{"id":9209,"date":"2018-03-05T22:59:46","date_gmt":"2018-03-06T06:59:46","guid":{"rendered":"https:\/\/www.artsjournal.com\/rifftides\/?p=9209"},"modified":"2018-03-05T23:15:12","modified_gmt":"2018-03-06T07:15:12","slug":"monday-recommendation-gerard-kubik-jazz-transatlantic","status":"publish","type":"post","link":"https:\/\/www.artsjournal.com\/rifftides\/2018\/03\/monday-recommendation-gerard-kubik-jazz-transatlantic\/","title":{"rendered":"Monday Recommendation: Gerard Kubik, Jazz Transatlantic"},"content":{"rendered":"<p><strong>Gerhard Kubik<\/strong>, <em>Jazz Transatlantic<\/em>, <a href=\"http:\/\/amzn.to\/2FWMasF\" target=\"_blank\" rel=\"noopener\">Vol. I<\/a> and <a href=\"http:\/\/amzn.to\/2oKlEeG\" target=\"_blank\" rel=\"noopener\">Vol. II<\/a> (University Press of Mississippi)<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"alignleft wp-image-9210\" src=\"https:\/\/www.artsjournal.com\/rifftides\/wp\/wp-content\/uploads\/2018\/03\/51GF-ACeVML._SX331_BO1204203200_-e1520318848943.jpg\" alt=\"\" width=\"202\" height=\"304\" \/>The first volume of Kubik\u00e2\u20ac\u2122s work is subtitled, \u00e2\u20ac\u0153The African Undercurrent in Twentieth\u00e2\u20ac\u201cCentury Jazz Culture;\u00e2\u20ac\u009d the second, \u00e2\u20ac\u0153Jazz Derivatives and Developments in Twentieth-Century Africa.\u00e2\u20ac\u009d The descriptions indicate the depth and scope of the Austrian ethnomusicologist\u00e2\u20ac\u2122s research, which has taken him to Africa every year for nearly five decades. Happily for the general<img loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-9211\" src=\"https:\/\/www.artsjournal.com\/rifftides\/wp\/wp-content\/uploads\/2018\/03\/51k7SRi3kfL-e1520318945143.jpg\" alt=\"\" width=\"133\" height=\"200\" \/> reader, Kubik\u00e2\u20ac\u2122s writing and explanations are straightforward. He accounts for Lester Young\u00e2\u20ac\u2122s unorthodox way of holding his tenor saxophone as a profound influence on a school of African flutists who developed the powerful resonance that characterizes their playing. Kubik draws on his knowledge of psychiatric practice to realistically interpret the spoofing humor that doctors examining Thelonious Monk saw as mental imbalance. He has insights into the importance of musicians barely known on this side of the Atlantic, among them Winston Mankunku Ngozi, Donald Kachamba and Duke Makasi. These valuable volumes will endure.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Gerhard Kubik, Jazz Transatlantic, Vol. I and Vol. II (University Press of Mississippi) The first volume of Kubik\u00e2\u20ac\u2122s work is subtitled, \u00e2\u20ac\u0153The African Undercurrent in Twentieth\u00e2\u20ac\u201cCentury Jazz Culture;\u00e2\u20ac\u009d the second, \u00e2\u20ac\u0153Jazz Derivatives and Developments in Twentieth-Century Africa.\u00e2\u20ac\u009d The descriptions indicate the depth and scope of the Austrian ethnomusicologist\u00e2\u20ac\u2122s research, which has taken him to Africa [&hellip;]<\/p>\n","protected":false},"author":2,"featured_media":9210,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_genesis_hide_title":false,"_genesis_hide_breadcrumbs":false,"_genesis_hide_singular_image":false,"_genesis_hide_footer_widgets":false,"_genesis_custom_body_class":"","_genesis_custom_post_class":"","_genesis_layout":"","footnotes":""},"categories":[5],"tags":[],"class_list":{"0":"post-9209","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-recommendations","8":"entry"},"_links":{"self":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts\/9209","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/comments?post=9209"}],"version-history":[{"count":0,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts\/9209\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/media\/9210"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/media?parent=9209"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/categories?post=9209"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/tags?post=9209"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}