Hostname: page-component-586b7cd67f-rcrh6 Total loading time: 0 Render date: 2024-11-25T05:06:32.512Z Has data issue: false hasContentIssue false
  • English
  • Français

“We Both Speak African”: A Dialogic Study of Afro-Cuban Jazz

Published online by Cambridge University Press:  14 April 2011

DAVID GARCÍA
DAVID GARCÍA*
Affiliation:
[email protected]
Get access Rights & Permissions [Opens in a new window]

Abstract

From 1947 to 1948 the Dizzy Gillespie orchestra with Chano Pozo produced some of the most important recordings that contributed to the development of Afro-Cuban jazz. Pozo had already led a successful career as a professional musician in Havana before he moved to New York City, where he met Gillespie and joined his bebop big band. The integration of a black Cuban percussionist into Gillespie's all-black band raises important questions about the racial politics enveloping the popularization of bebop, Afro-Cuban jazz, and the work of others in contemporaneous political, cultural, and intellectual arenas. This article provides new documentation of Pozo's performances with the Gillespie band in the United States and Europe and shows the ideological concerns that Pozo and Gillespie shared with West African political and cultural activists, Melville Herskovists and his students, and early jazz historians in the 1940s. The article suggests an alternative methodology for scholarship on jazz in the United States that approaches jazz's extensive engagements with Cuban and other Afro-Atlantic musicians as embodying the crux of jazz's place in the Afro-Atlantic.

Type
Research Article
Information
Journal of the Society for American Music , Volume 5 , Issue 2 , May 2011 , pp. 195 - 233
Copyright
Copyright © The Society for American Music 2011

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

References

African Dance and Music Festival, Program, Asadata Dafora Papers, 1933–1963, MG 48, Manuscripts, Archives and Rare Books Division, Schomburg Center for Research in Black Culture, New York Public Library.Google Scholar
American Federation of Musicians, Local 802, Minutes of the Executive Board, Box 5, Volume 10, 1947. Robert F. Wagner Labor Archives of the Tamiment Institute Library, New York University.Google Scholar
Clarke, Kenny. Unpublished interview with Dale Fitzgerald, March 1980. Jazz Oral History Project. Institute of Jazz Studies, Rutgers University.Google Scholar
Festival of Music and Fine Arts, Program, Asadata Dafora Papers,1933–1963, MG 48, Manuscripts, Archives and Rare Books Division, Schomburg Center for Research in Black Culture, New York Public Library.Google Scholar
McKibbon, Al. Unpublished interview with Anthony Brown, 1993. Collection Number 808, Box 18. Jazz Oral History Program Collection, Archives Center, National Museum of American History, Smithsonian Institution.Google Scholar
Russell, George. Unpublished interview with Bob Dauchery, 3–4 May 2004. Collection Number 808, Box 23, Jazz Oral History Program Collection, Archives Center, National Museum of American History, Smithsonian Institution.Google Scholar
“African Arts Head Confers with Governor Darden Prior to Concert Here Dec. 17–18.” The Journal and Guide (15 December 1945): 29.Google Scholar
“African Dance Festival to Play in Norfolk Dec. 17 and 18.” The Journal and Guide (15 December 1945).Google Scholar
“African Dancers to K. C.” The Call (18 October 1946): 8.Google Scholar
“African Drums Beat Rhythm.” People's Voice (3 May 1947).Google Scholar
“African Interlude Planned for Hotel Diplomat May 7th.” People's Voice (10 May 1947): 19.Google Scholar
Bach, Bob. “Wha’ Hoppeen, Noro? Rhumbop!” Metronome (July 1947): 22, 49.Google Scholar
“Be-Bop for stort Orkester.” Social-Demokraten (10 February 1948).Google Scholar
“Be-bop jazzens fyrtiotalism.” Svenska Dagbladet (28 January 1948).Google Scholar
“Bebop: New Jazz School Is Led by Trumpeter Who Is Hot, Cool and Gone.” Life (11 October 1948): 138–42.Google Scholar
“Be-Bop to Carnegie Hall Sept. 29.” Down Beat (24 September 1947): 8.Google Scholar
Biancolli, Louis. “African Dance and Song Has Impact: Black Magic Beats Weird Rhythms at Carnegie.” New York World-Telegram (26 April 1946): 18.Google Scholar
Boyer, Richard. “Profiles: Bop.” The New Yorker (3 July 1948): 28–37.Google Scholar
“Charlie Parker Added to Carnegie Jazz Cast.” People's Voice (27 September 1947).Google Scholar
“Concert Payoff on the Upbeat.” Variety (1 October 1947): 1.Google Scholar
“Dance Festival Shows Progress of Africans.” The Journal and Guide (22 December 1945).Google Scholar
“Dancing for the African Academy.” People's Voice (10 May 1947): 18.Google Scholar
Davidson, Will. “Recordially Yours.” Chicago Daily Tribune (5 September 1948): F5.Google Scholar
Davis, Frank Marshal. “Rating the Records.” Atlanta Daily World (30 December 1948): 3.Google Scholar
“Dizzy Gillespie.” Dagens Nyheter (28 January 1948).Google Scholar
“Dizzy Gillespie.” Record Changer (November 1948): 19.Google Scholar
“Dizzy Gillespie a Parigi.” Musica Jazz (April 1948): 1–3.Google Scholar
“Dizzy Gillespie Orchestra Heard at Carnegie Hall.” New York Herald Tribune (30 September 1947): 20.Google Scholar
“Exciting Is the Word for Gillespie and Crew.” The Michigan Chronicle (22 November 1947): 18.Google Scholar
“Färskt från New York.” Estrad (December 1947): 17.Google Scholar
Feather, Leonard. “Will Rebop Stop or Reach the Top?” People's Voice (11 October 1947).Google Scholar
“Gillespie Gives Concert.” New York Times (30 September 1947): 20.Google Scholar
“Gillespies Göteborgs-konserter.” Orkester Journalen (March 1948): 7.Google Scholar
“Gillespie Tour loses $92,000.” New York Times (24 May 1956): 27.Google Scholar
Gleason, Ralph J. “Small Crowds Grow as Diz Bops Frisco.” Down Beat (25 August 1948): 16.Google Scholar
“History of Jazz Big Feature of Gillespie Overseas Tour.” Down Beat (2 May 1956): 9.Google Scholar
Hodeir, André. “Dizzy Gillespie à Paris.” Jazz Hot 21 (March 1948): 6–7.Google Scholar
“James Moody and His Bop Men,” Record Changer (May 1949): 18.Google Scholar
“Latin American Musical to Be Given at Lobero.” Los Angeles Times (21 July 1942): 12.Google Scholar
Levin, Michael. “Despite Bad Acoustics, Gillespie Concert Offers Some Excellent Music.” Down Beat 14/22 (22 October 1947): 1.Google Scholar
McKean, Gilbert S. “The Diz and the Bebop.” Esquire Magazine 28/4 (October 1947): 90, 212–16.Google Scholar
“Nous avons reçu de New-York.” Jazz Hot (November 1948): 27.Google Scholar
Osmundsen, John. “Diz Presents Milwaukee a Clean Band.” Down Beat (20 October 1948): 11.Google Scholar
Perkins, Edward. “See New Afro-Cuban Musical Trend in Widespread Use after the War.” Variety (5 July 1944): 30, 32.Google Scholar
Preece, Harold. “Afro-Cuban Musical: Island Republic Will Send Goodwill Show to America.” New Journal and Guide (19 August 1944): B18.Google Scholar
Ratliff, Ben. “George Russell, Composer Whose Theories Sent Jazz in a New Direction, Dies at 86 (Obituary).” New York Times (30 July 2009): 29.Google Scholar
“A Rebop Star to Watch.” The Melody Maker (6 March 1948): 3.Google Scholar
“Records Noted.” The Record Changer (August 1948): 14, 21.Google Scholar
“Record Reviews.” Down Beat (16 June 1948): 14.Google Scholar
“Record Reviews.” Down Beat (22 September 1948): 13.Google Scholar
Sargeant, Winthrop. “Cuba's Tin Pan Alley.” Life (6 October 1947): 145–57.Google Scholar
Schaap, Walter E. “Trois Concerts à New York.” Jazz Hot (December 1947): 6–7.Google Scholar
Scott, Lillian. “‘Square’ Sees Gillespie Rebop at Carnegie Hall.” Chicago Defender (25 October 1947): 18.Google Scholar
“Set African Bebop Concert.” Pittsburgh Courier (3 May 1947): 17.Google Scholar
Ulanov, Barry. “Barry Ulanov: Dizzy Heights.” Metronome (November 1947).Google Scholar
Urbino, Ibrahim. “Un cubano rítmico y sonoro.” Bohemia 41/1 (1949): 44, 66.Google Scholar
Weaver Arnold, Rubye. “Famous African Dancer Scores High at Clark.” Atlanta Daily World (27 January 1946): 3.Google Scholar
“What Is Be-Bop?” New York Amsterdam News (30 October 1948): 29.Google Scholar
“Wot's Hot.” Chicago Defender (25 September 1948): 8.Google Scholar
Acosta, Leonardo. Cubano Be Cubano Bop: One Hundred Years of Jazz in Cuba, trans. Daniel S. Whitesell. Washington, D.C.: Smithsonian Books, 2003.Google Scholar
Bakhtin, M. M.The Dialogic Imagination: Four Essays, ed. Holquist, Michael, trans. Caryl, Emerson and Holquist, Michael. Austin: University of Texas Press, 1981.Google Scholar
Berliner, Paul F. Thinking in Jazz: The Infinite Art of Improvisation. Chicago: University of Chicago Press, 1994.CrossRefGoogle Scholar
Blesh, Rudi. Shining Trumpets: A History of Jazz. New York: Alfred A. Knopf, [1946] 1958.Google Scholar
Borneman, Ernest. A Critic Looks at Jazz. London: Jazz Music Books, 1946.Google Scholar
Brock, Lisa, and Digna, Castañeda Fuertes, eds. Between Race and Empire: African-Americans and Cubans before the Cuban Revolution. Philadelphia: Temple University Press, 1998.Google Scholar
Chernoff, John Miller. African Rhythm and African Sensibility. Chicago: University of Chicago Press, 1979.Google Scholar
Darnell, Regna. Invisible Genealogies: A History of Americanist Anthropology. Lincoln: University of Nebraska Press, 2001.Google Scholar
García, David F. “Arsenio Rodríguez: A Black Cuban Musician in the Dance Music Milieus of Havana, New York City, and Los Angeles.” Ph.D. dissertation, City University of New York, 2003.Google Scholar
García, David F. Arsenio Rodríguez and the Transnational Flows of Latin Popular Music. Philadelphia: Temple University Press, 2006.Google Scholar
Gennari, John. Blowin’ Hot and Cool: Jazz and Its Critics. Chicago: University of Chicago Press, 2006.CrossRefGoogle Scholar
Gershenhorn, Jerry. Melville J. Herskovits and the Racial Politics of Knowledge. Lincoln: University of Nebraska Press, 2004.Google Scholar
Gillespie, Dizzy with Al Fraser. To Be, or Not . . .To Bop: Memoirs. New York: Da Capo, 1979.Google Scholar
Gilroy, Paul. The Black Atlantic: Modernity and Double Consciousness. Cambridge, Mass.: Harvard University Press, 1993.Google Scholar
Herskovits, Melville J. The Myth of the Negro Past. 2nd ed. Boston: Beacon Press, 1990.Google Scholar
Herskovits, Melville J. “The Negro in the New World: The Statement of a Problem.” American Anthropologist 32/1 (Jan.–March 1930): 145–55.CrossRefGoogle Scholar
Hodson, Robert. Interaction, Improvisation, and Interplay in Jazz. New York: Routledge, 2007.CrossRefGoogle Scholar
Holquist, Michael, ed. The Dialogic Imagination: Four Essays by M. M. Bakhtin, trans. Caryl Emerson and Michael Holquist. Austin: University of Texas Press, 1981.Google Scholar
Keil, Charles. “Motion and Feeling through Music.” Journal of Aesthetics and Art Criticism 24 (1966): 337–49.CrossRefGoogle Scholar
Loza, Steven. “Poncho Sánchez, Latin Jazz, and the Cuban Son: A Stylistic and Social Analysis.” In Situating Salsa: Global Markets and Local Meanings in Latin Popular Music, ed. Waxer, Lise, 201–18. New York: Routledge, 2002.Google Scholar
Lynch, Hollis R. “K. O. Mbadiwe, 1939–1947: The American Years of a Nigerian Political Leader.” Journal of African Studies 7/4 (Winter 1980–81): 184–203.Google Scholar
Lynch, Hollis R. “Pan-African Responses in the United States to British Colonial Rule in Africa in the 1940s.” In The Transfer of Power in Africa: Decolonization 1940–1960, ed. Gifford, Prosser and Louis, W. Roger, 57–86. New Haven: Yale University Press, 1982.Google Scholar
Matory, J. Lorand. “The ‘New World’ Surrounds an Ocean: Theorizing the Live Dialogue between African and African American Cultures.” In Afro-Atlantic Dialogues: Anthropology in the Diaspora, ed. Yelvington, Kevin, 151–92. Santa Fe: School of American Research Press, and Oxford: James Currey, 2006.Google Scholar
Mbadiwe, K. O. “The African Academy of Arts and Research.” In Africa: Today and Tomorrow, ed. Jones-Quartey, A. B., 9, 17, 66–67. New York: African Academy of Arts and Research, [1945] 1976.Google Scholar
Mbadiwe, K. O.Rebirth of a Nation: Autobiography. Enugu, Nigeria: Fourth Dimension Publishing, 1991.Google Scholar
Merriam, Alan P. “A Short Bibliography of Jazz.” Notes 10/2 (March 1953): 202–10.CrossRefGoogle Scholar
Miller, Ivor L. “A Secret Society Goes Public: The Relationship between Abakuá and Cuban Popular Culture.” African Studies Review 43/1 (April 2000): 161–88.CrossRefGoogle Scholar
Miller, Ivor L. Voice of the Leopard: African Secret Societies and Cuba. Jackson: University Press of Mississippi, 2009.CrossRefGoogle Scholar
Monson, Ingrid, ed. The African Diaspora: A Musical Perspective. New York: Garland Publishing, 2000.Google Scholar
Monson, Ingrid. “Art Blakey's African Diaspora.” In The African Diaspora: A Musical Perspective, ed. Monson, Ingrid, 329–52. New York: Garland Publishing, 2000.Google Scholar
Monson, Ingrid. Freedom Sounds: Civil Rights Call Out to Jazz and Africa. Oxford: Oxford University Press, 2007.CrossRefGoogle Scholar
Monson, Ingrid. “Oh Freedom: George Russell, John Coltrane, and Modal Jazz.” In In the Course of Performance: Studies in the World of Musical Improvisation, ed. Nettl, Bruno with Russell, Melinda, 149–68. Chicago: University of Chicago Press, 1998.Google Scholar
Monson, Ingrid. Saying Something: Jazz Improvisation and Interaction. Chicago: University of Chicago Press, 1996.Google Scholar
Moreno, Jairo. “Bauzá-Gillespie-Latin/Jazz: Difference, Modernity, and the Black Caribbean.” South Atlantic Quarterly 103/1 (Winter 2004): 81–99.CrossRefGoogle Scholar
Porter, Eric. What Is This Thing Called Jazz? African American Musicians as Artists, Critics, and Activists. Berkeley: University of California Press, 2002.Google Scholar
Pujol, Jordi. “Chano Pozo: El tambor de Cuba.” In Chano Pozo: El tambor de Cuba. Tumbao Cuban Classics TCD-305, 2001.Google Scholar
Radano, Ronald. Lying up a Nation: Race and Black Music. Chicago: University of Chicago Press, 2003.Google Scholar
Reddick, L. D. “Dizzy Gillespie in Atlanta.” Phylon 10/1 (1949): 48.Google Scholar
Reinholdsson, Peter. Making Music Together: An Interactionist Perspective on Small-Group Performance in Jazz. Sweden: Uppsala, 1998.Google Scholar
Russell, George. The Lydian Chromatic Concept of Tonal Organization for Improvisation: For All Instruments. New York: Concept Publishing, 1959.Google Scholar
Salazar, Max. Mambo Kingdom: Latin Music in New York. New York: Schirmer Trade Books, 2002.Google Scholar
Sherwood, Marika. “‘There is No New Deal for the Blackman in San Francisco’: African Attempts to Influence the Founding Conference of the United Nations, April-July, 1945.” International Journal of African Historical Studies 29/1 (1996): 71–94.CrossRefGoogle Scholar
Shipton, Alyn. Groovin’ High: The Life of Dizzy Gillespie. New York: Oxford University Press, 1999.CrossRefGoogle Scholar
Stanyek, Jason. “Transmissions of an Interculture: Pan-African Jazz and Intercultural Improvisation,” ed. Fischlin, Daniel and Heble, Ajay. In The Other Side of Nowhere: Jazz, Improvisation, and Communities in Dialogue, 87–130. Middletown, Conn.: Wesleyan University Press, 2004.Google Scholar
Washburne, Christopher. “The Clave of Jazz: A Caribbean Contribution to the Rhythmic Foundation of an African-American Music.” Black Music Research Journal 17/1 (Spring 1997): 59–80.CrossRefGoogle Scholar
Washburne, Christopher. “Latin Jazz: The Other Jazz,” Current Musicology 71–73 (Spring 2001–Spring 2002): 409–26.Google Scholar
Waterman, Richard. Review of Rudi Blesh, Shining Trumpets: A History of Jazz. Notes 16/2 (March 1959): 254–55.Google Scholar
Weinstein, Norman. A Night in Tunisia: Imaginings of Africa in Jazz. New York: Limelight Editions, 1993.Google Scholar
Yelvington, Kevin A. “Introduction.” In Afro-Atlantic Dialogues: Anthropology in the Diaspora, ed. Yelvington, Kevin A., 3–32. Santa Fe: School of American Research Press, and Oxford: James Currey, 2006.Google Scholar
Yelvington, Kevin A. “The Invention of Africa in Latin America and the Caribbean: Political Discourse and Anthropological Praxis, 1920–1940.” In Afro-Atlantic Dialogues: Anthropology in the Diaspora, ed. Yelvington, Kevin A., 35–82. Santa Fe: School of American Research Press, and Oxford: James Currey, 2006.Google Scholar
Gillespie, Dizzy. Dizzy Gillespie 1946–1947. Classics 986 (1 CD), 1998.Google Scholar
Gillespie, Dizzy. Dizzy Gillespie & His Orchestra: Live in 1948. Jazz Archives No. 186 CD 160052 (1 CD), 2001.Google Scholar
Gillespie, Dizzy. Dizzy Goes to College Vol. 1. Jazz Showcase 5000 (2 LPs), n.d.Google Scholar
Parker, Charlie. The Complete Savoy and Dial Studio Recordings, 1944–1948. Atlantic 92911–2 (8 CDs), 2000.Google Scholar
Parker, Charlie, and Gillespie, Dizzy. Diz 'n Bird at Carnegie Hall. Roost CDP 7243 8 57061 2 7 (1 CD), 1997.Google Scholar
Pozo, Chano. Chano Pozo: El tambor de Cuba. Tumbao Cuban Classics TCD-308 (3 CDs), 2001.Google Scholar
Pozo, Chano, with Dizzy Gillespie. The Real Birth of Cubop. Tumbao Cuban Classics TCD 102 (1 CD), 2001.Google Scholar
African Dance and Music Festival, Program, Asadata Dafora Papers, 1933–1963, MG 48, Manuscripts, Archives and Rare Books Division, Schomburg Center for Research in Black Culture, New York Public Library.Google Scholar
American Federation of Musicians, Local 802, Minutes of the Executive Board, Box 5, Volume 10, 1947. Robert F. Wagner Labor Archives of the Tamiment Institute Library, New York University.Google Scholar
Clarke, Kenny. Unpublished interview with Dale Fitzgerald, March 1980. Jazz Oral History Project. Institute of Jazz Studies, Rutgers University.Google Scholar
Festival of Music and Fine Arts, Program, Asadata Dafora Papers,1933–1963, MG 48, Manuscripts, Archives and Rare Books Division, Schomburg Center for Research in Black Culture, New York Public Library.Google Scholar
McKibbon, Al. Unpublished interview with Anthony Brown, 1993. Collection Number 808, Box 18. Jazz Oral History Program Collection, Archives Center, National Museum of American History, Smithsonian Institution.Google Scholar
Russell, George. Unpublished interview with Bob Dauchery, 3–4 May 2004. Collection Number 808, Box 23, Jazz Oral History Program Collection, Archives Center, National Museum of American History, Smithsonian Institution.Google Scholar
“African Arts Head Confers with Governor Darden Prior to Concert Here Dec. 17–18.” The Journal and Guide (15 December 1945): 29.Google Scholar
“African Dance Festival to Play in Norfolk Dec. 17 and 18.” The Journal and Guide (15 December 1945).Google Scholar
“African Dancers to K. C.” The Call (18 October 1946): 8.Google Scholar
“African Drums Beat Rhythm.” People's Voice (3 May 1947).Google Scholar
“African Interlude Planned for Hotel Diplomat May 7th.” People's Voice (10 May 1947): 19.Google Scholar
Bach, Bob. “Wha’ Hoppeen, Noro? Rhumbop!” Metronome (July 1947): 22, 49.Google Scholar
“Be-Bop for stort Orkester.” Social-Demokraten (10 February 1948).Google Scholar
“Be-bop jazzens fyrtiotalism.” Svenska Dagbladet (28 January 1948).Google Scholar
“Bebop: New Jazz School Is Led by Trumpeter Who Is Hot, Cool and Gone.” Life (11 October 1948): 138–42.Google Scholar
“Be-Bop to Carnegie Hall Sept. 29.” Down Beat (24 September 1947): 8.Google Scholar
Biancolli, Louis. “African Dance and Song Has Impact: Black Magic Beats Weird Rhythms at Carnegie.” New York World-Telegram (26 April 1946): 18.Google Scholar
Boyer, Richard. “Profiles: Bop.” The New Yorker (3 July 1948): 28–37.Google Scholar
“Charlie Parker Added to Carnegie Jazz Cast.” People's Voice (27 September 1947).Google Scholar
“Concert Payoff on the Upbeat.” Variety (1 October 1947): 1.Google Scholar
“Dance Festival Shows Progress of Africans.” The Journal and Guide (22 December 1945).Google Scholar
“Dancing for the African Academy.” People's Voice (10 May 1947): 18.Google Scholar
Davidson, Will. “Recordially Yours.” Chicago Daily Tribune (5 September 1948): F5.Google Scholar
Davis, Frank Marshal. “Rating the Records.” Atlanta Daily World (30 December 1948): 3.Google Scholar
“Dizzy Gillespie.” Dagens Nyheter (28 January 1948).Google Scholar
“Dizzy Gillespie.” Record Changer (November 1948): 19.Google Scholar
“Dizzy Gillespie a Parigi.” Musica Jazz (April 1948): 1–3.Google Scholar
“Dizzy Gillespie Orchestra Heard at Carnegie Hall.” New York Herald Tribune (30 September 1947): 20.Google Scholar
“Exciting Is the Word for Gillespie and Crew.” The Michigan Chronicle (22 November 1947): 18.Google Scholar
“Färskt från New York.” Estrad (December 1947): 17.Google Scholar
Feather, Leonard. “Will Rebop Stop or Reach the Top?” People's Voice (11 October 1947).Google Scholar
“Gillespie Gives Concert.” New York Times (30 September 1947): 20.Google Scholar
“Gillespies Göteborgs-konserter.” Orkester Journalen (March 1948): 7.Google Scholar
“Gillespie Tour loses $92,000.” New York Times (24 May 1956): 27.Google Scholar
Gleason, Ralph J. “Small Crowds Grow as Diz Bops Frisco.” Down Beat (25 August 1948): 16.Google Scholar
“History of Jazz Big Feature of Gillespie Overseas Tour.” Down Beat (2 May 1956): 9.Google Scholar
Hodeir, André. “Dizzy Gillespie à Paris.” Jazz Hot 21 (March 1948): 6–7.Google Scholar
“James Moody and His Bop Men,” Record Changer (May 1949): 18.Google Scholar
“Latin American Musical to Be Given at Lobero.” Los Angeles Times (21 July 1942): 12.Google Scholar
Levin, Michael. “Despite Bad Acoustics, Gillespie Concert Offers Some Excellent Music.” Down Beat 14/22 (22 October 1947): 1.Google Scholar
McKean, Gilbert S. “The Diz and the Bebop.” Esquire Magazine 28/4 (October 1947): 90, 212–16.Google Scholar
“Nous avons reçu de New-York.” Jazz Hot (November 1948): 27.Google Scholar
Osmundsen, John. “Diz Presents Milwaukee a Clean Band.” Down Beat (20 October 1948): 11.Google Scholar
Perkins, Edward. “See New Afro-Cuban Musical Trend in Widespread Use after the War.” Variety (5 July 1944): 30, 32.Google Scholar
Preece, Harold. “Afro-Cuban Musical: Island Republic Will Send Goodwill Show to America.” New Journal and Guide (19 August 1944): B18.Google Scholar
Ratliff, Ben. “George Russell, Composer Whose Theories Sent Jazz in a New Direction, Dies at 86 (Obituary).” New York Times (30 July 2009): 29.Google Scholar
“A Rebop Star to Watch.” The Melody Maker (6 March 1948): 3.Google Scholar
“Records Noted.” The Record Changer (August 1948): 14, 21.Google Scholar
“Record Reviews.” Down Beat (16 June 1948): 14.Google Scholar
“Record Reviews.” Down Beat (22 September 1948): 13.Google Scholar
Sargeant, Winthrop. “Cuba's Tin Pan Alley.” Life (6 October 1947): 145–57.Google Scholar
Schaap, Walter E. “Trois Concerts à New York.” Jazz Hot (December 1947): 6–7.Google Scholar
Scott, Lillian. “‘Square’ Sees Gillespie Rebop at Carnegie Hall.” Chicago Defender (25 October 1947): 18.Google Scholar
“Set African Bebop Concert.” Pittsburgh Courier (3 May 1947): 17.Google Scholar
Ulanov, Barry. “Barry Ulanov: Dizzy Heights.” Metronome (November 1947).Google Scholar
Urbino, Ibrahim. “Un cubano rítmico y sonoro.” Bohemia 41/1 (1949): 44, 66.Google Scholar
Weaver Arnold, Rubye. “Famous African Dancer Scores High at Clark.” Atlanta Daily World (27 January 1946): 3.Google Scholar
“What Is Be-Bop?” New York Amsterdam News (30 October 1948): 29.Google Scholar
“Wot's Hot.” Chicago Defender (25 September 1948): 8.Google Scholar
Acosta, Leonardo. Cubano Be Cubano Bop: One Hundred Years of Jazz in Cuba, trans. Daniel S. Whitesell. Washington, D.C.: Smithsonian Books, 2003.Google Scholar
Bakhtin, M. M.The Dialogic Imagination: Four Essays, ed. Holquist, Michael, trans. Caryl, Emerson and Holquist, Michael. Austin: University of Texas Press, 1981.Google Scholar
Berliner, Paul F. Thinking in Jazz: The Infinite Art of Improvisation. Chicago: University of Chicago Press, 1994.CrossRefGoogle Scholar
Blesh, Rudi. Shining Trumpets: A History of Jazz. New York: Alfred A. Knopf, [1946] 1958.Google Scholar
Borneman, Ernest. A Critic Looks at Jazz. London: Jazz Music Books, 1946.Google Scholar
Brock, Lisa, and Digna, Castañeda Fuertes, eds. Between Race and Empire: African-Americans and Cubans before the Cuban Revolution. Philadelphia: Temple University Press, 1998.Google Scholar
Chernoff, John Miller. African Rhythm and African Sensibility. Chicago: University of Chicago Press, 1979.Google Scholar
Darnell, Regna. Invisible Genealogies: A History of Americanist Anthropology. Lincoln: University of Nebraska Press, 2001.Google Scholar
García, David F. “Arsenio Rodríguez: A Black Cuban Musician in the Dance Music Milieus of Havana, New York City, and Los Angeles.” Ph.D. dissertation, City University of New York, 2003.Google Scholar
García, David F. Arsenio Rodríguez and the Transnational Flows of Latin Popular Music. Philadelphia: Temple University Press, 2006.Google Scholar
Gennari, John. Blowin’ Hot and Cool: Jazz and Its Critics. Chicago: University of Chicago Press, 2006.CrossRefGoogle Scholar
Gershenhorn, Jerry. Melville J. Herskovits and the Racial Politics of Knowledge. Lincoln: University of Nebraska Press, 2004.Google Scholar
Gillespie, Dizzy with Al Fraser. To Be, or Not . . .To Bop: Memoirs. New York: Da Capo, 1979.Google Scholar
Gilroy, Paul. The Black Atlantic: Modernity and Double Consciousness. Cambridge, Mass.: Harvard University Press, 1993.Google Scholar
Herskovits, Melville J. The Myth of the Negro Past. 2nd ed. Boston: Beacon Press, 1990.Google Scholar
Herskovits, Melville J. “The Negro in the New World: The Statement of a Problem.” American Anthropologist 32/1 (Jan.–March 1930): 145–55.CrossRefGoogle Scholar
Hodson, Robert. Interaction, Improvisation, and Interplay in Jazz. New York: Routledge, 2007.CrossRefGoogle Scholar
Holquist, Michael, ed. The Dialogic Imagination: Four Essays by M. M. Bakhtin, trans. Caryl Emerson and Michael Holquist. Austin: University of Texas Press, 1981.Google Scholar
Keil, Charles. “Motion and Feeling through Music.” Journal of Aesthetics and Art Criticism 24 (1966): 337–49.CrossRefGoogle Scholar
Loza, Steven. “Poncho Sánchez, Latin Jazz, and the Cuban Son: A Stylistic and Social Analysis.” In Situating Salsa: Global Markets and Local Meanings in Latin Popular Music, ed. Waxer, Lise, 201–18. New York: Routledge, 2002.Google Scholar
Lynch, Hollis R. “K. O. Mbadiwe, 1939–1947: The American Years of a Nigerian Political Leader.” Journal of African Studies 7/4 (Winter 1980–81): 184–203.Google Scholar
Lynch, Hollis R. “Pan-African Responses in the United States to British Colonial Rule in Africa in the 1940s.” In The Transfer of Power in Africa: Decolonization 1940–1960, ed. Gifford, Prosser and Louis, W. Roger, 57–86. New Haven: Yale University Press, 1982.Google Scholar
Matory, J. Lorand. “The ‘New World’ Surrounds an Ocean: Theorizing the Live Dialogue between African and African American Cultures.” In Afro-Atlantic Dialogues: Anthropology in the Diaspora, ed. Yelvington, Kevin, 151–92. Santa Fe: School of American Research Press, and Oxford: James Currey, 2006.Google Scholar
Mbadiwe, K. O. “The African Academy of Arts and Research.” In Africa: Today and Tomorrow, ed. Jones-Quartey, A. B., 9, 17, 66–67. New York: African Academy of Arts and Research, [1945] 1976.Google Scholar
Mbadiwe, K. O.Rebirth of a Nation: Autobiography. Enugu, Nigeria: Fourth Dimension Publishing, 1991.Google Scholar
Merriam, Alan P. “A Short Bibliography of Jazz.” Notes 10/2 (March 1953): 202–10.CrossRefGoogle Scholar
Miller, Ivor L. “A Secret Society Goes Public: The Relationship between Abakuá and Cuban Popular Culture.” African Studies Review 43/1 (April 2000): 161–88.CrossRefGoogle Scholar
Miller, Ivor L. Voice of the Leopard: African Secret Societies and Cuba. Jackson: University Press of Mississippi, 2009.CrossRefGoogle Scholar
Monson, Ingrid, ed. The African Diaspora: A Musical Perspective. New York: Garland Publishing, 2000.Google Scholar
Monson, Ingrid. “Art Blakey's African Diaspora.” In The African Diaspora: A Musical Perspective, ed. Monson, Ingrid, 329–52. New York: Garland Publishing, 2000.Google Scholar
Monson, Ingrid. Freedom Sounds: Civil Rights Call Out to Jazz and Africa. Oxford: Oxford University Press, 2007.CrossRefGoogle Scholar
Monson, Ingrid. “Oh Freedom: George Russell, John Coltrane, and Modal Jazz.” In In the Course of Performance: Studies in the World of Musical Improvisation, ed. Nettl, Bruno with Russell, Melinda, 149–68. Chicago: University of Chicago Press, 1998.Google Scholar
Monson, Ingrid. Saying Something: Jazz Improvisation and Interaction. Chicago: University of Chicago Press, 1996.Google Scholar
Moreno, Jairo. “Bauzá-Gillespie-Latin/Jazz: Difference, Modernity, and the Black Caribbean.” South Atlantic Quarterly 103/1 (Winter 2004): 81–99.CrossRefGoogle Scholar
Porter, Eric. What Is This Thing Called Jazz? African American Musicians as Artists, Critics, and Activists. Berkeley: University of California Press, 2002.Google Scholar
Pujol, Jordi. “Chano Pozo: El tambor de Cuba.” In Chano Pozo: El tambor de Cuba. Tumbao Cuban Classics TCD-305, 2001.Google Scholar
Radano, Ronald. Lying up a Nation: Race and Black Music. Chicago: University of Chicago Press, 2003.Google Scholar
Reddick, L. D. “Dizzy Gillespie in Atlanta.” Phylon 10/1 (1949): 48.Google Scholar
Reinholdsson, Peter. Making Music Together: An Interactionist Perspective on Small-Group Performance in Jazz. Sweden: Uppsala, 1998.Google Scholar
Russell, George. The Lydian Chromatic Concept of Tonal Organization for Improvisation: For All Instruments. New York: Concept Publishing, 1959.Google Scholar
Salazar, Max. Mambo Kingdom: Latin Music in New York. New York: Schirmer Trade Books, 2002.Google Scholar
Sherwood, Marika. “‘There is No New Deal for the Blackman in San Francisco’: African Attempts to Influence the Founding Conference of the United Nations, April-July, 1945.” International Journal of African Historical Studies 29/1 (1996): 71–94.CrossRefGoogle Scholar
Shipton, Alyn. Groovin’ High: The Life of Dizzy Gillespie. New York: Oxford University Press, 1999.CrossRefGoogle Scholar
Stanyek, Jason. “Transmissions of an Interculture: Pan-African Jazz and Intercultural Improvisation,” ed. Fischlin, Daniel and Heble, Ajay. In The Other Side of Nowhere: Jazz, Improvisation, and Communities in Dialogue, 87–130. Middletown, Conn.: Wesleyan University Press, 2004.Google Scholar
Washburne, Christopher. “The Clave of Jazz: A Caribbean Contribution to the Rhythmic Foundation of an African-American Music.” Black Music Research Journal 17/1 (Spring 1997): 59–80.CrossRefGoogle Scholar
Washburne, Christopher. “Latin Jazz: The Other Jazz,” Current Musicology 71–73 (Spring 2001–Spring 2002): 409–26.Google Scholar
Waterman, Richard. Review of Rudi Blesh, Shining Trumpets: A History of Jazz. Notes 16/2 (March 1959): 254–55.Google Scholar
Weinstein, Norman. A Night in Tunisia: Imaginings of Africa in Jazz. New York: Limelight Editions, 1993.Google Scholar
Yelvington, Kevin A. “Introduction.” In Afro-Atlantic Dialogues: Anthropology in the Diaspora, ed. Yelvington, Kevin A., 3–32. Santa Fe: School of American Research Press, and Oxford: James Currey, 2006.Google Scholar
Yelvington, Kevin A. “The Invention of Africa in Latin America and the Caribbean: Political Discourse and Anthropological Praxis, 1920–1940.” In Afro-Atlantic Dialogues: Anthropology in the Diaspora, ed. Yelvington, Kevin A., 35–82. Santa Fe: School of American Research Press, and Oxford: James Currey, 2006.Google Scholar
Gillespie, Dizzy. Dizzy Gillespie 1946–1947. Classics 986 (1 CD), 1998.Google Scholar
Gillespie, Dizzy. Dizzy Gillespie & His Orchestra: Live in 1948. Jazz Archives No. 186 CD 160052 (1 CD), 2001.Google Scholar
Gillespie, Dizzy. Dizzy Goes to College Vol. 1. Jazz Showcase 5000 (2 LPs), n.d.Google Scholar
Parker, Charlie. The Complete Savoy and Dial Studio Recordings, 1944–1948. Atlantic 92911–2 (8 CDs), 2000.Google Scholar
Parker, Charlie, and Gillespie, Dizzy. Diz 'n Bird at Carnegie Hall. Roost CDP 7243 8 57061 2 7 (1 CD), 1997.Google Scholar
Pozo, Chano. Chano Pozo: El tambor de Cuba. Tumbao Cuban Classics TCD-308 (3 CDs), 2001.Google Scholar
Pozo, Chano, with Dizzy Gillespie. The Real Birth of Cubop. Tumbao Cuban Classics TCD 102 (1 CD), 2001.Google Scholar