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Notes prelude 1. Schlegel, “Bloss nicht.” 2. Bühler, “European Jazz Legends,” 72; Broecking, Dieses Unbändige Gefühl der Freiheit, 72–73. 3. Wickihalder and Schweizer, “Monk and More . . .” 4. Jürg Wickihalder, interview with the author, June 22, 2013. 5. Hughes, “Jazz Band in a Parisian Cabaret.” 6. Dimock, “Literature for the Planet,” 175, 180. 7. Wiegman, Object Lessons, 213. 8. Moraru, Cosmodernism, 22, 81, 206, 304–305, 22–23. 9. Fisher Fishkin, “Crossroads of Culture,” 43. See also Dvinge, “Keeping Time, Performing Place.” The spring 2016 issue also reprints the introduction of Rashida Braggs’s monograph: see Braggs, “Excerpt from Jazz Diasporas.” 10. Lewis and Piekut, Oxford Handbook, 1:xi, 2:46, 2:144, 2:361, 2:365. Surely there is a way to hear, say, Johann Nepomuk Hummel’s improvised piano fantasies as transnational, but neither this nor any of the other contributions avails itself of transnationalism as a critical lens. See Gooley, “Saving Improvisation,” 192. 11. Sterne, Audible Past, 3. 12. Sterne, “Sonic Imaginations,” 2, 4. 13. Born, Introduction, 24. See also Bohlman, “Music Inside Out,” 218–223. 14. See E. Lewis, “What Is ‘Great Black Music’?”; Barg, “Strayhorn’s Queer Arrangements.” 15. Stoever, Sonic Color Line, 18, 78–131. 16. Goyal, “Introduction,” 1. See also Vertovec, Transnationalism, 161. 17. Bechet, Treat It Gentle, 3. 18. Ellington, Music Is My Mistress, 452. 19. See Reimer, “Yusef Lateef,” 65; Nicholson, Jazz and Culture, 21–24. 20. Goyal, “Introduction,” 5. The almost complete absence of jazz in interdisciplinary transnational humanities is all the more astounding since the music has contributed significantly to 140 notes to prelude and introduction studies with a transnational bent in architecture, economics, and even astrophysics: see David P. Brown, Noise Orders; Phillips, Shaping Jazz; S. Alexander, Jazz of Physics. 21. Braggs, Jazz Diasporas, 132–134. 22. Jones, Theatrical Jazz, 8. See also Turner, Jazz Religion, 92–108; S. Coleman and the Mystic Rhythm Society, Sign and the Seal. 23. See Doctor, “Jazz is where you find it,” 103–143. 24. Appel, Jazz Modernism, 16. 25. Ellison, “Golden Age, Time Past,” 237. 26. Ellison, Invisible Man, 581. 27. See Sabatini, “Fred Ho’s Operatic Journey”; Atkins, Blue Nippon, 179–184, 207–219, 241–248. See also van Nuis and Brown, “Far Away Places.” introduction. dexter gordon gets around 1. Quoted in Schermer, “Maxine Gordon”; Britt, Dexter Gordon, 84. See also Pavlić, Who Can Afford to Improvise?, 152–161. 2. Gordon, Our Man in Paris. 3. Quoted in Reimer, “Larry Ridley,” 85. See also Gordon, Gettin’ Around; Blue Note: A Story. 4. Quoted in Berendt and Huesmann, Jazz Book, 390. On Montoliu’s solo album Catalonian Folksongs from 1976, most of the tunes aren’t folk songs at all but popular compositions by contemporary singer-songwriter Joan Manuel Serrat. While the album as a whole has a distinctly hymnal character—the closing bookend is the Catalan national anthem, “Els Segadors”—Montoliu ’s positively Ellingtonian voicings and unerring sense of swing (his left hand occasionally even plays a walking bass line) are squarely rooted in the African American jazz tradition. 5. Quoted in Gitler, Swing to Bop, 47. 6. Gordon, “Three O’Clock in the Morning,” on After Midnight; Gordon, “Three O’Clock in the Morning,” on Go; Schermer, “Maxine Gordon.” See also Mortensen, “Dexter Gordon and His Style,” 33; Dewey, “Swinging Up North,” 26–28. 7. Quoted in Britt, Dexter Gordon, 93. 8. Ibid., 97, 90–94. See also Büchmann-Møller, Someone to Watch over Me, 270–271; Mortensen, “Dexter Gordon and His Style,” 63–65. Gordon, who had dabbled in acting early in his career, starring in Jack Gelber’s play The Connection, played an expatriate jazz musician in Paris in the 1986 French feature film Autour de Minuit (Round Midnight). Directed by Bertrand Tavernier, the movie is loosely based on the friendship of critic Francis Paudras with pianist Bud Powell. Gordon plays Dale Turner, a composite character with elements from the biographies of Powell, Lester Young, and Gordon himself; Gordon’s portrayal of Turner even earned him an Academy Award nomination for best actor. For an in-depth discussion of Autour de Minuit, see Grandt, “No Cold Eyes in Paris.” 9. Quoted in Mortensen, “Dexter Gordon and His Style,” 15. 10. Holiday, “I Wished on the Moon,” on All or Nothing at All. 11. Quoted in Berendt, Das grosse Jazzbuch, 203–204, 206–207. See also Schuller, Swing Era, 223–225, 855–859; Thompson, “African Art and Motion,” 319...


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