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This book is the culmination of many years of research, stemming from my days as a student in jazz and ethnomusicology. The roster of people who have in one way or another contributed to its eventual and long overdue completion are too numerous to list. All of the fellow musicians who participated in conversations with me on long road trips to dance halls or clubs, and on the set break at someone’s wedding reception; fellow students in the break room or our regular meetings at a local pub; colleagues in both casual conversation and formal critique: you have all written yourselves into this book in some way, and I only wish I had the space to acknowledge you all personally.
There are a number of individuals whose work has gone above and beyond. First and foremost, my teachers through the years, beginning with Jack Clifford, Bruce Brown, and Stan Buchanan, who instilled in me a love for jazz before I even knew what it was. At the University of Maine–Augusta, Chuck Winfield, David Demsey, Gary Whittner, Tom Hoffmann, Mark Polischuk, Dan Murphy, and Isi Rudnick were all crucial to my development as both a musician and an emerging scholar. I would also like to thank the jazz studies faculty at the University of North Texas, who provided the behind-kicking that so many of us need at some point in our lives: Neil Slater, Jim Riggs, Mike Steinel, Dan Haerle, Paris Rutherford, and Fred Hamilton were as fine a group of musician teachers as you will find. I would like to single out David Joyner, now director of jazz studies at Pacific Lutheran University, for offering unfailing mentorship, for providing me with my first jazz history job, and for consistently disproving the old saying that “those who can do, those who can’t teach.” Lastly, I thank Stephen Friedson, who introduced me to the wide (and wild) world of ethnomusicology.
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