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Nothing but the music : documentaries from nightclubs, dance halls & a tailor's shop in Dakar : 1974-1992 / Thulani Davis.
Author
Davis, Thulani
[Browse]
Format
Book
Language
English
Published/Created
Brooklyn, NY : Blank Forms Editions, [2020]
Description
63 pages ; 19 cm
Availability
Copies in the Library
Location
Call Number
Status
Location Service
Notes
Firestone Library - Stacks
PS3554.A93779 N6 2020
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Details
Subject(s)
American poetry
—
20th century
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African Americans
—
Music
—
Poetry
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Writer of supplementary textual content
Hagedorn, Jessica, 1949-
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Writer of introduction
Haslett, Tobi
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Library of Congress genre(s)
Poetry
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Getty AAT genre
poetry
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Summary note
"The sounds of late '70s and '80s East Coast avant-garde jazz, soul, and punk rock are well documented, but in Nothing but the Music Thulani Davis gives us something beyond, delivering a collection of synesthetic, transportive documentary poems that breathe anecdotal and impressionistic life into a sonic-social history about which most can only speculate. Davis's verse takes free flight with its muses, scatting and leaping off the page as well as the shoulders of the musicians, dancers, and clubs she chronicles in these poems."--Page 4 of cover.
Contents
Foreword: give me the romance and the zoom / Jessica Hagedorn
Introduction / Tobi Haslett
For Ishmael Houston-Jones
Mecca Flats 1907
C.T. at the Five Spot
On 5 compositions Roscoe Mitchell
Back stage drama (for Miami)
X-75-Vol. I, Henry Threadgill "Side A (Sir Simpleton/Celebration)"
X-75-Vol. I, Henry Threadgill "Side B (Air song/Fe fi fo fum)"
Expandable language
It's time for the Rhythm Revue
Cicatrix
He didn't give up/He was taken
As I fly over this time
Rogue & Jar: 4/27/77
C.T.'s variation
Bad Brains, a band
Storyville, New York City 7/28/77
A man's tailor/Dakar
T-monious
Leaving Goree
Lawn chair on the sidewalk
Zoom (the Commodores).
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ISBN
1733723560 ((paperback))
9781733723565 ((paperback))
OCLC
1162985948
Statement on language in description
Princeton University Library aims to describe library materials in a manner that is respectful to the individuals and communities who create, use, and are represented in the collections we manage.
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