notes
Introduction
1. “Rock Too Much for Newport,” Rolling Stone, Aug. 9, 1969, 10.
2. Morgenstern, “Rock, Jazz, and Newport,” 22 (emphasis added).
3. Wein, Myself among Others, 286; Morgenstern and Gitler, “Newport ’69,” 45.
4. Beyond the riots cited here, the Newport Jazz Festival was the site of a notorious
1960 riot of young jazz fans. See Saul, Freedom Is, Freedom Ain’t, esp. chap. 3, “Riot
on a Summer’s Day: White Youth and the Rise of the Jazz Festival.”
5. Morgenstern, “Oscar, Cannonball, Mahavishnu,” 16.
6. For Hammer see Stix, “Jan Hammer”; for Laird see Berle, “Rick Laird.”
7. For a broad discussion of musical change see Nettl, The Study of Ethnomusicology,
esp. chap. 20, “The Continuity of Change.” For more focused discussions of the
impact of technology on music production and distribution see Katz, Capturing
Sound; Sterne, The Audible Past; Timothy Taylor, Strange Sounds; Kenney, Recorded
Music in American Life; and Théberge, Any Sound You Can Imagine.
8. Shank, “From Rice to Ice,” 263.
9. Gracyk, Rhythm and Noise, 7.
10. Holt, Genre in Popular Music, 3 (emphasis added).
11. Armstrong, The Radical Aesthetic, 17 (emphasis added).
12. Ibid., 76.
13. Quoted in Flanagan, “Secret Places,” 79 (emphasis added).
14. Quoted in Henderson, “Meterology and Me,” 8.
15. Pond, “Head Hunters,” 32.
16. Floyd, The Power of Black Music, 24.
17. See DeVeaux, “Constructing the Jazz Tradition.” I will be addressing DeVeaux’s
work directly at various points in the book.
18. Quoted in Valentine, “Exclusive Joni Mitchell Interview,” 48, 49.
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