This article is a reflection on my jazz photography practice and how it has changed with my involvement in academic research after becoming actively involved in the Jazz Studies cluster at the Birmingham Centre for Media and Cultural Research (BCMCR), Birmingham City University and starting a close collaboration with jazz scholar Dr Pedro Cravinho. My practice evolved from photographing musicians playing at gigs to visualising the jazz scene and musicians from a different perspective which includes aspects of their off-stage lives. Through our discussions and common interests in the local jazz scene(s), Cravinho and I began developing a research process in which photography is the visual driver but is underpinned by Pedro’s rigorous academic input. Our collaboration is built on my documentary photography practice and Pedro’s ethnomusicological research background.
{"title":"The changing face of my jazz photographic practice","authors":"Brian Homer","doi":"10.1558/jazz.27310","DOIUrl":"https://doi.org/10.1558/jazz.27310","url":null,"abstract":"This article is a reflection on my jazz photography practice and how it has changed with my involvement in academic research after becoming actively involved in the Jazz Studies cluster at the Birmingham Centre for Media and Cultural Research (BCMCR), Birmingham City University and starting a close collaboration with jazz scholar Dr Pedro Cravinho. My practice evolved from photographing musicians playing at gigs to visualising the jazz scene and musicians from a different perspective which includes aspects of their off-stage lives. Through our discussions and common interests in the local jazz scene(s), Cravinho and I began developing a research process in which photography is the visual driver but is underpinned by Pedro’s rigorous academic input. Our collaboration is built on my documentary photography practice and Pedro’s ethnomusicological research background.","PeriodicalId":40438,"journal":{"name":"Jazz Research Journal","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2024-03-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140257740","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}
{"title":"Challenging subjects; inclusivity and diversity","authors":"Judit Csobod","doi":"10.1558/jazz.27425","DOIUrl":"https://doi.org/10.1558/jazz.27425","url":null,"abstract":"<jats:p>.</jats:p>","PeriodicalId":40438,"journal":{"name":"Jazz Research Journal","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2024-03-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140257519","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}
William Sites, Sun Ra’s Chicago: Afrofuturism and the City. Chicago: University of Chicago Press, 2020. 313 pp. ISBN 9780226732107 (pbk). $30.00.
William Sites，《Sun Ra 的芝加哥》：非洲未来主义与城市。芝加哥：芝加哥大学出版社，2020 年。313 pp.ISBN 9780226732107 (pbk).$30.00.
{"title":"William Sites, Sun Ra’s Chicago: Afrofuturism and the City","authors":"Erik R Steinskog","doi":"10.1558/jazz.27048","DOIUrl":"https://doi.org/10.1558/jazz.27048","url":null,"abstract":"William Sites, Sun Ra’s Chicago: Afrofuturism and the City. Chicago: University of Chicago Press, 2020. 313 pp. ISBN 9780226732107 (pbk). $30.00.","PeriodicalId":40438,"journal":{"name":"Jazz Research Journal","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2024-03-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140257778","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}
During the last two decades, the little jazz research that has been conducted in Spain has focused on examining both flamenco jazz, as the most important contribution of Spanish culture to jazz, and sociocultural meanings of jazz development, mainly from a political and historical perspective. This period has also coincided with a significant development in jazz studies outside of the United States, and a key juncture for gender and feminist studies in Spain that concurred with the emergence of fourth-wave feminism. Spanish gender research in music has traditionally focused on written music, paying scant attention to jazz, although popular music is slowly becoming a significant focus of research. Far from seeing this as a drawback, we propose that the underdevelopment of knowledge production is an opportunity for a feminist-inspired overview, and a re-reading of jazz cultures and jazz research in Spain as we ‘listen’ for the relationships between gender and jazz as interdisciplinary fields of research. The article concludes that Spain presents fertile ground for a comprehensive exploration of its own jazz culture as research here strives to find its own voice.
{"title":"Gender and jazz research in Spain","authors":"Rebeca Munoz-Garcia, Constanza Tobio-Soler","doi":"10.1558/jazz.26638","DOIUrl":"https://doi.org/10.1558/jazz.26638","url":null,"abstract":"During the last two decades, the little jazz research that has been conducted in Spain has focused on examining both flamenco jazz, as the most important contribution of Spanish culture to jazz, and sociocultural meanings of jazz development, mainly from a political and historical perspective. This period has also coincided with a significant development in jazz studies outside of the United States, and a key juncture for gender and feminist studies in Spain that concurred with the emergence of fourth-wave feminism. Spanish gender research in music has traditionally focused on written music, paying scant attention to jazz, although popular music is slowly becoming a significant focus of research. Far from seeing this as a drawback, we propose that the underdevelopment of knowledge production is an opportunity for a feminist-inspired overview, and a re-reading of jazz cultures and jazz research in Spain as we ‘listen’ for the relationships between gender and jazz as interdisciplinary fields of research. The article concludes that Spain presents fertile ground for a comprehensive exploration of its own jazz culture as research here strives to find its own voice. ","PeriodicalId":40438,"journal":{"name":"Jazz Research Journal","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2024-03-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140257397","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}
Jen Wilson, Freedom Music: Wales, Emancipation and Jazz 1850–1950. Cardiff: University of Wales Press, 2019. 336 pp. ISBN 9781786834072 (pbk). £24.99.
Jen Wilson，《自由音乐》：威尔士、解放和爵士乐 1850-1950》。加的夫：威尔士大学出版社，2019 年。336 pp.ISBN 9781786834072 (pbk).£24.99.
{"title":"Jen Wilson, Freedom Music: Wales, Emancipation and Jazz 1850–1950","authors":"Amber Clifford-Napoleone","doi":"10.1558/jazz.27045","DOIUrl":"https://doi.org/10.1558/jazz.27045","url":null,"abstract":"Jen Wilson, Freedom Music: Wales, Emancipation and Jazz 1850–1950. Cardiff: University of Wales Press, 2019. 336 pp. ISBN 9781786834072 (pbk). £24.99.","PeriodicalId":40438,"journal":{"name":"Jazz Research Journal","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2024-03-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140257862","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 global commodification of jazz (and indeed culture more generally) has contributed to significant and enduring environmental consequences. The various physical formats through which it has been disseminated have each employed by-products of the petrochemical industry in their production and distribution, and the environmental cost of digital streaming platforms has more recently been observed as contributing further to the carbon footprints of music producers and consumers. International and regional travel by touring artists and festival audiences has similarly been recognized as having negative environmental impacts through associated air, sea, and land transport emissions and through increased burden on host-location infrastructures. The environmental implications of culture have come increasingly under scrutiny as society becomes conscious of individual and collective contributions to, and imperative mitigations against, critical anthropogenic climate change. This article seeks to explore the machineries of jazz dissemination, foregrounding the festival as a place of coming together in celebration of music and community, and considers how the road ahead may look as we attempt to green our engagement with culture while safeguarding its intrinsic values and modes of experience. It questions, therefore, whether the art form that spearheaded the ways in which we currently interact with live and recorded music can similarly lead us in addressing urgent and necessary paradigm shifts in the means and methods of cultural production and consumption.
{"title":"Green in blue","authors":"Haftor Medbøe","doi":"10.1558/jazz.27376","DOIUrl":"https://doi.org/10.1558/jazz.27376","url":null,"abstract":"The global commodification of jazz (and indeed culture more generally) has contributed to significant and enduring environmental consequences. The various physical formats through which it has been disseminated have each employed by-products of the petrochemical industry in their production and distribution, and the environmental cost of digital streaming platforms has more recently been observed as contributing further to the carbon footprints of music producers and consumers. International and regional travel by touring artists and festival audiences has similarly been recognized as having negative environmental impacts through associated air, sea, and land transport emissions and through increased burden on host-location infrastructures. The environmental implications of culture have come increasingly under scrutiny as society becomes conscious of individual and collective contributions to, and imperative mitigations against, critical anthropogenic climate change. This article seeks to explore the machineries of jazz dissemination, foregrounding the festival as a place of coming together in celebration of music and community, and considers how the road ahead may look as we attempt to green our engagement with culture while safeguarding its intrinsic values and modes of experience. It questions, therefore, whether the art form that spearheaded the ways in which we currently interact with live and recorded music can similarly lead us in addressing urgent and necessary paradigm shifts in the means and methods of cultural production and consumption. ","PeriodicalId":40438,"journal":{"name":"Jazz Research Journal","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2024-03-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140256947","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 the summer of 2023, a dancer, a saxophone player, and a bass player got into a room and recorded ‘Rega’—an improvised conversation on the concept of time. Now, several months after its publication, this article aims to reflect on the process of the planning, creation, and final publication of ‘Rega’ utilizing the perspective of care. Care, this article argues, is both a necessary ethical praxis, and one that creates unique improvisational conversations within the improvised moment. Bringing together in-depth descriptive accounts of the performance itself together with contemporary literature on improvisation, this article is intended as an invitation for others to consider care within their own improvisational endeavours, from initial planning to final execution.
{"title":"Creating the improvised moment","authors":"Yotam Ronen","doi":"10.1558/jazz.27169","DOIUrl":"https://doi.org/10.1558/jazz.27169","url":null,"abstract":"In the summer of 2023, a dancer, a saxophone player, and a bass player got into a room and recorded ‘Rega’—an improvised conversation on the concept of time. Now, several months after its publication, this article aims to reflect on the process of the planning, creation, and final publication of ‘Rega’ utilizing the perspective of care. Care, this article argues, is both a necessary ethical praxis, and one that creates unique improvisational conversations within the improvised moment. Bringing together in-depth descriptive accounts of the performance itself together with contemporary literature on improvisation, this article is intended as an invitation for others to consider care within their own improvisational endeavours, from initial planning to final execution.","PeriodicalId":40438,"journal":{"name":"Jazz Research Journal","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2024-03-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140256903","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 this article I offer eight short meditations (or perhaps provocations) on the theme of musical signification. They each cover a different theme—composition, rehearsal, sung and spoken words, writing about music, improvisation, cultural politics, technology, and listening to music—with the aim of evoking a rich and multidimensional sense of musical meaning. Their form and style are influenced by my reading of the diffractive philosophy of Karen Barad and are meant to invite a creative reading of the eight sections through one another.
{"title":"Eight meditations on musical signification","authors":"Lee Griffiths","doi":"10.1558/jazz.25947","DOIUrl":"https://doi.org/10.1558/jazz.25947","url":null,"abstract":"In this article I offer eight short meditations (or perhaps provocations) on the theme of musical signification. They each cover a different theme—composition, rehearsal, sung and spoken words, writing about music, improvisation, cultural politics, technology, and listening to music—with the aim of evoking a rich and multidimensional sense of musical meaning. Their form and style are influenced by my reading of the diffractive philosophy of Karen Barad and are meant to invite a creative reading of the eight sections through one another.","PeriodicalId":40438,"journal":{"name":"Jazz Research Journal","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-06-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67538797","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}
Stanley Crouch, Kansas City Lightning: The Rise and Times of Charlie Parker. New York: HarperCollins, 2013. 384 pp. ISBN 978-0-06-200559-5 (hbk). $37.86.
{"title":"Stanley Crouch, Kansas City Lightning: The Rise and Times of Charlie Parker","authors":"Andrew Scott","doi":"10.1558/jazz.26119","DOIUrl":"https://doi.org/10.1558/jazz.26119","url":null,"abstract":"Stanley Crouch, Kansas City Lightning: The Rise and Times of Charlie Parker. New York: HarperCollins, 2013. 384 pp. ISBN 978-0-06-200559-5 (hbk). $37.86.","PeriodicalId":40438,"journal":{"name":"Jazz Research Journal","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-06-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47086752","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 state-sponsored jazz diplomacy tours of the 1950s and 1960s have generally been well-documented, but Benny Goodman’s 1956 tour of Southeast Asia remains relatively under-researched. Considering the United States’ heavy military and surveillance interests in the region at the time, Goodman’s tour merits further consideration as a key element of diplomacy during the early stages of the conflict in Vietnam. In particular, Goodman’s tour, while effective, highlights American racial hypocrisy at the beginning of the Civil Rights movement in the mid-1950s. Despite this, Goodman’s efforts contributed significantly to US-Thai relations, which ultimately became one of the most important alliances of the Vietnam War.
{"title":"Racial and historical considerations of Benny Goodman’s 1956 state-sponsored tour of Southeast Asia","authors":"Denin Slage-Koch","doi":"10.1558/jazz.21511","DOIUrl":"https://doi.org/10.1558/jazz.21511","url":null,"abstract":"The state-sponsored jazz diplomacy tours of the 1950s and 1960s have generally been well-documented, but Benny Goodman’s 1956 tour of Southeast Asia remains relatively under-researched. Considering the United States’ heavy military and surveillance interests in the region at the time, Goodman’s tour merits further consideration as a key element of diplomacy during the early stages of the conflict in Vietnam. In particular, Goodman’s tour, while effective, highlights American racial hypocrisy at the beginning of the Civil Rights movement in the mid-1950s. Despite this, Goodman’s efforts contributed significantly to US-Thai relations, which ultimately became one of the most important alliances of the Vietnam War.","PeriodicalId":40438,"journal":{"name":"Jazz Research Journal","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-06-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42815282","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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