Latin Jazz: The Other Jazz

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Notes

1 Martin Williams, The Smithsonian Collection of Classic Jazz, Smithsonian Collection P6 11891; Paul Berliner, Thinking in Jazz: The Infinite Art of Improvisation (Chicago, IL: University of Chicago Press, 1994).

2 Christopher Washburne, Latin Jazz: The Other Jazz (New York, NY: Oxford University Press, 2020), 50.

3 Ibid., 86.

4 Ned Sublette, “The Kingsmen and the Cha-Cha-Chá,” in Listen Again: A Momentary History of Pop Music, ed. Eric Weisbard (Durham, NC: Duke University Press, 2007), 69–94; George Lipsitz, “Cruising around the Historical Bloc: Postmodernism and Popular Music in East Los Angeles,” Cultural Critique 5 (Winter, 1986–1987): 157–77; Jack Hamilton, Just around Midnight: Rock and Roll and the Racial Imagination (Cambridge, MA: Harvard University Press, 2016); Jason Borge, Tropical Riffs: Latin America and the Politics of Jazz (Durham, NC: Duke University Press, 2018); Bruce Johnson, Jazz Diaspora: Music and Globalisation (New York, NY: Routledge, 2019).

5 Washburne, Latin Jazz: The Other Jazz, 56.

6 Ibid., 14.

7 Ibid., 78.

8 Benjamin Lapidus, New York and the International Sound of Latin Music, 1940–1990 (Jackson, MS: University of Mississippi Press, 2020).

9 Washburne, Latin Jazz: The Other Jazz, 21.

10 Ibid., 21.

11 Ibid., 29.

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Notes on contributors

Rami Toubia Stucky

Rami Toubia Stucky is a PhD candidate at the University of Virginia where he focuses on the arrival of Brazilian bossa nova music to the United States during the 1960s. He also sometimes plays the drums. His father, only half-jokingly, often asks when he will finish his dissertation on “elevator music.” You can find out more about him on his personal and professional website, songsmysisterlikes.com