Pub Date : 2023-12-13DOI: 10.1080/17494060.2023.2283219
Liam Gesoff
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Pub Date : 2023-09-13DOI: 10.1080/17494060.2023.2249411
Ritwik Banerji
ABSTRACTWhile numerous scholars and performers of free improvisation have noted that egalitarianism structures social interactions between participants of this musical practice, they have largely treated this concept as self-explanatory. Drawing on ethnographic participant observation I conducted in Berlin, Chicago, and San Francisco between 2008 and 2016, this article examines how egalitarianism generates several patterns of social interaction in habits of talk, embodied behavior, and musical sound. Conceptualizing egalitarianism as freedom from social and aesthetic hierarchy, I argue that participants of these scenes pursue egalitarianism through an array of behaviors that prevent other individuals from knowing what they prefer, intend, understand, and value in the practice of free improvisation. Preventing others from accessing these kinds of knowledge places each participant on an equal plane of unawareness which in turn allows them to experience creative freedom. More broadly, then, this article outlines how free improvisation is based in a concept of freedom in which the negation, rather than the accrual, of knowledge leads to greater experiences of personal liberty.KEYWORDS: improvisationfreedomegalitarianismknowledge Disclosure StatementNo potential conflict of interest was reported by the author(s).Notes1 Jason Stanyek, “Articulating Intercultural Free Improvisation: Evan Parker’s Synergetics Project,” Resonance 7, no. 2 (1999): 44–7; David W. Bernstein, “‘Listening to the Sounds of the People’: Frederic Rzewski and Musica Elettronica Viva (1966–1972),” Contemporary Music Review 29, no. 6 (2010): 535–50; Barbara Rose Lange, “Teaching the Ethics of Free Improvisation,” Critical Studies in Improvisation/Études Critiques en Improvisation 7, no. 2 (2011): 1–11; Maud Hickey, “Learning from the Experts: A Study of Free-Improvisation Pedagogues in University Settings,” Journal of Research in Music Education 62, no. 4 (2015): 425–45.2 Burkhard Beins et al., eds., Echtzeitmusik berlin: selbstbestimmung einer szene / self-defining a scene (Hofheim: Wolke Verlag, 2011).3 David Borgo, “Synergy and Surrealestate: The Orderly Disorder of Free Improvisation,” Pacific Review of Ethnomusicology 10, no. 1 (2002): 1–24.4 See Christopher Boehm, “Egalitarian Behavior and Reverse Dominance Hierarchy,” Current Anthropology 34, no. 3 (1993): 227–54.5 Lange, “Teaching the Ethics of Free Improvisation”; Hickey, “Free-Improvisation Pedagogues.”6 Tom Arthurs, “Improvised Music in Berlin 2012–13: A Brief Ethnographic Portrait,” Critical Studies in Improvisation/Études Critiques en Improvisation 10, no. 2 (2015): n. 57.7 In terms of dates, I conducted fieldwork in Berlin during May of 2010, summer of 2012, and from fall of 2014 to summer 2016; Chicago from spring 2008 to summer 2010; and the San Francisco Bay Area free improvisation scene from fall 2010 to summer 2014.8 Dana Gooley, Fantasies of Improvisation: Free Playing in Nineteenth-Century Music (New York: Oxfor
Daniel Fischlin和Ajay Heble (Middletown, CT:卫斯理大学出版社，2004);Marc Hannaford，“音乐即兴中的主观(再)定位:五位女性即兴者的作品分析”，《乐理在线》第23期。2 (2017);汉娜·里尔登-史密斯，《非正典:彻底的遗忘与自由即兴》，《声音剧本》第6期，第2号。Ritwik Banerji，“白人作为即兴创作，非白人作为机器”，《爵士与文化》第4期，第1 - 8.15期。2(2021): 56-84.16关于这一想法的历史，参见Lewis，“1950年后的即兴音乐”。17关于平衡概念的详细说明，见Boehm，“平等主义行为”。18关于“仪式”一词的这种意义的进一步阐述，见Rupert Stasch，“重新审视仪式和演讲:有效行动的符号学”，《人类学年度评论》40 (2011):159-74.1921 . Andre bacimetille，《男性的不平等》(Oxford, England: Basil Blackwell, 1977)作为对这种平等主义立场的一种创造性的、有趣的审视，行为艺术家迭戈·查米(Diego Chamy)在2009年柏林的一个音乐节上组织了一场即兴表演二人组的“比赛”，以获得现金奖。就像卡尔的反应一样，这引起了观众的反感，他们对试图确定“最好”的二人组的想法感到反感;见Diego Chamy，“Das Interaktion Festival: Eine kritische Verteidigung / The Interaktion Festival: A Critical Defense”，见Echtzeitmusik berlin: selbstbestimmung einer szene / Self-defining A scene，编者，Burkhard Beins等人(Hofheim: Wolke Verlag, 2011)， 298-316.22。即使在说德语时，与我一起工作的即兴表演者也经常使用“session”这个词作为外用词在德国的语境中，这个人的特定的民族身份可能不如他们的种族重要，后者很可能被视为东亚人。24在这里，我使用“流派”是在语言人类学意义上的一种特殊的社会互动形式，而不是在更普遍的人文主义意义上的一种艺术作品;参见Richard Bauman，“体裁”，《语言人类学杂志》第9期。[1/2][1999]: 84-7.25]不管出于什么原因，这正是我听到即兴表演者在许多场合问到这个问题时所用的短语这与研究交流的民族志学家在其他平等主义社区中观察到的情况相一致，在这些社区中，交流的模糊性似乎也起到了类似的平衡策略的作用;看唐纳德·布伦尼斯的《谈话与转变》，22岁的男人，不。3 (1987): 499-510;“幽默、语言歧义与圭亚那社区的争论”，《国际语言社会学杂志》1987年第1期。65(1987): 79-94.27这是一种由大量生产的混凝土板建造而成的高占用公寓楼这个特别的评论似乎充满了意义，但它的说话者在介绍它时没有澄清它指的是什么。同样，这种互动的参与者中没有人询问评论的意思，从而保留了对其含义的神秘感，这是这种对话的一个特征，与不知道各种故意立场的总体趋势是一致的如前所述，考虑到我在这里讨论的三个场景绝大多数是白人，这也意味着会议受邀者或表演合作者的潜在群体也是白人尽管这看起来令人不安，但即兴表演者往往非常重视这种不可预测性;见Burkhard Beins，“Entwurf und Ereignis / Scheme and Event”，见Echtzeitmusik berlin: selbstbestimmung einer szene / Self-defining a scene, ed. Burkhard Beins et al. (Hofheim, Germany: Wolke Verlag, 2011)， 116 - 81.31。这是一个功能性术语，用来描述故意放弃声音的产生。实际上，没有声音是不可能的;参见约翰·凯奇，沉默:讲座和著作(Middletown, CT:卫斯理大学出版社，1961);Lorraine Plourde，“在东京有纪律的聆听:onkyki - and nonintentional Sounds”，民族音乐学52,no。2(2008): 270-95。除非另有说明，我使用这个词是指有意不做声音制作不谐音和噪声，分别是指从一定频率振动的声源发出的声音没有一定的音高或没有明显的声能带;参见Denis Smalley，“光谱形态学:解释声音形状”，《有组织的声音》2，第2期。2(1997): 107-26.33正如自由即兴演奏的学者们现在很容易注意到的，这种审美倾向构成了将自由即兴演奏定义为一种流派的基本声音参数;参见Chris Atton，“体裁与地域的文化政治:自由即兴创作的现场经验”，《欧洲文化研究杂志》第15期。4 (2012): 427-41;巴克斯卓，《自由的极限》 也就是说，自由即兴演奏并没有超越音乐类型的界限(就像人们经常声称的那样)，而是像任何其他当代音乐类型一样，表现出普遍的特征平等主义的批评者将其称为“平等化”，或者是一种基于剥夺特权、将所有人置于平等地位的平等主义方法;参见Deborah L. Brake，“当平等让每个人都变得更糟:平等法中的平等化问题”，William Mary Law Review 46(2004): 513-618.35。以赛亚·伯林(Isaiah Berlin)的术语来说，在这种音乐实践中，表演者不被期望展示某些传统能力，这种特殊的自由维度构成了“消极”(从)而不是积极(到)的自由;参见Henry Hardy编辑的《自由的两个概念》(牛津:牛津大学出版社，2002年)，第166-217.36页。然而，严格地说，厌恶凝视的习惯意味着所有这些坚忍主要是针对旁观者的，因为其他玩家无论如何都不可能看到这些沉默的面部表情。尽管如此，这仍然相当于暂停了批判性判断，因为观众看不到表演者在表演过程中面部表情的变化而明显地评价他们的同伴索非亚·达尔等人，“表演中的手势”，在音乐手势:声音，运动和意义，编辑。罗尔夫·英格·格德伊和马克·莱曼(纽约:劳特利奇，2010)，36-68.38乔尔·罗宾斯和艾伦·拉姆齐，“介绍:文化和语言人类学和其他思想的不透明，”人类学季刊81,no。2(2008): 407-20。在许多方面，不透明学说的语言人类学概念与其他不透明理论有很多共同之处，特别是在Edóuard Glissant的工作中;参见《关系诗学》译。贝特西·温(安娜堡:密歇根大学出版社，1997)。虽然Glissant的讨论是对支撑政治自治的感觉器官的富有成效的说明，但它与语言人类学对不透明性的讨论截然不同(迄今为止还没有联系)，后者关注的是特定的语言社区如何发展出关于一个人能或不能了解他人思想的意识形态格雷姆·b·威尔逊和雷蒙德·a·r·麦克唐纳，“沉默的标志:在即兴合奏中协商音乐身份”，《音乐心理学》第40期。张晓明，“自由即兴演奏的音乐选择:一种定性的心理调查”，《音乐心理学》第44期，第5期
{"title":"Free Improvisation, Egalitarianism, and Knowledge","authors":"Ritwik Banerji","doi":"10.1080/17494060.2023.2249411","DOIUrl":"https://doi.org/10.1080/17494060.2023.2249411","url":null,"abstract":"ABSTRACTWhile numerous scholars and performers of free improvisation have noted that egalitarianism structures social interactions between participants of this musical practice, they have largely treated this concept as self-explanatory. Drawing on ethnographic participant observation I conducted in Berlin, Chicago, and San Francisco between 2008 and 2016, this article examines how egalitarianism generates several patterns of social interaction in habits of talk, embodied behavior, and musical sound. Conceptualizing egalitarianism as freedom from social and aesthetic hierarchy, I argue that participants of these scenes pursue egalitarianism through an array of behaviors that prevent other individuals from knowing what they prefer, intend, understand, and value in the practice of free improvisation. Preventing others from accessing these kinds of knowledge places each participant on an equal plane of unawareness which in turn allows them to experience creative freedom. More broadly, then, this article outlines how free improvisation is based in a concept of freedom in which the negation, rather than the accrual, of knowledge leads to greater experiences of personal liberty.KEYWORDS: improvisationfreedomegalitarianismknowledge Disclosure StatementNo potential conflict of interest was reported by the author(s).Notes1 Jason Stanyek, “Articulating Intercultural Free Improvisation: Evan Parker’s Synergetics Project,” Resonance 7, no. 2 (1999): 44–7; David W. Bernstein, “‘Listening to the Sounds of the People’: Frederic Rzewski and Musica Elettronica Viva (1966–1972),” Contemporary Music Review 29, no. 6 (2010): 535–50; Barbara Rose Lange, “Teaching the Ethics of Free Improvisation,” Critical Studies in Improvisation/Études Critiques en Improvisation 7, no. 2 (2011): 1–11; Maud Hickey, “Learning from the Experts: A Study of Free-Improvisation Pedagogues in University Settings,” Journal of Research in Music Education 62, no. 4 (2015): 425–45.2 Burkhard Beins et al., eds., Echtzeitmusik berlin: selbstbestimmung einer szene / self-defining a scene (Hofheim: Wolke Verlag, 2011).3 David Borgo, “Synergy and Surrealestate: The Orderly Disorder of Free Improvisation,” Pacific Review of Ethnomusicology 10, no. 1 (2002): 1–24.4 See Christopher Boehm, “Egalitarian Behavior and Reverse Dominance Hierarchy,” Current Anthropology 34, no. 3 (1993): 227–54.5 Lange, “Teaching the Ethics of Free Improvisation”; Hickey, “Free-Improvisation Pedagogues.”6 Tom Arthurs, “Improvised Music in Berlin 2012–13: A Brief Ethnographic Portrait,” Critical Studies in Improvisation/Études Critiques en Improvisation 10, no. 2 (2015): n. 57.7 In terms of dates, I conducted fieldwork in Berlin during May of 2010, summer of 2012, and from fall of 2014 to summer 2016; Chicago from spring 2008 to summer 2010; and the San Francisco Bay Area free improvisation scene from fall 2010 to summer 2014.8 Dana Gooley, Fantasies of Improvisation: Free Playing in Nineteenth-Century Music (New York: Oxfor","PeriodicalId":39826,"journal":{"name":"Jazz Perspectives","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-09-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135784698","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}
Pub Date : 2023-03-21DOI: 10.1080/17494060.2023.2173634
Jeremy Rose, Samuel Curkpatrick
{"title":"The Gathering Ground: Composing Collaboration in Nyilipidgi, a Dynamic Meeting of manikay and jazz","authors":"Jeremy Rose, Samuel Curkpatrick","doi":"10.1080/17494060.2023.2173634","DOIUrl":"https://doi.org/10.1080/17494060.2023.2173634","url":null,"abstract":"","PeriodicalId":39826,"journal":{"name":"Jazz Perspectives","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-03-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47464279","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}
Pub Date : 2021-09-02DOI: 10.1080/17494060.2022.2030783
C. Morrison
ABSTRACT Keith Jarrett’s Sun Bear Concerts, performed in Japan in 1976, consists of five concerts of improvised music, each concert boasting two Parts that traverse multiple distinct styles, from blues to ballad, romantic lyricism to frenetic atonality, and minimalism to lilting groove, the latter being the style most often associated with Jarrett. But that style has also been criticized for its apparent uneventful repetitiveness. This paper attempts to demonstrate that, while the groove sections may be categorized under the broad umbrella of “groove” style, each of Jarrett’s grooves is unique, musically nuanced, and creatively structured. After summarizing the concept of groove as defined in the recent literature, the paper introduces the four-phase “anatomy” of groove—the musical techniques by which Jarrett gets to the groove, gets in the groove, plays in the groove, and then gets out of the groove. Each phase of the groove process is exemplified with reference to the five concerts; the final part of the paper consists of more detailed analyses of the entire four-phase groove processes in Part (movement) I of the Kyoto concert, the first of the Sun Bear Concerts.
{"title":"Anatomy of Groove: Pulse, Pattern, and Process in Keith Jarrett’s Sun Bear Concerts","authors":"C. Morrison","doi":"10.1080/17494060.2022.2030783","DOIUrl":"https://doi.org/10.1080/17494060.2022.2030783","url":null,"abstract":"ABSTRACT Keith Jarrett’s Sun Bear Concerts, performed in Japan in 1976, consists of five concerts of improvised music, each concert boasting two Parts that traverse multiple distinct styles, from blues to ballad, romantic lyricism to frenetic atonality, and minimalism to lilting groove, the latter being the style most often associated with Jarrett. But that style has also been criticized for its apparent uneventful repetitiveness. This paper attempts to demonstrate that, while the groove sections may be categorized under the broad umbrella of “groove” style, each of Jarrett’s grooves is unique, musically nuanced, and creatively structured. After summarizing the concept of groove as defined in the recent literature, the paper introduces the four-phase “anatomy” of groove—the musical techniques by which Jarrett gets to the groove, gets in the groove, plays in the groove, and then gets out of the groove. Each phase of the groove process is exemplified with reference to the five concerts; the final part of the paper consists of more detailed analyses of the entire four-phase groove processes in Part (movement) I of the Kyoto concert, the first of the Sun Bear Concerts.","PeriodicalId":39826,"journal":{"name":"Jazz Perspectives","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-09-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41789535","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}
Pub Date : 2021-09-02DOI: 10.1080/17494060.2022.2104912
H. Krall
ABSTRACT Caravan is a popular jazz standard that is recorded frequently. The first recording of Caravan by Barney Bigard and his Jazzopators from December 19, 1936, credits Juan Tizol as the sole composer. However later recordings give credit to both Duke Ellington and Tizol as the composers and his manager, Irving Mills, as the lyricist. Because Ellington and Mills commonly used the band members’ ideas and compositions, it is perhaps easy to assume that the conception of Caravan follows a similar narrative. Despite Tizol’s insistence on compositional independence, trumpeter Rex Stewart contends that Caravan’s melody “evolved from another tune, Alabamy Home,” which is credited to Ellington. And indeed Alabamy Home and Caravan are quite similar in melody, harmony, and exotic affect. Inconsistent information in Stewart’s account and the fact that the first recording of Caravan was made three months before the Gotham Stompers had recorded Alabamy Home initially complicate Stewart’s assertion. However, a trombone part from the Ellington archive at the Smithsonian Institution for Alabamy Home, dated between 1926 and 1928, indicates that Alabamy Home was written first. I suggest that Tizol refined the exoticism of Alabamy Home, originally devised for the Cotton Club, to create Caravan, the most famous of his self-proclaimed “Spanish melodies.” I trace the back-and-forth musical exchange between Caravan and Alabamy Home through four manuscripts and five recordings dated between 1926 and 1937. By doing so, I explore the irregular case of these two pieces connected by their shared melody, harmony, and affect, but with differing levels of success in the Duke Ellington songbook.
{"title":"Uncovering the Origin Story of Juan Tizol’s Caravan: A Predecessor","authors":"H. Krall","doi":"10.1080/17494060.2022.2104912","DOIUrl":"https://doi.org/10.1080/17494060.2022.2104912","url":null,"abstract":"ABSTRACT Caravan is a popular jazz standard that is recorded frequently. The first recording of Caravan by Barney Bigard and his Jazzopators from December 19, 1936, credits Juan Tizol as the sole composer. However later recordings give credit to both Duke Ellington and Tizol as the composers and his manager, Irving Mills, as the lyricist. Because Ellington and Mills commonly used the band members’ ideas and compositions, it is perhaps easy to assume that the conception of Caravan follows a similar narrative. Despite Tizol’s insistence on compositional independence, trumpeter Rex Stewart contends that Caravan’s melody “evolved from another tune, Alabamy Home,” which is credited to Ellington. And indeed Alabamy Home and Caravan are quite similar in melody, harmony, and exotic affect. Inconsistent information in Stewart’s account and the fact that the first recording of Caravan was made three months before the Gotham Stompers had recorded Alabamy Home initially complicate Stewart’s assertion. However, a trombone part from the Ellington archive at the Smithsonian Institution for Alabamy Home, dated between 1926 and 1928, indicates that Alabamy Home was written first. I suggest that Tizol refined the exoticism of Alabamy Home, originally devised for the Cotton Club, to create Caravan, the most famous of his self-proclaimed “Spanish melodies.” I trace the back-and-forth musical exchange between Caravan and Alabamy Home through four manuscripts and five recordings dated between 1926 and 1937. By doing so, I explore the irregular case of these two pieces connected by their shared melody, harmony, and affect, but with differing levels of success in the Duke Ellington songbook.","PeriodicalId":39826,"journal":{"name":"Jazz Perspectives","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-09-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41391667","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}
Pub Date : 2021-09-02DOI: 10.1080/17494060.2022.2078422
R. Stucky
{"title":"Latin Jazz: The Other Jazz","authors":"R. Stucky","doi":"10.1080/17494060.2022.2078422","DOIUrl":"https://doi.org/10.1080/17494060.2022.2078422","url":null,"abstract":"","PeriodicalId":39826,"journal":{"name":"Jazz Perspectives","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-09-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45714540","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}
Pub Date : 2021-09-02DOI: 10.1080/17494060.2022.2029753
Josiah Boornazian
ABSTRACT Pianist and composer Ferdinand “Jelly Roll” Morton and Original Dixieland Jazz Band cornetist Dominic “Nick” LaRocca epitomize the intersection of some of the most hotly debated topics in jazz historiography and mainstream jazz culture: musical authorship and historical accuracy. The dispute between Morton and LaRocca over the provenance of the classic early jazz composition “Tiger Rag” and the related controversies surrounding claims made by Morton during his Library of Congress interviews with folklorist Alan Lomax are revealing case studies in this regard. While examining the “Tiger Rag” authorship debates, this article discusses evolving and competing notions of authorship in jazz culture and scholarship and seeks to illuminate both the difficulties involved in determining authorial attribution for disputed early jazz compositions and the ways in which traditional single-author paradigms are perhaps less suited to aspects of early jazz practice than distributed and communal authorship.
钢琴家和作曲家费迪南德·莫顿(Ferdinand“Jelly Roll”Morton)和原迪克西兰爵士乐队(Original Dixieland Jazz Band)的小鼓手多米尼克·拉罗卡(Dominic“Nick”LaRocca)代表了爵士史学和主流爵士文化中一些最激烈争论的话题的交叉点:音乐作者和历史准确性。莫顿和拉罗卡之间关于早期爵士经典作品“Tiger Rag”出处的争论，以及围绕莫顿在国会图书馆与民俗学家艾伦·洛马克斯(Alan Lomax)的访谈中提出的主张的相关争议，都是这方面的案例研究。在研究“虎拉格”作者身份的争论时，本文讨论了爵士文化和学术中作者身份的演变和竞争概念，并试图阐明确定有争议的早期爵士作品的作者归属所涉及的困难，以及传统的单一作者范式可能不太适合早期爵士实践方面的方式，而不是分布式和公共作者身份。
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Pub Date : 2021-09-02DOI: 10.1080/17494060.2022.2078430
Michael Dessen
ABSTRACT The COVID-19 pandemic lockdown brought much attention to live music making via the internet, amplifying the previously marginal fields of livestream concertizing and networked music performance. Drawing connections among recent publications, artists’ creative strategies, and his own experiences, the author surveys questions about musical telepresence that arose in this process, including reflections on the nature of musical liveness in an increasingly digital industry, the creative potentials of networked music making, and the value of “thinking telematically” about cultural production and social change.
{"title":"Thinking Telematically: Improvising Music Worlds Under COVID and Beyond","authors":"Michael Dessen","doi":"10.1080/17494060.2022.2078430","DOIUrl":"https://doi.org/10.1080/17494060.2022.2078430","url":null,"abstract":"ABSTRACT The COVID-19 pandemic lockdown brought much attention to live music making via the internet, amplifying the previously marginal fields of livestream concertizing and networked music performance. Drawing connections among recent publications, artists’ creative strategies, and his own experiences, the author surveys questions about musical telepresence that arose in this process, including reflections on the nature of musical liveness in an increasingly digital industry, the creative potentials of networked music making, and the value of “thinking telematically” about cultural production and social change.","PeriodicalId":39826,"journal":{"name":"Jazz Perspectives","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-09-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45334200","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}
Pub Date : 2021-05-04DOI: 10.1080/17494060.2021.1970611
Brian Harker
ABSTRACT Recalling his first recording session with Charlie Parker on 26 November 1945, Miles Davis said he was so nervous that Dizzy Gillespie had to step in and play the trumpet solos on “Ko Ko,” the fast final tune of the session. Others present—producer Teddy Reig, pianist Sadik Hakim (aka Argonne Thornton), and Dizzy himself—all verified this story, that it was Gillespie and not Davis who played on “Ko Ko.” Yet despite this straighforward line of testimony, jazz writers and fans have questioned this account since the 1950s. More recently, the serious argument that it was in fact Miles who played the solos, not Dizzy, has appeared in various credible forums, including authoritative websites, Facebook groups involving professional jazz historians, and the magazine JazzTimes. This article examines this revisionist claim and finds it without foundation. In addition to the abundant and unanimous testimony of eyewitnesses, the musical evidence shows that in other solos recorded before and after the 1945 session, Gillespie reprised large portions of the complex “Ko Ko” solos. During a live performance of “Ko Ko” in 1947, he even played a sophisticated variation of the intro, a vanishingly unlikely occurrence had Miles Davis played the original.
{"title":"Miles Davis, “Ko Ko”, and the Making of a Fallacy","authors":"Brian Harker","doi":"10.1080/17494060.2021.1970611","DOIUrl":"https://doi.org/10.1080/17494060.2021.1970611","url":null,"abstract":"ABSTRACT Recalling his first recording session with Charlie Parker on 26 November 1945, Miles Davis said he was so nervous that Dizzy Gillespie had to step in and play the trumpet solos on “Ko Ko,” the fast final tune of the session. Others present—producer Teddy Reig, pianist Sadik Hakim (aka Argonne Thornton), and Dizzy himself—all verified this story, that it was Gillespie and not Davis who played on “Ko Ko.” Yet despite this straighforward line of testimony, jazz writers and fans have questioned this account since the 1950s. More recently, the serious argument that it was in fact Miles who played the solos, not Dizzy, has appeared in various credible forums, including authoritative websites, Facebook groups involving professional jazz historians, and the magazine JazzTimes. This article examines this revisionist claim and finds it without foundation. In addition to the abundant and unanimous testimony of eyewitnesses, the musical evidence shows that in other solos recorded before and after the 1945 session, Gillespie reprised large portions of the complex “Ko Ko” solos. During a live performance of “Ko Ko” in 1947, he even played a sophisticated variation of the intro, a vanishingly unlikely occurrence had Miles Davis played the original.","PeriodicalId":39826,"journal":{"name":"Jazz Perspectives","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46815974","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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