Music Is My Life: Louis Armstrong, Autobiography, and American Jazz

Suggested Further Reading

Suggested Further Reading The works listed here contextualize and extend the analyses offered throughout this book. They generally include publications I consulted during my research but (with some exceptions) did not explicitly reference in the preceding pages. The lists are certainly not comprehensive, but they will allow readers to conduct further research on Louis Armstrong and dig more deeply into Armstrong’s verbal, visual, and aural legacy. Louis Armstrong I have referenced the bulk of Armstrong criticism throughout the preceding chapters . Nonetheless, a few additional suggestions may be useful. Borshuk, Michael. “‘So Black, So Blue’: Ralph Ellison, Louis Armstrong and the Bebop Aesthetic.” Blue Notes: Toward a New Jazz Discourse, ed. Mark Osteen, special issue of Genre: Forms of Discourse and Culture 37.2 (2004): 261–83. Brooks, Edward. In›uence and Assimilation in Louis Armstrong’s Cornet and Trumpet Work (1923–1928). Lewiston: Mellen, 2000. Brooks, Edward. The Young Louis Armstrong on Records: A Critical Survey of the Early Recordings, 1923–1928. Lanham: Scarecrow, 2002. Gabbard, Krin. “Louis Armstrong’s Beam of Lyrical Sound.” In Hotter Than That: The Trumpet, Jazz, and American Culture. New York: Faber and Faber, 2008. 70–106. Harker, Brian. Louis Armstrong’s Hot Five and Hot Seven Recordings. New York: Oxford University Press, 2011. Meckna, Michael. “Louis Armstrong Blasts Little Rock, Arkansas.” In Perspectives on American Music since 1950, ed. James R. Heintze. New York: Garland, 1999. 141–51. Meckna, Michael. “Louis Armstrong in the Movies, 1931–1969.” Popular Music and Society 29.3 (2006): 359–73. 327 Meckna, Michael. Satchmo: The Louis Armstrong Encyclopedia. Westport: Greenwood , 2004. Potter, John. “Armstrong to Sinatra: Swing and Sub-text.” In Vocal Authority: Singing Style and Ideology. Cambridge: Cambridge University Press, 1998. 87–112. Stratemann, Klaus. Louis Armstrong on the Screen. Copenhagen: Jazzmedia, 1996. Taylor, Jeffrey. “Louis Armstrong, Earl Hines, and ‘Weather Bird.’” Musical Quarterly 82.1 (1998): 1–40. Jazz Autobiography Apart from the essays on jazz autobiography cited throughout the book, the following texts should prove useful for readers and scholars interested in the many autobiographies written by American jazz musicians. Carmichael, Thomas. “Beneath the Underdog: Charles Mingus, Representation, and Jazz Autobiography.” Canadian Review of American Studies/Revue canadienne d’études américaines 25.3 (1995): 29–40. Farrington, Holly E. “Narrating the Jazz Life: Three Approaches to Jazz Autobiography .” Popular Music and Society 29.3 (2006): 375–86. Gebhardt, Nicholas. “Sidney Bechet: The Virtuosity of Construction.” In Going for Jazz: Musical Practices and American Ideology. Chicago: University of Chicago Press, 2001. 33–76. Grandt, Jürgen E. “The Remembering Song: Toward an Aesthetic of Literary Jazz in Sidney Bechet’s Treat It Gentle.” In Kinds of Blue: The Jazz Aesthetic in African American Narrative. Columbus: Ohio State University Press, 2004. 1–21. Heble, Ajay. “Performing Identity: Jazz Autobiography and the Politics of Literary Improvisation.” In Landing on the Wrong Note: Jazz, Dissonance and Critical Practice. New York: Routledge, 2000. 89–116. McNeilly, Kevin. “Charles Mingus Splits; or, All the Things You Could Be by Now if Sigmund Freud’s Wife Was Your Mother.” Canadian Review of American Studies /Revue canadienne d’études américaines 27.2 (1997): 45–70. Wald, Gayle. “Mezz Mezzrow and the Voluntary Negro Blues.” In Crossing the Line: Racial Passing in Twentieth-Century U.S. Literature and Culture. Durham: Duke University Press, 2000. 53–81. Jazz Literature While my study of Armstrong’s intermedial autobiographics diverges substantially from the focus of jazz ‹ction studies, I include a list of important works here because it will enable readers to make further sense of the literary connections between jazz autobiography and jazz ‹ction. 328 suggested further reading Bolden, Tony. Afro-Blue: Improvisations in African American Poetry and Culture. Urbana : University of Illinois Press, 2004. Cataliotti, Robert H. The Songs Became the Stories: The Music in African-American Fiction, 1970–2005. New York: Lang, 2007. Eckstein, Lars, and Christoph Reinfandt. “On Dancing about Architecture: Words and Music between Cultural Practice and Transcendence.” In The Cultural Validity of Music in Contemporary Fiction, ed. Lars Eckstein and Christoph Reinfandt , special issue of ZAA Zeitschrift für Anglistik und Amerikanistik 54.1 (2006): 1–8. Ferguson, Jeffrey B. “A Blue Note on Black American Literary Criticism.” In African American Literary Studies: New Texts, New Approaches, New Challenges, ed. Glenda R. Carpio and Werner Sollors, special issue of Amerikastudien/ American Studies 55.4 (2010): 699–714. Gysin, Fritz. “From ‘Liberating Voices’ to ‘Metathetic Ventriloquism’: Boundaries...