2018
Tackley, C. J. (2018). Jazz Meets Pop in the United Kingdom. In N. Gebhardt, N. Rustin-Paschal, & T. Whyton (Eds.), The Routledge Companion to Jazz Studies (pp. 97-104). Routledge. doi:10.4324/9781315315805-10DOI: 10.4324/9781315315805-10
Editorial (Journal article)
Tackley, C., & Whyton, T. (n.d.). Editorial. Jazz Research Journal, 11(2), 109-110. doi:10.1558/jazz.37172DOI: 10.1558/jazz.37172
Tackley, C. J., Scheding, F., Scott, D. B., Levi, E., Williams, J., & Western, T. (2018). ‘Who Is British Music?’ Placing Migrants in National Music History. Twentieth Century Music, 15(3), 439-492. doi:10.1017/S1478572218000257DOI: 10.1017/S1478572218000257
Tackley, C. (2018, January 27). Rhythm and Reaction: The Age of Jazz in Britain [Exhibition]. Two Temple Place.
2017
Tackley, C. (2017). Shanty singing in twenty-first-century Britain. International Journal of Maritime History, 29(2), 407-421. doi:10.1177/0843871417694014DOI: 10.1177/0843871417694014
Tackley, C. J. (2017). “Art or Debauchery?”: The Reception of Ellington in the UK. In J. Howland (Ed.), Duke Ellington Studies (Cambridge Composer Studies) (pp. 137-185). Cambridge University Press. Retrieved from https://www.cambridge.org/
2016
Another Place, Another Race? Thinking through Jazz, Ethnicity and Diaspora in Britain (Chapter)
Tackley, C. J., Toynbee, J., & Doffman, M. (2016). Another Place, Another Race? Thinking through Jazz, Ethnicity and Diaspora in Britain. In Black British Jazz Routes, Ownership and Performance (pp. 1-22). Routledge.
Black British Jazz (Book)
Toynbee, J., & Tackley, C. (n.d.). Black British Jazz. Routledge. doi:10.4324/9781315569451DOI: 10.4324/9781315569451
Jazz, Dance and Black British Identities (Chapter)
Tackley, C. J. (2016). Jazz, Dance and Black British Identities. In Bodies of Sound Studies Across Popular Music and Dance (pp. 193-207). Routledge.
2014
Tackley, C. J. (2014). Tiger Bay and the Routes and Roots of Black British Jazz. In J. Toynbee, C. Tackley, & M. Doffman (Eds.), Black British Jazz: Routes, Ownership and Performance (pp. 43-62). Routledge. Retrieved from https://www.routledge.com/
Tackley, C. J. (2014). Race, Identity and the Meaning of Jazz in 1940s Britain. In J. Stratton, & N. Zuberi (Eds.), Black Popular Music in Britain Since 1945 (pp. 11-26). Routledge. Retrieved from https://www.taylorfrancis.com/
2012
Benny Goodman's Famous 1938 Carnegie Hall Jazz Concert (Book)
Tackley, C. (2012). Benny Goodman's Famous 1938 Carnegie Hall Jazz Concert. Oxford University Press.
Benny Carter in Britain, 1936-37 (Chapter)
Tackley, C. J. (2012). Benny Carter in Britain, 1936-37. In Eurojazzland Jazz and European Sources, Dynamics, and Contexts (pp. 167-188). UPNE.
2010
Fascination and Fear: Responses to Early Jazz in Britain (Chapter)
Tackley, C. J. (2010). Fascination and Fear: Responses to Early Jazz in Britain. In Cross the Water Blues African American Music in Europe. Univ. Press of Mississippi.
Jazz Recordings as Social Texts (Chapter)
Tackley, C. J. (2010). Jazz Recordings as Social Texts. In Recorded Music Performance, Culture and Technology. Cambridge University Press.
2007
Integrating theory and practice in conservatoires: formulating holistic models for teaching and learning improvisation (Journal article)
Parsonage, C., Fadnes, P. F., & Taylor, J. (2007). Integrating theory and practice in conservatoires: formulating holistic models for teaching and learning improvisation. British Journal of Music Education, 24(3), 295-312. doi:10.1017/s0265051707007590DOI: 10.1017/s0265051707007590
2005
The Evolution of Jazz in Britain, 1880-1935 (Book)
Parsonage, C. (2005). The Evolution of Jazz in Britain, 1880-1935. Gower Publishing, Ltd..
2004
The popularity of jazz—an unpopular problem (Journal article)
Parsonage, C. (n.d.). The popularity of jazz—an unpopular problem. Jazz Research Journal, 60-80. doi:10.1558/source.v1i1.60DOI: 10.1558/source.v1i1.60
2003
A critical reassessment of the reception of early jazz in Britain (Journal article)
Parsonage, C. (2003). A critical reassessment of the reception of early jazz in Britain. Popular Music, 22(3), 315-336. doi:10.1017/s0261143003003210DOI: 10.1017/s0261143003003210