In the history of documenting music, Roger Tilton’s film Jazz Dance (1954) is an outstanding experimental approach to early direct cinema. By using a novel, genuinely audio-visual, non-staged, multi-angled approach to recording, the film opened up new ways to capture the vibes of the filmed event and thus turn jazz into film. This article seeks to remedy the lack of academic engagement with Jazz Dance by outlining its status as a seminal example for early direct cinema as well as documenting jazz and jazz dance. To that end, the means and techniques chosen by Tilton and his collaborators to convey the impression and vibe of jazz as well as the aesthetic approach to the combination of jazz dance and music in the film will be analysed. Furthermore, Jazz Dance will be discussed and positioned within in the larger field of documentary films that bring together jazz music and dance.
{"title":"Jazz as film","authors":"C. Lund, Holger Lund","doi":"10.1558/jazz.20128","DOIUrl":"https://doi.org/10.1558/jazz.20128","url":null,"abstract":"In the history of documenting music, Roger Tilton’s film Jazz Dance (1954) is an outstanding experimental approach to early direct cinema. By using a novel, genuinely audio-visual, non-staged, multi-angled approach to recording, the film opened up new ways to capture the vibes of the filmed event and thus turn jazz into film. This article seeks to remedy the lack of academic engagement with Jazz Dance by outlining its status as a seminal example for early direct cinema as well as documenting jazz and jazz dance. To that end, the means and techniques chosen by Tilton and his collaborators to convey the impression and vibe of jazz as well as the aesthetic approach to the combination of jazz dance and music in the film will be analysed. Furthermore, Jazz Dance will be discussed and positioned within in the larger field of documentary films that bring together jazz music and dance.","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":"41280258","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}
Offering access to low-cost authoritative literature, the Jazz Book Club was a successful and influential venture, publishing 66 subscription titles and 11 occasional volumes between 1956 and 1967. The Club was created to meet the demand for information by the rapidly growing post-war jazz audience in Britain. Extending the intellectual discourse of the 1930s, an educated, socially diverse generation coming to jazz in the 1940s and 1950s was serious about the music and earnest in their pursuit of information. Although the new fans were often fiercely partisan in their preferences, the Club believed its book choices would appeal broadly across the emerging jazz community. Surprisingly, the Jazz Book Club has been little researched. Using previously unexamined archival records and Jazz Book Club publications, contemporary journals and personal recollections alongside recent scholarship, this article provides the first full account of a small but important moment in British jazz history. Drawing on Karl Mannheim’s epistemology of generations, I argue that the Jazz Book Club was created to meet the demands of a young post-war generation for whom jazz assumed an unexampled measure of cultural saliency. The Jazz Book Club’s moment passed as a later generation turned away from jazz after the early 1960s.
{"title":"‘A superb library at bargain cost’","authors":"A. Ainsworth","doi":"10.1558/jazz.24716","DOIUrl":"https://doi.org/10.1558/jazz.24716","url":null,"abstract":"Offering access to low-cost authoritative literature, the Jazz Book Club was a successful and influential venture, publishing 66 subscription titles and 11 occasional volumes between 1956 and 1967. The Club was created to meet the demand for information by the rapidly growing post-war jazz audience in Britain. Extending the intellectual discourse of the 1930s, an educated, socially diverse generation coming to jazz in the 1940s and 1950s was serious about the music and earnest in their pursuit of information. Although the new fans were often fiercely partisan in their preferences, the Club believed its book choices would appeal broadly across the emerging jazz community. Surprisingly, the Jazz Book Club has been little researched. Using previously unexamined archival records and Jazz Book Club publications, contemporary journals and personal recollections alongside recent scholarship, this article provides the first full account of a small but important moment in British jazz history. Drawing on Karl Mannheim’s epistemology of generations, I argue that the Jazz Book Club was created to meet the demands of a young post-war generation for whom jazz assumed an unexampled measure of cultural saliency. The Jazz Book Club’s moment passed as a later generation turned away from jazz after the early 1960s.","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":"48723311","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 editorial board of Jazz Research Journal collectively authored this statement over a number of months in 2021 and 2022. We consider it a necessary and long overdue intervention into the field of jazz studies. The statement describes the jazz studies we want to see.
{"title":"Manifesto","authors":"Jazz Research Journal Editorial Board","doi":"10.1558/jazz.25398","DOIUrl":"https://doi.org/10.1558/jazz.25398","url":null,"abstract":"The editorial board of Jazz Research Journal collectively authored this statement over a number of months in 2021 and 2022. We consider it a necessary and long overdue intervention into the field of jazz studies. The statement describes the jazz studies we want to see.","PeriodicalId":40438,"journal":{"name":"Jazz Research Journal","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-01-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42579391","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 : 2022-12-20DOI: 10.4324/9781315702254-158
Maurice Windleburn
This concept poem ekphrastically manifests Ornette Coleman’s landmark album Free Jazz: A Collective Improvisation. Separated into two columns, the piece features the work of two quartets of poets, reflecting Coleman’s own separation of his double quartet ensemble into left and right recording channels. The poets Bob Kaufman, Jayne Cortez, Cecil Taylor and Lawrence Ferlinghetti are the quartet in the left column; Amiri Baraka, Langston Hughes, M. NourbeSe Philip and Boris Vian are the quartet in the right. The work of these poets has been scrambled and interwoven in the first and third-from-last stanzas, mimicking the two polymelodic interludes found in Coleman’s album. The remaining stanzas either combine lines from a quartet of poets or are entirely from the work of a single poet, who ‘solos’ against the quartet in the adjacent column (again, mimicking the general structure of Coleman’s album).
这首概念诗生动地体现了Ornette Coleman的标志性专辑《Free Jazz: A Collective Improvisation》。该作品分为两列，以两个诗人四重奏的作品为特色，反映了科尔曼自己将他的双四重奏合奏分为左右两个录音通道。诗人鲍勃·考夫曼、杰恩·科尔特斯、塞西尔·泰勒和劳伦斯·费林盖蒂是左栏的四重奏;阿米里·巴拉卡、兰斯顿·休斯、诺贝斯·菲利普和鲍里斯·维安是右边的四重奏。这些诗人的作品在第一节和倒数第三节中被打乱和交织在一起，模仿科尔曼专辑中的两个多旋律插曲。其余的诗节要么是由四重奏诗人的诗句组合而成，要么是完全出自一位诗人的作品，这位诗人在相邻的一栏中“独唱”，反对四重奏(再次模仿科尔曼专辑的总体结构)。
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This article weaves Nina Simone’s 1976 concert and Lisa Simone’s 2016 concert at the Montreux Jazz Festival with the author’s life experiences. Despite multiple shifts between historical period and person, attention to the dangers of racism and the hope for liberation persist throughout the festival experience.
{"title":"two Simones at Montreux","authors":"Rashida K. Braggs","doi":"10.1558/jazz.20551","DOIUrl":"https://doi.org/10.1558/jazz.20551","url":null,"abstract":"This article weaves Nina Simone’s 1976 concert and Lisa Simone’s 2016 concert at the Montreux Jazz Festival with the author’s life experiences. Despite multiple shifts between historical period and person, attention to the dangers of racism and the hope for liberation persist throughout the festival experience.","PeriodicalId":40438,"journal":{"name":"Jazz Research Journal","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-12-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43048839","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 story can be read in three ways. The Story is a fictional day in the life of a female jazz guitarist. The Endnotes tell another story, a referenced timeline of discrimination and sexism against female and minority musicians. You could read The Story by itself. You could read The Endnotes by themselves—taken together, they form a prose story of some of the barriers faced by musicians outside the cishet male narrative. Thirdly, you could refer to each endnote as it appears in the story. This method will be a disjointed reading experience, but perhaps best represents the doublethink necessary from people outside the dominant demography in today’s society.
{"title":"Without making a song and dance about it…","authors":"K. Williams","doi":"10.1558/jazz.22819","DOIUrl":"https://doi.org/10.1558/jazz.22819","url":null,"abstract":"This story can be read in three ways. The Story is a fictional day in the life of a female jazz guitarist. The Endnotes tell another story, a referenced timeline of discrimination and sexism against female and minority musicians. You could read The Story by itself. You could read The Endnotes by themselves—taken together, they form a prose story of some of the barriers faced by musicians outside the cishet male narrative. Thirdly, you could refer to each endnote as it appears in the story. This method will be a disjointed reading experience, but perhaps best represents the doublethink necessary from people outside the dominant demography in today’s society.","PeriodicalId":40438,"journal":{"name":"Jazz Research Journal","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-12-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41656150","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":"Editorial","authors":"Liam Maloney, Nicolas Pillai","doi":"10.1558/jazz.24677","DOIUrl":"https://doi.org/10.1558/jazz.24677","url":null,"abstract":"","PeriodicalId":40438,"journal":{"name":"Jazz Research Journal","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-12-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42559436","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}
Saidiya Hartman’s 2021 Wayward Lives, Beautiful Experiments literally re-imagines the experience of young black women in 1910s New York, employing a method Hartman calls ‘critical fabulation’, in which—rather in the form of retconned speculative fiction—she teases out gaps in the archival record. Employing Hartman’s own call-and-response technique of rhetorical questions which spotlight the uncertain answers to questions about minoritized human experience, I ask: ‘How did the “light-skinned chorines” in multi-racial 1930s nightclub and theater culture create spaces of “beautiful experiment” within their day-to-day? How did the “noisy” dance of jazz reinscribe—or subtly subvert—the white racist gaze? What did the chorines think about all this?’ This creative non-fiction essay imagines responses.
{"title":"Wayward lives and beautiful experiments","authors":"Christopher J. Smith","doi":"10.1558/jazz.22895","DOIUrl":"https://doi.org/10.1558/jazz.22895","url":null,"abstract":"Saidiya Hartman’s 2021 Wayward Lives, Beautiful Experiments literally re-imagines the experience of young black women in 1910s New York, employing a method Hartman calls ‘critical fabulation’, in which—rather in the form of retconned speculative fiction—she teases out gaps in the archival record. Employing Hartman’s own call-and-response technique of rhetorical questions which spotlight the uncertain answers to questions about minoritized human experience, I ask: ‘How did the “light-skinned chorines” in multi-racial 1930s nightclub and theater culture create spaces of “beautiful experiment” within their day-to-day? How did the “noisy” dance of jazz reinscribe—or subtly subvert—the white racist gaze? What did the chorines think about all this?’ This creative non-fiction essay imagines responses.","PeriodicalId":40438,"journal":{"name":"Jazz Research Journal","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-12-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43779842","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 Both Directions at Once, an album lost for almost 40 years, John Coltrane presents a constellation of musical tradition, themes, composition and improvisation, in dialectical opposition. This article imagines Coltrane as a sonic philosopher of oppositions and the album—named after Coltrane’s quote in which he attempts ‘starting a sentence in the middle, and then going to the beginning and the end of it at the same time… both directions at once’—as his philosophical treatise. Borrowing from biographers, musicologists and jazz critics, this contribution argues that in the album, the music engages with itself rather than seeking resolution or finality. In other words, Coltrane’s dialectical aesthetic drives the aesthetic. Both Directions at Once is sound focused on sonically opposing forces. It is an attempt by a deep thinker to present contradictions and oppositions between musical polarities that may create new potentialities. What listeners hear is Coltrane, the philosopher, striving toward a multidirectional aesthetic that furnishes music unshackled from the conditions of possibility.
{"title":"Both Directions at Once","authors":"Bryan Banker","doi":"10.1558/jazz.23072","DOIUrl":"https://doi.org/10.1558/jazz.23072","url":null,"abstract":"In Both Directions at Once, an album lost for almost 40 years, John Coltrane presents a constellation of musical tradition, themes, composition and improvisation, in dialectical opposition. This article imagines Coltrane as a sonic philosopher of oppositions and the album—named after Coltrane’s quote in which he attempts ‘starting a sentence in the middle, and then going to the beginning and the end of it at the same time… both directions at once’—as his philosophical treatise. Borrowing from biographers, musicologists and jazz critics, this contribution argues that in the album, the music engages with itself rather than seeking resolution or finality. In other words, Coltrane’s dialectical aesthetic drives the aesthetic. Both Directions at Once is sound focused on sonically opposing forces. It is an attempt by a deep thinker to present contradictions and oppositions between musical polarities that may create new potentialities. What listeners hear is Coltrane, the philosopher, striving toward a multidirectional aesthetic that furnishes music unshackled from the conditions of possibility.","PeriodicalId":40438,"journal":{"name":"Jazz Research Journal","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-12-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41820116","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}
Introduced in the 1963 Marvel comic Sgt. Fury and His Howling Commandos, Gabe Jones is ‘one of the first “normal” black people in comics. […] I mean not a racist caricature’, in the words of African-American writer Reginald Hudlin. The Harlem-born Jones was written as a professional jazz trumpeter who had learned to play from none other than Louis Armstrong. At some point during the Second World War, the Howling Commandos help repel a Nazi invasion of Wakanda, the African nation ruled by Marvel superhero Black Panther, with whom Jones strikes up a personal friendship. This piece takes the form of a 1000-word entry on Jones for a fictional Encyclopedia of Jazz Marvels. It speculates the effect that contact with an Afrofuturist utopia like Wakanda might have had on the subsequent evolution of an African-American jazz musician, leading to the birth of an imagined genre—Vibop—in the early 1950s. By parodying the formal qualities of journalistic writing on music and comics, the piece speculates on the boundaries of fiction in jazz life-writing.
{"title":"Gabe Jones","authors":"Jesús Jiménez-Varea","doi":"10.1558/jazz.22911","DOIUrl":"https://doi.org/10.1558/jazz.22911","url":null,"abstract":"Introduced in the 1963 Marvel comic Sgt. Fury and His Howling Commandos, Gabe Jones is ‘one of the first “normal” black people in comics. […] I mean not a racist caricature’, in the words of African-American writer Reginald Hudlin. The Harlem-born Jones was written as a professional jazz trumpeter who had learned to play from none other than Louis Armstrong. At some point during the Second World War, the Howling Commandos help repel a Nazi invasion of Wakanda, the African nation ruled by Marvel superhero Black Panther, with whom Jones strikes up a personal friendship. This piece takes the form of a 1000-word entry on Jones for a fictional Encyclopedia of Jazz Marvels. It speculates the effect that contact with an Afrofuturist utopia like Wakanda might have had on the subsequent evolution of an African-American jazz musician, leading to the birth of an imagined genre—Vibop—in the early 1950s. By parodying the formal qualities of journalistic writing on music and comics, the piece speculates on the boundaries of fiction in jazz life-writing.","PeriodicalId":40438,"journal":{"name":"Jazz Research Journal","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-12-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46985673","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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