NOTES
The following abbreviations are used for these instruments:
as = alto saxophone,
b = bass,
bj = banjo,
bs = baritone saxophone,
cel = cello,
cl = clarinet,
d = drums,
fl = flute,
g = guitar,
org = organ,
p = piano,
perc = percussion,
ss = soprano saxophone,
tb = trombone,
tp = trumpet,
ts = tenor saxophone,
v = violin,
vib = vibraphone,
vo = vocals.
Prelude: Plenty Plenty Soul
1. See also Gary Vercelli, ‘‘The Land of the Rising Sun,’’ Coda 217 (1987–88): 10–11.
2. Aoki Tamotsu, ‘‘Murakami Haruki and Contemporary Japan,’’ trans. Matthew Strecher, in
Contemporary Japan and Popular Culture, ed. John Whittier Treat (Surrey: Curzon, 1996),
265–69. See also Ono Yoshie, Jazu saish¯ u sh¯ o, ed. Kawamoto Sabur¯ o (Tokyo: Shin’ya
osho, 1998), 11–27; and Konishi Keita et al., eds., Murakami Haruki no ongaku zukan
(Tokyo: Japan Mix, 1995).
3. Alan P. Merriam and Raymond W. Mack, ‘‘The Jazz Community,’’ Social Forces 38 (Mar.
1960): 211–22. Portrayals of jazz musicians as fundamentally alienated from their au-
diences appear in Rogers E. M. Whitaker, ‘‘Spokesman with a Temperature—II,’’ New
Yorker 5 May 1945, 37; Howard S. Becker, ‘‘The Professional Dance Musician and His
Audience,’’ American Journal of Sociology 57 (Sept. 1951): 137, 141–44; Nat Hento√, The
Jazz Life (New York: Dial, 1961), 25; Richard A. Peterson, ‘‘Audiences—and All That Jazz,’’
Trans-action Sept.–Oct. 1964: 31; Albert Goldman, Freakshow: The Rocksoulbluesjazzsick-
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