Pub Date : 2015-05-04DOI: 10.1080/17494060.2016.1202895
M. Fesz
The civic jazz american music and kenneth burke on the art of getting along that we provide for you will be ultimate to give preference. This reading book is your chosen book to accompany you when in your free time, in your lonely. This kind of book can help you to heal the lonely and get or add the inspirations to be more inoperative. Yeah, book as the widow of the world can be very inspiring manners. As here, this book is also created by an inspiring author that can make influences of you to do more.
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Pub Date : 2015-05-04DOI: 10.1080/17494060.2016.1196495
J. Meyers
Abstract This paper examines Miles Davis's studio and live repertoire during the time period from 1963 until 1970, particularly his performances of the ballad “I Fall in Love Too Easily,” which was a remarkably persistent presence in his sets, despite the myriad of other changes that took place in this time. Indeed, listening to multiple versions of “I Fall in Love Too Easily” certainly reveals clear differences in musical parameters such as form, tempo, rhythm, timbre, and orchestration. Examining Davis's performances of “I Fall in Love Too Easily” enables us to focus in on what, according to both jazz critics and jazz historians, is a crucial turning point, not only for Davis's career, but for the genre as a whole. Through detailed examination of various performances of “I Fall in Love Too Easily,” we can also concentrate closely on how exactly Davis's music was changing during this period, even if one song remained a part of his repertoire. In my analysis, I show that “I Fall In Love Too Easily,” more so than any other standard, served as a durable vehicle for Davis's musical goals throughout the mid-1960s. By 1970, however, these goals seem to have shifted as Davis moved, step by step, away from a model of jazz performance based on improvisation on a familiar, pre-existing tune or structure. Hence, “I Fall In Love Too Easily,” and all other jazz standards were dropped from the band's book as Davis pursued other means of communicating with his audience.
本文考察了迈尔斯·戴维斯(Miles Davis)在1963年至1970年期间的录音室和现场曲目，特别是他对民谣《我太容易坠入爱河》(I Fall in Love Too easy)的表演，尽管在这段时间里发生了无数其他变化，但这首歌在他的曲目中一直存在。的确，听了多个版本的《我太容易坠入爱河》，就会发现在曲式、节奏、节奏、音色和编曲等音乐参数上存在明显的差异。研究戴维斯对《我太容易坠入爱河》的表演，我们可以把注意力集中在爵士乐评论家和爵士乐历史学家认为的一个关键转折点上，不仅是戴维斯的职业生涯，也是整个爵士乐流派的转折点。通过对“我太容易坠入爱河”的各种演出的详细检查，我们也可以密切关注戴维斯的音乐在这一时期是如何变化的，即使有一首歌仍然是他的曲目的一部分。在我的分析中，我认为《我太容易坠入爱河》比其他任何一首歌曲都更能持久地实现戴维斯在整个60年代中期的音乐目标。然而，到了1970年，这些目标似乎发生了变化，因为戴维斯一步一步地离开了爵士表演的模式，这种模式是基于熟悉的、预先存在的曲调或结构的即兴创作。因此，“我太容易坠入爱河”和所有其他爵士乐标准都从乐队的书中删除，因为戴维斯追求其他与听众交流的方式。
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Pub Date : 2015-05-04DOI: 10.1080/17494060.2015.1204045
Ken Prouty
Recently I was asked to conduct a series of classes on jazz history for a group of middle and high school students for a week long “jazz camp” at Michigan State University. As one who is more accustomed to teaching advanced undergraduates and graduate students, I must confess to a bit of trepidation, not knowing how this group of young people would react to a musicologist. I quickly found that my fears were misplaced, as it was a joy to work with a group of young men and women who were respectful, attentive, and deeply committed to jazz. But what I was most impressed with was the enthusiasm that these students had not just for playing, but for talking about the complex issues that surround jazz today; they were not at all shy about stating their opinions on topics as wide ranging as Wynton Marsalis, Kenny G, and Lady Gaga. Scholarly curiously is not, it seems, limited to those of us with letters after our names, or who write about the music for a living. A recent trip to the Jazz Utopia conference hosted by Birmingham City University demonstrates well that jazz scholarship, too, is thriving, and that our work is limited only by our imagination. I can only hope that some of the teenagers in my group will someday be presenting at conferences such as that, and writing in journals such as this. It is my hope that the current issue of Jazz Perspectives will do justice to this idea. The first article in this issue is contributed by John Meyers of the University of Illinois, Urbana-Champaign. Meyers engages in what I might would term a “micro history” of Miles Davis’s repertoire in the late 1960s and early 1970s, focusing on the Jule Styne and Sammy Cahn standard “I Fall in Love Too Easily,” the “last standard” in Davis’s repertoire, outlasting even such stalwarts as “My Funny Valentine.” Meyers deftly traces the various versions of the song from the “Second Classic Quartet” through the Bitches Brew period, and in so doing, he demonstrates how Davis’s performances of the song during this critical transitional time illuminate important elements of the trumpeter’s changing approach and philosophy, as well as significant fault lines between jazz and popular music. Next, Alexander Gagatsis, currently a doctoral student at the University of Nottingham, offers an extensive study of the work of legendary vibraphonist Milt Jackson. Combining probing musical analysis, rich contextual accounts, and drawing on both deep scholarship and his own experience as a performing jazz vibraphonist, Gagatsis attempts to shed light on Jackson’s improvisational approach, which draws on influences ranging from his community to motor-mechanical processes unique to the instrument. By focusing on Jackson’s work outside the context of the Modern Jazz Quartet, Gagatsis opens a new front in Jazz Perspectives, 2015 Vol. 9, No. 2, 111–112, http://dx.doi.org/10.1080/17494060.2015.1204045
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Pub Date : 2015-05-04DOI: 10.1080/17494060.2016.1196494
Alex W. Rodriguez
Abstract This essay considers the pedagogical legacies of ethnomusicologist Mantle Hood and jazz saxophonist Ornette Coleman, both of whom began their careers studying musical improvisation in Los Angeles in the 1950s. Drawing from a contemporary pedagogical case study that draws from those legacies, The Omni-Musicality Group at UCLA, the article posits four ethical standards that can guide music teachers in jazz studies and ethnomusicology alike towards cultivating ethical dispositions that are relevant to twenty first-century challenges. This is framed in terms of Aristotelian virtue ethics, which leads to a discussion of the relevance of musical universals not as ontological or aesthetic questions, but as ethical ones.84
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Pub Date : 2015-05-04DOI: 10.1080/17494060.2016.1202910
Jeremy C. A. Smith
{"title":"Free Jazz/Black Power","authors":"Jeremy C. A. Smith","doi":"10.1080/17494060.2016.1202910","DOIUrl":"https://doi.org/10.1080/17494060.2016.1202910","url":null,"abstract":"","PeriodicalId":39826,"journal":{"name":"Jazz Perspectives","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2015-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/17494060.2016.1202910","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"60104634","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 : 2015-01-02DOI: 10.1080/17494060.2015.1132550
M. Medwin
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Pub Date : 2015-01-02DOI: 10.1080/17494060.2015.1134863
Ken Prouty
Over the past few years, jazz has been a topic of some debate in the mainstream press, perhaps more so than usual. The release of the film Whiplash, focusing on a drummer in a collegiate jazz band led by a domineering conductor (a role for which veteran character actor J.K. Simmons won an Academy Award) generated a good deal of controversy. Within jazz circles, many felt the film presented a caricature of jazz, as an art form in which correctness and precision are privileged over artistry and communication. Similarly, a (perhaps unsuccessful) satirical article in the New Yorker presented legendary saxophonist Sonny Rollins as a bitter, jaded figure, whose life had been “wasted” on playing jazz. Justin Moyer, writing in a decidedly non-satirical opinion piece in the Washington Post, suggested that jazz was “boring... overrated... [and] washed up.” Reactions to these slights against the music were immediate and vociferous, as jazz’s defenders vigorously resisted these characterizations of jazz in Facebook posts, Twitter feeds, and extended essays of their own. Fierce debates over jazz are, of course, nothing new, as even a brief scan of the pages of Downbeat, JazzTimes, and other publications (including academic journals such as the one you are reading at this very moment) will reveal. But in the age of the immediacy of social media, and around the clock opinion journalism, we sometimes lose sight of the importance of the public role of deep, probing, informed scholarship, and I suggest that it is good to reflect, in this spirit, on the work that we all do. We at Jazz Perspectives hope that the “image” of jazz which is presented to the public is one in which the music continues to be understood as a vital, dynamic, and everevolving art form, and which sparks lively, spirited, but collegial debate amongst its practitioners, be they performers, scholars, or fans. This issue of Jazz Perspectives is divided into two main thematic sections, each with a pair of distinctive, yet resonant works. In the first section, Sven Bjerstedt and Ofer Gazit engage with issues emerging from transnational jazz communities. Bjerstedt’s study examines the oft-used metaphor of storytelling in jazz improvisation, contrasting ways in which this commonly espoused idea is treated within prevailing (i.e., American) jazz discourses, with those of artists in a particular national context, in this case Sweden. Based on an extensive ethnographic survey of prominent jazz musicians on the contemporary Swedish jazz scene, Bjerstedt’s essay provides a window into the ways in which jazz musicians in global contexts engage with (and frequently depart from) the sometimes America-centric literature on jazz. His informants must constantly negotiate their own unique identities within these national and, increasingly, transnational spaces. Ofer Gazit’s essay on jazz in immigrant communities in Brooklyn likewise addresses issues of transnationality. Specifically, Gazit examines, again, as par
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Pub Date : 2015-01-02DOI: 10.1080/17494060.2015.1134864
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Pub Date : 2015-01-02DOI: 10.1080/17494060.2015.1132517
Benjamin Bierman
Abstract In this article I examine the career of Pharoah Sanders through two streams. I first trace the path of Sanders's career through recordings and performances in a variety of settings with various musical approaches. Specifically, I examine his evolution from John Coltrane's Meditations (1965), through Karma (1969) and Sanders's hit, “The Creator Has a Master Plan,” Thembi (1971), Love Will Find a Way (1977), and eventually to Live (1981). I posit that Live represents Sanders's mature style that successfully combines avant-garde techniques and a more mainstream approach. I then examine Sanders's reception through the critical literature to more fully contextualize his career. Several things become evident in this regard. First, this period (the early 1980s) is frequently overlooked in the literature on Sanders, and when it is discussed it is frequently misunderstood in terms of its relationship to his career as a whole. Along with this, critical reception tends to focus on Sanders's work of the 1960s. Second, I posit that Sanders has had a complicated and limited reception because he does not fit neatly into established categories such as straight-ahead, mainstream, and avant-garde or free jazz. Further, I posit that perpetuating these artificial boundaries is detrimental to the music and to musicians such as Sanders who do not fit into one neat category, as well as to the larger world of the arts, scholarship, and well beyond.
本文从两个方面考察了法老桑德斯的职业生涯。我首先通过在各种环境中使用各种音乐方法的录音和表演来追溯桑德斯的职业生涯之路。具体来说，我考察了他从约翰·科尔特兰(John Coltrane)的《冥想》(1965)到《Karma》(1969)和桑德斯的热门作品《创造者有一个总体规划》(The Creator Has a Master Plan)、《泰姆比》(1971)、《爱自有出路》(1977)，以及最终的《活着》(1981)的演变。我认为Live代表了Sanders的成熟风格，它成功地结合了前卫的技巧和更主流的方法。然后，我通过批评文献来研究桑德斯的接受情况，以更全面地了解他的职业生涯。在这方面，有几件事是显而易见的。首先，这段时期(20世纪80年代初)在关于桑德斯的文献中经常被忽视，当讨论这段时期时，它与桑德斯整个职业生涯的关系也经常被误解。与此同时，评论界倾向于关注桑德斯20世纪60年代的作品。其次，我认为桑德斯受到了复杂而有限的欢迎，因为他并不完全符合既定的类别，比如直截了当、主流、前卫或自由爵士。此外，我认为延续这些人为的界限对音乐和像桑德斯这样的音乐家来说是有害的，他们不属于一个整洁的类别，也不利于更大的艺术、学术和更远的世界。
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