Central Avenue Blues: The Making of Los Angeles Rhythm and Blues, 1942-1947

1989 ◽  
Vol 9 (1) ◽  
pp. 19
Author(s):  
Ralph Eastman
Keyword(s):  
Los Angeles ◽  
Rhythm And Blues ◽  
Central Avenue

Epilogue

2018 ◽  
pp. 169-170
Author(s):  
Steven Loza
Keyword(s):  
Los Angeles ◽  
The People ◽  
Central Avenue

This epilogue presents the author's account of attending the eighteenth annual Central Avenue Jazz Festival in Los Angeles in the summer of 2013. The Gerald Wilson Orchestra was the main feature and closing act of the day, and the author says that describing the music, the people, the dancing, and the magical vibes of the orchestra's performance is an eternal description of Wilson and his life. He concludes that Wilson made sense in a world too often beyond sense, and goes on to explain that he inspires the author and so many others to always go beyond, to always believe, to always love, and to “always tell the truth”.

Central Avenue Sounds: Jazz in Los Angeles

2000 ◽  
Vol 32 ◽  
pp. 202
Author(s):  
A. Scott Currie ◽  
Clora Bryant ◽  
Jacqueline Cogdell DjeDje ◽  
Eddie S. Meadows
Keyword(s):  
Los Angeles ◽  
Central Avenue

“Straight Life”: The Jazz Journey of Art Pepper

2020 ◽  
pp. 149-176
Author(s):  
Reva Marin
Keyword(s):  
Los Angeles ◽  
Recent Work ◽  
West Coast ◽  
Early Recognition ◽  
Black Music ◽  
Postwar Period ◽  
Women's Voices ◽  
Central Avenue

This chapter examines the haunting autobiography of Art Pepper, one of the leading jazz saxophonists of the postwar period, reading it against recent work on Los Angeles’ Central Avenue and West Coast jazz, more generally. Pepper’s account of his experiences with Black music and culture reprises some of the central themes of this study, including a white jazzman’s early recognition of the Black roots of jazz, his desire to belong to that world, and the euphoria and limitations of jazz interracialism. As the only autobiography in this book coauthored by a woman, Straight Life opens pathways for considering women’s resistance to the misogyny and rigid gendering that has dominated jazz culture. Laurie Pepper’s account of her central role during her husband’s final decade illuminates the authority and influence of a jazzwoman in a study of texts in which women’s voices are generally on the periphery or absent entirely.

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