New Day Jazz
Justin Desmangles
"Even in its first centuries, what we can term the Atlantic Slave System foreshadowed many features of our modern global economy. We see international investment of capital in distant colonial regions, where low-cost, highly productive gang labor by slaves produced commodities for a transatlantic market. With respect to consumerism, we now know that slave-produced sugar, tobacco, coffee, chocolate, and other luxuries, not only altered the European diet but, by the late 1700s, had helped to shape a consumer mentality among the masses, especially in Britain, so that workers became more willing to accept factory discipline in order to afford luxury stimulants and, later, factory-produced cotton clothing, made possible by the cotton gin and slave labor. The long-range effects of slaved-based globalization extend even to many aspects of modern culture, as can be seen in the profound impact of the African diaspora on modern popular music." ~ David Brion Davis, from the foreword to Atlas of the Atlantic Slave Trade, David Eltis & David Richardson (Yale University Press, 2010)
"The story of the Negro in America is the story of America - or, more precisely, it is the story of Americans. It is not a very pretty story: the story of a people is never very pretty. The Negro in America, gloomily referred to as that shadow that lies athwart our national life, is far more than that. He is a series of shadows, self-created, intertwining, which we now helplessly battle . . .
"This is why his history and his progress, his relationship to all Americans, has been kept in the social arena. He is a social and not a personal or a human problem; to think of him is to think of statistics, slums, rapes, injustices, remote violence; it is to be confronted with an endless cataloging of losses, gains, skirmishes; it is to feel virtuous, outraged, helpless, as though his continuing status among us were somehow analogous to disease - cancer, perhaps, or tuberculosis - which must be checked, even though it cannot be cured. In this arena the black man acquires quite another aspect from that which he has in life. We do not know what to do with him in life; if he breaks our sociological and sentimental image of him we are panic stricken and we feel ourselves betrayed. When he violates this image, therefore, he stands in the greatest danger (sensing which, we uneasily suspect that he is often playing a part for our benefit); and, what is not always so apparent but is equally true, we are then in some danger ourselves - hence our retreat or blind and immediate retaliation." ~ James Baldwin, 1951
Genre
Jazz
Missed the Show?
| Artist | Song | Album | Label | Comments |
|---|---|---|---|---|
| Art Ensemble of Chicago | Dreaming of the Master | Nice Guys | ECM | |
| Miles Davis Quintet | Gingerbread Boy | Miles Smiles | Columbia | |
| Ronald Stone | Lady Day Spring Toned | New Jazz Poets | Broadside Records | |
| Johnny Griffin | White Gardenia | White Gardenia: A Tribute to Billie Holiday | Riverside | |
| Elmo Hope | Blues Left and Right | Hope-Full: Solo and Duo Piano with Bertha Hope | Riverside | |
| Airbreak | ||||
| Warne Marsh | You Stepped Out of a Dream | Ne Plus Ultra | Revelation | |
| Anthony Braxton | You Stepped Out of a Dream | Five Pieces 1975 | Arista | |
| Sarah Vaughn | All I Do | Sarah + 2 | Roulette | |
| Sarah Vaughn | I Understand | Sarah + 2 | Roulette | |
| Ron Carter and Jim Hall | Baubles, Bangles and Beads | Live at the Village West | Concord | |
| Airbreak | ||||
| Clark Terry and Red Mitchell | It Don't Mean a Thing (If it Ain't Got That Swing) | To Duke and Basie | Enja | |
| Duke Ellington Orchestra | It Don't Mean a Thing (If it Ain't Got That Swing) | Johnny Come Lately | RCA | |
| Duke Ellington Orchestra | Johnny Come Lately | Johnny Come Lately | RCA | |
| Louis Bellson Just Jazz All Stars | Johnny Come Lately | Capitol Jazz Classics Vol. 6 | Capitol | |
| Duke Ellington and Billy Strayhorn | Johnny Come Lately | Great Times! | Riverside | |
| Edward Kamau Brathwaite | Calypso | Rights of Passage | Argo (U.K.) | |
| Thelonious Monk Trio | Tea for Two | The Unique Thelonious Monk | Riverside | |
| Thelonious Monk Quartet | Trinkle, Tinkle | Thelonious Monk with John Coltrane | Jazzland | |
| Airbreak | ||||
| Bud Powell Trio | Un Poco Loco | The Amazing Bud Powell Vol. 1 | Blue Note | |
| Shorty Rogers Orchestra | Un Poco Loco | The Afro-Cuban Influence | RCA | |
| Edward Kamau Brathwaite | The Emigrants | Rights of Passage | Argo (U.K.) | |
| Caetano Veloso | Maria Bethania | Caetano Veloso (1971) | Philips | |
| Ralph Towner | Nardis | Solo Concert | ECM | |
| Airbreak | ||||
| Art Farmer and His Orchestra | Woody'n You (a.k.a. Algo Bueno) | The Aztec Suite | United Artists | |
| Stan Getz Quartet | Con Alma | Sweet Rain | Verve | |
| Duke Ellington Trio | Night Time | Piano Reflections | Capitol | |
| Louis Bellson Just Jazz All Stars | Eyes | Capitol Jazz Classics Vol. 6 | Capitol | |
| Frank Sinatra | Only the Lonely | Only the Lonely | Capitol | |
| Sarah Vaughn | After Hours | After Hours | Columbia | |
| Airbreak | ||||
| Bill Evans | You and the Night and the Music | Peace Piece and Other Pieces | Milestone | |