Bøger i American Made Music Series serien

In 1971, French jazz critics Philippe Carles and Jean-Louis Comolli co-wrote Free Jazz/Black Power, a treatise on the racial and political implications of jazz and jazz criticism. It remains a testimony to the long ignored encounter of radical African American music and French left-wing criticism. Carles and Comolli set out to defend a genre vilified by jazz critics on both sides of the Atlantic by exposing the new sound's ties to African American culture, history, and the political struggle that was raging in the early 1970s. The two offered a political and cultural history of black presence in the United States to shed more light on the dubious role played by jazz criticism in racial oppression.This analysis of jazz criticism and its production is astutely self-aware. It critiques the critics, building a work of cultural studies in a time and place where the practice was virtually unknown. The authors reached radical conclusions--free jazz was a revolutionary reaction against white domination, was the musical counterpart to the Black Power movement, and was a music that demanded a similar political commitment. The impact of this book is difficult to overstate, as it made readers reconsider their response to African American music. In some cases it changed the way musicians thought about and played jazz. Free Jazz / Black Power remains indispensable to the study of the relation of American free jazz to European audiences, critics, and artists. This monumental critique caught the spirit of its time and also realigned that zeitgeist.

When George Jones recorded "He Stopped Loving Her Today" more than 30 years ago, he was a walking disaster. Twin addictions to drugs and alcohol had him drinking Jim Beam by the case and snorting cocaine as long as he was awake. This book tells the story behind the making of the song often voted the best country song ever by both critics and fans.

Contributions by Luther Allison, John Broven, Daniel Droixhe, David Evans, William Ferris, Jim O'Neal, Mike Rowe, Robert Sacré, Arnold Shaw, and Dick ShurmanFifty years after Charley Patton's death in 1934, a team of blues experts gathered five thousand miles from Dockery Farms at the University of Liege in Belgium to honor the life and music of the most influential artist of the Mississippi Delta blues. This volume brings together essays from that international symposium on Charley Patton and Mississippi blues traditions, influences, and comparisons. Originally published by Presses Universitaires de Liège in Belgium, this collection has been revised and updated with a new foreword by William Ferris, new images added, and some essays translated into English for the first time.Patton's personal life and his recorded music bear witness to how he endured and prevailed in his struggle as a black man during the early twentieth century. Within this volume, that story offers hope and wonder. Organized in two parts--"Origins and Traditions" and "Comparison with Other Regional Styles and Mutual Influence"--the essays create an invaluable resource on the life and music of this early master. Written by a distinguished group of scholars, these pieces secure the legacy of Charley Patton as the fountainhead of Mississippi Delta blues.

Participates in the creation of the postmillennial Bob Dylan by exploring three central records of the twenty-first century - ""Love and Theft"" (2001), Modern Times (2006), and Tempest (2012) - along with the 2003 film Masked and Anonymous, which Dylan helped write and in which he appears as an actor and musical performer.