... Chapter 6 explores Charles Mingus’s relationship with audio production during the 1950s. Throughout the decade, Mingus reimagined the economics and cultural politics of jazz through his concern for sound on record, where control over that sound also meant control over the form, content...

... Charles Mingus jazz New Orleans ragtime Sun Ra ...

... Charles Mingus Frank Ocean Kendrick Lamar Lauryn Hill Nina Simone ...

... Mingus’s Mingus Ah Um . The book’s conclusion reframes 1959 not as a year of new beginnings but rather as a culmination of a decade-long transition in record making practices, where vinyl LPs moved from the vanguard to an unquestioned part of the center. This postlude offers three broad conclusions drawn...

... offbeat. “Mad” black musicians are prime practitioners of madtime, adapting it as a radical time signature in protest music. In order to bear out and sound out this claim, this chapter samples the music of Buddy Bolden, Nina Simone, Charles Mingus, Lauryn Hill, Kendrick Lamar, and Frank Ocean, producing...

...). That mythical afterlife is an assemblage of artistic surrogations, fantasies, and recuperations created by artists like Ferdinand “Jelly Roll” Morton, Ralph Ellison, Nina Simone, August Wilson, Michael Ondaatje, and Natasha Trethewey. The chapter closes by convening Bolden, Sun Ra, and Charles Mingus—all...