and Universal Tonality: The Life and Music of William Parker (2021). He is also the director of the documentary Take Me to Fendika (2024).
Bradley applied the “Page 99 Test” to his new book, I Hear Freedom: The Great Migration, Free Jazz, and Black Power, and reported the following:
This test gives an insight into my book, but it does not do a good job of revealing the whole of it. Page 99 is as critical as any page to the book, but one small part of a much broader idea. Page 99 is mostly composed of blues lyrics from some specific musicians who worked in Atlanta in the early twentieth century. The book focuses primarily on jazz musicians who emerged in Cleveland and Detroit in the 1960s and 1970s and is split into 3 parts. The first part, in which page 99 appears, details the ancestral roots of the musicians who emerged in the two northern cities and considers what cultural inheritance they were bestowed by their ancestors, and along what routes and from what points of origin. For example, the saxophonist Albert Ayler, had roots in eastern Mississippi and western Alabama, and the book looks at the migrations and motivations for them to move first to Birmingham and then north to Cleveland. Part 2 of the book examines the coalescence of the two music scenes and the musicians who primarily stayed in those cities to do their work. Part 3 then follows the musicians who left for other cities, primarily New York, Los Angeles, Oakland, and Paris. The book is quite expansive, but the Page 99 Test gives a little glance into the larger idea of the book.Visit Cisco Bradley's website.
--Marshal Zeringue