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Acknowledgments “Writing about music is like dancing about architecture” is an aphorism that has been attributed variously to Thelonious Monk, Miles Davis, Frank Zappa, and Elvis (both of them: Presley as well as Costello), among others. In the course of this project, I have felt quite often as if I were indeed dancing about the plans for an imposing, intimidating structure whose contours I could never quite make out let alone chart, whose interior furnishings required lots of plumbing and heavy lifting but which sometimes didn’t even include a high-end stereo system. In certain nooks and crannies, Gettin’ Around still sometimes feels to me like it’s not quite finished—but at least my plans and vision for it are now getting around. And while I could not have hoped for a better, smarter, more dedicated construction crew, its members must not be held responsible for inoperable light switches, leaky faucets, or faulty wiring, and least of all for scratches in the grooves of precious vinyls. Many, many hands, minds, ears, and eyes contributed to this project, and I apologize to those whom I may have inadvertently omitted. But the scholars among them are Tony Bolden, Rashida K. Braggs, Terry Easton, Mary Francis, Julius Greve, Trica Danielle Keaton, John W. Lowe, Barbara McCaskill, Christian Moraru, Aldon Lynn Nielsen, Sascha Pöhlmann, and Arthur J. Sabatini. DoVeanna S. Fulton and R. Baxter Miller keep demonstrating that they can dance to anything, even academia: their passion, intellect, and grace epitomize what it means to be “in the humanities.” Mark Ekman, Jane Klain, and the fabulous staff at the Paley Center for Media in New York City provided invaluable assistance and insights. Everyone at the University of Georgia Press is a consummate professional who models what scholarly publishing should be like, especially Walter Biggins, who answers the phone to share his impressively broad knowledge of all kinds of music even when x acknowledgments he, kinetically challenged, is waiting in line at the dmv. The two anonymous outside readers heard what I missed, explained what I needed to reharmonize, and impressed upon me that my manuscript was dancing with the stars. Among the artists are writers Calaya Michelle Reid aka Grace Octavia, giovanni singleton, and Artress Bethany White; singer Dee Dee Bridgewater; trumpeters Leon “Chocolate Kid” Brown, John Swana, and Robert Wilson; saxophonists Scott Burns, Bob Campbell, Elias Haslanger, Hans-Heinrich Honecker, Nico Kindlimann, Azar Lawrence, John Mills, “The Reverend” Roderick Paulin, Jure Pukl, Mike Smith, Rickey Woodard, and Audrey Betsy Wright; harmonica virtuoso Adam Gussow; pianists Luis Perdomo and Andrew Santander; guitarists Andy Brown, Thomas Erb aka Hank Shizzoe, Robi Lyle, Tim Motzer, and Mike Stern (many thanks also for “Wishing Well”); bassist Tom Kennedy; drummers Joris Dudli and Kenny Washington; world music maverick Fizzé aka Peeni Waali aka Victor Bros de Puechredon; Hackbrett wizard Roland Schiltknecht; the Harmoniemusik Netstal; and the University of North Georgia at Gainesville Jazz Band. Most of all, I am deeply indebted to saxophonist, composer, arranger, and Hansdampf in allen transnationalen Gassen Jürg Wickihalder, adopted son of Madam Zajj, whose axe can make any building dance. My “road crew”: the families of Simone and Daniel Althaus, Sandra and Martin Kindlimann, Wanda and Richard B. Lyle III, Sibylle and Thomas Menzi, and Friederike Pohlenz and Stephan C. Brunner. And finally, all the right notes in what follows hark back, in one way or another , to my mom, Yvonne. She and Dexter Gordon never met, so he couldn’t have been thinking of her when entitling his 1969 album for the Prestige label The Tower of Power. But Madam Zajj must have thought of Yvonne, I am certain, when she gifted Long Tall Dexter with the title. Oakwood, Georgia, March 2018 Gettin’ Around This page intentionally left blank ...


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