By Ingrid Monson
The African Diaspora offers musical case reviews from quite a few areas of the African diaspora, together with Africa, the Caribbean, Latin the US, and Europe, that have interaction with broader interdisciplinary discussions approximately race, gender, politics, nationalism, and tune.
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Additional info for African Diaspora: A Musical Perspective (Critical and Cultural Musicology, 3)
Bebop textbook. But the way in which he plays them, the way in which he phrases them, is so unique that there’s no one who’s, I mean, he has such an identifiable style. I can literally from two notes [snaps fingers] [know that it’s] Stanley Turrentine. Blues-derived playing and expression, then, become not a function of harmonic or rhythmic complexity. Neither, however, are they merely a function of simplicity. 19 Implicit in Redman’s statement is the assumption that other participants in a musical event know such “strength” and “power” when they hear it.
Those lacunae are revealed when a player feels the elements of individual style to be improperly balanced. ” He partially defines traditional jazz playing with reference to “the blues” and rhythmic swing. In that way, he summarizes many conversations I have had with musicians and fans, most of whom considered developing the ability to play the blues or to play with blues feeling essential skills for playing jazz. The integration 38 THE AFRICAN DIASPORA and mastery of such skills is precisely what allows performers such as pianist Wynton Kelly, tenor saxophonist Hank Mobley, and guitarist Grant Green to be considered important figures in the music’s history from the standpoint of knowledgeable players and listeners (Rosenthal 1992; Starks 1993: 149).
As such they are one of the techniques through which Negroes have survived and kept their courage. (256–57, emphasis added; cf. Ellison 1964:78–79) 26 THE AFRICAN DIASPORA What Ellison adds to Baraka’s view is the notion that the blues function not only as individual expression but as part of a ritual involving words, music, and trappings of spirituality. The ritual itself crystallizes some of the most essential values of African Americans with regard to survival and daily living. Ellison is also careful to divorce his explication of the functions of the blues from one that simply equates them with protest.
African Diaspora: A Musical Perspective (Critical and Cultural Musicology, 3) by Ingrid Monson