{"title":"‘No radical critique ever comes from the centre’: Interview with Professor Bruce Johnson","authors":"Ádám Havas","doi":"10.1558/jazz.41470","DOIUrl":"https://doi.org/10.1558/jazz.41470","url":null,"abstract":"","PeriodicalId":40438,"journal":{"name":"Jazz Research Journal","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-05-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45698476","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 1960s, West African musicians rattled the New York jazz scene, bringing new sounds to late-night jam sessions, recording studios, and jazz festivals. Jazz scholars have interpreted musical imaginations of Africa by American jazz musicians as a sign of pan-African solidarity and cultural affinity among musicians of African and Afrodiasporic ancestry. While these studies have been important in identifying the political implications of such collaborations for African American musicians, they underplay the complex positioning of West African immigrants in these contexts and the social and musical gaps that separate African immigrants from their American counterparts. Drawing on my work with composer and percussionist Solomon Ilori, one of the leading Yoruba musicians in New York and amongst the last living exponents of the African jazz scene of the 1960s, I use the notion of decalage to explore how linguistic, social and historical gaps are articulated in musical recordings and public concerts in the 1960s African jazz scene in New York. Originally coined by Leopold Senghor to describe a sense of discrepancy between Africans and African Americans, decalage allows me to show how different perceptions of time, as well as choice of repertoire, instrumentation, rhythmic patterns and melodic material complicate a notion of musical pan-Africanism. Moreover, it explicates the unique ways in which African immigrants reacted socially and musically to the boundaries they face in the US and its particular formations of national, racial and musical identity.
{"title":"A drum, deferred: Solomon Ilori in the New York jazz scene, 1958–1964","authors":"O. Gazit","doi":"10.1558/jazz.36914","DOIUrl":"https://doi.org/10.1558/jazz.36914","url":null,"abstract":"During the 1960s, West African musicians rattled the New York jazz scene, bringing new sounds to late-night jam sessions, recording studios, and jazz festivals. Jazz scholars have interpreted musical imaginations of Africa by American jazz musicians as a sign of pan-African solidarity and cultural affinity among musicians of African and Afrodiasporic ancestry. While these studies have been important in identifying the political implications of such collaborations for African American musicians, they underplay the complex positioning of West African immigrants in these contexts and the social and musical gaps that separate African immigrants from their American counterparts. Drawing on my work with composer and percussionist Solomon Ilori, one of the leading Yoruba musicians in New York and amongst the last living exponents of the African jazz scene of the 1960s, I use the notion of decalage to explore how linguistic, social and historical gaps are articulated in musical recordings and public concerts in the 1960s African jazz scene in New York. Originally coined by Leopold Senghor to describe a sense of discrepancy between Africans and African Americans, decalage allows me to show how different perceptions of time, as well as choice of repertoire, instrumentation, rhythmic patterns and melodic material complicate a notion of musical pan-Africanism. Moreover, it explicates the unique ways in which African immigrants reacted socially and musically to the boundaries they face in the US and its particular formations of national, racial and musical identity.","PeriodicalId":40438,"journal":{"name":"Jazz Research Journal","volume":"12 1","pages":"171–192-171–192"},"PeriodicalIF":0.0,"publicationDate":"2019-12-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49159167","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 considers the ecologies and stakeholder interests that overlap in the staging of an annual jazz festival on a small Scottish island in the Outer Hebrides. Through interviews with festival promoters, performers and audience members, alongside insights from island residents, we interrogate the special circumstances governing the presentation of a festival of ostensibly urban music in a rural island location. Constructions of identity and myth are observed to permeate narratives around both festival and island, often symbiotically intertwined to mutual benefit. Nonetheless, tensions between incomer and visitor, the rural and the urban, ‘high’ and ‘low’ arts, nostalgia and progress are seen to emerge. In the discussion of the complexities involved in the import of a jazz festival to an island steeped in its own history, and internationally recognized for its manufacture and export of distinctive Scotch whisky, this article seeks to explore universal themes of identity construction through a finite study of a distinctly situated cultural festival.
{"title":"Islay Jazz Festival","authors":"Haftor Medbøe, Diane Maclean","doi":"10.1558/jazz.40304","DOIUrl":"https://doi.org/10.1558/jazz.40304","url":null,"abstract":"This article considers the ecologies and stakeholder interests that overlap in the staging of an annual jazz festival on a small Scottish island in the Outer Hebrides. Through interviews with festival promoters, performers and audience members, alongside insights from island residents, we interrogate the special circumstances governing the presentation of a festival of ostensibly urban music in a rural island location. Constructions of identity and myth are observed to permeate narratives around both festival and island, often symbiotically intertwined to mutual benefit. Nonetheless, tensions between incomer and visitor, the rural and the urban, ‘high’ and ‘low’ arts, nostalgia and progress are seen to emerge. In the discussion of the complexities involved in the import of a jazz festival to an island steeped in its own history, and internationally recognized for its manufacture and export of distinctive Scotch whisky, this article seeks to explore universal themes of identity construction through a finite study of a distinctly situated cultural festival.","PeriodicalId":40438,"journal":{"name":"Jazz Research Journal","volume":"12 1","pages":"213–236-213–236"},"PeriodicalIF":0.0,"publicationDate":"2019-12-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45244227","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":"Jazz’s little brother: The origins of the Spanish blues scene","authors":"Josep Pedro","doi":"10.1558/jazz.38536","DOIUrl":"https://doi.org/10.1558/jazz.38536","url":null,"abstract":"","PeriodicalId":40438,"journal":{"name":"Jazz Research Journal","volume":"12 1","pages":"193-212"},"PeriodicalIF":0.0,"publicationDate":"2019-12-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45814077","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":"Roger Fagge, N. Gebhardt","doi":"10.1558/jazz.40244","DOIUrl":"https://doi.org/10.1558/jazz.40244","url":null,"abstract":"","PeriodicalId":40438,"journal":{"name":"Jazz Research Journal","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-11-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42951056","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 is a condensed summary of the author’s primary research. Using music, prose, and free verse, I seek to highlight the issues that work revealed within jazz and improvised music studies, and studies into vibraphone practice; briefly show the practical-philosophical roots of my methodology in the research; and present the practice-led roots of my current philosophy of the vibraphone.
{"title":"The second masking","authors":"Corey Mwamba","doi":"10.1558/jazz.40105","DOIUrl":"https://doi.org/10.1558/jazz.40105","url":null,"abstract":"This article is a condensed summary of the author’s primary research. Using music, prose, and free verse, I seek to highlight the issues that work revealed within jazz and improvised music studies, and studies into vibraphone practice; briefly show the practical-philosophical roots of my methodology in the research; and present the practice-led roots of my current philosophy of the vibraphone.","PeriodicalId":40438,"journal":{"name":"Jazz Research Journal","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-11-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45268446","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":"Rhythm Clubs, record series, and the everyday connoisseurship of ‘hot rhythm’ records in interwar Britain","authors":"Lawrence Davies","doi":"10.1558/jazz.37806","DOIUrl":"https://doi.org/10.1558/jazz.37806","url":null,"abstract":"","PeriodicalId":40438,"journal":{"name":"Jazz Research Journal","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-10-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44257336","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":"Living with music: Departures and returns among early New Orleans jazz musicians","authors":"N. Gebhardt","doi":"10.1558/jazz.39941","DOIUrl":"https://doi.org/10.1558/jazz.39941","url":null,"abstract":"","PeriodicalId":40438,"journal":{"name":"Jazz Research Journal","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-10-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49575276","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 will offer some thoughts on the relationship between the everyday and the role of music. It will look at how critics and artists have established the importance ofthe everyday, and how this has appeared in their work. It will then explore what music in the everyday reveals about the nature of modern society.
{"title":"The politics, aesthetics and dissonance of music in everyday life","authors":"Roger Fagge","doi":"10.1558/jazz.39944","DOIUrl":"https://doi.org/10.1558/jazz.39944","url":null,"abstract":"This article will offer some thoughts on the relationship between the everyday and the role of music. It will look at how critics and artists have established the importance ofthe everyday, and how this has appeared in their work. It will then explore what music in the everyday reveals about the nature of modern society.","PeriodicalId":40438,"journal":{"name":"Jazz Research Journal","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-10-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43080234","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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