| Preface | |
| Acknowledgments | |
| First Accounts | 1 |
| 1 | Sidney Bechet's Musical Philosophy | 3 |
| 2 | "Whence Comes Jass?" | 5 |
| 3 | The Location of "Jass" | 7 |
| 4 | A "Serious" Musician Takes Jazz Seriously | 9 |
| 5 | "A Negro Explains 'Jazz'" | 12 |
| 6 | "Jazzing Away Prejudice" | 15 |
| 7 | The "Inventor of Jazz" | 16 |
| The Twenties | 23 |
| 8 | Jazzing Around the Globe | 25 |
| 9 | "Does Jazz Put the Sin in Syncopation?" | 32 |
| 10 | Jazz and African Music | 36 |
| 11 | The Man Who Made a Lady out of Jazz (Paul Whiteman) | 39 |
| 12 | "The Jazz Problem" | 41 |
| 13 | "The Negro Artist and the Racial Mountain" | 55 |
| 14 | A Black Journalist Criticizes Jazz | 57 |
| 15 | "The Caucasian Storms Harlem" | 60 |
| 16 | The Appeal of Jazz Explained | 65 |
| The Thirties | 71 |
| 17 | What Is Swing? | 73 |
| 18 | Looking Back at "The Jazz Age" | 77 |
| 19 | Don Redman: Portrait of a Bandleader | 80 |
| 20 | Defining "Hot Jazz" | 82 |
| 21 | An Experience in Jazz History | 86 |
| 22 | On the Road with Count Basie | 96 |
| 23 | Jazz at Carnegie Hall | 101 |
| 24 | Duke Ellington Explains Swing | 106 |
| 25 | Jazz and Gender During the War Years | 111 |
| The Forties | 121 |
| 26 | "Red Music" | 123 |
| 27 | "From Somewhere in France" | 129 |
| 28 | Johnny Otis Remembers Lester Young | 132 |
| 29 | "A People's Music" | 135 |
| 30 | "Bop Is Nowhere" | 151 |
| 31 | "The Cult of Bebop" | 155 |
| 32 | "The Golden Age, Time Past" | 171 |
| 33 | The Professional Dance Musician and His Audience | 179 |
| The Fifties | 193 |
| 34 | Jazz in the Classroom | 195 |
| 35 | A Jazz "Masterpiece" | 199 |
| 36 | "Sonny Rollins and the Challenge of Thematic Improvisation" | 212 |
| 37 | "Beneath the Underdog" | 223 |
| 38 | Psychoanalyzing Jazz | 234 |
| 39 | An Appeal to the Vatican | 238 |
| 40 | America's "Secret Sonic Weapon" | 240 |
| 41 | "The White Negro" | 242 |
| 42 | Louis Armstrong on Music and Politics | 246 |
| The Sixties | 251 |
| 43 | Critical Reception of | 253 |
| 44 | "Jazz and the White Critic" | 255 |
| 45 | A Jazz Summit Meeting | 261 |
| The Seventies | 295 |
| 46 | Oral Culture and Musical Tradition | 297 |
| 47 | Jazz as a Progressive Social Force | 302 |
| 48 | Beyond Categories | 305 |
| 49 | The Musician's Heroic Craft | 310 |
| 50 | Creative Music and the AACM | 315 |
| The Eighties | 325 |
| 51 | "America's Classical Music" | 327 |
| 52 | "A Rare National Treasure" | 332 |
| 53 | The Neoclassical Agenda | 334 |
| 54 | Soul, Craft, and Cultural Hierarchy | 339 |
| 55 | "'It Jus' Be's Dat Way Sometime': The Sexual Politics of Women's Blues" | 351 |
| 56 | Miles Davis Speaks His Mind | 365 |
| 57 | A Music of Survival and Celebration | 376 |
| The Nineties | 387 |
| 58 | Who Listens to Jazz? | 389 |
| 59 | Free Jazz Revisited | 395 |
| 60 | Ring Shout, Signifying(g), and Jazz Analysis | 401 |
| 61 | Ferociously Harmonizing with Reality | 410 |
| 62 | Constructing the Jazz Tradition | 416 |
| Editing Notes | 425 |
| Select Bibliography | 427 |
| Index | 439 |
Format: Textbook Paperback, 1st ed., 4
