of Jewish involvement in the world of American jazz. It focuses on the ways prominent jazz musicians like Stan Getz, Benny Goodman, Artie Shaw, Lee Konitz, Dave Liebman, Michael Brecker, and Red Rodney have engaged with jazz in order to explore and construct ethnic identities. The author looks at Jewish identity through jazz in the context of the surrounding American culture, believing that American Jews have used jazz to construct three kinds of identities: to become more American, to emphasize their minority outsider status, and to become more Jewish. From the beginning, Jewish musicians have used jazz for all three of these purposes, but the emphasis has shifted over time. In the 1920s and 1930s, when Jews were seen as foreign, Jews used jazz to make a more inclusive America, for themselves and for blacks, establishing their American identity. Beginning in the 1940s, as Jews became more accepted into the mainstream, they used jazz to "re-minoritize" and avoid over-assimilation through identification with African Americans. Finally, starting in the 1960s as ethnic assertion became more predominant in America, Jews have used jazz to explore and advance their identities as Jews in a multicultural society.
Make It New by Bill BeuttlerAs jazz enters its second century it is reasserting itself as dynamic and relevant. Boston Globe jazz writer and Emerson College professor Bill Beuttler reveals new ways in which jazz is engaging with society through the vivid biographies and music of Jason Moran, Vijay Iyer, Rudresh Mahanthappa, The Bad Plus, Miguel Zenón, Anat Cohen, Robert Glasper, and Esperanza Spalding.
The first John Coltrane Memorial Concert (JCMC) was performed on the tenth anniversary of John Coltrane's death on July 17, 1977. In a performance space established by percussionist Syd Smart called the Friends of Great Black Music Loft, a group of musicians played to honor Coltrane and his legacy. The JCMC was created thought the efforts of Syd Smart, saxophonist Leonard Brown, and bassist Hayes Burnet.
These three men founded the concert with the intent to showcase 1) The enduring genius of Coltrane's music 2) Promote Black African-American musicians in positions of leadership and a dedication to enhancing and defining the musical traditions of Black African-American people. As such, they organized a concert honoring Coltrane that featured renditions of his musical compositions. Word spread quickly, and due the overwhelming attendance and positive response from the Boston community, the JCMC became a traditional Boston annual concert. In 2012 the musicians and planners incorporated Friends of John Coltrane Memorial Concert, Inc. (FJCMC), which was originally established as John Coltrane Memorial Concert in 1977.JCMC had many homes throughout the years. In the early eighties, the JCMC outgrew the seating capacity at the Loft and moved to the Modern Theatre for one year. From here, the JCMC moved to Emmanuel Church until 1985. In 1986, through the efforts of co-founder Leonard Brown, the JCMC became affiliated with Northeastern University. In this year, Dr. Brown became a member of the faculty of African American Studies and Music. By collaborating with Sergei Tschernisch, then director of NU Arts, Dr. Brown was successful in relocating the John Coltrane Memorial Concert to Northeastern. JCMC it has been in residence at NU over the past twenty nine years, providing the greater Boston and Cambridge communities with outstanding and memorable jazz performances. Created in 1992, the John Coltrane Memorial Concert Educational Outreach Program (JCMCEOP) was developed by Dr. Brown with the intent of bringing live performance of creative improvisational music to elementary and secondary students in Boston and Cambridge educational institutions. This program is designed to assist children in expressing themselves creatively through music. Over the decades, the JCMC has accrued a following of musicians and listeners alike, with a deep interest in Coltrane's music