Figures in bold denote illustrations.
AACM. See Association for the Advancement of Creative Musicians
Abrams, Muhal Richard, 157, 168n.2
abstract expressionism, 6, 95–103, 113–14, 152, 222, 231, 262–63, 265–66. See also abstraction; action painting; Pollock, Jackson
and jazz, 107–8, 138–39
New York School of, 96, 98, 130, 138
semi-abstract expressionism. See under Piper, Rose
abstraction. See also abstract expressionism
and figural elements, 101, 105, 107–9, 200–206, 262, 336
and music, 14n.23, 105, 107–9, 116n.30, 212n.18, 321, 336
action painting, 98, 138, 265, 346
advertising art for early blues recordings, 7, 21–44. See also sheet music
artwork in, 30–34, 36–38, 40–42
humor in, 30–31, 34
lyrics illustrated in, 33–35, 36–38
performers illustrated in, 28, 30, 33, 42
placement of, in black newspapers, 26, 28–30 (see also Chicago Defender)
racial stereotyping in, 38, 41
vignettes, use of, 36–38
African American aesthetic. See black aesthetic
African art, 86, 89, 102, 154, 155, 163, 187–88n.3. See also AFRICOBRA
African masks, 2, 82, 138, 163, 208, 264, 266, 274
AFRICOBRA, 8, 150, 152–57, 158–59
Afro (aka A. Basaldella), 130
Alston, Charles, 2, 11n.8, 48
works by: Blues Singers I–IV (series), 65n.13
akLaff, Pheeroan, 341
Andrews, Benny, 2, 11n.8
works by: Music (series), 2
Musical Interlude (series), 2
Armstrong, Louis, 123, 208, 214n.23, 235, 311, 314
and St James Infirmary (painting), 236, 242–44
works by: “Mack the Knife,” 244
“What Did I Do to Be So Black and Blue,” 326
Association for the Advancement of Creative
Musicians (AACM), 150, 151, 157–58, 159, 164, 168n.2
Attucks, Crispus, 287
Bach, J. S., 123, 286, 289, 296
works by: Well-Tempered Clavier, 288
BAG. See Black Artists’ Group
Baker, Houston, A., Jr., 4, 186
Baker, Josephine, 8, 73, 86–88
works in: Josephine Baker’s Farewell, 87
Baldwin, James, 131
Banjo Joe (aka Gus Cannon): “Madison Street Rag,” 31, 32
Banks, Ellen, 2, 8, 282–99
on classical music, 285, 286, 288, 289, 292–94, 295, 296
on color and music, 283, 287, 293, 298n.4
on encaustics, 295–96, 299n.9
on improvisation, 293
on race and art, 286–87, 289–90, 296–97
on spirituals, 290, 294
on texture and music, 288, 296
works by: Chopin Études (series), 292
Diabelli Variations (series), 296
Improvisations (series), 293 –94
Maple Leaf Rag (series), 283–85, 292
Maple Leaf Rag (page 1), 284, 298n.4
Motif (series), 294
Oracle (series), 289
Oracle #244, 290
Scarlatti Sonatas (series), 292
Scarlatti Sonata, Allegro in A, 292
Song Book of Negro Spirituals, Measures 15 and 16, 295
Supplications (series), 290
Supplication #2, 291
Totem (series), 294
Untitled (series), 294
Villa-Lobos (series), 296
Baraka, Amiri (aka LeRoi Jones), 134, 135, 141–42, 145, 188n.6, 225, 228
Bartók, Béla: Mikrokosmos, 285
Basie, Count, 177–78
Basquiat, Jean-Michel, 2, 7, 253–80
and abstract expressionism, 262–63, 265–66
Gray, performer in, 261, 274–77
jazz and blues as major influences on, 260, 261, 263–65, 268–74
and opera, love of, 260, 264–65
Parker, Charlie, paintings inspired by, 263, 264, 268–72
works by: Acque Pericolose (Poison Oasis), 268
All Colored Cast (Part II), 263
Anybody Speaking Words, 264
Bombero, 262
Both Poles, 277
Charles the First, 261, 264, 265, 268–70, 269
CPRKR, 270, 270
Cruel Aztec Gods, 258
Everything Must Go, 258
Horn Players, 271–72, 271
In Italian, 257
K, 258, 267
Leonardo da Vinci’s Greatest Hits, 277
Max Roach, 272 –73, 272
PZ, 264
Rodo, 263
Savonarola, 264
Self-Portrait with Suzanne, 258
Skin Head Wig, 262
Thesis, 275
Untitled [1981], 267
Untitled [1984], 276
Untitled (Strech), 275–76
Zydeco, 261, 262, 273–74
Bates, Peg Leg, 207
Bearden, Romare, 2, 5, 6–7, 85, 97, 100, 101, 131, 173–92, 194–214. See also Ellison, Ralph; Marsalis, Branford; Murray, Albert
call-and-recall of, 178, 184–87 (see also call-and-response)
and collage, 85, 140, 142–43, 181–84, 189n.12, 190n.25, 198–99, 208
and improvisation, 138, 144–45, 176–77
and intervals, 138, 140, 178
jazz and blues influences on, 173–79, 181–83, 184–86, 207
on Piper, Rose, 49, 58
works by: The Art of Romare Bearden (exhibition), 194
Autumn Lamp (Guitar Player), 208–10, 209
Carolina Shout, 173, 174, 187–88n.3, 207
Drum Chorus, 202–6, 203
Farewell Eugene, 201
Iliad (series), 205
I’m Slappin’ Seventh Avenue, 207
Mill Hand’s Lunch, 202
Odyssey (series), 205
Of the Blues (series), 207
Of the Blues: At the Savoy, 213n.19
Paris Blues, 207–8
The Piano Lesson, 202
Projections (series), 198
“Rectangular Structures in My Montage Paintings” (essay), 197, 201–2
Romare Bearden: Collages, Profiles / Part 1: The Twenties (exhibition), 165, 201, 202, 208
Romare Bearden: Collages, Profiles / Part 2: The Thirties (exhibition), 165, 202, 208
Romare Bearden: Paintings and Projections (exhibition), 181
“Sea Breeze” (song), 187n.2
Susannah at the Bath, 142
Susannah in Harlem, 142
Train Whistle Blues, No. 2, 198-99, 199
Wrapping It Up at the Lafayette, 173
bebop, 121 19on.31, 311, 314, 315. See also Monk, Thelonious; Parker, Charlie
and Basquiat, Jean-Michel, 7, 260, 265
and Bearden, Romare, 178–79, 183
and DeCarava, Roy, 315, 317, 323
and Lewis, Norman, 6, 111–14
Bechet, Sidney, 208
Beethoven, Ludwig van, 288, 289, 296
Bellocq, Ernest, 221, 244
Benjamin, Joe, 316
works in: Haynes, Jones and Benjamin, 319
Benton, Thomas Hart, 265
Beuys, Joseph, 270
Birch, Willie, 78
black aesthetic, 1, 4, 5, 88, 125–26, 143–44, 228, 274, 306. See also AFRICOBRA; blues aesthetic
and blackness, 53, 114, 141–42, 145, 204–5, 210–11
of cool, 273
Black Arts Movement, 10n.4, 88, 134, 154, 228, 286, 310
Black Artists’ Group (BAG), 335, 343
black newspapers, 26. See also Chicago Defender
Blackwell, Ed, 136, 344
works in: Garden of Music, 136
Blind Blake, 31, 35, 66n35
works by: “Panther Squall Blues,” 35
Bloom, Jane Ira, 8, 335, 343–55
on Chagall, 345
on Miró, 345
on Pollock and composing, 346–48
on Pollock and improvising, 350–51
on spatial music, 345, 346, 348–49, 351–52
works by: “Alchemy,” 347, 349
Art and Aviation, 345, 352
“Blue Poles,” 348
“Chagall,” 345
Chasing Paint, 8, 335, 344, 347–51
“Chasing Paint,” 347–48, 350–51
“Einstein’s Red/Blue Universe,” 351
“Five Full Fathoms,” 348
“How Deep Is the Ocean,” 345
“Jackson Pollock,” 344
“Many Wonders,” 349
“Miró,” 345
The Red Quartets, 345, 348, 351
“Reflections of the Big Dipper,” 349
Second Wind, 344
Sometimes the Magic, 348
“Straight, No Chaser,” 345
“Unexpected Light,” 349
“White Light,” 349, 350–51
blues advertisements. See advertising art for early blues recordings
blues aesthetic, 4–6, 89, 138, 144, 157, 210–11. See also black aesthetic
Bolden, Buddy, 223, 244
Boerner, F. W., 36, 38
Book of Hours, 61
Borges, Jorge Luis, 254
Bradford, Perry, 26
Braithwaite, Fred, 259
Brando, Marlon, 146n.10
Braxton, Anthony, 11n.8, 12n.10, 14n.24, 164
works by: “Composition #8H,” 2–3
works in: Last Concert in Chicago, 167
Brown, Frederick J., 2, 11n.8, 14–15n.27
Brown, Sterling, 48, 66n.33
works by: “Ma Rainey,” 47
Browne, Vivian, 97
Brunswick Records, 32, 38
Burley, Dan, 40
Burke, Kenneth, 188n.6
Burri, Alberto, 130
Butler, Sam: “Christians Fight On,” 30
call-and-response, 4, 157, 184, 322-23. See also Bearden, Romare: call-and-recall
Callahan, Harry, 304
Callas, Maria, 260, 264–65
Calt, Stephen, 40–41
Cannon, Gus. See Banjo Joe
caricature. See racial stereotyping
Cartier-Bresson, Henri, 305, 306
works by: Images à la Sauvette, 323–24
Cedar Street Bar, 130, 222
Chagall, Marc, 345
Chamberlain, John, 237
Charles, Ray, 159, 167
Cheret, Jules, 23
Cherry, Don, 136
works in: Garden of Music, 136
Chicago Defender, 7, 26, 28, 30, 34, 39, 40, 44n.12
civil rights, 89, 101, 226, 238–39, 287, 310
classical music and art, 1, 10n.2, 10–11n.6
in works by Banks, Ellen, 285, 286, 288, 289, 292–94, 295, 296
in works by Basquiat, Jean-Michel, 260, 264–65
in works by Middleton, Sam, 123, 125, 127
Clay, Cassius, 264
Clifford, Wayne, 275
Clinton, George, 5
Cole, Kevin, 3
Coleman, A. D., 304, 320
Coleman, Ornette, 134, 136, 346
works by: Free Jazz, 137, 354n.11
works in: Garden of Music, 136
collage, 5, 85, 120, 129–30, 142–43, 190n.25, 266.See also texture
and music, 14n.24, 127–28, 140, 181–84, 189n.12, 198–99, 208, 251n.23, 338–39, 342
Collins, Crying Sam, 42
color and music, 10–11n.16, 23, 127–28, 139, 140, 155, 195, 251n.23
in specific artworks, 63–64n.4, 76, 84, 109, 137–38, 242–44, 283, 298n.4
specific correspondences between, 8, 235, 242–44, 283, 287, 293, 298n.4
in specific recordings, 341, 343, 345
Coltrane, John, 123, 124, 136, 144, 154, 167
and DeCarava, Roy, 305, 315, 318, 320–21
works in: Garden of Music, 136
Columbia Records, 27, 28, 32, 38
Race records catalogue cover, 27
Connick, Harry, Jr., 194, 207
Covarrubias, Miguel, 42
Cox, Ida: “Any Woman’s Blues,” 32
“I’ve Got the Blues for Rampart Street,” 32
Crichlow, Stephen, 264
Cruse, Harold, 145
cubism, 96, 101, 102, 178, 197, 223–24, 266. See also Picasso, Pablo
Cummings, Michael, 3, 8, 73–91
on African influences, 79–80, 82, 86, 89
on improvisation, 78
on music as a formal influence, 76–77, 84, 88
on racial issues, 88–90
on symbolism, 79–82
works by: African Jazz (series), 8, 73–76, 78–85
African Jazz #1, 74, 75, 84
African Jazz #10, 80, 81
African Jazz #12, 82, 83
Josephine Baker #2, 86–88
Josephine Baker’s Farewell, 86, 87
Davis, Angela, 57
Davis, Miles, 235, 312
as a painter, 164, 228
Davis, Stuart, 85, 138, 177, 178, 195
Davison, Wild Bill, 311
DeCarava, Roy, 3, 7, 303–30
and bebop, 315, 317, 323
and Coltrane, John, 305, 315, 318, 320–21
and improvisation, 308, 309–10, 320–21, 323
and invisibility, 324–27
and narrative, 309–12, 323
neglect of, by critics, 303–5
and rhythm, 320, 321–23, 326
works by: Coalman, 306–8
Coleman Hawkins, 310–12, 313
Dancers, 307, 315
Elvin Jones, 317–18, 325
Haynes, Jones and Benjamin, 316, 319, 322
Ketchup bottles, table and coat, 306
the sound I saw: improvisation on a jazz theme, 7, 303, 305–26
The Sweet Flypaper of Life (with Langston Hughes), 304
Two women, mannequin’s hand, 308
DeCarava, Sherry Turner, 308, 316, 318, 322
Degas, Edgar, 262
de Kooning, Willem, 96, 137, 138, 222
Delacroix, Eugéne, 189n.12
DePillars, Murray, 3
Deveaux, Scott, 111–12, 310
Diaz, Al, 255
Diebenkorn, Richard, 130
Dister, Alain, 326
Dolphy, Eric, 224–25, 249–50n.5
Domela, César, 282, 286, 298n.5
Donaldson, Jeff, 156
Donegan, Dorothy, 219
Dorsey, Jimmy: “Night and Day,” 117n.40
Douglas, Aaron, 5, 14n.23, 21–23, 42, 153
on music and painting, 1–2, 10–11n.6
works by: Aspects of Negro Life (series), 2
An Idyll of the Deep South, 239–40
Play de Blues, 21, 22
Douglas, Robert, 152, 153, 159
Dove, Arthur, 63–64n.4
Dresser, Mark, 341, 350
Du Bois, W. E. B., 89, 317, 324
works by: The Souls of Black Folk, 3
Dunn, Johnny, 26
Dyer, Geoff, 324
Ehrlich, Marty, 8, 335–43
on collage and music, 338–39, 342
on color and music, 341, 343
on Jackson, Oliver, collaborating with, 338–42
works by: “Fauve,” 343
The Long View, 8, 335–42
Song, 343
Eisenberg, Evan, 116n.31
Ellington, Duke, 123, 173, 175, 176, 208, 312
works by: Black, Brown and Beige, 11n.8, 125
“Come Sunday,” 125–26
“Daybreak Express,” 177
“Diminuendo and Crescendo in Blue,” 178, 312
“Harlem Airshaft,” 177
“I’m Slappin’ Seventh Avenue,” 207 “Mood Indigo,” 184
“Sophisticated Lady,” 184
works in: Black Music, 126
Ellison, Ralph, 3, 112, 113–14, 326–27
on Bearden, Romare, 175, 181–84, 185, 186
works by: Invisible Man, 145, 324, 326
“Living with Music,” 327
Elworth, Steven B., 315
Euell, Julian, 115–16n.21, 117n.40
Evans, Walker: American Photographs, 309
expressionist art, 21, 23, 96, 135
The Family of Man (exhibition), 304, 305
fauvism, 135, 155, 178, 343
Fibonacci system, 234–35, 250n.12
figuration, 135, 138, 142, 221.
and abstraction, 8, 101, 105, 107–9, 200–206, 262, 336 (see also Piper, Rose: semi-abstract expressionism of)
and narrative, 197, 200–205, 211, 222–23, 336
Fine, Ruth, 184
Five Spot club, 130, 134, 139
Flemish School, 61
Forrest, Jimmy, 337
Frank, Robert: The Americans, 309
Gabbard, Krin, 4
Galassi, Peter, 304, 317
Gates, Henry Louis, Jr., 4, 115–16n.21
Gates, Rev. J. M.: “Baptize Me” / “You Belong to That Funeral Train,” 30
“You Mother Heart Breakers,” 36, 37
Geldzahler, Henry, 261
geometry in art, 49, 58, 128–29, 229–30, 240, 250n.12, 285–86, 289–92. See also Fibonacci system
in African art, 86, 154
George McClennon’s Jazz Devils: “Cotton Club Stomp” / “Pig Foot Blues,” 28
Giacometti, Alberto, 122
Gibson, Ann (Eden), 57, 96, 97, 102, 107–8, 239
Piper, Rose, interview with, 48, 56, 60, 61
Gillespie, Dizzy, 112, 117n.36, 263, 271, 311
works in: Horn Players, 271
Gilroy, Paul, 5
Ginsberg, Allen, 134, 135
Glass, Philip (and Robert Wilson): Einstein on the Beach, 260
Golden, Thelma, 140
Gonsalves, Paul, 312
Gordon, Lewis, 324
Gray. See under Basquiat, Jean-Michel
Gray’s Anatomy, 256
Green, Lee (Leothus): “Death Alley Blues,” 38
Haden, Charlie, 136, 139
works in: Garden of Music, 136
Hall, James: Mercy, Mercy Me, 143–44
Hambleton, Richard, 259
Hammons, David, 3
Handy, W. C., 28
works by: “St. Louis Blues,” 24, 24
Harlem on My Mind (exhibition catalogue), 132
Harlem Renaissance, art of, 1–2, 21–22, 42–43.See also Douglas, Aaron
Harris, Bill, 161
works in: I Remember Bill, 162
Harris-Kelley, Diedra, 139, 211–12n.2
Hawkins, Coleman, 310, 312, 317
works by: “Dali,” 13n.17
“Picasso,” 13n.17
works in: Coleman Hawkins, 313
Haynes, Roy, 316, 318–20
works in: Haynes, Jones and Benjamin, 319
Helias, Mark, 341
Hemphill, Julius, 335, 336, 342–43
works by: “The Painter,” 3, 342–43
Dogon, A.D., 343
Henderson, Bertha: “Terrible Murder Blues,” 35–36
Henderson, Fletcher, 173
Henderson, Harry, 100, 101
Hersch, Fred, 350
Higgins, Billy, 206
Hines, Earl “Fatha,” 177, 178, 195
Hinton, Milt, 12n.11
hip-hop, 253–54, 264, 273
Hodges, Bill, 102
Hoffman, Franz, 39
Holiday, Billie, 163, 226, 236–37
works in: Lady and Prez #;2, 165
works by: “Strange Fruit,” 219, 237, 250–51n.15
Holman, Michael, 256, 275, 276–77
hoodoo, 233
Horvitz, Wayne, 340, 342
Howell, Horsley, and Bradford: “Wasn’t It Nice,”30
Hughes, Langston, 2, 5, 21, 131, 305
works by: The Sweet Flypaper of Life (with Roy DeCarava), 304
Hurston, Zora Neale, 4, 5
impressionist school, 88
improvisation
aesthetic of, in post-war jazz and painting, 138, 144–45, 146n.10
visual art, as inspiration for, 341–42, 350–51, 353
visual artists’ personal accounts of, 78, 124–25, 177, 221–22, 229–30, 293, 354n.6
visual artists’ uses of, 98, 112–14, 176, 185–86, 200–201, 208, 308, 309–10, 320–21, 323
intervals, 138, 140, 146n.9, 178, 195, 234, 347. See also space
Irwin, May: “Bully Song,” 23, 24
Iser, Wolfgang, 196–97
Jackson, Mahalia: “Come Sunday,” 125–26
works in: Black Music, 126
Jackson, Milt, 322
Jackson, Oliver, 3, 8, 335-43
on musicians, 353n.4
on spontaneity, 354n.6
works by: The Garden Series, 335, 338–42
Garden Series IV, 337
Garden Series VI, 341
Jackson, Papa Charlie, 31, 44n.12
Jaffe, Hans, 282, 286, 298n.5
Jarrell, Jae, 158, 169n.9
Jarrell, Wadsworth, 7–8, 150–69
on the AACM, 150, 151, 157–58, 159, 164
on African art, 154–55, 163
on AFRICOBRA, 7–8, 150, 152–59
on black jockeys, 158, 159
on jazz and blues as subject matter and formal influences, 150, 152, 154–55, 157–68
works by: Coolade Lester, 159, 160
Edge Cutters (exhibition), 159
High Priestess, 159, 162
Juju Man from the Delta, 159, 161, 162
Lady and Prez #;2, 162–63, 165
Last Concert in Chicago, 164, 167
Muhal at Crandon Hall, 164
Rapture in Black and Blue, 164, 166
Jefferson, Blind Lemon, 31, 42, 43n.6
works by: “Competition Bed Blues,” 34–35
“Lock-Step Blues,” 35, 36
“Southern Women Blues,” 44n.12
“That Black Snake Moan,” 30
Jennings, Corrine, 220, 249n.2
Johnson, Blind Willie: “Keep Your Lamp Trimmed and Burning,” 208
Johnson, Edith: “Honey Dripper Blues,” 31
Johnson, Jack, 263–64
Johnson, James P., 47, 50, 189n.9
works by: “Carolina Shout,” 173, 188n.3, 207
Johnson, James Weldon, 2
Johnson, Lil: “Murder in the First Degree” (aka “First Degree Murder Blues”), 36–38, 39
Johnson, William H., 2
works by: “Street Musicians,” 63n.4
Jones, Elvin, 317–18
works in: Elvin Jones, 325
Jones, Jimmy, 316
works in: Haynes, Jones and Benjamin, 319
Jones, LeRoi. See Baraka, Amiri
Jones, Little Hat: “New Two-Sixteen Blues,” 30
Joplin, Scott: “The Entertainer,” 23, 24
“Maple Leaf Rag,” 283, 284
“Original Rags,” 23
Kamoinge Workshop, 304
Kandinsky, Wassily, 101, 286
Kapharoah, Shenge, 259
Kaufman, Bob, 222
Kemp, Wolfgang, 197
Kennedy, Lisa, 205
Klee, Paul, 101, 288
Kline, Franz, 96, 122, 130, 131, 261–63, 266
works by: Dahlia, 262
Kozloff, Max, 318
Kramer, Hilton, 134, 142
Krasner, Lee, 137, 349
Kuniyoshi, Yasuo, 48
Lam, Wifredo, 254, 260
Lashley, Lester, 159
works in: Coolade Lester, 160
Laveau, Marie, 233, 248
Legba, 82, 248
Leighton, Patricia, 138
Leja, Michael, 102
Lenox Avenue, 4
Lewis, Norman, 6, 95–117, 131
as an abstract expressionist, 6, 95–103, 113–14
and bebop, 6, 111–14
exclusion from canon, 95–98
and improvisation, 98, 112–14
musical performance in paintings by, 103–11, 113, 116n.31
and racial politics, 95–98, 99–101, 114
works by: Alabama, 101
America the Beautiful, 101
Bassist, 105, 106
Green Bough, 113
Harlem Turns White, 99–101, 100, 115–16n.21
Jazz Band, 109–10, 110
Jazz Musicians [1], 105, 107–8, 107
Jazz Musicians [2], 108, 109
Ku Klux, 101
Metropolitan Crowd, 98
Musicians, 104, 105
Processional, 101
Little Walter, 159
works in: Juju Man from the Delta, 161
Livingston, Jane, 309
Lott, Eric, 314
Louis, Joe, 258
L’Ouverture, Toussaint, 263
Love, Ed, 3
Lovell, John, Jr.: Black Song: The Forge and the Flame, 61
lynching, 99, 143, 226, 236, 237–39, 241
Madhubuti, Haki, 151, 158
Malraux, André, 148n.27
Marsalis, Branford: Romare Bearden Revealed, 194, 205–10
“Autumn Lamp,” 208–10
“B’s Paris Blues,” 207–8
“Carolina Shout,” 207
“I’m Slappin’ Seventh Avenue,” 207
“Laughin’ and Talkin’ (with Higg),” 205–6
Marsalis, Wynton, 206, 214n.23
Martin, Agnes, 286
Matisse, Henri, 134, 178, 184
Mayhew, Richard, 2, 11n.9
McDowell, Mississippi Fred (and Annie Mae McDowell): “Keep Your Lamp Trimmed and Burning,” 208–10
McEvilley, Thomas, 226
McLean, Jackie, 191–92n.41, 237
Mendelssohn, Felix, 289
Meyerowitz, Joel, 318
Michaels, Walter Benn, 211
Middleton, Sam, 7, 120–33
on abstract expressionists, 122, 130–31
on classical music, 123, 125, 127
on collagists, 129–30
on improvisation, 124–25
on musical influences in his collages, 121–25, 127–28
on race and art, 125–27, 131
on rhythm in painting, 125
works by: Black Music, 125–26, 126
Jazz Nostalgia, 132
Monk Lost in Music, 128, 129
Millstein, Gilbert, 304
Miró, Joan, 113, 345, 350
Mitchell, C. D., 324
modernism, 112, 134–35, 138–39, 142–43, 144–45, 200, 263
and collage, 142, 198
and literature, 323
Mondrian, Piet, 10n.2, 101, 286, 291, 298n.5
works by: Broadway Boogie Woogie, 137, 139
Monk, Thelonious, 122–23, 128, 177–78, 190n.31, 315, 345
works by: “Four in One,” 178
“Straight, No Chaser’” 345
works in: Monk Lost in Music, 129
Moore, Hamish, 158
Moore, Marianne, 135
Morand, Paul, 2
Morrison, Toni, 184, 186
Mosquero, Gerardo, 260
Motley, Archibald, Jr.: Blues, 21, 63n.4
Mozart, Wolfgang Amadeus, 288
Mullen, Kirsten, 54, 56
Murray, Albert, 6–7, 144–45, 210
and Bearden, Romare, collaborations with, 7, 185–86, 190n.40
and Bearden, Romare, writings on, 175–77, 179–81, 200–201, 204
works by: “Bearden Plays Bearden,” 200
“The Visual Equivalent of the Blues,” 175
Murray, David, 76
works by: “Picasso Suite,” 13n.17
Mwanga, Kunle, 249–50n.5
Nelson, Oliver, 204
works by: Blues and the Abstract Truth, 212–13n.18
New York School [painters]. See under abstract expressionism
New York School [photographers], 306, 328n.7
Newman, Barnett, 138, 222
Newton, James, 76
OBAC. See Organization of Black American Culture
O’Higgins, Myron, 48, 56, 57, 66–67n.38
works by: ”Blues for Bessie,” 58–59
“Nun on the Subway,” 64n.12
“Two Artists at Odds,” 66–67n.38
OKeh Records, 26, 27, 28, 30, 32, 36, 38
advertisement for, 29
Oldenburg, Claes, 266
O’Meally, Robert G., 4, 137, 194, 205–6, 207, 208, 212n.5
Opportunity, 21
Organization of Black American Culture (OBAC), 151
Organization of Young Men, 145
Overstreet, Joe, 8, 219–51
on civil rights, 226, 238–39
on color and music, 235, 242–44
on cubism, 223–24
on figuration, 221, 222–23
on improvisation, 221–22, 229–30
on lynching, fear of, 226, 236, 237–39, 241
on music and musicians (in general), 222–23, 224, 225, 234, 237, 241
on musicians (specific), 223, 224–26, 228, 235, 236–37, 242–45
on rhythm in painting, 222, 230, 232–33, 234
on shaped canvases, 229–31
on texture in jazz and painting, 245–46, 251n.23
works by: The Arrival, 248
Boat of Ra, 228–29, 229
The Chairman of the Hoodoo Church, 233
Facing the Door of No Return (series), 219, 240, 251n.19
Garden Blues, 244, 245
The Hawk, for Horace Silver, 223–24, 223
The Hoodoo, 233
Jazz in 4/4 Time, 230, 231
The New Jemima, 226–28
North Star, 229
St James Infirmary, 236, 242–44, 243
Second Line I, 246, 248
Second Line II, 247, 248
Seven Blues for Spring, 232–33
Storyville Series, 8, 219, 221–23, 233, 242–48
Strange Fruit, 8, 219, 226, 227, 235–36, 237–40, 241
Pace, Harry, 28
Paramount Records, 7, 28, 30, 31, 32, 33, 38, 39, 40
Paris Blues (film), 208
Parker, Charlie, 9, 117n.36, 146n.10, 179, 337
and Basquiat, Jean-Michel, 260, 263, 264, 268–72
works by: ”Cherokee,” 269
“Ko Ko,” 190n.31, 314
“Ornithology,” 271
“Parker’s Mood,” 190n.31
works in: Horn Players, 271
Patton, Charley: “High Water Everywhere,” 30, 34, 34
Patton, Sharon F., 100
Peer, Ralph, 27
Perfect Records, 30
Picasso, Pablo, 13n.7, 54, 56, 101, 113, 184
and African art, 102
and cubism, 102, 224
works by: Guernica, 241
Piper, Rose, 6, 47–68. See also Bearden, Romare
black musics, statements on, 48, 50, 52, 60, 61
blues as a formal influence in paintings by, 47, 49–56, 58
and gender, 56–58
and O’Higgins, Myron, 48, 56–59, 64–65n.12, 66–67n.38
semi-abstract expressionism of, 49–56, 58–59, 61, 62
and Smith, Bessie, 47, 50–52, 56–59
works by:Ain’t Got Nothin’, 60, 68n.53
Back Water, 47, 49–52, 51
Blues and Negro Folk Songs (exhibition), 48–50, 54, 60, 64n.10
The Death of Bessie Smith, 49, 58, 59
Empty Bed Blues, 57–58
Grievin’ Hearted, 49, 54–57, 55, 66–67n.38
I’m Gonna Take My Wings and Cleave the Air,60
I Want Yuh to Go Down, Death, Easy / An’Bring My Servant Home, 62, 62
St Louis Cyclone Blues, 65n.24
Slave Song Series, 61–62
Slow Down, Freight Train, 49, 52–54, 53, 58
Subway Nuns, 58, 64–65n.12
Pollock (film), 137
Pollock, Jackson, 8, 96, 137, 138, 146n.10, 152, 265
influence of, on Jane Ira Bloom, 335, 344, 346–51, 354–55n.16
works by: Autumn Rhythm, 96
Canvas #1, 349
Canvas #6, 349
Full Fathom Five, 348
White Light, 137, 354n.11
Porter, Eric, 310
Porter, Thomas J., 315
Poussin, Nicholas:Bacchanal with a Guitarist, 140
Powell, Richard, 4–6, 89, 144, 157
Previte, Bobby, 340, 350
Race records, 27–28, 42, 48
advertising art for, 27,29
Rachmaninoff, Sergei, 123
racial prejudice.See also civil rights; lynching; racial stereotyping
and the marginalizing of black artists, 1, 3, 88, 95–98, 267, 296–97, 303–5
and segregation, 26, 42, 63n.1, 90, 310, 324–26 (see also Race records)
and tokenism, 131, 296
racial stereotyping
in artwork, 23, 38, 41
bebop as a reaction against, 112, 315
resistance to, by black artists, 3, 60, 89, 114, 125–27, 210, 286–87, 289–90, 296–97, 315 (see also universality in art)
ragtime, 3, 23.See also Joplin, Scott
Rainey, Ma, 30–31, 54–57.See also Brown, Sterling: works by
works by: “Grievin’ Hearted Blues,” 54–56
“Those Dogs of Mine,” 30–31, 31
Ramblin’ Thomas: “No Job Blues,” 35
Razaf, Andy, 175
reception aesthetics, 8, 196–97, 206, 211
Reed, Ishmael, 233–34
Reiss, Winold, 21
Rembrandt, 128
rhythm, 109, 111, 125, 271, 277, 298n.4, 326, 353n.4.See also rubato
in Bearden’s collages, 178–79, 198–200
in Bloom and Pollock, 344, 346, 347–48
in DeCarava’s photography, 320, 321–23, 326
in painting (Joe Overstreet on), 222, 230, 232–33, 234
syncopated, 4, 157, 262
Riis, Jacob:How the Other Half Lives, 310
Ringgold, Faith, 3
Rivera, Diego, 60, 222
Roach, Max, 178–79, 272–73
works by: We Insist! Max Roach’s Freedom Now Suite, 310
works in:Max Roach, 272
Robinson, Elzadie: “St Louis Cyclone Blues,”65n.24
Robinson, Sugar Ray, 258, 264, 265
Rockburne, Dorothea, 285
Rolick, Esther, 114
Rollins, Sonny, 136
works in:Garden of Music, 136
Rosenberg, Harold, 98
Ross, Annie, 225
Rothko, Mark, 96, 138
Rouse, W. H., 267
rubato, 200, 208–10, 350
Satherly, Art, 40
Saul, Scott, 136, 318, 321
works by:Freedom Is, Freedom Ain’t, 144
School of Paris, 21
Schwartzman, Myron, 191–92n.41, 196
Scorsese, Martin, 89
segregation.See racial prejudice: and segregation
sheet music, 23–25
cover art for,24, 25
Shepp, Archie: “Portrait of Robert Thompson (as a Young Man),” 3, 147n.19
Silver, Horace, 222
works in:The Hawk, for Horace Silver, 223
Simone, Nina, 140, 159, 162
works in:Homage to Nina Simone, 141
Sleet, Maudell, 186–87
Smith, Bessie, 47, 50–52, 57, 58
works by: “Backwater Blues,” 47, 50–52
“Empty Bed Blues,” 57
works in:The Death of Bessie Smith, 59
Smith, Beuford, 314, 317
Smith, Chris: “Ballin’ the Jack,” 24, 25
Smith, Mamie: “Crazy Blues,” 26
Smith, Trixie: “Freight Train Blues,” 52
Smith, Vincent (DaCosta), 1, 2, 10n.3
Snead, James A., 4
social realism, 96, 98, 99, 103, 142
soul music, 5
space.See also intervals
in music, 122–23, 128, 329, 345, 346, 348–49, 351–52
in visual art, 33, 155, 197–98, 248, 323, 336–37
Spand, Charley: “Ain’t Gonna Stand for That,”33, 33
Spellman, A. B., 145
spirituals, 3, 30, 36, 61–62, 190n.30, 208–10, 290, 294
Spriggs, Ed, 156
Stange, Maren, 318
Stefano: Mona Lisa, 258
Steichen, Edward, 304
Stella, Frank, 229
Stephany, Henry, 40
stereotyping. See racial stereotyping
Still, Clifford, 96
Storr, Robert, 264
Story, Sidney, 245
Stout, Reneé, 3
Studio Artists sessions, 96, 116n.29
Studio 35, 96
Sun Ra, 225–26, 228, 250n.8
Sykes, Roosevelt, 31
symbolist art, 21, 23
Szwed, John, 186, 189n.9, 273
Tarver, Stanley, 272
Tate, Greg, 213n.20
Taylor, Nick, 275
Tefteller, John, 40, 41
texture, 85, 130, 163, 184, 190n.25, 288. See also collage
in music and visual art, 2, 10–11n.6, 245–46, 251n.23, 296, 346–47
Thomas, James “Son Ford,” 12n.11
Thompson, Bob, 6, 134–48
Bearden, Romare, compared to, 142–43, 144–45
black aesthetic, at variance with, 136–37, 141–42, 143–44, 145
jazz, fascination with, 137, 139
and modernism, 134–35, 138–39, 142, 143–45
musical references in paintings by, 135–38, 140
and the pastoral, 136–37, 139, 140, 143
and recoloring, 134, 140–41, 142, 145
works by: An Allegory, 143
Bacchanal, 140
Bacchanal II, 140
L’Execution, 143,
Garden of Music, 6, 135–38, 136, 139, 140
Homage to Nina Simone, 140, 141, 142
Ornette, 140
Untitled, 140
Thompson, Mildred, 2
Thompson, Robert Farris: African Art in Motion, 82
Thru Black Eyes (exhibition), 320
Titon, Jeff Todd, 41
Tobey, Mark, 102, 113
Toulouse-Lautrec, Henri de, 23
Townsend, Peter, 323
Tucker, Sophie, 26
Turrentine, Tommy, 242–44
Twombly, Cy, 261–62
works by:Apollo and the Artist, 261
Untitled (Study for Treatise on the Veil), 261
universality in art, 60, 97, 125, 136–37, 142, 179, 226–28, 286
and the particular, 145, 181, 183, 326
Vásquez, Anibal, 262
Victor Records, 26, 28, 33
Vocalion Records, 30, 33, 38
Vreede, Max, 39
Vytlacil, Vaclav, 48
Wadud, Abdul, 343
Walcott, Jersey Joe, 258, 263
Wall of Respect (Chicago), 150, 151, 152
Waller, Ed, 120
Wamble, Doug, 208–10
works by: “Autumn Lamp,” 208–10
Wardlow, Gayle, 40–41
Warhol, Andy, 266
Waters, Muddy, 159, 162, 167
works in:Juju Man from the Delta, 161
Watt, Laura, 273
Watts, Jeff “Tain,” 206
works by: “Laughin’ and Talkin’ (with Higg),”205–6
Webb, Chick: “Stomping at the Savoy,” 177
Webster, Ben, 122
West, Mae, 245
Westerbeck, Colin, 318
Wheatstraw, Peetie: “Kidnapper’s Blues,” 38, 40
Wheeler, Kenny, 344
White, Lulu, 245
Willard Gallery, 96, 97
Williams, Clarence, 221, 244, 251n.21
Williams, John A. 120, 131
Williams, Mayo, 40–41
Williams, Spencer: “Shim-Me-Sha-Wobble,”23, 24
Wilmer, Valerie, 314, 316
works by:As Serious as Your Life, 1
Wilson, August: Joe Turner’s Come and Gone, 202
The Piano Lesson, 202
Wilson, Judith, 140, 142
Wilson, Olly: “The Heterogenous Sound Ideal in African-American Music,” 5, 251n.23
Works Progress Administration (WPA), 98
Yoruba symbolism, 79–80
Young, Lester, 163, 179, 318
works in:Lady and Prez #2, 165
zydeco, 273–74