Ray Allen – författare

Jump Up! Caribbean Carnival Music in New York City is the first comprehensive history of Trinidadian calypso and steelband music in the diaspora. Carnival, transplanted from Trinidad to Harlem in the 1930s and to Brooklyn in the late 1960s, provides the cultural context for the study. Blending oral history, archival research, and ethnography, Jump Up! examines how members of New York's diverse Anglophile-Caribbean communities forged transnational identities through the self-conscious embrace and transformation of select Carnival music styles and performances. The work fills a significant void in our understanding of how Caribbean Carnival music-specifically calypso, soca (soul/calypso), and steelband-evolved in the second half of the twentieth century as it flowed between its Island homeland and its bourgeoning New York migrant community. Jump Up! addresses the issues of music, migration, and identity head on, exploring the complex cycling of musical practices and the back-and-forth movement of singers, musicians, arrangers, producers, and cultural entrepreneurs between New York's diasporic communities and the Caribbean.

Jump Up! Caribbean Carnival Music in New York City is the first comprehensive history of Trinidadian calypso and steelband music in the diaspora. Carnival, transplanted from Trinidad to Harlem in the 1930s and to Brooklyn in the late 1960s, provides the cultural context for the study. Blending oral history, archival research, and ethnography, Jump Up! examines how members of New York's diverse Anglophile-Caribbean communities forged transnational identities through the self-conscious embrace and transformation of select Carnival music styles and performances. The work fills a significant void in our understanding of how Caribbean Carnival music-specifically calypso, soca (soul/calypso), and steelband-evolved in the second half of the twentieth century as it flowed between its Island homeland and its bourgeoning New York migrant community. Jump Up! addresses the issues of music, migration, and identity head on, exploring the complex cycling of musical practices and the back-and-forth movement of singers, musicians, arrangers, producers, and cultural entrepreneurs between New York's diasporic communities and the Caribbean.

Jump Up! Caribbean Carnival Music in New York City is the first comprehensive history of Trinidadian calypso and steelband music in the diaspora. Carnival, transplanted from Trinidad to Harlem in the 1930s and to Brooklyn in the late 1960s, provides the cultural context for the study. Blending oral history, archival research, and ethnography, Jump Up! examines how members of New York''s diverse Anglophile-Caribbean communities forged transnational identities through the self-conscious embrace and transformation of select Carnival music styles and performances. The work fills a significant void in our understanding of how Caribbean Carnival music-specifically calypso, soca (soul/calypso), and steelband-evolved in the second half of the twentieth century as it flowed between its Island homeland and its bourgeoning New York migrant community. Jump Up! addresses the issues of music, migration, and identity head on, exploring the complex cycling of musical practices and the back-and-forth movement of singers, musicians, arrangers, producers, and cultural entrepreneurs between New York''s diasporic communities and the Caribbean.

Jump Up! Caribbean Carnival Music in New York City is the first comprehensive history of Trinidadian calypso and steelband music in the diaspora. Carnival, transplanted from Trinidad to Harlem in the 1930s and to Brooklyn in the late 1960s, provides the cultural context for the study. Blending oral history, archival research, and ethnography, Jump Up! examines how members of New York''s diverse Anglophile-Caribbean communities forged transnational identities through the self-conscious embrace and transformation of select Carnival music styles and performances. The work fills a significant void in our understanding of how Caribbean Carnival music-specifically calypso, soca (soul/calypso), and steelband-evolved in the second half of the twentieth century as it flowed between its Island homeland and its bourgeoning New York migrant community. Jump Up! addresses the issues of music, migration, and identity head on, exploring the complex cycling of musical practices and the back-and-forth movement of singers, musicians, arrangers, producers, and cultural entrepreneurs between New York''s diasporic communities and the Caribbean.

Gone to the Country chronicles the life and music of the New Lost City Ramblers, a trio of city-bred musicians who helped pioneer the resurgence of southern roots music during the folk revival of the late 1950s and 1960s. Formed in 1958 by Mike Seeger, John Cohen, and Tom Paley, the Ramblers introduced the regional styles of southern ballads, blues, string bands, and bluegrass to northerners yearning for a sound and an experience not found in mainstream music. Ray Allen interweaves biography, history, and music criticism to follow the band from its New York roots to their involvement with the commercial folk music boom. Allen details their struggle to establish themselves amid critical debates about traditionalism brought on by their brand of folk revivalism. He explores how the Ramblers ascribed notions of cultural authenticity to certain musical practices and performers and how the trio served as a link between southern folk music and northern urban audiences who had little previous exposure to rural roots styles. Highlighting the role of tradition in the social upheaval of mid-century America, Gone to the Country draws on extensive interviews and personal correspondence with band members and digs deep into the Ramblers' rich trove of recordings.

Gone to the Country chronicles the life and music of the New Lost City Ramblers, a trio of city-bred musicians who helped pioneer the resurgence of southern roots music during the folk revival of the late 1950s and 1960s. Formed in 1958 by Mike Seeger, John Cohen, and Tom Paley, the Ramblers introduced the regional styles of southern ballads, blues, string bands, and bluegrass to northerners yearning for a sound and an experience not found in mainstream music.  

Ray Allen interweaves biography, history, and music criticism to follow the band from its New York roots to their involvement with the commercial folk music boom. Allen details their struggle to establish themselves amid critical debates about traditionalism brought on by their brand of folk revivalism. He explores how the Ramblers ascribed notions of cultural authenticity to certain musical practices and performers and how the trio served as a link between southern folk music and northern urban audiences who had little previous exposure to rural roots styles. Highlighting the role of tradition in the social upheaval of mid-century America, Gone to the Country draws on extensive interviews and personal correspondence with band members and digs deep into the Ramblers'' rich trove of recordings.

Draws on field recordings and interviews with dozens of local New York singers to tell the story of sacred quartet singing in New York City's African-American church community, tracing its evolution and its role in worship and culture.

Soca music, an offspring of older Trinidadian calypso, emerged in the late 1970s and is now recognized as one of the English-speaking Caribbean’s most distinctive styles of popular vocal music. Frankie McIntosh and the Art of the Soca Arranger tells a story of Caribbean music in the diaspora through the eyes and ears of a pioneering soca arranger. A fascinating collaboration between Frankie McIntosh and music scholar Ray Allen, this cowritten memoir places the music arranger at the center of several overlapping narratives of immigration and musical diaspora.The book begins with McIntosh’s personal voyage from St. Vincent to Brooklyn and his efforts to hammer out a career in music while raising a family in his newly adopted home. His immigrant tale is intertwined with his musical journey, from popular Caribbean dance bands through formal studies in Western classical music and jazz to his work as a gigging jazz pianist and calypso/soca arranger. Along the way he embraced the varied musics of New York’s African American and West Indian communities, working with such iconic calypsonians as the Mighty Sparrow, Lord Kitchner, Calypso Rose, and Alston Becket. His story provides a unique lens for viewing Brooklyn Carnival music and brings into focus the borough’s rise to prominence as the transnational hub of the soca music industry in the 1980s.An alternative to traditional scholarship that tends to focus on calypso and soca singers, this work explores the instrumental dimensions of the art form through the life and music of one of the most celebrated soca arrangers and keyboardists of all time.

Soca music, an offspring of older Trinidadian calypso, emerged in the late 1970s and is now recognized as one of the English-speaking Caribbean’s most distinctive styles of popular vocal music. Frankie McIntosh and the Art of the Soca Arranger tells a story of Caribbean music in the diaspora through the eyes and ears of a pioneering soca arranger. A fascinating collaboration between Frankie McIntosh and music scholar Ray Allen, this cowritten memoir places the music arranger at the center of several overlapping narratives of immigration and musical diaspora.The book begins with McIntosh’s personal voyage from St. Vincent to Brooklyn and his efforts to hammer out a career in music while raising a family in his newly adopted home. His immigrant tale is intertwined with his musical journey, from popular Caribbean dance bands through formal studies in Western classical music and jazz to his work as a gigging jazz pianist and calypso/soca arranger. Along the way he embraced the varied musics of New York’s African American and West Indian communities, working with such iconic calypsonians as the Mighty Sparrow, Lord Kitchner, Calypso Rose, and Alston Becket. His story provides a unique lens for viewing Brooklyn Carnival music and brings into focus the borough’s rise to prominence as the transnational hub of the soca music industry in the 1980s.An alternative to traditional scholarship that tends to focus on calypso and soca singers, this work explores the instrumental dimensions of the art form through the life and music of one of the most celebrated soca arrangers and keyboardists of all time.

Draws on field recordings and interviews with dozens of local New York singers to tell the story of sacred quartet singing in New York City''s African-American church community, tracing its evolution and its role in worship and culture.