Jazz cosmopolitanism in Accra : five musical years in Ghana
Author(s)
Bibliographic Information
Jazz cosmopolitanism in Accra : five musical years in Ghana
Duke University Press, 2012
- : pbk
Available at 5 libraries
  Aomori
  Iwate
  Miyagi
  Akita
  Yamagata
  Fukushima
  Ibaraki
  Tochigi
  Gunma
  Saitama
  Chiba
  Tokyo
  Kanagawa
  Niigata
  Toyama
  Ishikawa
  Fukui
  Yamanashi
  Nagano
  Gifu
  Shizuoka
  Aichi
  Mie
  Shiga
  Kyoto
  Osaka
  Hyogo
  Nara
  Wakayama
  Tottori
  Shimane
  Okayama
  Hiroshima
  Yamaguchi
  Tokushima
  Kagawa
  Ehime
  Kochi
  Fukuoka
  Saga
  Nagasaki
  Kumamoto
  Oita
  Miyazaki
  Kagoshima
  Okinawa
  Korea
  China
  Thailand
  United Kingdom
  Germany
  Switzerland
  France
  Belgium
  Netherlands
  Sweden
  Norway
  United States of America
Note
Includes bibliographical references and index
Contents of Works
- 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
Description and Table of Contents
Description
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.
Table of Contents
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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