Pub Date : 2016-07-16DOI: 10.1558/jazz.v10i1-2.29355
S. Dorin
Damon J. Phillips, Shaping Jazz: Cities, Labels, and the Global Emergence of an Art Form. Princeton, NJ: Princeton University Press, 2013. xi + 217 pp. ISBN 978-0-691-15088-8 (hbk). $35.00/£24.95.In this book, Damon Phillips deals with the circulation of jazz from its early recordings until 1933. Indeed, Phillips, who started his scholarly work in organizational theory on the consulting sector business models, has mobilized the exploratory power of network analysis in a creative manner within a conceptual framework inherited from the 'production of culture' perspective and sociological new institutionalism. As the author sums it up in the Acknowledgements section, this book represents a quite forceful and synoptic effort that synthesizes a number of years of thorough research.On the basis of the Lord discography, which served as a database for noting, through the recordings' personnel, the travels of bandleaders between different cities (New Orleans and New York to Paris, Stockholm or Calcutta, for example), he has constructed a network that illuminates the degree of connection between cities. This allows Phillips to draw an accurate map of the dissemination of jazz through the world's main cities through this first and crucial phase of cultural globalization (1917-1933). Developing an analysis centred on the original concept of 'sociological congruence' and the link between innovation and centrality, Phillips makes an original and rigorous contribution to the sociology of cultural globalization, while shedding light in an innovative way on the classical problem of the legitimation process of jazz within different national cultures. Without being exhaustive, his analysis of the case of jazz in the Weimar Republic is particularly illuminating.Phillips's ambition is not to define jazz per se. His approach is a historical analysis of the early days of the jazz recording industry and how its dynamics would enforce a definition of an art form that would soon become global. The value and meaning of jazz as a cultural product are socially constructed, at least in part, he modestly acknowledges. This well-known anthropological and sociological claim is grounded here in the sense that value and meaning only exist when there is a congruence between the product's characteristics-the traits of the work of art for musicologists or art historians-and the geographical location of the recording and organizational models involved in record production. In short, 'jazz was shaped by a drive toward congruity between songs and their sources' (7).Chapters 3 to 6 focus on this notion of sociological congruence. Chief among Phillips's insights is that,Victorian-era firms' recording decisions were motivated by a need for identity preservation and that this need drove decisions on the type of music that was made available on the marketplace as jazz. That is, individual firms chose recordings that aligned with their identities. (142)In these early days of jazz, stylistic d
达蒙·j·菲利普斯:《塑造爵士乐:城市、标签和一种艺术形式的全球出现》。普林斯顿，新泽西州:普林斯顿大学出版社，2013。xi + 217 pp. ISBN 978-0-691-15088-8 (hbk)。35.00美元/£24.95。在这本书中，达蒙·菲利普斯研究了爵士乐从早期唱片到1933年的传播。事实上，从咨询部门商业模式开始其组织理论学术工作的菲利普斯，在继承自“文化生产”视角和社会学新制度主义的概念框架内，以创造性的方式调动了网络分析的探索性力量。正如作者在致谢部分总结的那样，这本书代表了相当有力和概要性的努力，综合了多年的彻底研究。在Lord唱片的基础上，他建立了一个网络，说明城市之间的联系程度，通过录音人员记录乐队领队在不同城市之间的旅行(例如，从新奥尔良和纽约到巴黎、斯德哥尔摩或加尔各答)。这使得菲利普斯在文化全球化的第一个关键阶段(1917-1933)绘制了一张爵士乐在世界主要城市传播的准确地图。菲利普斯以“社会学一致性”的原始概念和创新与中心性之间的联系为中心，对文化全球化的社会学做出了原创而严谨的贡献，同时以创新的方式揭示了爵士乐在不同国家文化中合法化过程的经典问题。虽然不详尽，但他对魏玛共和国爵士乐的分析特别有启发性。菲利普斯的目标并不是定义爵士乐本身。他的方法是对早期爵士乐唱片业的历史分析，以及它的动态如何强制定义一种很快就会走向全球的艺术形式。他谦虚地承认，爵士乐作为一种文化产品的价值和意义是社会建构的，至少在一定程度上是这样。这一著名的人类学和社会学主张是建立在这样一种意义上的:只有当产品的特征(音乐学家或艺术史学家认为的艺术作品的特征)与录音的地理位置和唱片制作中涉及的组织模式相一致时，价值和意义才会存在。简而言之，“爵士乐是由歌曲及其来源之间的一致性驱动而形成的”(7)。第3至6章侧重于社会学一致性的概念。菲利普斯的主要见解是，维多利亚时代的唱片公司的录音决定是出于对身份保护的需要，这种需要推动了对市场上可以获得的爵士乐音乐类型的决定。也就是说，各个公司选择了与自己身份相符的唱片。(142)在爵士乐的早期，风格的多样性盛行，乐器和音乐家的组合和数量都很多样化，乐队的种族组成也很多样化，从唯一的非裔美国爵士歌手到全是白人的爵士交响乐团。因此，菲利普斯的分析证明了爵士乐是一个偶然的类别，就像所有的社会类别一样。从这种原始的多样性中，选择、分类和合法化的过程在不同的地方发生，并随着时间和地点产生了不同的爵士乐定义。这种对社会背景和社会网络的特殊考虑，以及地理的显著性，使菲利普斯能够解决早期德国爵士乐的难题。如何解释魏玛共和国(1918-1933)时期的德国交响爵士乐未能获得封圣——从威廉·韦伯(1992)将这个概念应用于古典音乐的意义上说——而柏林是当时地球上最时髦的地方之一?以希特勒和纳粹的到来为基础的历史解释并不能解释一切;正如Michael Kater(2003)所展示的那样，交响爵士乐和摇摆音乐在帝国时期相当繁荣，维多利亚时代的公司倾向于录制白人管弦乐队。…
{"title":"Damon J. Phillips, Shaping Jazz: Cities, Labels, and the Global Emergence of an Art Form. Princeton, NJ: Princeton University Press, 2013. xi + 217 pp. ISBN 978-0-691-15088-8 (hbk). $35.00/£24.95.","authors":"S. Dorin","doi":"10.1558/jazz.v10i1-2.29355","DOIUrl":"https://doi.org/10.1558/jazz.v10i1-2.29355","url":null,"abstract":"Damon J. Phillips, Shaping Jazz: Cities, Labels, and the Global Emergence of an Art Form. Princeton, NJ: Princeton University Press, 2013. xi + 217 pp. ISBN 978-0-691-15088-8 (hbk). $35.00/£24.95.In this book, Damon Phillips deals with the circulation of jazz from its early recordings until 1933. Indeed, Phillips, who started his scholarly work in organizational theory on the consulting sector business models, has mobilized the exploratory power of network analysis in a creative manner within a conceptual framework inherited from the 'production of culture' perspective and sociological new institutionalism. As the author sums it up in the Acknowledgements section, this book represents a quite forceful and synoptic effort that synthesizes a number of years of thorough research.On the basis of the Lord discography, which served as a database for noting, through the recordings' personnel, the travels of bandleaders between different cities (New Orleans and New York to Paris, Stockholm or Calcutta, for example), he has constructed a network that illuminates the degree of connection between cities. This allows Phillips to draw an accurate map of the dissemination of jazz through the world's main cities through this first and crucial phase of cultural globalization (1917-1933). Developing an analysis centred on the original concept of 'sociological congruence' and the link between innovation and centrality, Phillips makes an original and rigorous contribution to the sociology of cultural globalization, while shedding light in an innovative way on the classical problem of the legitimation process of jazz within different national cultures. Without being exhaustive, his analysis of the case of jazz in the Weimar Republic is particularly illuminating.Phillips's ambition is not to define jazz per se. His approach is a historical analysis of the early days of the jazz recording industry and how its dynamics would enforce a definition of an art form that would soon become global. The value and meaning of jazz as a cultural product are socially constructed, at least in part, he modestly acknowledges. This well-known anthropological and sociological claim is grounded here in the sense that value and meaning only exist when there is a congruence between the product's characteristics-the traits of the work of art for musicologists or art historians-and the geographical location of the recording and organizational models involved in record production. In short, 'jazz was shaped by a drive toward congruity between songs and their sources' (7).Chapters 3 to 6 focus on this notion of sociological congruence. Chief among Phillips's insights is that,Victorian-era firms' recording decisions were motivated by a need for identity preservation and that this need drove decisions on the type of music that was made available on the marketplace as jazz. That is, individual firms chose recordings that aligned with their identities. (142)In these early days of jazz, stylistic d","PeriodicalId":40438,"journal":{"name":"Jazz Research Journal","volume":"24 1","pages":"192-196"},"PeriodicalIF":0.0,"publicationDate":"2016-07-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67539730","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 : 2016-06-27DOI: 10.1558/jazz.v10i1-2.30175
Pedro Cravinho
Normal.dotm 0 0 1 137 740 Universidade de Aveiro 14 2 959 12.0 0 false 18 pt 18 pt 0 0 false false false Normal.dotm 0 0 1 200 1104 Universidade de Aveiro 22 4 1405 12.0 0 false 18 pt 18 pt 0 0 false false false The principal aim of this article is to give an historical overview of the development of jazz in Portugal during the first half of the twentieth century. As a matter of fact, little is known in the international jazz research community about Portuguese jazz historiography. Perhaps the best-known jazz-related episode was Charlie Haden’s arrest by the Portuguese political police in November 1971. However, the history of jazz in Portugal as musical and social practice is more complex than just the American musicians who visited the country. This article traces a broad perspective of the perceptions and attitudes of jazz held by musicians, aficionados and detractors, and the way in which those representations, perceptions and attitudes were conditioned by certain social-political conditions of the Portuguese history. It starts with the reception of the music in Portugal in the post WWI years and early jazz criticism. Statements about jazz that represent the dominant positions are analysed according to the Portuguese colonial ideology of the time. It continues with the development of jazz during both the Military Dictatorship period (1926–1932), and the Portuguese Estado Novo regime’s early years (1933–1945). It concludes in the post WWII years, with the emergence of Lisbon’s jazz scene and the foundation of Hot Club of Portugal.
{"title":"Historical overview of the development of jazz in Portugal, in the first half of the twentieth century","authors":"Pedro Cravinho","doi":"10.1558/jazz.v10i1-2.30175","DOIUrl":"https://doi.org/10.1558/jazz.v10i1-2.30175","url":null,"abstract":"Normal.dotm 0 0 1 137 740 Universidade de Aveiro 14 2 959 12.0 0 false 18 pt 18 pt 0 0 false false false Normal.dotm 0 0 1 200 1104 Universidade de Aveiro 22 4 1405 12.0 0 false 18 pt 18 pt 0 0 false false false The principal aim of this article is to give an historical overview of the development of jazz in Portugal during the first half of the twentieth century. As a matter of fact, little is known in the international jazz research community about Portuguese jazz historiography. Perhaps the best-known jazz-related episode was Charlie Haden’s arrest by the Portuguese political police in November 1971. However, the history of jazz in Portugal as musical and social practice is more complex than just the American musicians who visited the country. This article traces a broad perspective of the perceptions and attitudes of jazz held by musicians, aficionados and detractors, and the way in which those representations, perceptions and attitudes were conditioned by certain social-political conditions of the Portuguese history. It starts with the reception of the music in Portugal in the post WWI years and early jazz criticism. Statements about jazz that represent the dominant positions are analysed according to the Portuguese colonial ideology of the time. It continues with the development of jazz during both the Military Dictatorship period (1926–1932), and the Portuguese Estado Novo regime’s early years (1933–1945). It concludes in the post WWII years, with the emergence of Lisbon’s jazz scene and the foundation of Hot Club of Portugal.","PeriodicalId":40438,"journal":{"name":"Jazz Research Journal","volume":"10 1","pages":"75-108"},"PeriodicalIF":0.0,"publicationDate":"2016-06-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67539794","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 Kid Thomas Band (1926–1987) may lay legitimate claim to be the most significant of all the old-style New Orleans jazz bands, in terms of ‘authenticity’, longevity and contemporary significance. This article seeks to illuminate social constructions of authenticity in New Orleans revivalist jazz through an analysis of major aspects of the musical detail of selected recordings of ‘Basin Street Blues’ by the Kid Thomas Band. It compares and contrasts the Kid Thomas Band New Orleans ‘dance hall’ sound of 1957 with the ‘concert hall’ sound of 1971, with particular reference to social constructions of authenticity embedded within second-wave New Orleans jazz revivalism of the 1960s and 1970s, as supplemented by the current views of selected New Orleans revivalist jazz enthusiasts, musicians, writers, promoters and record producers with over half a century’s participation within worldwide New Orleans revivalist jazz social worlds.
The Kid Thomas Band(1926-1987)可以说是新奥尔良所有旧式爵士乐队中最重要的一支，就“真实性”、长寿和当代意义而言。本文试图通过对儿童托马斯乐队精选的“盆地街蓝调”唱片的音乐细节的主要方面的分析，阐明新奥尔良复兴爵士真实性的社会结构。它将1957年新奥尔良的“舞厅”声音与1971年的“音乐厅”声音进行了比较和对比，特别提到了20世纪60年代和70年代第二波新奥尔良爵士复兴主义中嵌入的真实性的社会结构，并辅以精选的新奥尔良复兴主义爵士爱好者，音乐家，作家，半个多世纪以来，他一直是新奥尔良爵士社会的推动者和唱片制作人。
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Ah, distinctly I remember it was in the bleak December;And each separate dying ember wrought its ghost upon the floor.The Raven, Edgar Allan Poe, 1845IntroductionThis article is set within two main sets of substantive literatures, namely that of the literature on New Orleans jazz revivalism in the UK, from academic popular music and jazz studies perspectives, and that on the elderly and music, from the standpoint of ethnography and participant observation (Atkinson and Hammersley 1994). More generally, it may be seen as a contribution to the role of popular music in the everyday life of elderly people (Unruh 1983; Bennett 2001; Smith 2009); and to a social worlds approach to sociology, cultural studies, and popular music and jazz studies (Becker 2008; Finnegan 2007; Martin 2005, 2006; Unruh 1979, 1983).The relevant literature on New Orleans jazz revivalism in the UK has grown remarkably in the last few years. From a very small base up to 2007 (Goodey 1968; Frith 1988; McKay 2003, 2004, 2005; Moore 2007), we can now add Shipton (2012), those of the Equinox popular music history series edited by Alyn Shipton (Heining 2012; Gelly 2014; Chris Barber with Alyn Shipton 2014), as well as my own studies (Ekins 2009, 2010, 2012, 2013). The narrative turn in contemporary social sciences and cultural studies has ensured that life history, ethnographic and participant observation studies have become a major feature of studies of music and the elderly. Work on ageing, nostalgia and popular music (Bennett 2001) has become more nuanced as the ethnographic turn has predominated, and it is noticeable that in special journal issues such as 'As Time Goes By: Music, Dancing and Ageing' (Fairley and Forman 2012), it is the ethnographic component that predominates.However, it must be said that the ethnographic component in the academic literature on New Orleans revivalist jazz is often very thin. Moreover, in both of the relevant literatures being considered-on New Orleans jazz revivalism and on ageing and music-theory and methodology are undeveloped at best and non-existent at worst. It is these gaps in the literature that I address in this article.The theoretical contribution of this study is an exploration of selected interrelations between ethnography (Stock 2004; Hammersley and Atkinson 2007), autoethnography (Ellis and Bochner 2000; Anderson 2006) and social world analysis (Strauss 1978, 1982, 1984, 1993; Clarke 2005; Martin 2006) as set within a social interactionist (symbolic interactionist) approach (Becker 2008; Blumer 1969; Prus 1996, 1997) to popular music studies (Cohen 1993; Stock 2004; Hesmondaigh and Negus 2002) and jazz studies (Martin 2005). The more recent substantive focus of the study is ethnographic/participant observation work I carried out at a public jazz 'event' (Stock 2004), namely the weekly residency of the Merseysippi Jazz Band (MJB) held at the Liverpool Cricket Club, Aigburth, Liverpool, UK, on Monday evenings, between 8.30pm and 11.00p
{"title":"Becoming a Follower of the Merseysippi Jazz Band: An Approach from Ethnography, Autoethnography and Social World Analysis - A Study in Resocialization","authors":"R. Ekins","doi":"10.1558/jazz.v9i1.21250","DOIUrl":"https://doi.org/10.1558/jazz.v9i1.21250","url":null,"abstract":"Ah, distinctly I remember it was in the bleak December;And each separate dying ember wrought its ghost upon the floor.The Raven, Edgar Allan Poe, 1845IntroductionThis article is set within two main sets of substantive literatures, namely that of the literature on New Orleans jazz revivalism in the UK, from academic popular music and jazz studies perspectives, and that on the elderly and music, from the standpoint of ethnography and participant observation (Atkinson and Hammersley 1994). More generally, it may be seen as a contribution to the role of popular music in the everyday life of elderly people (Unruh 1983; Bennett 2001; Smith 2009); and to a social worlds approach to sociology, cultural studies, and popular music and jazz studies (Becker 2008; Finnegan 2007; Martin 2005, 2006; Unruh 1979, 1983).The relevant literature on New Orleans jazz revivalism in the UK has grown remarkably in the last few years. From a very small base up to 2007 (Goodey 1968; Frith 1988; McKay 2003, 2004, 2005; Moore 2007), we can now add Shipton (2012), those of the Equinox popular music history series edited by Alyn Shipton (Heining 2012; Gelly 2014; Chris Barber with Alyn Shipton 2014), as well as my own studies (Ekins 2009, 2010, 2012, 2013). The narrative turn in contemporary social sciences and cultural studies has ensured that life history, ethnographic and participant observation studies have become a major feature of studies of music and the elderly. Work on ageing, nostalgia and popular music (Bennett 2001) has become more nuanced as the ethnographic turn has predominated, and it is noticeable that in special journal issues such as 'As Time Goes By: Music, Dancing and Ageing' (Fairley and Forman 2012), it is the ethnographic component that predominates.However, it must be said that the ethnographic component in the academic literature on New Orleans revivalist jazz is often very thin. Moreover, in both of the relevant literatures being considered-on New Orleans jazz revivalism and on ageing and music-theory and methodology are undeveloped at best and non-existent at worst. It is these gaps in the literature that I address in this article.The theoretical contribution of this study is an exploration of selected interrelations between ethnography (Stock 2004; Hammersley and Atkinson 2007), autoethnography (Ellis and Bochner 2000; Anderson 2006) and social world analysis (Strauss 1978, 1982, 1984, 1993; Clarke 2005; Martin 2006) as set within a social interactionist (symbolic interactionist) approach (Becker 2008; Blumer 1969; Prus 1996, 1997) to popular music studies (Cohen 1993; Stock 2004; Hesmondaigh and Negus 2002) and jazz studies (Martin 2005). The more recent substantive focus of the study is ethnographic/participant observation work I carried out at a public jazz 'event' (Stock 2004), namely the weekly residency of the Merseysippi Jazz Band (MJB) held at the Liverpool Cricket Club, Aigburth, Liverpool, UK, on Monday evenings, between 8.30pm and 11.00p","PeriodicalId":40438,"journal":{"name":"Jazz Research Journal","volume":"9 1","pages":"7-36"},"PeriodicalIF":0.0,"publicationDate":"2015-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67543001","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 : 2015-08-12DOI: 10.1558/JAZZ.V10I1-2.28748
A. Fléchet
Brazil was a very early convert to jazz, which was marked by numerous appropriations and musical fusions. The first echoes of jazz were heard in Rio in 1917, a few months after the official birth of samba. Yet still little is known about the early history of jazz in Brazil. This article adopts a cultural and social history approach to music to identify the actors and sociological vectors that enabled the first appropriation of jazz by Brazilian musicians and audiences; to analyse the evolution of jazz repertoires; and to understand its impact (real, albeit highly controversial) on the Brazilian musical scene from the 1920s to the 1950s.
{"title":"Jazz in Brazil: An Early History (1920s-1950s)","authors":"A. Fléchet","doi":"10.1558/JAZZ.V10I1-2.28748","DOIUrl":"https://doi.org/10.1558/JAZZ.V10I1-2.28748","url":null,"abstract":"Brazil was a very early convert to jazz, which was marked by numerous appropriations and musical fusions. The first echoes of jazz were heard in Rio in 1917, a few months after the official birth of samba. Yet still little is known about the early history of jazz in Brazil. This article adopts a cultural and social history approach to music to identify the actors and sociological vectors that enabled the first appropriation of jazz by Brazilian musicians and audiences; to analyse the evolution of jazz repertoires; and to understand its impact (real, albeit highly controversial) on the Brazilian musical scene from the 1920s to the 1950s.","PeriodicalId":40438,"journal":{"name":"Jazz Research Journal","volume":"10 1","pages":"13-34"},"PeriodicalIF":0.0,"publicationDate":"2015-08-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67539163","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 term ‘storytelling’ has a long history of prominence in descriptive and prescriptive talk about jazz improvisation. The main aim of this article is to point out that the ways in which jazz musicians themselves employ the ‘storytelling’ metaphor with reference to jazz improvisation display several important perspectives on perennial and fundamental prob- lems in the field of musical narrativity and offer very efficient ways of dealing with these issues. The empirical interview study summarized in this article constitutes an attempt to decipher the full potential of this intermedial conceptual loan, jazz improvisation as story- telling, based on how it is used by a number of highly accomplished Swedish jazz musi- cians. From a theoretical point of view, there are severe difficulties involved in viewing any music as narrative. The aim of the empirical study is to provide means for understand- ing jazz musicians’ conceptualizations of their art form; to investigate how they deal with such difficulties. The interviewees favour a metaphorical rather than literal interpretation of the concept of storytelling: for instance, as communication, expression, mission or vision. Their understanding of storytelling tends to focus on the how—rather than the what—of narrative. In their view, the narrative potential of jazz is connected in significant ways to the music’s ontological status as situated activity, including perspectives that concern the con- struction of musical meaning through narrativization of intra-musical patterns, as well as the significance of cultural competence. In sum, jazz practitioners’ understanding of jazz ‘storytelling’ emerges as an important way of dealing with issues of meaning in mus (Less)
{"title":"The jazz storyteller: Improvisers’ perspectives on music and narrative","authors":"Sven Bjerstedt","doi":"10.1558/JAZZ.V9I1.21502","DOIUrl":"https://doi.org/10.1558/JAZZ.V9I1.21502","url":null,"abstract":"The term ‘storytelling’ has a long history of prominence in descriptive and prescriptive talk about jazz improvisation. The main aim of this article is to point out that the ways in which jazz musicians themselves employ the ‘storytelling’ metaphor with reference to jazz improvisation display several important perspectives on perennial and fundamental prob- lems in the field of musical narrativity and offer very efficient ways of dealing with these issues. The empirical interview study summarized in this article constitutes an attempt to decipher the full potential of this intermedial conceptual loan, jazz improvisation as story- telling, based on how it is used by a number of highly accomplished Swedish jazz musi- cians. From a theoretical point of view, there are severe difficulties involved in viewing any music as narrative. The aim of the empirical study is to provide means for understand- ing jazz musicians’ conceptualizations of their art form; to investigate how they deal with such difficulties. The interviewees favour a metaphorical rather than literal interpretation of the concept of storytelling: for instance, as communication, expression, mission or vision. Their understanding of storytelling tends to focus on the how—rather than the what—of narrative. In their view, the narrative potential of jazz is connected in significant ways to the music’s ontological status as situated activity, including perspectives that concern the con- struction of musical meaning through narrativization of intra-musical patterns, as well as the significance of cultural competence. In sum, jazz practitioners’ understanding of jazz ‘storytelling’ emerges as an important way of dealing with issues of meaning in mus (Less)","PeriodicalId":40438,"journal":{"name":"Jazz Research Journal","volume":"9 1","pages":"37-61"},"PeriodicalIF":0.0,"publicationDate":"2015-07-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67543096","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 : 2015-04-20DOI: 10.1558/JAZZ.V8I1-2.27135
Bruce Johnson
IntroductionAs one of the first musics mediated by modern technologies, jazz was circulated globally with a rapidity unprecedented for any other new music. As early as 1922, US journalist Burnet Hershey reported that in his recent journey around the world he found jazz everywhere (Walser 1999: 26). The speed of its international circulation tells us as much about modernity itself as about the music that became its anthem. Curious, then, that it has taken so long for the history of diasporic jazz to be taken seriously. The jazz narrative has been overwhelmingly US-centric for most of the music's history, with jazz outside the US generally neglected as some kind of inauthentic reflection of the 'real thing'. This is a deeply conservative approach to the study of a modern cultural form, telling us, for example, very little about the dynamics of globalization/glocalization in relation to a genre that may be regarded as having created the modern musical template. Indeed, that jazz came to be regarded as the quintessential new music of the twentieth century was itself a phenomenon of its diasporic process. On the basis of their own reports (see for example Shapiro and Hentoff 1955, especially 3-74) musicians in what is regarded as the birthplace of the music, New Orleans, thought of themselves as bearers of a local semi-folk tradition, not as harbingers of internationalist modernity. It was the new audiences in diasporic sites that made the music the anthem of all that was modern, emancipative and thus threatening to tradition.The further from the source, the more comprehensively was that association defined, and this is partly because of the primary diasporic media. Jazz was a music disseminated, especially beyond the US, largely by recordings, radio and film. It was thus delivered via the medium not of provincial folk traditions but by technologies that coded it as of an increasingly internationalized New World that represented the future. It was in the diasporic process that jazz became, internationally, the soundtrack to modernity (see further Johnson 2000: 7-27; Johnson forthcoming). Jazz was not invented then exported, arriving in some contaminated and enervated form, but was continuously invented in the diasporic process, which thus contributes to, rather than compromises, the jazz tradition (see further Johnson 2002a: passim). Even where diasporic jazz has attracted attention, what are in many ways the most instructive forms have been overlooked and even scorned for their embarrassing gaucherie-that is, the earliest attempts to make local sense of the music, before its international, placeless codification from the 1960s through such infrastructures as the LP, its cover notes, jazz education programmes and fake books. To me there are more telling lessons in a non-US recording from the 1920s of Edwardian dance-band or vaudeville trained musicians still trying to find their feet, than a diasporic 1960s performance by musicians whose greatest prid
{"title":"Editorial: Jazz in Australasia","authors":"Bruce Johnson","doi":"10.1558/JAZZ.V8I1-2.27135","DOIUrl":"https://doi.org/10.1558/JAZZ.V8I1-2.27135","url":null,"abstract":"IntroductionAs one of the first musics mediated by modern technologies, jazz was circulated globally with a rapidity unprecedented for any other new music. As early as 1922, US journalist Burnet Hershey reported that in his recent journey around the world he found jazz everywhere (Walser 1999: 26). The speed of its international circulation tells us as much about modernity itself as about the music that became its anthem. Curious, then, that it has taken so long for the history of diasporic jazz to be taken seriously. The jazz narrative has been overwhelmingly US-centric for most of the music's history, with jazz outside the US generally neglected as some kind of inauthentic reflection of the 'real thing'. This is a deeply conservative approach to the study of a modern cultural form, telling us, for example, very little about the dynamics of globalization/glocalization in relation to a genre that may be regarded as having created the modern musical template. Indeed, that jazz came to be regarded as the quintessential new music of the twentieth century was itself a phenomenon of its diasporic process. On the basis of their own reports (see for example Shapiro and Hentoff 1955, especially 3-74) musicians in what is regarded as the birthplace of the music, New Orleans, thought of themselves as bearers of a local semi-folk tradition, not as harbingers of internationalist modernity. It was the new audiences in diasporic sites that made the music the anthem of all that was modern, emancipative and thus threatening to tradition.The further from the source, the more comprehensively was that association defined, and this is partly because of the primary diasporic media. Jazz was a music disseminated, especially beyond the US, largely by recordings, radio and film. It was thus delivered via the medium not of provincial folk traditions but by technologies that coded it as of an increasingly internationalized New World that represented the future. It was in the diasporic process that jazz became, internationally, the soundtrack to modernity (see further Johnson 2000: 7-27; Johnson forthcoming). Jazz was not invented then exported, arriving in some contaminated and enervated form, but was continuously invented in the diasporic process, which thus contributes to, rather than compromises, the jazz tradition (see further Johnson 2002a: passim). Even where diasporic jazz has attracted attention, what are in many ways the most instructive forms have been overlooked and even scorned for their embarrassing gaucherie-that is, the earliest attempts to make local sense of the music, before its international, placeless codification from the 1960s through such infrastructures as the LP, its cover notes, jazz education programmes and fake books. To me there are more telling lessons in a non-US recording from the 1920s of Edwardian dance-band or vaudeville trained musicians still trying to find their feet, than a diasporic 1960s performance by musicians whose greatest prid","PeriodicalId":40438,"journal":{"name":"Jazz Research Journal","volume":"8 1","pages":"5-22"},"PeriodicalIF":0.0,"publicationDate":"2015-04-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67543182","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 : 2015-04-20DOI: 10.1558/jazz.v8i1-2.26878
Brent Keogh
IntroductionMusic festivals have been broadly defined as 'a series of performances, of a generally celebratory nature, given by large numbers of individuals and groups over a limited period of time' (Kernfield 1988: 360). Music festivals have become a significant subject of analysis in the study of popular music, particularly since the 1990s (Gibson 2007: 65). The attraction of studying festivals most probably arises from the increased number of festivals from this period, but also from the ways in which festivals transform spaces, contribute to local economies and have become focal points in the musical and cultural fabric of communities across the globe (Curtis 2010: 102; Gibson and Connell 2012: 4). Music festivals have also proven to be interesting case studies of 'neo-tribalism', which employ Maffesoli's (1995) theoretical framework to describe and study festivals as informal networks that provide spaces for solidarity and belonging, proximity, hedonism and a politics of survival (Riley et al. 2010: 348; see also Bennett 1999). Festivals also provide new forms (albeit rather fleeting) of sociality through shared consumption patterns, commodities and branding (Cummings 2007: 2).Reflecting global trends, music festivals in Australia have become increasingly important sites of cultural expression, characterized by the complex interrelation of sounds, space, economies, power structures, producers, consumers and cultural intermediaries. The significance of music festivals in Australia is evidenced by Graeme Smith's (2005: 67) argument that music festivals have become 'the most important public activity' in Australian folk music from the 1990s onwards. More specifically in regards to jazz festivals, Australia is historically significant as it is possibly one of the first places to hold jazz festivals in the world (Johnson 2003: 276). Jazz festivals are particularly significant to studies of music festivals in Australia, not only because of the significance of jazz generally in the shaping of national identity (Johnson 2010: 54), but also because jazz festivals represent the second largest number of music festivals in the country (17.4% of all music festivals in 2006-2007) behind country music (Gibson 2007: 70).Jazz festivals became widespread throughout Australia from the 1960s, and a boom in jazz festivals in the 1990s corresponds to broader trends in Australian festivals (Gibson 2007: 65; Johnson 2003: 276). A number of reasons have been given to explain the rise in these festivals. Gibson (2007: 71) argues that one of the reasons for the rise in the popularity of jazz festivals in Australia is the creation of a network of 'inland heritage tourism', and the ways in which festivals particularly contribute to the local economies of rural towns in Australia. Curtis (2010: 106) has made a similar argument in her study of Wangaratta Festival of Jazz and Blues (hereafter Wangaratta), where the residents of Wangaratta were pleased about the cultural an
{"title":"'A tale of five festivals' : exploring the cultural intermediary function of Australian jazz festivals","authors":"Brent Keogh","doi":"10.1558/jazz.v8i1-2.26878","DOIUrl":"https://doi.org/10.1558/jazz.v8i1-2.26878","url":null,"abstract":"IntroductionMusic festivals have been broadly defined as 'a series of performances, of a generally celebratory nature, given by large numbers of individuals and groups over a limited period of time' (Kernfield 1988: 360). Music festivals have become a significant subject of analysis in the study of popular music, particularly since the 1990s (Gibson 2007: 65). The attraction of studying festivals most probably arises from the increased number of festivals from this period, but also from the ways in which festivals transform spaces, contribute to local economies and have become focal points in the musical and cultural fabric of communities across the globe (Curtis 2010: 102; Gibson and Connell 2012: 4). Music festivals have also proven to be interesting case studies of 'neo-tribalism', which employ Maffesoli's (1995) theoretical framework to describe and study festivals as informal networks that provide spaces for solidarity and belonging, proximity, hedonism and a politics of survival (Riley et al. 2010: 348; see also Bennett 1999). Festivals also provide new forms (albeit rather fleeting) of sociality through shared consumption patterns, commodities and branding (Cummings 2007: 2).Reflecting global trends, music festivals in Australia have become increasingly important sites of cultural expression, characterized by the complex interrelation of sounds, space, economies, power structures, producers, consumers and cultural intermediaries. The significance of music festivals in Australia is evidenced by Graeme Smith's (2005: 67) argument that music festivals have become 'the most important public activity' in Australian folk music from the 1990s onwards. More specifically in regards to jazz festivals, Australia is historically significant as it is possibly one of the first places to hold jazz festivals in the world (Johnson 2003: 276). Jazz festivals are particularly significant to studies of music festivals in Australia, not only because of the significance of jazz generally in the shaping of national identity (Johnson 2010: 54), but also because jazz festivals represent the second largest number of music festivals in the country (17.4% of all music festivals in 2006-2007) behind country music (Gibson 2007: 70).Jazz festivals became widespread throughout Australia from the 1960s, and a boom in jazz festivals in the 1990s corresponds to broader trends in Australian festivals (Gibson 2007: 65; Johnson 2003: 276). A number of reasons have been given to explain the rise in these festivals. Gibson (2007: 71) argues that one of the reasons for the rise in the popularity of jazz festivals in Australia is the creation of a network of 'inland heritage tourism', and the ways in which festivals particularly contribute to the local economies of rural towns in Australia. Curtis (2010: 106) has made a similar argument in her study of Wangaratta Festival of Jazz and Blues (hereafter Wangaratta), where the residents of Wangaratta were pleased about the cultural an","PeriodicalId":40438,"journal":{"name":"Jazz Research Journal","volume":"8 1","pages":"182-201"},"PeriodicalIF":0.0,"publicationDate":"2015-04-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67542985","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}
Book reviews of: Peter Pullman, Wail: The Life of Bud Powell . New York: Peter Pullman, LCC, 2012. 488 pp. ISBN 978-0-9851418-1-3 (pbk). $19.99. Guthrie P. Ramsey, Jr, The Amazing Bud Powell: Black Genius, Jazz History, and the Challenge of Bebop . Berkeley: University of California Press, 2013. 240 pp. ISBN 978-0-520-24391-0 (hbk). £24.95/$34.95.
{"title":"Wail: The Life of Bud Powell , and The Amazing Bud Powell: Black Genius, Jazz History, and the Challenge of Bebop","authors":"Pierre-Emmanuel Seguin","doi":"10.1558/JAZZ.V9I1.28288","DOIUrl":"https://doi.org/10.1558/JAZZ.V9I1.28288","url":null,"abstract":"Book reviews of:\u0000\u0000Peter Pullman, Wail: The Life of Bud Powell . New York: Peter Pullman, LCC, 2012. 488 pp. ISBN 978-0-9851418-1-3 (pbk). $19.99.\u0000\u0000Guthrie P. Ramsey, Jr, The Amazing Bud Powell: Black Genius, Jazz History, and the Challenge of Bebop . Berkeley: University of California Press, 2013. 240 pp. ISBN 978-0-520-24391-0 (hbk). £24.95/$34.95.","PeriodicalId":40438,"journal":{"name":"Jazz Research Journal","volume":"9 1","pages":"93-98"},"PeriodicalIF":0.0,"publicationDate":"2015-04-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67543771","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":"Ellen Johnson, Jazz Child: A Portrait of Sheila Jordan . Lanham, MD: Rowman & Littlefield, 2014. xvii + 234 pp. ISBN 978-0-8108-8837-1 (e-book). $54.99","authors":"James Aldridge","doi":"10.1558/JAZZ.V9I1.28042","DOIUrl":"https://doi.org/10.1558/JAZZ.V9I1.28042","url":null,"abstract":"","PeriodicalId":40438,"journal":{"name":"Jazz Research Journal","volume":"9 1","pages":"88-92"},"PeriodicalIF":0.0,"publicationDate":"2015-04-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67543384","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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