Chapters in this book

1. Frontmatter i
2. Contents v
3. Acknowledgments vii
4. INTRODUCTION 1
5. PART I. Rooting Gender in Jazz History
6. SEPARATED AT ‘‘BIRTH’’ : SINGING AND THE HISTORY OF JAZZ 31
7. WITH LOVIE AND LIL: REDISCOVERING TWO CHICAGO PIANISTS OF THE 1920s 48
8. GENDER, JAZZ, AND THE POPULAR FRONT 64
9. ‘‘THE BATTLE OF THE SAXES’’ : GENDER, DANCE BANDS, AND BRITISH NATIONALISM IN THE SECOND WORLD WAR 90
10. IDENTITY FOR SALE: GLENN MILLER, WYNTON MARSALIS, AND CULTURAL REPLAY IN MUSIC 129
11. PART II. Improvising Gender: Embodiment and Performance
12. FROM THE POINT OF VIEW OF THE PAVEMENT: A GEOPOLITICS OF BLACK DANCE 157
13. PERVERSE HYSTERICS: THE NOISY CRI OF LES DIABOLIQUES 180
14. ‘‘BORN OUT OF JAZZ . . . YET EMBRACING ALL MUSIC’’ : RACE, GENDER, AND TECHNOLOGY IN GEORGE RUSSELL’S LYDIAN CHROMATIC CONCEPT 210
15. ‘‘BUT THIS MUSIC IS MINE ALREADY!’’ : ‘‘WHITE WOMAN’’ AS JAZZ COLLECTOR IN THE FILM NEW ORLEANS (1947) 235
16. FITTING THE PART 267
17. PART III Reimagining Jazz Representations
18. ‘‘BETTER A JAZZ ALBUM THAN LIPSTICK’’ (LIEBER JAZZPLATTE ALS LIPPENSTIFT ) : THE 1956 JAZZ PODIUM SERIES REVEALS IMAGES OF JAZZ AND GENDER IN POSTWAR GERMANY 291
19. EXCLUSION, OPENNESS, AND UTOPIA IN BLACK MALE PERFORMANCE AT THE WORLD STAGE JAZZ JAM SESSIONS 320
20. ‘‘IT TAKES TWO PEOPLE TO CONFIRM THE TRUTH’’ : THE JAZZ FICTION OF SHERLEY ANN WILLIAMS AND TONI CADE BAMBARA 348
21. ‘‘BLOW, MAN, BLOW!’’: REPRESENTING GENDER, WHITE PRIMITIVES, AND JAZZ MELODRAMA THROUGH A YOUNG MAN WITH A HORN 361
22. THE GENDERED JAZZ AESTHETICS OF THAT MAN OF MINE : THE INTERNATIONAL SWEETHEARTS OF RHYTHM AND INDEPENDENT BLACK SOUND FILM 393
23. Bibliography 423
24. Contributors 435
25. Index 441