Pub Date : 2017-09-01DOI: 10.1080/17494060.2018.1507303
M. Gibson
{"title":"Coming Forth by Day/Yesterday I Had the Blues: The Music of Billie Holiday","authors":"M. Gibson","doi":"10.1080/17494060.2018.1507303","DOIUrl":"https://doi.org/10.1080/17494060.2018.1507303","url":null,"abstract":"","PeriodicalId":39826,"journal":{"name":"Jazz Perspectives","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2017-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/17494060.2018.1507303","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44533144","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 : 2017-09-01DOI: 10.1080/17494060.2018.1443967
K. Waters
ABSTRACT Ekkehard Jost (1938–2017) was one of the world’s leading scholarly voices on the development of free jazz, perhaps best known for his seminal text Free Jazz (originally published in 1974). This article presents a chapter from Jost’s 2012 book Jazzgeshichten aus Europa (Jazz Histories of Europe). In this chapter, translated by Keith Waters, Jost focuses on the development of free jazz in Western Europe during the critical period of the late 1960s and 1970s.
{"title":"“New Awakenings Everywhere: Free Jazz Pathways Through Western Europe”* by Ekkehard Jost (1938–2017)","authors":"K. Waters","doi":"10.1080/17494060.2018.1443967","DOIUrl":"https://doi.org/10.1080/17494060.2018.1443967","url":null,"abstract":"ABSTRACT Ekkehard Jost (1938–2017) was one of the world’s leading scholarly voices on the development of free jazz, perhaps best known for his seminal text Free Jazz (originally published in 1974). This article presents a chapter from Jost’s 2012 book Jazzgeshichten aus Europa (Jazz Histories of Europe). In this chapter, translated by Keith Waters, Jost focuses on the development of free jazz in Western Europe during the critical period of the late 1960s and 1970s.","PeriodicalId":39826,"journal":{"name":"Jazz Perspectives","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2017-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/17494060.2018.1443967","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44646177","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 : 2017-01-02DOI: 10.1080/17494060.2017.1339569
S. Sonderegger
ABSTRACT This paper examines the differences in the approaches that two improvisers, Graham Haynes and Kenny Wessel, take in interpreting Adam Rudolph’s unique improvisational system, and also analyzes two passages of music generated by Rudolph’s approach to what he calls “improvised conducting.” In order for the reader to understand the significance of these analyses, I provide some background on the specifics of Rudolph’s system. I also provide a brief history of conducted improvisation and a framework to understand the different kinds of conducted improvisation commands to give the reader with a basic understanding of the practice. While I place the mechanics of the music at the center of this paper, I also use interviews and ethnographic research to examine Rudolph’s particular development and lineage within a larger creative music history. Examining the solos of Rudolph’s longtime associates, through analysis as well as personal communication with the musicians, I arrive at insights that shed light on the increasingly complex (and international) web of influence available to the contemporary improviser.
{"title":"Navigating the Musical World of Adam Rudolph: Towards an Analysis of Individual and Group Interpretations in Conducted Improvisation Performance","authors":"S. Sonderegger","doi":"10.1080/17494060.2017.1339569","DOIUrl":"https://doi.org/10.1080/17494060.2017.1339569","url":null,"abstract":"ABSTRACT This paper examines the differences in the approaches that two improvisers, Graham Haynes and Kenny Wessel, take in interpreting Adam Rudolph’s unique improvisational system, and also analyzes two passages of music generated by Rudolph’s approach to what he calls “improvised conducting.” In order for the reader to understand the significance of these analyses, I provide some background on the specifics of Rudolph’s system. I also provide a brief history of conducted improvisation and a framework to understand the different kinds of conducted improvisation commands to give the reader with a basic understanding of the practice. While I place the mechanics of the music at the center of this paper, I also use interviews and ethnographic research to examine Rudolph’s particular development and lineage within a larger creative music history. Examining the solos of Rudolph’s longtime associates, through analysis as well as personal communication with the musicians, I arrive at insights that shed light on the increasingly complex (and international) web of influence available to the contemporary improviser.","PeriodicalId":39826,"journal":{"name":"Jazz Perspectives","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2017-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/17494060.2017.1339569","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47996830","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 : 2017-01-02DOI: 10.1080/17494060.2017.1340005
N. Meehan
ABSTRACT Originality (and the creativity that attends it) is central to jazz. If jazz musicians hope to keep the idiom creative and vital, then a primary way they can achieve this is through the cultivation and ongoing development, of individual voices and personal languages. Tenor saxophonist Wayne Shorter has developed an individual voice in part by reinterpreting his own music – and by extension the present language of jazz – in a number of ways. This essay examines Shorter’s quest for newness through his frequent reanimation of musical ideas that he had already played, musical ideas that were not new. The main focus of this essay is Shorter’s manipulation of melody, particularly recycling melodic ideas from the tunes themselves. By drawing on his compositional and improvisational craft, Shorter finds fresh ways to present those ideas. Such melody-centered strategies are in evidence in all of the music he has been involved in: composing; improvising on his own music and that of others; and arranging/rearranging his own music and that of others. Examples of these practices are provided from across his recorded career.
{"title":"Wayne Shorter: Work in Progress","authors":"N. Meehan","doi":"10.1080/17494060.2017.1340005","DOIUrl":"https://doi.org/10.1080/17494060.2017.1340005","url":null,"abstract":"ABSTRACT Originality (and the creativity that attends it) is central to jazz. If jazz musicians hope to keep the idiom creative and vital, then a primary way they can achieve this is through the cultivation and ongoing development, of individual voices and personal languages. Tenor saxophonist Wayne Shorter has developed an individual voice in part by reinterpreting his own music – and by extension the present language of jazz – in a number of ways. This essay examines Shorter’s quest for newness through his frequent reanimation of musical ideas that he had already played, musical ideas that were not new. The main focus of this essay is Shorter’s manipulation of melody, particularly recycling melodic ideas from the tunes themselves. By drawing on his compositional and improvisational craft, Shorter finds fresh ways to present those ideas. Such melody-centered strategies are in evidence in all of the music he has been involved in: composing; improvising on his own music and that of others; and arranging/rearranging his own music and that of others. Examples of these practices are provided from across his recorded career.","PeriodicalId":39826,"journal":{"name":"Jazz Perspectives","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2017-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/17494060.2017.1340005","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46545520","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 : 2017-01-02DOI: 10.1080/17494060.2017.1339571
Vic Hobson
ABSTRACT Recent research has shown that the counterpoint of New Orleans jazz derives from the application of the principles of barbershop harmonization to the instruments of a jazz ensemble. This essay argues that what have become known as “blue notes” are the result of tenor and baritone voice leading in a barbershop quartet. When these principles are applied to an improvised solo a blues inflected solo results. I explore how Louis Armstrong used barbershop principles in 12-bar-blues recordings of the 1920s in relation to dominant harmony, and that by the application of these principles, Armstrong introduced altered intervals (ninths and fifths) to his solos.
{"title":"“I Figure Singing and Playing Is the Same”: Louis Armstrong and Barbershop Harmony","authors":"Vic Hobson","doi":"10.1080/17494060.2017.1339571","DOIUrl":"https://doi.org/10.1080/17494060.2017.1339571","url":null,"abstract":"ABSTRACT Recent research has shown that the counterpoint of New Orleans jazz derives from the application of the principles of barbershop harmonization to the instruments of a jazz ensemble. This essay argues that what have become known as “blue notes” are the result of tenor and baritone voice leading in a barbershop quartet. When these principles are applied to an improvised solo a blues inflected solo results. I explore how Louis Armstrong used barbershop principles in 12-bar-blues recordings of the 1920s in relation to dominant harmony, and that by the application of these principles, Armstrong introduced altered intervals (ninths and fifths) to his solos.","PeriodicalId":39826,"journal":{"name":"Jazz Perspectives","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2017-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/17494060.2017.1339571","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44524135","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 : 2017-01-02DOI: 10.1080/17494060.2017.1339570
Frédéric Döhl
ABSTRACT Four noteworthy characteristics shape André Previn’s career: (1) versatility in both classical music, film music, jazz, and popular music, (2) longevity with 70 years as a professional musician, (3) all the outward signs of success combined with an erratic critical reception – and (4) a lasting interest in adaptation in all his fields of activity. Following this, the present article focuses on his continuing interest and versatility in adaptation. My emphasis lies on reception and creativity in adaptation on the part of the adapter as a tool to analyze specifics of musical genres – in this case jazz – by comparing differences in the adapter’s approaches towards adaptation in his respective fields. The core part of this article is a case study of the album Modern Jazz Performances of Songs from My Fair Lady, released in 1956 by André Previn with Leroy Vinnegar and Shelly Manne.
{"title":"The “Book Musical Genre” in Jazz Around 1960: On Modern Jazz Performances of Songs from My Fair Lady (Shelly Manne, André Previn, Leroy Vinnegar)","authors":"Frédéric Döhl","doi":"10.1080/17494060.2017.1339570","DOIUrl":"https://doi.org/10.1080/17494060.2017.1339570","url":null,"abstract":"ABSTRACT Four noteworthy characteristics shape André Previn’s career: (1) versatility in both classical music, film music, jazz, and popular music, (2) longevity with 70 years as a professional musician, (3) all the outward signs of success combined with an erratic critical reception – and (4) a lasting interest in adaptation in all his fields of activity. Following this, the present article focuses on his continuing interest and versatility in adaptation. My emphasis lies on reception and creativity in adaptation on the part of the adapter as a tool to analyze specifics of musical genres – in this case jazz – by comparing differences in the adapter’s approaches towards adaptation in his respective fields. The core part of this article is a case study of the album Modern Jazz Performances of Songs from My Fair Lady, released in 1956 by André Previn with Leroy Vinnegar and Shelly Manne.","PeriodicalId":39826,"journal":{"name":"Jazz Perspectives","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2017-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/17494060.2017.1339570","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47113085","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 : 2017-01-02DOI: 10.1080/17494060.2017.1345143
L. Barg
{"title":"Billy Strayhorn: Out of the Shadows","authors":"L. Barg","doi":"10.1080/17494060.2017.1345143","DOIUrl":"https://doi.org/10.1080/17494060.2017.1345143","url":null,"abstract":"","PeriodicalId":39826,"journal":{"name":"Jazz Perspectives","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2017-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/17494060.2017.1345143","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49417373","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 : 2017-01-02DOI: 10.1080/17494060.2017.1345147
Ken Prouty
Surveying the pages of past issues of Jazz Perspectives provides a very instructive portrait of the nature of jazz studies. In this first issue of our 10th volume, we present four original articles which speak to the broad and diverse stylistic identities of jazz, and to the vastly different approaches that are employed in its study. Since its inception a decade ago, Jazz Perspectives has consistently attempted to reflect a fundamentally interdisciplinary approach to the study of jazz. This is natural, of course, given the variety of approaches to jazz itself during its now century-long history. Whether through musical analysis, biographical study, cultural criticism, or the employment of allied fields in the humanities and social sciences, there is hardly an aspect of jazz that has gone unexamined in this journal. And yet, jazz scholars continue to find new perspectives, and to find fresh ways of engaging with this music. As jazz moves into its second “official” century, jazz scholarship moves with it. Jazz Perspectives is, as always, proud to be part of this endeavor. To begin this issue, Sean Sonderegger contributes an article which focuses on the work of composer and percussionist Adam Rudolph. Sonderegger focuses on Rudolph’s Go: Organic Orchestra, and in particular, on Rudolph’s “conducted improvisation,” a performative space in which composition, improvisation, and conducting overlap. As both a scholar and a collaborator with Rudolph, Sonderegger is uniquely positioned to provide us with a thorough, penetrating, and personal perspective. Following this, Norman Meehan’s analytical study of Wayne Shorter’s creative process juxtaposes his “quest for newness” against his use of existing ideas from across the saxophonist’s career. Meehan’s study illustrates that Shorter has been, and remains, a master craftsman who is particularly adept at finding new ways to re-interpret musical ideas, making them sound fresh and original, and contributing heavily to Shorter’s simultaneous grounding in the jazz tradition and his continuing sense of originality. Frederic Döhl then presents us with an overview of the work of Andre Previn, examining a particularly fascinating moment in his career, and in the history of jazz. Döhl sets his sights on Previn’s recordings (along with bassist Leroy Vinnegar and drummer Shelley Manne) on jazz adaptions of Broadway “book musicals,”musical theater works in which songs are integrated more deeply into the narrative of the play. Through this study, Döhl both documents a unique moment in the history of recorded jazz, as well as providing a framework for examining the intersections of song, stage, and narrative. Finally, Vic Hobson’s study of Louis Armstrong is derived from his extensive and pioneering work on the early practices of New Orleans jazz. Hobson’s book Creating Jazz Counterpoint suggests that barbershop harmony played a particularly important role in the formative days of the music. The present article focuses thi
{"title":"Letter from the Editor","authors":"Ken Prouty","doi":"10.1080/17494060.2017.1345147","DOIUrl":"https://doi.org/10.1080/17494060.2017.1345147","url":null,"abstract":"Surveying the pages of past issues of Jazz Perspectives provides a very instructive portrait of the nature of jazz studies. In this first issue of our 10th volume, we present four original articles which speak to the broad and diverse stylistic identities of jazz, and to the vastly different approaches that are employed in its study. Since its inception a decade ago, Jazz Perspectives has consistently attempted to reflect a fundamentally interdisciplinary approach to the study of jazz. This is natural, of course, given the variety of approaches to jazz itself during its now century-long history. Whether through musical analysis, biographical study, cultural criticism, or the employment of allied fields in the humanities and social sciences, there is hardly an aspect of jazz that has gone unexamined in this journal. And yet, jazz scholars continue to find new perspectives, and to find fresh ways of engaging with this music. As jazz moves into its second “official” century, jazz scholarship moves with it. Jazz Perspectives is, as always, proud to be part of this endeavor. To begin this issue, Sean Sonderegger contributes an article which focuses on the work of composer and percussionist Adam Rudolph. Sonderegger focuses on Rudolph’s Go: Organic Orchestra, and in particular, on Rudolph’s “conducted improvisation,” a performative space in which composition, improvisation, and conducting overlap. As both a scholar and a collaborator with Rudolph, Sonderegger is uniquely positioned to provide us with a thorough, penetrating, and personal perspective. Following this, Norman Meehan’s analytical study of Wayne Shorter’s creative process juxtaposes his “quest for newness” against his use of existing ideas from across the saxophonist’s career. Meehan’s study illustrates that Shorter has been, and remains, a master craftsman who is particularly adept at finding new ways to re-interpret musical ideas, making them sound fresh and original, and contributing heavily to Shorter’s simultaneous grounding in the jazz tradition and his continuing sense of originality. Frederic Döhl then presents us with an overview of the work of Andre Previn, examining a particularly fascinating moment in his career, and in the history of jazz. Döhl sets his sights on Previn’s recordings (along with bassist Leroy Vinnegar and drummer Shelley Manne) on jazz adaptions of Broadway “book musicals,”musical theater works in which songs are integrated more deeply into the narrative of the play. Through this study, Döhl both documents a unique moment in the history of recorded jazz, as well as providing a framework for examining the intersections of song, stage, and narrative. Finally, Vic Hobson’s study of Louis Armstrong is derived from his extensive and pioneering work on the early practices of New Orleans jazz. Hobson’s book Creating Jazz Counterpoint suggests that barbershop harmony played a particularly important role in the formative days of the music. The present article focuses thi","PeriodicalId":39826,"journal":{"name":"Jazz Perspectives","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2017-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/17494060.2017.1345147","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49475800","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 : 2015-09-02DOI: 10.1080/17494060.2015.1258766
B. Shiovitz
Two men dressed in blue coveralls, their faces semi-obscured by the big hairdos, beards, and large-frame glasses typical of 1983 fashion, syncopate each other’s footsteps with successive accents th...
{"title":"Jazz Tap Originals: A Collection of Live Performances (1979–2012)","authors":"B. Shiovitz","doi":"10.1080/17494060.2015.1258766","DOIUrl":"https://doi.org/10.1080/17494060.2015.1258766","url":null,"abstract":"Two men dressed in blue coveralls, their faces semi-obscured by the big hairdos, beards, and large-frame glasses typical of 1983 fashion, syncopate each other’s footsteps with successive accents th...","PeriodicalId":39826,"journal":{"name":"Jazz Perspectives","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2015-09-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/17494060.2015.1258766","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"60104457","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}
京公网安备 11010802042870号
京ICP备2023020795号-1
扫码关注我们
求助内容：
应助结果提醒方式：