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MUSIC: HISTORY, SURVEYS & THEORY

PUBLISHER
Blank Forms Editions

BOOK FORMAT
Paperback, 8.5 x 10.5 in. / 184 pgs / 2 duotone / 9 bw.

PUBLISHING STATUS
Pub Date
Active

DISTRIBUTION
D.A.P. Exclusive
Catalog: FALL 2022 p. 37   

PRODUCT DETAILS
ISBN 9781953691101 TRADE
List Price: $35.00 CDN $49.00

AVAILABILITY
In stock

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BLANK FORMS EDITIONS

The Cricket

Black Music in Evolution, 1968–69

Edited by A.B. Spellman, Larry Neal, Amiri Baraka. Preface by A.B. Spellman. Introduction by David Grundy.

A rare document of the 1960s Black Arts Movement featuring Albert Ayler, Amiri Baraka, Milford Graves, Sun Ra, Cecil Taylor and many more, The Cricket fostered critical and political dialogue for Black musicians and writers

Edited by poets and writers Amiri Baraka, A.B. Spellman and Larry Neal between 1968 and 1969, and published by Baraka’s New Jersey–based JIHAD productions around the time of the Newark Riots, this experimental music magazine ran poetry, position papers and gossip alongside concert and record reviews and essays on music and politics. Over four mimeographed issues, The Cricket laid out an anticommercial ideology and took aim at the conservative jazz press, providing a space for critics, poets and journalists (including Stanley Crouch, Haki Madhubuti, Ishmael Reed, Sonia Sanchez and Keorapetse Kgositsile) and musicians (including Cecil Taylor, Milford Graves, Sun Ra, Mtume, Albert Ayler and Black Unity Trio) to devise new styles of music writing. The publication emerged from the heart of a political movement—“a proto-ideology, akin to but younger than the Garveyite movement and the separatism of Elijah Mohammed,” as Spellman writes in the book’s preface—and aimed to reunite advanced art with its community, “to provide Black Music with a powerful historical and critical tool” and to enable avant-garde Black musicians and writers “to finally make a way for themselves.” This publication gathers all issues of the magazine with an introduction by poet and scholar David Grundy.
Contributors include: A.B. Spellman, Imamu Baraka (LeRoi Jones), Larry Neal, Cecil Taylor, Milford Graves, Sun Ra, Ben Caldwell, Clyde Halisi, Don L. Lee (Haki R. Madhubuti), Duncan Barber, Gaston Neal, Hilary Broadus, James Stewart, Norman Jordan, Roger Riggins, Ronnie Gross, Stanley Crouch, Albert Ayler, Askia Muhammed Toure, Donald Stone, E. Hill, Haasan Oqwiendha Fum al Hut, Ibn Pori 'det, Ishmael Reed, Joe Goncalves, Larry A. Miller (Katibu), Sonia Sanchez, Willie Kgositsile, Billy (Fundi) Abernathy, Dan Dawson and Black Unity Trio.


PRAISE AND REVIEWS

The Wire

Gabriel Bristow

Gathering radical musicians and writers in a rapid-fire dialogue stretching from coast to coast, this DIY publication set itself the sizable task of understanding music as the fulcrum of a black nation.

Bookforum

Sasha Frere-Jones

There have long been wars between the perceived mainstream and the avant-garde…and more than enough suggestions that these conflicts, like most trends, are minor and generated more by the writers than those written about. Except when they were not, and for The Cricket, a magazine published briefly between 1968 and 1969, these conflicts were fully serious.

Point of Departure

David Neil Lee

It’s one of those rare historical volumes that is not only written about its time, but seems to inhabit its guiding spirit, and perpetuate it.

4Columns

Geeta Gayal

The magazine was charged with energy, featuring imaginative writing about jazz that mirrored the adventurous spirit of the music, all in a bracing and experimental style.

The Cricket

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