Musical Echoes of American Jazz: Towards a Comparative Historiography

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Notes

¹ Floyd, The Power of Black Music.

² Sadie, New Grove Dictionary of Music and Musicians.

³ Williams, The Smithsonian Collection of Classical Jazz.

⁴ Subsequently published as Coplan, In Township Tonight!

⁵ See Rasmussen and Patterson, Mantindane: “He Who Survives.”

⁶ Ballantine, Marabi Nights; Coplan, In Township Tonight!; Muller, “Covers, Copies and Colouredness in Postwar Cape Town.”

⁷ Abdullah Ibrahim, “Hit and Run” on South African Sunshine, recorded in December 1980 and released in 1982 as LP/CD Plaene 88449, Germany. See Rasmussen, Abdullah Ibrahim, p. 102.

⁸ Cockrell, “Of Gospel Hymns, Minstrel Songs, and Jubilee Singers;” Hamm, Putting Popular Music in its Place.

⁹ See, for example, Kavanaugh, Theatre and Cultural Struggle in South Africa.

¹⁰ Gassert, “Bop Till You Drop” (1988); Jeppie, “Aspects of Popular Culture and Class Expression in Inner Cape Town ca. 1939–1959” (1990); Layne, “A History of Dance and Jazz Band Performance in the Western Cape in the Post-1945 Era” (1995).

¹¹ Nixon, “The World of Jazz in Inner Cape Town, 1940–1960.”

¹² Baines, “The Little Jazz Town.”

¹³ Allen, “Pennyswhistle Kwela”; “Representation, Gender and Women”; “Commerce, Politics, and Musical Hybridity”; “Music, Film and Gangsters in the Sophiatown Imaginary”; “Circuits of Recognition and Desire.”

¹⁴ Solberg, “African Horns”; Veeran, “Orchestral Music of the Working Class” and “The Orchestral Traditions Among Indian South Africans 1930–1970.”

¹⁵ McGregor, Chris McGregor; Placksin, “Sathima: Music is the Spirit Within You.”

¹⁶ Makeba, Makeba: My Story.

¹⁷ See, for example, Muller, South African Music.

¹⁸ Breakey, Beyond the Blues; Martin, Coon Carnival.

¹⁹ Rasmussen, Sathima Bea Benjamin and Abdullah Ibrahim.

²⁰ Rasmussen, Cape Town Jazz and Jazz People of Cape Town.

²¹ Rasmussen, Mbizo and Mantindane.

²² Lucia, “Abdullah Ibrahim and the Uses of Memory.”

²³ Abdullah Ibrahim: Brother With Perfect Timing. Directed by Ekaya, 1989.

²⁴ The Struggle for Love. Directed by Ciro Cappellari, 2004.

²⁵ Amandla! Revolution in Four-Part Harmony. Directed by Lee Hirsch. Santa Monica, CA: Artisan Home Entertainment, 2003.

²⁶ See, for example, Atkins, Jazz Planet; McKay, Circular Breathing; Bohlman and Plastino, Jazz Worlds/Worlds of Jazz.

²⁷ Muller and Benjamin, Musical Echoes.

²⁸ All definitions of “echo” from the American Heritage Dictionary 2000, retrieved June 22, 2004 from http://dictionary.reference.com/search?q + echo.

²⁹ In Muller, “The New African Diaspora,” I expand on the central place of radio broadcast of radio, film, and sound recordings in Sathima Bea Benjamin's childhood and early adult life in South Africa—it includes larger discussion of her immediate community as well (Muller, South African Music; “Covers, Copies and Colouredness”; “Sathima Bea Benjamin”). See also Ballantine, Marabi Nights; Coplan, In Township Tonight!; Hamm, Putting Popular Music in its Place, for discussion of the importance of audio-visual technologies in shaping local popular music and jazz sensibilities in twentieth century South Africa.

³⁰ The Emmy award-winning documentary, Amandla! Revolution in Four-Part Harmony, directed by Lee Hirsch (Santa Monica, CA: Artisan Home Entertainment, 2003) constitutes a contemporary take on the Greek myth of the Echo. Similarly, my own work (Muller, South African Music) argues for the power of the human voice, individually and collectively, in articulating a strident medium of resistance, anger, but also reconciliation in twentieth-century South African politics.

³¹ Sathima Bea Benjamin. Musical Echoes. EKAPA-002, South Africa, 2002.

³² Marks, The Skin of the Film.

³³ See Muller, “American Musical Surrogacy”, for further discussion of the idea of musical surrogacy.

³⁴ Muller and Benjamin, Musical Echoes.