{"title":"Bruce Epperson, More Important than the Music: A History of Jazz Discography . Chicago: University of Chicago Press, 2013. xvi + 284 pp. ISBN 978-0-226- 06753-7 (hbk). $45.00","authors":"Maristella Feustle","doi":"10.1558/JAZZ.V9I1.25529","DOIUrl":"https://doi.org/10.1558/JAZZ.V9I1.25529","url":null,"abstract":"","PeriodicalId":40438,"journal":{"name":"Jazz Research Journal","volume":"9 1","pages":"82-87"},"PeriodicalIF":0.0,"publicationDate":"2015-04-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67543242","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}
Icons Among Us: Jazz in the Present Tense. Michael Rivoira, Lars Larson and Peter J. Vogt, directors. John W. Comerford and Theo N. Ianuly, producers. Lars Larson, director of photography. Paradigm Studio. 2009. DVD B002RNO1BW.The documentary Icons Among Us: Jazz in the Present Tense makes a case for jazz as a living culture and growing art form in North America and Europe. Jazz artists, including Nicholas Payton, Terence Blanchard, Ravi Coltrane, Bill Frisell, Donald Harrison, Wynton Marsalis and Esperanza Spalding, provide the film's primary voices; these musicians, along with others, address how they reconcile the demands of tradition with the realities of changing audiences and markets. This is no small task because, as the documentary demonstrates, jazz is comprised of a fractured and contested set of overlapping and often conflicting values and practices. Because of this approach, Icons provides an alternative narrative to Ken Burns's Jazz (2000), which has drawn criticism for portraying jazz as a uniform expression of American democratic ideals rather than a multiplicity of stories struggling to be told.1This 93-minute documentary is presented in a traditional style with talking heads interspersed with performances and other B-roll material. This format allows the viewer to connect the featured musicians' personalities to their live performances while not getting mired in extended concert footage or thirdparty pontifications. We see the jazz musician as a working artist, struggling with their craft while negotiating shifting economic and social worlds. We are also taken into the contemporary contexts of jazz, from grimy college bars, to concert halls; from outdoor festivals to street corners and intimate clubs. Few viewers will miss the stark contrast of saxophonist Skerik's (Eric Walton) punk-laced mosh-inducing performance in a cramped and sweaty bar with clarinetist Anat Cohen's delicately crafted interpretations of American songbook standards for reserved Manhattan listeners.The central theme of the documentary emerges from a survey of musicians' attitudes towards the idea of change, a long-contested concept in jazz. The viewer quickly realizes that while the various musicians interviewed in Icons draw from a common tradition of music-making, they interpret that tradition in widely varied ways. The documentary opens with trumpeter Nicholas Payton's enigmatic statement, 'The truth never remains the same and to me a lie is anything that has nothing to do with now'. While setting a revisionist tone, this statement does little to clarify what the boundaries of change are or should be in jazz. For guitarist Bill Frisell, the boundaries of change are theoretically limitless:I just don't like it when the name of something has the effect of exclud - ing. If you say it's one thing then it can't be something else. That doesn't work for me because the words are always smaller than whatever it is you're trying to describe. For me jazz is infinite.
《我们中的偶像:现在时的爵士乐》。导演迈克尔·里沃拉，拉尔斯·拉尔森和彼得·j·沃格特。John W. Comerford和Theo N. Ianuly，制片人。Lars Larson，摄影总监。范式工作室，2009。DVD B002RNO1BW。纪录片《我们中间的偶像:现在时的爵士乐》证明了爵士乐在北美和欧洲是一种活生生的文化和不断发展的艺术形式。包括尼古拉斯·佩顿、特伦斯·布兰查德、拉维·科尔特兰、比尔·弗里塞尔、唐纳德·哈里森、温顿·马萨利斯和埃斯佩朗莎·斯伯丁在内的爵士艺术家为这部电影提供了主要声音;这些音乐家，连同其他人，解决他们如何调和传统的要求与不断变化的受众和市场的现实。这不是一项简单的任务，因为正如这部纪录片所展示的那样，爵士乐是由一系列相互重叠、经常相互冲突的价值观和实践组成的，这些价值观和实践是支离破碎、有争议的。由于这种方法，《偶像》为肯·伯恩斯(Ken Burns)的《爵士乐》(2000)提供了另一种叙事方式，后者因将爵士乐描绘成美国民主理想的统一表达而不是努力讲述的多种故事而受到批评。1 .这部93分钟的纪录片以传统的风格呈现，在节目中穿插着表演和其他B-roll材料。这种形式允许观众将特色音乐家的个性与他们的现场表演联系起来，而不会陷入延长的音乐会镜头或第三方的断言中。在我们看来，爵士音乐家是一位在职艺术家，在与不断变化的经济和社会世界进行谈判的同时，还在为自己的技艺而奋斗。我们也被带入爵士乐的当代语境，从肮脏的大学酒吧到音乐厅;从户外节日到街角和亲密俱乐部。很少有观众会错过萨克斯管演奏家斯克里克(埃里克·沃尔顿饰)在拥挤而闷热的酒吧里的朋克风格的舞曲表演，以及单簧管演奏家阿纳特·科恩为保守的曼哈顿听众精心演绎的美国歌曲标准的鲜明对比。这部纪录片的中心主题来自于对音乐家们对爵士乐中一个长期存在争议的概念——改变的态度的调查。观众很快就会意识到，虽然《偶像》中采访的各种音乐家都来自一个共同的音乐制作传统，但他们对这个传统的诠释却各不相同。这部纪录片以号手尼古拉斯·佩顿神秘的声明开场:“真相永远不会一成不变，对我来说，谎言就是与现在无关的任何事情。”虽然设定了修正主义的基调，但这句话并没有澄清爵士乐中变化的界限是什么或应该是什么。对于吉他手Bill Frisell来说，变化的边界在理论上是无限的:我只是不喜欢某物的名字有排斥的效果。如果你说这是一件事，那就不可能是别的事。这对我不起作用，因为这些词总是比你想要描述的东西小。对我来说，爵士乐是无限的。在弗里塞尔的世界里，爵士乐是一种快乐地解构世界和测试文化界限的手段。他对鲍勃·迪伦(Bob Dylan)的《战争大师》(Masters of War)的沉思诠释就是一个很好的例子。小号手温顿·马萨利斯和学者保罗·德·巴罗斯用对爵士乐历史的本质主义解读来反驳弗里塞尔乌托邦式的爵士乐艺术景观。马萨利斯说:“在爵士乐方面，有趣的是，我们是世界上唯一一个创造了一种艺术形式，然后试图找出如何让它没有定义的人。”这种说法的基础是爵士乐的身份取决于一个定义，而不是许多重叠和有争议的定义。马萨利斯关注的是音乐家的审美选择，而德·巴罗斯指出，当代音乐家缺乏社会参与是爵士乐目前被听众和市场剥夺权利的根源。正如他所说，“如果你问李·摩根和桑尼·罗林斯他们的音乐在说什么，他们会说，‘我是一个白人社会中的黑人，我有话要说，我需要被听到。．．．
{"title":"Icons Among Us: Jazz in the Present Tense . Michael Rivoira, Lars Larson and Peter J. Vogt, directors. John W. Comerford and Theo N. Ianuly, producers. Lars Larson, director of photography. Paradigm Studio. 2009. DVD B002RNO1BW","authors":"Colter Harper","doi":"10.1558/jazz.v7i2.16482","DOIUrl":"https://doi.org/10.1558/jazz.v7i2.16482","url":null,"abstract":"Icons Among Us: Jazz in the Present Tense. Michael Rivoira, Lars Larson and Peter J. Vogt, directors. John W. Comerford and Theo N. Ianuly, producers. Lars Larson, director of photography. Paradigm Studio. 2009. DVD B002RNO1BW.The documentary Icons Among Us: Jazz in the Present Tense makes a case for jazz as a living culture and growing art form in North America and Europe. Jazz artists, including Nicholas Payton, Terence Blanchard, Ravi Coltrane, Bill Frisell, Donald Harrison, Wynton Marsalis and Esperanza Spalding, provide the film's primary voices; these musicians, along with others, address how they reconcile the demands of tradition with the realities of changing audiences and markets. This is no small task because, as the documentary demonstrates, jazz is comprised of a fractured and contested set of overlapping and often conflicting values and practices. Because of this approach, Icons provides an alternative narrative to Ken Burns's Jazz (2000), which has drawn criticism for portraying jazz as a uniform expression of American democratic ideals rather than a multiplicity of stories struggling to be told.1This 93-minute documentary is presented in a traditional style with talking heads interspersed with performances and other B-roll material. This format allows the viewer to connect the featured musicians' personalities to their live performances while not getting mired in extended concert footage or thirdparty pontifications. We see the jazz musician as a working artist, struggling with their craft while negotiating shifting economic and social worlds. We are also taken into the contemporary contexts of jazz, from grimy college bars, to concert halls; from outdoor festivals to street corners and intimate clubs. Few viewers will miss the stark contrast of saxophonist Skerik's (Eric Walton) punk-laced mosh-inducing performance in a cramped and sweaty bar with clarinetist Anat Cohen's delicately crafted interpretations of American songbook standards for reserved Manhattan listeners.The central theme of the documentary emerges from a survey of musicians' attitudes towards the idea of change, a long-contested concept in jazz. The viewer quickly realizes that while the various musicians interviewed in Icons draw from a common tradition of music-making, they interpret that tradition in widely varied ways. The documentary opens with trumpeter Nicholas Payton's enigmatic statement, 'The truth never remains the same and to me a lie is anything that has nothing to do with now'. While setting a revisionist tone, this statement does little to clarify what the boundaries of change are or should be in jazz. For guitarist Bill Frisell, the boundaries of change are theoretically limitless:I just don't like it when the name of something has the effect of exclud - ing. If you say it's one thing then it can't be something else. That doesn't work for me because the words are always smaller than whatever it is you're trying to describe. For me jazz is infinite.","PeriodicalId":40438,"journal":{"name":"Jazz Research Journal","volume":"7 1","pages":"238-242"},"PeriodicalIF":0.0,"publicationDate":"2015-01-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67542474","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 1940s, pianist Lennie Tristano was among the first to attempt to teach jazz improvisation as an area of study distinct from instrumental technique. In doing so, he employed a methodology which was considered highly unorthodox at the time and which is still somewhat unique for jazz pedagogy. Chief among these unorthodox pedagogical devices was the use of visualization and other mental techniques for musical practice and composition. These methods enabled students to separate imaginative musical experiences from the habits of muscle memory, while at the same time speeding the acquisition of certain digital techniques and developing the musical imagination. Visualization techniques also served to extend available practice time for students who lacked space suited to audible instrumental practice, and to those who were working day jobs and had limited time available for instrumental practice. Recent studies in brain plasticity bear out Tristano’s intuitive use of mental techniques as a useful addendum to more traditional forms of instrumental and compositional practice. Though certainly not the first to emphasize the importance of mental conditioning and imaginative practice methods, Tristano’s use of them within a methodology for jazz instruction constitutes a unique pedagogical approach worthy of further research and discussion.
{"title":"Jedi mind tricks: Lennie Tristano and techniques for imaginative musical practice","authors":"Marian Jago","doi":"10.1558/JAZZ.V7I2.20971","DOIUrl":"https://doi.org/10.1558/JAZZ.V7I2.20971","url":null,"abstract":"In the 1940s, pianist Lennie Tristano was among the first to attempt to teach jazz improvisation as an area of study distinct from instrumental technique. In doing so, he employed a methodology which was considered highly unorthodox at the time and which is still somewhat unique for jazz pedagogy. Chief among these unorthodox pedagogical devices was the use of visualization and other mental techniques for musical practice and composition. These methods enabled students to separate imaginative musical experiences from the habits of muscle memory, while at the same time speeding the acquisition of certain digital techniques and developing the musical imagination. \u0000 Visualization techniques also served to extend available practice time for students who lacked space suited to audible instrumental practice, and to those who were working day jobs and had limited time available for instrumental practice. Recent studies in brain plasticity bear out Tristano’s intuitive use of mental techniques as a useful addendum to more traditional forms of instrumental and compositional practice. Though certainly not the first to emphasize the importance of mental conditioning and imaginative practice methods, Tristano’s use of them within a methodology for jazz instruction constitutes a unique pedagogical approach worthy of further research and discussion.","PeriodicalId":40438,"journal":{"name":"Jazz Research Journal","volume":"7 1","pages":"183-202"},"PeriodicalIF":0.0,"publicationDate":"2015-01-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67542808","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":"Duncan Heining, George Russell: The Story of an American Composer . London: Scarecrow Press, 2010. 400 pp. ISBN 978-0810869977 (hbk). £37.95","authors":"F. Griffith","doi":"10.1558/jazz.v7i2.19105","DOIUrl":"https://doi.org/10.1558/jazz.v7i2.19105","url":null,"abstract":"","PeriodicalId":40438,"journal":{"name":"Jazz Research Journal","volume":"7 1","pages":"243-246"},"PeriodicalIF":0.0,"publicationDate":"2015-01-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67542524","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 article engages with the understanding of non-American jazz practices and the global spread of jazz from an American mainstream perspective, through a critical investigaton of the mediation of Dutch and European jazz in the American jazz magazine Down Beat. It explores the role and function of some of the key actors through which the story of European jazz is told; correspondents, American musicians visiting and migrating Europe, European musicians, and European audiences. By exposing underlying defining notions, such as “jazz as an essentially American music practice” and “the intellectual European,” this essay demonstrates how local, non-American jazz practices in Down Beat during the 1960s and 1970s are understood—misunderstood, perhaps—in terms of equality rather than in differentiating terms in comparison with the American jazz tradition.
{"title":"Frontierism, intellectual listeners and the new European wave: On the reception of Dutch jazz in DownBeat, 1960–1980","authors":"L. Rusch","doi":"10.1558/JAZZ.V9I1.28462","DOIUrl":"https://doi.org/10.1558/JAZZ.V9I1.28462","url":null,"abstract":"This article engages with the understanding of non-American jazz practices and the global spread of jazz from an American mainstream perspective, through a critical investigaton of the mediation of Dutch and European jazz in the American jazz magazine Down Beat. It explores the role and function of some of the key actors through which the story of European jazz is told; correspondents, American musicians visiting and migrating Europe, European musicians, and European audiences. By exposing underlying defining notions, such as “jazz as an essentially American music practice” and “the intellectual European,” this essay demonstrates how local, non-American jazz practices in Down Beat during the 1960s and 1970s are understood—misunderstood, perhaps—in terms of equality rather than in differentiating terms in comparison with the American jazz tradition.","PeriodicalId":40438,"journal":{"name":"Jazz Research Journal","volume":"9 1","pages":"62-81"},"PeriodicalIF":0.0,"publicationDate":"2015-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67543812","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 1993, Oscar Peterson had a stroke that rendered him in essence a right-hand-only pianist. He resumed performing from 1994 until shortly before his death in 2007. The stroke. This paper examines how Peterson and his handlers employed “piano prostheses” to assist him. Two categories of prosthetic, analogous to uses of actual artificial limbs, are observed: 1) “performance;” band mates provide accompanimental support different from his pre-stroke groups 2) “cosmetic,” a non-disabled appearance is attempted, mostly by record annotators, by denying/minimizing the stroke’s impact. Peterson appeared ambivalent or vacillating in his attitude toward his disability, sometimes but not always relying on sidemen for extra assistance, and expressing highly varying degrees of openness in his public statements about his limitations. By contrast, his record annotators uniformly ignored or minimized the stroke’s impact. As a disabled public figure, Peterson’s situation is compared to that of Franklin Delano Roosevelt.
{"title":"Oscar Peterson's Piano Prostheses: Strategies of Performance and Publicity in the Post-Stroke Phase of His Career","authors":"Alex Lubet","doi":"10.1558/JAZZ.V7I2.17492","DOIUrl":"https://doi.org/10.1558/JAZZ.V7I2.17492","url":null,"abstract":"In 1993, Oscar Peterson had a stroke that rendered him in essence a right-hand-only pianist. He resumed performing from 1994 until shortly before his death in 2007. The stroke. This paper examines how Peterson and his handlers employed “piano prostheses” to assist him. Two categories of prosthetic, analogous to uses of actual artificial limbs, are observed: 1) “performance;” band mates provide accompanimental support different from his pre-stroke groups 2) “cosmetic,” a non-disabled appearance is attempted, mostly by record annotators, by denying/minimizing the stroke’s impact. Peterson appeared ambivalent or vacillating in his attitude toward his disability, sometimes but not always relying on sidemen for extra assistance, and expressing highly varying degrees of openness in his public statements about his limitations. By contrast, his record annotators uniformly ignored or minimized the stroke’s impact. As a disabled public figure, Peterson’s situation is compared to that of Franklin Delano Roosevelt.","PeriodicalId":40438,"journal":{"name":"Jazz Research Journal","volume":"7 1","pages":"151-182"},"PeriodicalIF":0.0,"publicationDate":"2014-10-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67542518","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":"The ‘grave disease’: interwar British writers look at ragtime and jazz","authors":"Robert Lawson-Peebles","doi":"10.1558/JAZZ.V7I1.23","DOIUrl":"https://doi.org/10.1558/JAZZ.V7I1.23","url":null,"abstract":"","PeriodicalId":40438,"journal":{"name":"Jazz Research Journal","volume":"7 1","pages":"23"},"PeriodicalIF":0.0,"publicationDate":"2014-10-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67542389","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}
IntroductionThe relationship between jazz and its performance spaces is bound up with cultural connotations and audience expectations. From its birth in turn-of- the-century New Orleans, jazz and its reception have been restricted, legiti- mized and liberated by different performance venues. In this article, I focus on London in the quarter-century after World War II, showing how different types of venue and the ethos associated with each of them allowed for dif- fering styles of presentation, mediation and reception of jazz.My relatively narrow geographical and temporal focus allows me to draw specific conclusions that can be applied to the larger jazz scene in Britain. In this twenty-five-year period, jazz was simultaneously presented in a wide variety of ways in London. I shall focus on four: New Orleans-style jazz was commonly performed in Rhythm Clubs (jazz appreciation societ- ies that began life as record circles) and concert halls; jazz clubs such as the 100 Club that had a fixed venue, but hosted different styles of jazz on different nights of the week, bringing in different audiences; bebop clubs such as Club Eleven, which existed from 1948 to 1950, and Ronnie Scott's Jazz Club (founded in 1959) changed venue throughout their lifetimes, but hosted visiting and local musicians, providing an idiomatic consistency that ensured a regular and loyal fan base; and the experimental theatres of the 1960s and 1970s that hosted the British free jazz movement. Using these four case studies and methods of jazz appreciation as examples of the post-World War II jazz scene in London, I evaluate who was playing what, in what venue, and to whom, in order to assess the mediation of British jazz through venue, during the period 1945 to 1970.My sources for this article are drawn from the existing literature on jazz clubs, historical accounts by fans and musicians, contemporaneous periodi- cals, and interviews I undertook with musicians from the period.1 My meth- odology is therefore a combination of historical and archival research and of ethnographic practices. I use the term 'jazz venue' to refer to any place in which jazz was performed, rather than venues built especially for jazz perfor- mance, which has become the common usage of the term.Early Jazz VenuesJazz is commonly understood to have originated and been first performed at the turn of the twentieth century in the Louisiana port city of New Orleans. Although the geographical specificity of the emergence of the music has since been disputed, the colourful narratives surrounding the location and connotations of early jazz performances provide a context and springboard for this discussion of post-World War II jazz venues in Britain.2The earliest performances of jazz, in the nightclubs, speakeasies and brothels of New Orleans and elsewhere, were characterized by the improvi- satory and energetic 'hot' style of music, and by the intimate dances devel- oped by audiences. The changing nature of jazz venu
{"title":"Post-World War II Jazz in Britain: Venues and Values 1945–1970","authors":"K. Williams","doi":"10.1558/JAZZ.V7I1.113","DOIUrl":"https://doi.org/10.1558/JAZZ.V7I1.113","url":null,"abstract":"IntroductionThe relationship between jazz and its performance spaces is bound up with cultural connotations and audience expectations. From its birth in turn-of- the-century New Orleans, jazz and its reception have been restricted, legiti- mized and liberated by different performance venues. In this article, I focus on London in the quarter-century after World War II, showing how different types of venue and the ethos associated with each of them allowed for dif- fering styles of presentation, mediation and reception of jazz.My relatively narrow geographical and temporal focus allows me to draw specific conclusions that can be applied to the larger jazz scene in Britain. In this twenty-five-year period, jazz was simultaneously presented in a wide variety of ways in London. I shall focus on four: New Orleans-style jazz was commonly performed in Rhythm Clubs (jazz appreciation societ- ies that began life as record circles) and concert halls; jazz clubs such as the 100 Club that had a fixed venue, but hosted different styles of jazz on different nights of the week, bringing in different audiences; bebop clubs such as Club Eleven, which existed from 1948 to 1950, and Ronnie Scott's Jazz Club (founded in 1959) changed venue throughout their lifetimes, but hosted visiting and local musicians, providing an idiomatic consistency that ensured a regular and loyal fan base; and the experimental theatres of the 1960s and 1970s that hosted the British free jazz movement. Using these four case studies and methods of jazz appreciation as examples of the post-World War II jazz scene in London, I evaluate who was playing what, in what venue, and to whom, in order to assess the mediation of British jazz through venue, during the period 1945 to 1970.My sources for this article are drawn from the existing literature on jazz clubs, historical accounts by fans and musicians, contemporaneous periodi- cals, and interviews I undertook with musicians from the period.1 My meth- odology is therefore a combination of historical and archival research and of ethnographic practices. I use the term 'jazz venue' to refer to any place in which jazz was performed, rather than venues built especially for jazz perfor- mance, which has become the common usage of the term.Early Jazz VenuesJazz is commonly understood to have originated and been first performed at the turn of the twentieth century in the Louisiana port city of New Orleans. Although the geographical specificity of the emergence of the music has since been disputed, the colourful narratives surrounding the location and connotations of early jazz performances provide a context and springboard for this discussion of post-World War II jazz venues in Britain.2The earliest performances of jazz, in the nightclubs, speakeasies and brothels of New Orleans and elsewhere, were characterized by the improvi- satory and energetic 'hot' style of music, and by the intimate dances devel- oped by audiences. The changing nature of jazz venu","PeriodicalId":40438,"journal":{"name":"Jazz Research Journal","volume":"7 1","pages":"113-131"},"PeriodicalIF":0.0,"publicationDate":"2014-10-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67542075","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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