{"title":"Dave Brubeck's Definitive \"Jazzanians\"","authors":"Vasil Cvetkov","doi":"10.14713/JJS.V9I1.53","DOIUrl":"https://doi.org/10.14713/JJS.V9I1.53","url":null,"abstract":"","PeriodicalId":331183,"journal":{"name":"Journal of Jazz Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2013-09-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123914186","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Andrew Sanchirico's response to Randall Sandke's "Jazz Studies: Mainstream or Listing in a Sea of Ideology?"
安德鲁·桑奇里科对兰德尔·桑德克的《爵士乐研究:主流还是意识形态的海洋?》的回应
{"title":"Response to Randall Sandke","authors":"Andrew Sanchirico","doi":"10.14713/JJS.V8I2.45","DOIUrl":"https://doi.org/10.14713/JJS.V8I2.45","url":null,"abstract":"Andrew Sanchirico's response to Randall Sandke's \"Jazz Studies: Mainstream or Listing in a Sea of Ideology?\"","PeriodicalId":331183,"journal":{"name":"Journal of Jazz Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2013-03-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131984732","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
As a tribute to Annie Kuebler's enduring legacy to jazz studies, the Journal of Jazz Studies presents her insightful liner notes to the CD set "The Duke at Fargo 1940: Special 60th Anniversary Edition." These notes from Storyville STCD 8317/17 were reprinted by permission of Storyville Records.
{"title":"The Duke At Fargo: Liner notes from Storyville CD","authors":"A. Kuebler","doi":"10.14713/JJS.V8I2.43","DOIUrl":"https://doi.org/10.14713/JJS.V8I2.43","url":null,"abstract":"As a tribute to Annie Kuebler's enduring legacy to jazz studies, the Journal of Jazz Studies presents her insightful liner notes to the CD set \"The Duke at Fargo 1940: Special 60th Anniversary Edition.\" These notes from Storyville STCD 8317/17 were reprinted by permission of Storyville Records.","PeriodicalId":331183,"journal":{"name":"Journal of Jazz Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2013-03-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130529463","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The close collaboration between Chick Corea and Paco de Lucia shows a clear example of the connection between jazz and flamenco. The release of Corea’s My Spanish Heart (1976), an explicit approach to the Latin and Spanish musical spheres, and the recordings of Paco de Lucia with jazz saxophonist Pedro Iturralde in the late 60’s led Paco and Chick to discover one another. This article offers an analytical perspective of the early years of this collaboration by reviewing Corea’s records My Spanish Heart and Touchstone (1982) , and De Lucia’s Paco de Lucia Interpreta a Manuel de Falla (1978) and Solo Quiero Caminar (1981), not only through the solos of the guitarist and pianist, but also through those played by the musicians who recorded and toured with both of them in the following years: Jorge Pardo and Carles Benavent.
Chick Corea和Paco de Lucia之间的密切合作是爵士乐和弗拉门戈之间联系的一个清楚的例子。1976年发行的《我的西班牙之心》(My Spanish Heart, 1976)，是对拉丁和西班牙音乐领域的明确探索，60年代末与爵士萨克斯演奏家佩德罗·伊图拉尔德(Pedro Iturralde)合作的《Paco de Lucia》唱片，使Paco和Chick发现了彼此。本文通过回顾Corea的唱片《My Spanish Heart》和《Touchstone》(1982)，以及De Lucia的《Paco De Lucia Interpreta a Manuel De Falla》(1978)和《Solo Quiero Caminar》(1981)，不仅通过吉他手和钢琴家的独奏，还通过在接下来的几年里与他们两人一起录制和巡演的音乐家:Jorge Pardo和Carles Benavent的演奏，从一个分析的角度来分析他们合作的早期。
{"title":"The Jazz–Flamenco Connection: Chick Corea and Paco de Lucía Between 1976 and 1982","authors":"Juan Zagalaz","doi":"10.14713/JJS.V8I1.23","DOIUrl":"https://doi.org/10.14713/JJS.V8I1.23","url":null,"abstract":"The close collaboration between Chick Corea and Paco de Lucia shows a clear example of the connection between jazz and flamenco. The release of Corea’s My Spanish Heart (1976), an explicit approach to the Latin and Spanish musical spheres, and the recordings of Paco de Lucia with jazz saxophonist Pedro Iturralde in the late 60’s led Paco and Chick to discover one another. This article offers an analytical perspective of the early years of this collaboration by reviewing Corea’s records My Spanish Heart and Touchstone (1982) , and De Lucia’s Paco de Lucia Interpreta a Manuel de Falla (1978) and Solo Quiero Caminar (1981), not only through the solos of the guitarist and pianist, but also through those played by the musicians who recorded and toured with both of them in the following years: Jorge Pardo and Carles Benavent.","PeriodicalId":331183,"journal":{"name":"Journal of Jazz Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2012-07-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134082996","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Johnny Hartman biographer, Gregg Akkerman, reviews South African singer Sathima Bea Benjamin's life story as related in Musical Echoes:South African Women Thinking in Jazz , by Carol Ann Muller and Benjamin.
{"title":"The Expansion of Jazz through the Life of a South African Singer","authors":"G. Akkerman","doi":"10.14713/JJS.V8I1.33","DOIUrl":"https://doi.org/10.14713/JJS.V8I1.33","url":null,"abstract":"Johnny Hartman biographer, Gregg Akkerman, reviews South African singer Sathima Bea Benjamin's life story as related in Musical Echoes:South African Women Thinking in Jazz , by Carol Ann Muller and Benjamin.","PeriodicalId":331183,"journal":{"name":"Journal of Jazz Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2012-07-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115416601","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This bibliography compiles articles of interest in jazz music scholarship that were published in 2009 or 2010 and appeared in journals not specifically dedicated to jazz study.
{"title":"Jazz Research Bibliography (2009-2010)","authors":"R. Desmeules","doi":"10.14713/JJS.V8I1.34","DOIUrl":"https://doi.org/10.14713/JJS.V8I1.34","url":null,"abstract":"This bibliography compiles articles of interest in jazz music scholarship that were published in 2009 or 2010 and appeared in journals not specifically dedicated to jazz study.","PeriodicalId":331183,"journal":{"name":"Journal of Jazz Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2012-07-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121350084","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In jazz improvisation, the meter of the original theme is strictly preserved, and the middleground harmonies are maintained, while the original melody is varied freely, especially with respect to its grouping structure—where phrases begin and end. This poses problems for theories of phrase rhythm that rely on a tonal definition of the phrase. In this paper, I propose a new approach to jazz phrase rhythm. First, I divide a melody into segments on the basis of four criteria. Then I classify each segment on the basis of its relationship to the meter and to surrounding segments. The result is a hierarchy of metrically defined phrases. Phrase rhythm consonance and dissonance are the alignment or misalignment of phrases with the meter. Skilled soloists manipulate phrase rhythm as they would any other element of a solo. I conclude with an ambiguous example, to demonstrate how phrase-rhythm analysis can present competing interpretations of the same passage.
{"title":"An Approach to Phrase Rhythm in Jazz","authors":"S. Love","doi":"10.14713/JJS.V8I1.35","DOIUrl":"https://doi.org/10.14713/JJS.V8I1.35","url":null,"abstract":"In jazz improvisation, the meter of the original theme is strictly preserved, and the middleground harmonies are maintained, while the original melody is varied freely, especially with respect to its grouping structure—where phrases begin and end. This poses problems for theories of phrase rhythm that rely on a tonal definition of the phrase. In this paper, I propose a new approach to jazz phrase rhythm. First, I divide a melody into segments on the basis of four criteria. Then I classify each segment on the basis of its relationship to the meter and to surrounding segments. The result is a hierarchy of metrically defined phrases. Phrase rhythm consonance and dissonance are the alignment or misalignment of phrases with the meter. Skilled soloists manipulate phrase rhythm as they would any other element of a solo. I conclude with an ambiguous example, to demonstrate how phrase-rhythm analysis can present competing interpretations of the same passage.","PeriodicalId":331183,"journal":{"name":"Journal of Jazz Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2012-07-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132056626","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
A recent book by jazz musician Randall Sandke strongly criticizes jazz writers and scholars for presenting a biased and misleading picture of jazz history. His basic thesis is that, because of ideology, the standard jazz texts exaggerate the importance of African American culture in the development of jazz, thereby creating a mythology of jazz. This article examines one aspect of Sandke’s thesis: his assertion that the myths created by earlier jazz writers are being perpetuated by present day writers. A content analysis of jazz history books published since 1990 indicates that Sandke’s assertion is largely false. Only one of seven myths that he identified appears with any regularity in the current jazz history books. The six other myths are rarely if ever found in the literature. After describing these findings, the article draws some conclusions.
{"title":"Is Conventional Jazz History Distorted by Myths","authors":"Andrew Sanchirico","doi":"10.14713/JJS.V8I1.30","DOIUrl":"https://doi.org/10.14713/JJS.V8I1.30","url":null,"abstract":"A recent book by jazz musician Randall Sandke strongly criticizes jazz writers and scholars for presenting a biased and misleading picture of jazz history. His basic thesis is that, because of ideology, the standard jazz texts exaggerate the importance of African American culture in the development of jazz, thereby creating a mythology of jazz. This article examines one aspect of Sandke’s thesis: his assertion that the myths created by earlier jazz writers are being perpetuated by present day writers. A content analysis of jazz history books published since 1990 indicates that Sandke’s assertion is largely false. Only one of seven myths that he identified appears with any regularity in the current jazz history books. The six other myths are rarely if ever found in the literature. After describing these findings, the article draws some conclusions.","PeriodicalId":331183,"journal":{"name":"Journal of Jazz Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2012-07-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129284320","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In 2002 the author published Birth of the Cool , a folio of the Miles Davis nonet repertoire of 1948 to 1950, based on the original manuscripts. This article gives a brief history of the nonet and its music; describes how the manuscripts turned up and how the folio came to be published; presents listings of the most salient editorial changes made to the parts in preparing the folio, as well as corrections that should be made to the folio; and shares new information about this repertoire that has come to light since the folio's publication. Finally, the article presents the author's philosophical and practical approach to preparing accurate versions of jazz and popular ensemble music.
2002年，作者在原始手稿的基础上出版了《酷的诞生》(Birth of the Cool)，这是一本1948年至1950年迈尔斯·戴维斯(Miles Davis)的nonet曲目的对开本。本文简要介绍了诺奈及其音乐的历史;描述了手稿是如何出现的以及对开本是如何出版的;列出了在准备对开本的部分中所做的最显著的编辑更改，以及应该对对开本进行的更正;并分享了自对开本出版以来关于这一曲目的新信息。最后，文章提出了作者的哲学和实用的方法来准备准确版本的爵士和流行合奏音乐。
{"title":"The Miles Davis Nonet Manuscripts Lost and Found: From Manuscript to Publication","authors":"Jeffrey Sultanof","doi":"10.14713/JJS.V7I2.14","DOIUrl":"https://doi.org/10.14713/JJS.V7I2.14","url":null,"abstract":"In 2002 the author published Birth of the Cool , a folio of the Miles Davis nonet repertoire of 1948 to 1950, based on the original manuscripts. This article gives a brief history of the nonet and its music; describes how the manuscripts turned up and how the folio came to be published; presents listings of the most salient editorial changes made to the parts in preparing the folio, as well as corrections that should be made to the folio; and shares new information about this repertoire that has come to light since the folio's publication. Finally, the article presents the author's philosophical and practical approach to preparing accurate versions of jazz and popular ensemble music.","PeriodicalId":331183,"journal":{"name":"Journal of Jazz Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2011-11-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"117002822","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
While many written sources on tonal jazz harmony are implicitly aware of the fundamental differences between "stable" and "unstable" chords, little significant work has examined an improvising jazz pianist's harmonic options in terms of stability, or "consonance." For this article the author focuses on the vertical dimensions of this issue, providing a "harmonic dialects" model that accounts for variants in chordal membership of stable sonorities, and an outline of psychoacoustic phenomena that affect how various piano voicings are interpreted as stable or unstable in different contexts.
{"title":"Psychoacoustic Foundations Of Contextual Harmonic Stability In Jazz Piano Voicings","authors":"J. McGowan","doi":"10.14713/JJS.V7I2.13","DOIUrl":"https://doi.org/10.14713/JJS.V7I2.13","url":null,"abstract":"While many written sources on tonal jazz harmony are implicitly aware of the fundamental differences between \"stable\" and \"unstable\" chords, little significant work has examined an improvising jazz pianist's harmonic options in terms of stability, or \"consonance.\" For this article the author focuses on the vertical dimensions of this issue, providing a \"harmonic dialects\" model that accounts for variants in chordal membership of stable sonorities, and an outline of psychoacoustic phenomena that affect how various piano voicings are interpreted as stable or unstable in different contexts.","PeriodicalId":331183,"journal":{"name":"Journal of Jazz Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2011-11-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121536201","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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