Jazz Patron

A mile east of the School Book Depository in downtown Dallas lies a section of the city called Deep Ellum, a mottled array of old brick structures, where wild graffiti and gaudy murals decorate the walls of trendy shops, loft apartments, restaurants, nightclubs, an galleries, and tattoo studios. The area is also home to more conventional endeavors, including a century-old meat market, auto repair shops and a sheet-metal business owned by a Holocaust survivor. Because of the area's long association with blues and jazz musicians. Deep Ellum has been shrouded in myth and misconceptions which obscure its actual history. Alan Govenar and Jay Brakefield -- using oral histories, old newspapers and photographs, city directories and maps, as well as more traditional public records and secondary sources -- reveal another side of Deep Ellum which includes Central Track (formerly called Central Avenue), an area lined with black-owned businesses which served both black and white patrons during its heyday in the 1920s and 30s. In the Deep Ellum and Central Track areas. African Americans and whites, primarily Eastern European Jews, operated businesses from the late 19th to the mid-20th centuries, creating a unique social climate where cultural interaction took place. Much of the information in the book is presented through the stories of remarkable individuals, including professionals, pawnbrokers and other merchants, police officers, criminals, and the blues and jazz musicians who had a lasting impact on American popular music.

Among the most influential poets of the Harlem Renaissance, Langston Hughes is perhaps best remembered for the innovative use of jazz rhythms in his writing. While his poetry and essays received much public acclaim and scholarly attention, Hughes' dramas are relatively unknown. Only five of the sixty-three plays Hughes scripted alone or collaboratively have been published (in 1963). Published here, for the first time, are four of Hughes' most poignant, poetic, and political dramas, Scottsboro Limited, Harvest (also known as Blood on the Fields), Angelo Herndon Jones, and De Organizer. Each play reflects Hughes' remarkable professionalism as a playwright as well as his desire to dramatize the social history of the African American experience, especially in the context of the labor movements of the 1930s and their attempts to attract African American workers. Hughes himself counted prominent members of these leftist groups among his close friends and patrons; he formed a theater group with Whittaker Chambers, prompting an FBI investigation of Hughes and his writing in the 1930s. These plays, while easily read as idealistic propaganda pieces for the left, are nonetheless reflective of Hughes' other more influential and studied works. The first scholar to offer a systematic study of Hughes' plays, Susan Duffy provides an informed introduction as well as a detailed analysis of each of the four plays. Each chapter begins with locating the play at a moment in the social history of the 1930s. Then Duffy analyzes the rhetorical strategies employed throughout the script, focusing on the political ideologies attacked as well as the ideologies endorsed. Duffy also establishes that De Organizer,a collaboration with noted jazz pianist and composer James P. Johnson (who also wrote its score) was indeed performed by the Labor Stage.

Jakarta International Jazz Festival - Jak.Jazz - The three day Jakarta International Java Jazz Festival (JJF) is now one of the major 'happenings' on Indonesia's calendar of events.

Avant-garde jazz - Avant-garde jazz (also known as avant-jazz) is a style of music and improvisation that combines elements of avant-garde art music and composition with elements of traditional jazz. Avant-jazz overlaps with free jazz, but differs in that free jazz is generally performed with fewer, or no predetermined structure or composition.

Jazz-funk - Jazz-funk was the British name for a musical genre used to denote a style of mostly American disco-ish jazz music, popular on the club-circuit of England in the mid 1970s. The American name for this genre was soul jazz, although jazz-funk and soul jazz do not entirely overlap.

Nu jazz - Nu-jazz (sometimes electro-jazz or phusion) was coined in the late 1990s to refer to styles which combine jazz textures and sometimes jazz instrumentation with electronic music. Like the term electronica, nu jazz is a loosely defined umbrella musical style.

jazzpatron

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