Jazz cosmopolitanism in Accra : five musical years in Ghana
著者
書誌事項
Jazz cosmopolitanism in Accra : five musical years in Ghana
Duke University Press, 2012
- : pbk
大学図書館所蔵 全5件
  青森
  岩手
  宮城
  秋田
  山形
  福島
  茨城
  栃木
  群馬
  埼玉
  千葉
  東京
  神奈川
  新潟
  富山
  石川
  福井
  山梨
  長野
  岐阜
  静岡
  愛知
  三重
  滋賀
  京都
  大阪
  兵庫
  奈良
  和歌山
  鳥取
  島根
  岡山
  広島
  山口
  徳島
  香川
  愛媛
  高知
  福岡
  佐賀
  長崎
  熊本
  大分
  宮崎
  鹿児島
  沖縄
  韓国
  中国
  タイ
  イギリス
  ドイツ
  スイス
  フランス
  ベルギー
  オランダ
  スウェーデン
  ノルウェー
  アメリカ
注記
Includes bibliographical references and index
収録内容
- Acoustemology in Accra : on jazz cosmopolitanism
- Guy Warren/Ghanaba : from Afro-jazz to Handel via Max Roach
- Nii Noi Nortey : from pan-Africanism to Afrifones via John Coltrane
- Nii Otoo Annan : from toads to polyrhythm via Elvin Jones and Rashied Ali
- Por por : from honk horns to jazz funerals via New Orleans
- Beyond diasporic intimacy
内容説明・目次
内容説明
In this remarkable book, Steven Feld, pioneer of the anthropology of sound, listens to the vernacular cosmopolitanism of jazz players in Ghana. Some have traveled widely, played with American jazz greats, and blended the innovations of John Coltrane with local instruments and worldviews. Combining memoir, biography, ethnography, and history, Feld conveys a diasporic intimacy and dialogue that contests American nationalist and Afrocentric narratives of jazz history. His stories of Accra's jazz cosmopolitanism feature Ghanaba/Guy Warren (1923-2008), the eccentric drummer who befriended the likes of Charlie Parker, Max Roach, and Thelonious Monk in the United States in the 1950s, only to return, embittered, to Ghana, where he became the country's leading experimentalist. Others whose stories figure prominently are Nii Noi Nortey, who fuses the legacies of the black avant-gardes of the 1960s and 1970s with pan-African philosophy in sculptural shrines to Coltrane and musical improvisations inspired by his work; the percussionist Nii Otoo Annan, a traditional master inspired by Coltrane's drummers Elvin Jones and Rashied Ali; and a union of Accra truck and minibus drivers whose squeeze-bulb honk-horn music for drivers' funerals recalls the jazz funerals of New Orleans. Feld describes these artists' cosmopolitan outlook as an "acoustemology," a way of knowing the world through sound.
目次
Opus xi
Four-Bar Intro
"The Shape of Jazz to Come" 1
Vamp In, Head
Acoustemology in Accra: On Jazz Cosmopolitanism 11
First Chorus, with Transposition
Guy Warren / Ghanaba: From Afro-Jazz to Handel via Max Roach 51
Second Chorus, Blow Free
Nii Noi Nortey: From Pan-Africanism to Afrifones via John Coltrane 87
Third Chorus, Back Inside
Nii Otoo Annan: From Toads to Polyrhythm via Elvin Jones and Rashied Ali 119
Fourth Chorus, Shout to the Groove
Por Por: From Honk Horns to Jazz Funerals via New Orleans 159
Head Again, Vamp Out
Beyond Diasporic Intimacy 199
"Dedicated to You" 245
Horn Backgrounds, Riffs Underneath 249
Themes, Players 299
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