MARC record from Internet Archive

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050 00 $aML394$b.L39 1994
055 0 $aML394$bL485 1994
082 00 $a781.65/092/2$aB$220
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100 1 $aLees, Gene.
245 10 $aCats of any color :$bjazz black and white /$cGene Lees.
260 $aNew York :$bOxford University Press,$c1994.
300 $aix, 246 pages ;$c22 cm
336 $atext$btxt$2rdacontent
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500 $aEssays from Gene Lees jazzletter.
505 0 $aThe prez of Louisville -- Dr. de Lerma, I presume -- The man on the Buffalo nickel : Dave Brubeck -- Growing up in Los Angeles : Ernie Andrews -- Father and son : Horace Silver -- The nine lives of Red Rodney -- The Philadelphia connection : Benny Golson -- The return of Red Mitchell -- Three sketches -- Jazz black and white.
520 $aIt was Louis Armstrong who said, "These people who make the restrictions, they don't know nothing about music. It's no crime for cats of any color to get together and blow." "You can't know what it means to be black in the United States--in any field," Dizzy Gillespie once said, but Gillespie vigorously objected to the proposition that only black people could play jazz. "If you accept that premise, well then what you're saying is that maybe black people can only play jazz. And black people, like anyone else, can be anything they want to be." In Cats of Any Color, Gene Lees takes a look at the pervasiveness of racism in jazz's past and present--both the white racism that long ghettoized the music and generations of talented black musicians, and what Lees maintains is an increasingly virulent reverse racism aimed at white jazz musicians. In candid interviews, living jazz legends, critics, and composers step forward and share their thoughts on how racism has affected their lives. Dave Brubeck, part Modoc Indian, discusses Native Americans' contribution to jazz and the deeply ingrained racism that for a time made it all but impossible for jazz groups with black and white players to book tours and television appearances. Horace Silver looks back on his long career, including the first time he ever heard jazz played live. Blacks were not not allowed into the pavilion in Connecticut where Jimmie Lunceford's band was performing, so the ten-year-old Silver listened and watched through the wooden slats surrounding the pavilion. "And oh man! That was it!" Silver recalls. Red Rodney recalls his early days with Charlie "Bird" Parker, and pianist and composer Cedar Walton tells of the time Duke Ellington played at the army base at Ford Dix and allowed the young enlisted Walton to sit in. --From publisher's description.
650 0 $aJazz musicians$vBiography.
650 0 $aJazz$xHistory and criticism.
651 0 $aUnited States$xRace relations$xHistory.
650 6 $aMusiciens de jazz$xBiographies.
650 6 $aJazz$zÉtats-Unis$xHistoire et critique.
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653 0 $aJazz
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655 7 $aBiography.$2fast$0(OCoLC)fst01423686
655 7 $aCriticism, interpretation, etc.$2fast$0(OCoLC)fst01411635
655 7 $aHistory.$2fast$0(OCoLC)fst01411628
730 0 $aGene Lees jazzletter.
776 08 $iOnline version:$aLees, Gene.$tCats of any color.$dNew York : Oxford University Press, 1994$w(OCoLC)622682112
856 42 $3Contributor biographical information$uhttp://catdir.loc.gov/catdir/enhancements/fy0723/94008058-b.html
856 42 $3Publisher description$uhttp://catdir.loc.gov/catdir/enhancements/fy0636/94008058-d.html
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