The Inside Songs of Amiri Baraka

The Inside Songs of Amiri Baraka examines the full length of Baraka's discography as a poet recording with musicians as well as his contributions to jazz and R & B, beginning with his earliest studio recordings in 1965 and continuing to the last year of his life, 2014. This recorded history traces his evolution from the era of Beat poetry and projective verse, through the period of the Black Arts Movement and cultural nationalism, and on to his commitments to third world Marxism, which characterized the last decades of his life. The music enfolding Baraka's recitations ranges from traditional African drumming, to doo wop, rhythm and blues, soul and the avant garde jazz that was his great love and the subject of so much of his writing, and includes both in-studio sessions and live concert performances. This body of work offers a rare opportunity to think about not only jazz/poetry, but the poet in the recording studio and the relations of text to score.

Examines the entirety of Baraka's discography Argues that avant garde jazz was every bit as important a model to New American Poetry as was abstract expressionism and field painting Tracks Baraka's movement into R & B musical forms in addition to avant garde jazz

Auteur

Aldon Lynn Nielsen is the George and Barbara Kelly Professor of American Literature at the Pennsylvania State University, USA. He was the first winner of the Larry Neal Award for poetry, and has received such other recognitions as the Darwin Turner Award, the Josephine Miles Award and the Kayden Prize.

Texte du rabat

The Inside Songs of Amiri Baraka examines the full length of Barakäs discography as a poet recording with musicians as well as his contributions to jazz and R & B, beginning with his earliest studio recordings in 1965 and continuing to the last year of his life, 2014. This recorded history traces his evolution from the era of Beat poetry and projective verse, through the period of the Black Arts Movement and cultural nationalism, and on to his commitments to third world Marxism, which characterized the last decades of his life. The music enfolding Barakäs recitations ranges from traditional African drumming, to doo wop, rhythm and blues, soul and the avant garde jazz that was his great love and the subject of so much of his writing, and includes both in-studio sessions and live concert performances. This body of work offers a rare opportunity to think about not only jazz/poetry, but the poet in the recording studio and the relations of text to score.

Contenu
Chapter One: Vamp Till Ready.- Chapter Two: Western Front.- Chapter Three: 1960 Something.- Chapter Four: Real Song.- Chapter Five: The Inside Songs of Amiri Baraka. <p