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Jazz Internationalism offers a bold reconsideration of jazz's influence in Afro-modernist literature. Ranging from the New Negro Renaissance through the social movements of the 1960s, John Lowney articulates nothing less than a new history of Afro-modernist jazz writing. Jazz added immeasurably to the vocabulary for discussing radical internationalism and black modernism in leftist African American literature. Lowney examines how Claude McKay, Ann Petry, Langston Hughes, and many other writers employed jazz as both a critical social discourse and mode of artistic expression to explore the possibilities—and challenges—of black internationalism. The result is an expansive understanding of jazz writing sure to spur new debates.

Jazz is one of America's greatest gifts to the arts, and native Texas musicians have played a major role in the development of jazz from its birth in ragtime, blues, and boogie-woogie to its most contemporary manifestation in free jazz. Dave Oliphant began the fascinating story of Texans and jazz in his acclaimed book Texan Jazz, published in 1996. Continuing his riff on this intriguing musical theme, Oliphant uncovers in this new volume more of the prolific connections between Texas musicians and jazz.

Jazz Mavericks of the Lone Star State presents sixteen published and previously unpublished essays on Texans and jazz. Oliphant celebrates the contributions of such vital figures as Eddie Durham, Kenny Dorham, Leo Wright, and Ornette Coleman. He also takes a fuller look at Western Swing through Milton Brown and his Musical Brownies and a review of Duncan McLean's Lone Star Swing. In addition, he traces the relationship between British jazz criticism and Texas jazz and defends the reputation of Texas folklorist Alan Lomax as the first biographer of legendary jazz pianist-composer Jelly Roll Morton. In other essays, Oliphant examines the links between jazz and literature, including fiction and poetry by Texas writers, and reveals the seemingly unlikely connection between Texas and Wisconsin in jazz annals. All the essays in this book underscore the important parts played by Texas musicians in jazz history and the significance of Texas to jazz, as also demonstrated by Oliphant's reviews of the Ken Burns PBS series on jazz and Alfred Appel Jr.'s Jazz Modernism.

An interwoven story of a music and a medium, Jazz Radio America answers perennial questions about why certain kinds of jazz get played and why even that music is played in so few places.

Jeremy F. Lane’s Jazz and Machine-Age Imperialism is a bold challenge to the existing homogenous picture of the reception of American jazz in world-war era France. Lane’s book closely examines the reception of jazz among French-speaking intellectuals between 1918 and 1945 and is the first study to consider the relationships, sometimes symbiotic, sometimes antagonistic, between early white French jazz critics and those French-speaking intellectuals of color whose first encounters with the music in those years played a catalytic role in their emerging black or Creole consciousness. Jazz’s first arrival in France in 1918 coincided with a series of profound shocks to received notions of French national identity and cultural and moral superiority. These shocks, characteristic of the era of machine-age imperialism, had been provoked by the first total mechanized war, the accelerated introduction of Taylorist and Fordist production techniques into European factories, and the more frequent encounters with primitive “Others” in the imperial metropolis engendered by interwar imperialism. Through close readings of the work of early white French jazz critics, alongside the essays and poems of intellectuals of color such as the Nardal sisters, Léon-Gontran Damas, Léopold Sédar Senghor, and René Ménil, Jazz and Machine-Age Imperialism highlights the ways in which the French reception of jazz was bound up with a series of urgent contemporary debates about primitivism, imperialism, anti-imperialism, black and Creole consciousness, and the effects of American machine-age technologies on the minds and bodies of French citizens.

WINNER OF THE ELIZABETH AGEE PRIZE IN AMERICAN LITERATURE

Jazz in the Time of the Novel argues that a culture’s understanding of the concept of time plays a central role in its economic, social, and aesthetic affairs and that a culture arrives at its conception of time through its artistic practices.

Bruce Barnhart, in Jazz in the Time of the Novel, shows that American culture of the first three decades of the twentieth century was shaped by the kindred rhythms and movements of two particular art forms: jazz and fiction. At the beginning of the twentieth century, widespread changes in America’s social, demographic, and economic norms threatened longstanding faith in a unified and inevitable movement towards a better future. As Barnhart shows both jazz and novels of the period address these temporal uncertainties, inserting themselves into arguments about the proper unfolding of an affirmative American future. Barnhart proposes that these two aesthetic forms can be viewed as co-participants in an ongoing discussion about the way in which the future should be imagined and experienced—a discussion symptomatic of the broader exchanges taking place within the many trajectories comprising early twentieth-century American culture.

This book includes in-depth approaches to numerous examples of jazz and the novel, including performances by James P. Johnson, Louis Armstrong, Bessie Smith, Duke Ellington, and Ethel Waters, and novels by James Weldon Johnson, F. Scott Fitzgerald, Ernest Hemingway, Gertrude Stein, and Nella Larsen, among others. In addition to the details of specific musical and literary works, Jazz in the Time of the Novel offers careful consideration as to how these works impact their social context.

Drawing on extensive research and previously untapped archival materials, Lynn Edwards Butler explores Scheibe's professional relationships and the full range of his projects. These assignments included the three-manual organ for St. Paul’s Church, renovations of the organs in the important churches of St. Thomas and St. Nicholas, and the lone surviving example of Scheibe's craft, a small organ in the nearby village of Zschortau. Viewing Scheibe within the context of the era, Butler illuminates the music scene of Bach's time as she follows the life of a gifted craftsman and his essential work on an instrument that anchored religious musical practice and community.

With a range that spans the lyrical, heartfelt songs “Angel from Montgomery,” “Sam Stone,” and “Paradise” to the classic country music parody “You Never Even Called Me by My Name,” John Prine is a songwriter’s songwriter. Across five decades, Prine has created critically acclaimed albums—John Prine (one of Rolling Stone’s 500 Greatest Albums of All Time), Bruised Orange, and The Missing Years—and earned many honors, including two Grammy Awards, a Lifetime Achievement Award for Songwriting from the Americana Music Association, and induction into the Nashville Songwriters Hall of Fame. His songs have been covered by scores of artists, from Johnny Cash and Miranda Lambert to Bette Midler and 10,000 Maniacs, and have influenced everyone from Roger McGuinn to Kacey Musgraves. Hailed in his early years as the “new Dylan,” Prine still counts Bob Dylan among his most enthusiastic fans.

In John Prine, Eddie Huffman traces the long arc of Prine’s musical career, beginning with his early, seemingly effortless successes, which led paradoxically not to stardom but to a rich and varied career writing songs that other people have made famous. He recounts the stories, many of them humorous, behind Prine’s best-known songs and discusses all of Prine’s albums as he explores the brilliant records and the ill-advised side trips, the underappreciated gems and the hard-earned comebacks that led Prine to found his own successful record label, Oh Boy Records. This thorough, entertaining treatment gives John Prine his due as one of the most influential songwriters of his generation.

With a range that spans the lyrical, heartfelt songs “Angel from Montgomery,” “Sam Stone,” and “Paradise” to the classic country music parody “You Never Even Called Me by My Name,” John Prine is a songwriter’s songwriter. Across five decades, Prine has created critically acclaimed albums—John Prine (one of Rolling Stone’s 500 Greatest Albums of All Time), Bruised Orange, and The Missing Years—and earned many honors, including two Grammy Awards, a Lifetime Achievement Award for Songwriting from the Americana Music Association, and induction into the Nashville Songwriters Hall of Fame. His songs have been covered by scores of artists, from Johnny Cash and Miranda Lambert to Bette Midler and 10,000 Maniacs, and have influenced everyone from Roger McGuinn to Kacey Musgraves. Hailed in his early years as the “new Dylan,” Prine still counts Bob Dylan among his most enthusiastic fans.

In John Prine, Eddie Huffman traces the long arc of Prine’s musical career, beginning with his early, seemingly effortless successes, which led paradoxically not to stardom but to a rich and varied career writing songs that other people have made famous. He recounts the stories, many of them humorous, behind Prine’s best-known songs and discusses all of Prine’s albums as he explores the brilliant records and the ill-advised side trips, the underappreciated gems and the hard-earned comebacks that led Prine to found his own successful record label, Oh Boy Records. This thorough, entertaining treatment gives John Prine his due as one of the most influential songwriters of his generation.

2023 Peggy O'Brien Book Prize, winner

Across all imaginable borders, Johnny Cash fans show the appeal of a thoroughly American performer who simultaneously inspires people worldwide. A young Norwegian shows off his Johnny Cash tattoo. A Canadian vlogger sings “I Walk the Line” to camel herders in Egypt’s White Desert. A shopkeeper in Northern Ireland plays Cash as his constant soundtrack. A Dutchwoman co­ordinates the activities of Cash fans worldwide and is subsequently offered the privilege of sleeping in Johnny’s bedroom. And on a more global scale, millions of people watch Cash’s videos online, then express themselves through commentary and debate.

In Johnny Cash International, Hinds and Silverman examine digital and real-world fan communities and the individuals who comprise them, profiling their relationships to Cash and each other. Study­ing Johnny Cash’s international fans and their love for the man reveals new insights about music, fandom, and the United States.