LEADER 04257nam 2200817Ia 450 001 9910957750203321 005 20200520144314.0 010 $a9780674065246 010 $a0674065247 010 $a9780674068339 010 $a0674068335 024 7 $a10.4159/harvard.9780674065246 035 $a(CKB)2560000000082488 035 $a(OCoLC)797813378 035 $a(CaPaEBR)ebrary10568026 035 $a(SSID)ssj0000686788 035 $a(PQKBManifestationID)11458183 035 $a(PQKBTitleCode)TC0000686788 035 $a(PQKBWorkID)10735624 035 $a(PQKB)10414141 035 $a(DE-B1597)178194 035 $a(OCoLC)1013962824 035 $a(OCoLC)1037980081 035 $a(OCoLC)1041973507 035 $a(OCoLC)1046615487 035 $a(OCoLC)1047025384 035 $a(OCoLC)1049620296 035 $a(OCoLC)1054880375 035 $a(OCoLC)840436495 035 $a(DE-B1597)9780674065246 035 $a(Au-PeEL)EBL3301083 035 $a(CaPaEBR)ebr10568026 035 $a(MiAaPQ)EBC3301083 035 $a(Perlego)1133787 035 $a(EXLCZ)992560000000082488 100 $a20110927d2012 uy 0 101 0 $aeng 135 $aurcn||||||||| 181 $ctxt 182 $cc 183 $acr 200 10$aAfrica speaks, America answers $emodern jazz in revolutionary times /$fRobin D. G. Kelley 205 $a1st ed. 210 $aHarvard University Press $cCambridge, Mass.$d2012 215 $a1 online resource (267 p.) 225 1 $aThe Nathan I. Huggins lectures 300 $aBibliographic Level Mode of Issuance: Monograph 311 08$a9780674046245 311 08$a0674046242 320 $aIncludes bibliographical references and index. 327 $tFront matter --$tContents --$tPreface --$tPrelude --$t1. The Drum Wars of Guy Warren --$t2. The Sojourns of Randy Weston --$t3. Ahmed Abdul-Malik's Islamic Experimentalism --$t4. The Making of Sathima Bea Benjamin --$tCoda --$tNotes --$tFurther Listening --$tAcknowledgments --$tIndex 330 $aIn Bedford-Stuyvesant, Brooklyn, pianist Randy Weston and bassist Ahmed Abdul-Malik celebrated with song the revolutions spreading across Africa. In Ghana and South Africa, drummer Guy Warren and vocalist Sathima Bea Benjamin fused local musical forms with the dizzying innovations of modern jazz. These four were among hundreds of musicians in the 1950's and '60's who forged connections between jazz and Africa that definitively reshaped both their music and the world. Each artist identified in particular ways with Africa's struggle for liberation and made music dedicated to, or inspired by, demands for independence and self-determination. That music was the wild, boundary-breaking exultation of modern jazz. The result was an abundance of conversation, collaboration, and tension between African and African American musicians during the era of decolonization. This collective biography demonstrates how modern Africa reshaped jazz, how modern jazz helped form a new African identity, and how musical convergences and crossings altered politics and culture on both continents. In a crucial moment when freedom electrified the African diaspora, these black artists sought one another out to create new modes of expression. Documenting individuals and places, from Lagos to Chicago, from New York to Cape Town, Robin Kelley gives us a meditation on modernity: we see innovation not as an imposition from the West but rather as indigenous, multilingual, and messy, the result of innumerable exchanges across a breadth of cultures. 410 0$aNathan I. Huggins lectures. 606 $aJazz$xAfrican influences 606 $aJazz$y1951-1960$xHistory and criticism 606 $aJazz$y1961-1970$xHistory and criticism 606 $aJazz musicians$vBiography 615 0$aJazz$xAfrican influences. 615 0$aJazz$xHistory and criticism. 615 0$aJazz$xHistory and criticism. 615 0$aJazz musicians 676 $a781.65/7296 686 $aHD 475$2rvk 700 $aKelley$b Robin D. G$0855168 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910957750203321 996 $aAfrica speaks, America answers$94351704 997 $aUNINA