{"title":"Russia and the Creation of Jazz in the British Everyday Imaginary","authors":"Robert Lawson-Peebles","doi":"10.1558/jazz.37811","DOIUrl":"https://doi.org/10.1558/jazz.37811","url":null,"abstract":"","PeriodicalId":40438,"journal":{"name":"Jazz Research Journal","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2019-10-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49620374","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 violin has been played in jazz from the beginning of the music's history, and yet ithas, until relatively recently, been somewhat neglected as a significant jazz instrumentin terms of both performance and education. One style of jazz in which the violin is significantis so-called 'gypsy jazz', which originated with the formation of Le Quintette duHot-club de France in the early 1930s featuring gypsy guitarist Django Reinhardt andviolinist Stephane Grappelli. The success of this group led to Grappelli being consideredcentral to jazz violin and gypsy jazz, and the gypsy jazz style-initially a Frenchphenomenon-being equated with jazz violin as the everyday aesthetic of jazz violin.The number of successful French jazz violinists following Grappelli (including Jean-LucPonty and Didier Lockwood) has led to the idea of a 'French school' of jazz violin, and anumber of recently published jazz violin tutor books base their approach on the premisethat the Grappelli swing style is central to jazz violin, despite many contemporaryjazz violinists choosing to play in more modern styles. The authors critically considerthe existence of a 'French school' of jazz violin and whether teaching the Grappelli styleis an effective approach to jazz violin pedagogy.
{"title":"Grappling with Grappelli: Contemporary jazz violin pedagogy and the legacy of gypsy jazz","authors":"T. Sykes, Ari Poutiainen","doi":"10.1558/jazz.37944","DOIUrl":"https://doi.org/10.1558/jazz.37944","url":null,"abstract":"The violin has been played in jazz from the beginning of the music's history, and yet ithas, until relatively recently, been somewhat neglected as a significant jazz instrumentin terms of both performance and education. One style of jazz in which the violin is significantis so-called 'gypsy jazz', which originated with the formation of Le Quintette duHot-club de France in the early 1930s featuring gypsy guitarist Django Reinhardt andviolinist Stephane Grappelli. The success of this group led to Grappelli being consideredcentral to jazz violin and gypsy jazz, and the gypsy jazz style-initially a Frenchphenomenon-being equated with jazz violin as the everyday aesthetic of jazz violin.The number of successful French jazz violinists following Grappelli (including Jean-LucPonty and Didier Lockwood) has led to the idea of a 'French school' of jazz violin, and anumber of recently published jazz violin tutor books base their approach on the premisethat the Grappelli swing style is central to jazz violin, despite many contemporaryjazz violinists choosing to play in more modern styles. The authors critically considerthe existence of a 'French school' of jazz violin and whether teaching the Grappelli styleis an effective approach to jazz violin pedagogy.","PeriodicalId":40438,"journal":{"name":"Jazz Research Journal","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2019-10-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41930153","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":"Christian Scott aTunde Adjuah’s critique of the Danziger Bridge shootings","authors":"James Williams","doi":"10.1558/jazz.37660","DOIUrl":"https://doi.org/10.1558/jazz.37660","url":null,"abstract":"","PeriodicalId":40438,"journal":{"name":"Jazz Research Journal","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2019-10-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47511428","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 examines fragments of a local jazz scene through photographs. It is theoutcome of a collaborative pilot research project entitled 'Everyday Jazz Life: A PhotographicProject on Contemporary Jazz Musicians' Lives in Birmingham' that took placeat Birmingham Centre for Media and Cultural Research, and brought together an academicand a photographer. As Ian Jeffrey suggests, photographs can be consideredas understandable fragments, which invite their viewers' minds to reflect about them.However, as fragments, photographs of contemporary Birmingham's jazz musicians aspeople, not just performers, in the context of their everyday lives can also be understoodas records of intention illuminating how musicians view themselves, the local jazz scene,and how they negotiate their lives while expanding their music. This visual approachopens up the possibility of new, or under-studied, topics for jazz studies research, forexample, those concerning musicians' off-stage complementary activities, social dynamicswithin their communities, and the living challenges and constraints.
{"title":"Everyday jazz life: A photographic project on contemporary jazz musicians’ lives in Birmingham","authors":"Pedro Cravinho, Brian Homer","doi":"10.1558/jazz.39943","DOIUrl":"https://doi.org/10.1558/jazz.39943","url":null,"abstract":"This article examines fragments of a local jazz scene through photographs. It is theoutcome of a collaborative pilot research project entitled 'Everyday Jazz Life: A PhotographicProject on Contemporary Jazz Musicians' Lives in Birmingham' that took placeat Birmingham Centre for Media and Cultural Research, and brought together an academicand a photographer. As Ian Jeffrey suggests, photographs can be consideredas understandable fragments, which invite their viewers' minds to reflect about them.However, as fragments, photographs of contemporary Birmingham's jazz musicians aspeople, not just performers, in the context of their everyday lives can also be understoodas records of intention illuminating how musicians view themselves, the local jazz scene,and how they negotiate their lives while expanding their music. This visual approachopens up the possibility of new, or under-studied, topics for jazz studies research, forexample, those concerning musicians' off-stage complementary activities, social dynamicswithin their communities, and the living challenges and constraints.","PeriodicalId":40438,"journal":{"name":"Jazz Research Journal","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2019-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49419338","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":"Jazzing through the luminiferous ether: How international radio broadcasts affected the experience of jazz in 1920s–1930s New Zealand","authors":"Aleisha Ward","doi":"10.1558/jazz.37953","DOIUrl":"https://doi.org/10.1558/jazz.37953","url":null,"abstract":"","PeriodicalId":40438,"journal":{"name":"Jazz Research Journal","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2019-08-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44549901","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 Stanford Encyclopedia of Philosophy explains how the evolving field of everyday aesthetics seeks to offer an alternative to the ‘tendency to equate aesthetics with the philosophy of art by arguing that aesthetic experiences are present in many aspects of daily life. Furthermore, the article highlights the fact that often what counts as an everyday activity for one person might be much more unusual for another. Consequently, despite the fact that there are some activities that are largely common to all of us—eating, sleeping—it should also be acknowledged that context plays a vital role in the discourse on the everyday. In this article I will examine how concepts that arise in the discourse on everyday aesthetics relate to the understanding of contemporary jazz performance practice. I will focus on how the daily practice and performance of jazz gives rise to a number of areas of conceptual questioning, and consider how everyday aesthetics might serve as a model for contextualizing the numerous methodological components of jazz performance practice. Citing examples from the work of historical musicians—Lee Konitz and Steve Lacy—as well as from my own practice, and with reference to the daily activities of instrumental study, group rehearsal and repeated performance, I will present a reading of jazz performance practice that seeks to challenge
{"title":"What can everyday aesthetics teach us about jazz practice?","authors":"M. Fletcher","doi":"10.1558/jazz.38246","DOIUrl":"https://doi.org/10.1558/jazz.38246","url":null,"abstract":"The Stanford Encyclopedia of Philosophy explains how the evolving field of everyday aesthetics seeks to offer an alternative to the ‘tendency to equate aesthetics with the philosophy of art by arguing that aesthetic experiences are present in many aspects of daily life. Furthermore, the article highlights the fact that often what counts as an everyday activity for one person might be much more unusual for another. Consequently, despite the fact that there are some activities that are largely common to all of us—eating, sleeping—it should also be acknowledged that context plays a vital role in the discourse on the everyday. In this article I will examine how concepts that arise in the discourse on everyday aesthetics relate to the understanding of contemporary jazz performance practice. I will focus on how the daily practice and performance of jazz gives rise to a number of areas of conceptual questioning, and consider how everyday aesthetics might serve as a model for contextualizing the numerous methodological components of jazz performance practice. Citing examples from the work of historical musicians—Lee Konitz and Steve Lacy—as well as from my own practice, and with reference to the daily activities of instrumental study, group rehearsal and repeated performance, I will present a reading of jazz performance practice that seeks to challenge","PeriodicalId":40438,"journal":{"name":"Jazz Research Journal","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2019-08-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43882350","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 focuses on the analysis of 'Mississippi, My Home', a blues composition byAfrican-American singer Lavelle White, which posits key issues about the meaningsof home, identity, and everyday aesthetics. Presented as a true story, the song dealswith the idea of returning home to Mississippi. It represents everyday life in a plantationthrough the bond between the narrator and her mother while picking cotton. Therefore,it introduces the listener to an aesthetic of everyday life that combined blues, work songs, and spirituals. Drawing on a personal interview with the artist, as well as on othersources, we will analyse the song as part of a broader interest in the musical discourseof blues. Exploring the song's text and context, the aim is to reach a complex understandingabout the ways in which biography and fiction intertwine with each other in thecreative act of songwriting and musical performance.
{"title":"‘Mississippi, My Home’: Songwriting, identity and everyday aesthetics in the African-American tradition","authors":"Josep Pedro, Begoña Gutiérrez-Martínez","doi":"10.1558/jazz.39374","DOIUrl":"https://doi.org/10.1558/jazz.39374","url":null,"abstract":"This article focuses on the analysis of 'Mississippi, My Home', a blues composition byAfrican-American singer Lavelle White, which posits key issues about the meaningsof home, identity, and everyday aesthetics. Presented as a true story, the song dealswith the idea of returning home to Mississippi. It represents everyday life in a plantationthrough the bond between the narrator and her mother while picking cotton. Therefore,it introduces the listener to an aesthetic of everyday life that combined blues, work songs, and spirituals. Drawing on a personal interview with the artist, as well as on othersources, we will analyse the song as part of a broader interest in the musical discourseof blues. Exploring the song's text and context, the aim is to reach a complex understandingabout the ways in which biography and fiction intertwine with each other in thecreative act of songwriting and musical performance.","PeriodicalId":40438,"journal":{"name":"Jazz Research Journal","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2019-08-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44177558","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 Sound of Jazz as Essential Image: Television, Performance, and the Modern Jazz Canon","authors":"Michael Borshuk","doi":"10.1558/jazz.35906","DOIUrl":"https://doi.org/10.1558/jazz.35906","url":null,"abstract":"","PeriodicalId":40438,"journal":{"name":"Jazz Research Journal","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2019-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45834264","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":"Hip Nostalgia: Jazz and the Politics of Representation in Three Dramedies","authors":"G. Solis","doi":"10.1558/jazz.35903","DOIUrl":"https://doi.org/10.1558/jazz.35903","url":null,"abstract":"","PeriodicalId":40438,"journal":{"name":"Jazz Research Journal","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2019-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48129392","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":"‘Ain’t misbehavin’: Jazz music in children’s television","authors":"L. Maloy","doi":"10.1558/jazz.35572","DOIUrl":"https://doi.org/10.1558/jazz.35572","url":null,"abstract":"","PeriodicalId":40438,"journal":{"name":"Jazz Research Journal","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2019-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41966530","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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