Traveling Jazz: Themes and Riffs

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Notes

¹ Mphahlele, Voices in the Whirlwind, 154.

² Gilroy, The Black Atlantic, 15.

³ Ibid., 15.

⁴ Ibid., 19.

⁵ Patterson and Kelley, “Unfinished Migrations,” 31–32.

⁶ Edwards, “Unfinished Migrations,” 49.

⁷ Masilela, “The ‘Black Atlantic’ and African Modernity in South Africa.”

⁸ Titlestad, Making the Changes.

⁹ See Coplan, In Township Tonight!; Ballantine, Marabi Nights and Looking to the USA, among others; Erlmann, African Stars; Rasmussen, Abdullah Ibrahim and Mbizo, among others; and Ansell, Soweto Blues.

¹⁰ Mphahlele, Voices in the Whirlwind, 154.

¹¹ As Hugh Masekela notes in an interview with Chris Ballantine: “Every African, African American that made it, that we knew about, Duke Ellington, Louis Armstrong, was all through music. And, ah, these were Africans that were brought there, but their only way out of the plantation was through their musical prowess. You know. And there was no difference between like—to me there was no difference—between African Americans who went to the States and came out of the plantations, and Africans who were taken away from their lands, into the plantation which is where we live in South Africa right now. And the only thing you could relate to from a rural and traditional life was music, that was your way into like industrial life, you know. So our lifestyle—if you’re in a European situation and you’re an African, what lifestyle can you follow? What example is there? The only example of how to exist as an African in a European lifestyle is to, ah, emulate the people that already mastered it, and those were the Americans.” Ballantine, “Looking to the USA,” 3.

¹² These musicologists include Carol Muller, Louise Meintjes, Lara Allen, Brett Pyper, and Grant Olwage.

¹³ Among many others, Mphahlele, Voices in the Whirlwind; Mathsikiza, “Jazz Comes to Joburg!”; Chapman, Soweto Poetry and The Drum Decade; Gardiner, “Funking the Jive”; Jacobs, “The Blues”; Sole, “This Time Set Again”; Nixon, Homelands, Harlem and Hollywood; and Visser, “Fictional Projects.”

¹⁴ Heble, Landing on the Wrong Note, 68–69.

¹⁵ Certeau, The Practice of Everyday Life.

¹⁶ This discussion and that concerning “the seam” in the next section are abbreviated forms of longer explanations that conclude my study, Making the Changes (2004).

¹⁷ Attali, Noise, 140.

¹⁸ Ibid., 140.

¹⁹ Mehegan, “Report from Africa,” 22.

²⁰ de Kock, “South Africa in the Global Imaginary.”