Shaping jazz Phillips, Damon J
2013., 20130721, 2013, 2013-07-21
eBook
There are over a million jazz recordings, but only a few hundred tunes have been recorded repeatedly. Why did a minority of songs become jazz standards? Why do some songs--and not others--get ...rerecorded by many musicians?Shaping Jazzanswers this question and more, exploring the underappreciated yet crucial roles played by initial production and markets--in particular, organizations and geography--in the development of early twentieth-century jazz.
Damon Phillips considers why places like New York played more important roles as engines of diffusion than as the sources of standards. He demonstrates why and when certain geographical references in tune and group titles were considered more desirable. He also explains why a place like Berlin, which produced jazz abundantly from the 1920s to early 1930s, is now on jazz's historical sidelines. Phillips shows the key influences of firms in the recording industry, including how record companies and their executives affected what music was recorded, and why major companies would rerelease recordings under artistic pseudonyms. He indicates how a recording's appeal was related to the narrative around its creation, and how the identities of its firm and musicians influenced the tune's long-run popularity.
Applying fascinating ideas about market emergence to a music's commercialization,Shaping Jazzoffers a unique look at the origins of a groundbreaking art form.
A galvanizing history of how jazz and jazz musicians
flourished despite rampant cultural exploitation The music
we call "jazz" arose in late nineteenth century North America-most
likely in New ...Orleans-based on the musical traditions of Africans,
newly freed from slavery. Grounded in the music known as the
"blues," which expressed the pain, sufferings, and hopes of Black
folk then pulverized by Jim Crow, this new music entered the world
via the instruments that had been abandoned by departing military
bands after the Civil War. Jazz and Justice examines the economic,
social, and political forces that shaped this music into a
phenomenal US-and Black American-contribution to global arts and
culture. Horne assembles a galvanic story depicting what may have
been the era's most virulent economic-and racist-exploitation, as
jazz musicians battled organized crime, the Ku Klux Klan, and other
variously malignant forces dominating the nightclub scene where
jazz became known. Horne pays particular attention to women
artists, such as pianist Mary Lou Williams and trombonist Melba
Liston, and limns the contributions of musicians with Native
American roots. This is the story of a beautiful lotus, growing
from the filth of the crassest form of human immiseration.
Why jazz happened Myers, Marc
2012., 20121110, 2012, 2019-03-19
eBook
Why Jazz Happened is the first comprehensive social history of jazz. It provides an intimate and compelling look at the many forces that shaped this most American of art forms and the many influences ...that gave rise to jazz's post-war styles. Rich with the voices of musicians, producers, promoters, and others on the scene during the decades following World War II, this book views jazz's evolution through the prism of technological advances, social transformations, changes in the law, economic trends, and much more. In an absorbing narrative enlivened by the commentary of key personalities, Marc Myers describes the myriad of events and trends that affected the music's evolution, among them, the American Federation of Musicians strike in the early 1940s, changes in radio and concert-promotion, the introduction of the long-playing record, the suburbanization of Los Angeles, the Civil Rights movement, the "British invasion" and the rise of electronic instruments. This groundbreaking book deepens our appreciation of this music by identifying many of the developments outside of jazz itself that contributed most to its texture, complexity, and growth.
New York City has always been a mecca in the history of jazz, and in many ways the city's jazz scene is more important now than ever before.Blowin' the Blues Awayexamines how jazz has thrived in New ...York following its popular resurgence in the 1980s. Using interviews, in-person observation, and analysis of live and recorded events, ethnomusicologist Travis A. Jackson explores both the ways in which various participants in the New York City jazz scene interpret and evaluate performance, and the criteria on which those interpretations and evaluations are based. Through the notes and words of its most accomplished performers and most ardent fans, jazz appears not simply as a musical style, but as a cultural form intimately influenced by and influential upon American concepts of race, place, and spirituality.
The jazz bubble Chapman, Dale
2018., 20180403, 2018, 2018-09-20
eBook
Hailed by corporate, philanthropic, and governmental organizations as a metaphor for democratic interaction and business dynamics, contemporary jazz culture has a story to tell about the relationship ...between political economy and social practice in the era of neoliberal capitalism. The Jazz Bubble approaches the emergence of the neoclassical jazz aesthetic since the 1980s as a powerful, if unexpected, point of departure for a wide-ranging investigation of important social trends during this period, extending from the effects of financialization in the music industry to the structural upheaval created by urban redevelopment in major American cities. Dale Chapman draws from political and critical theory, oral history, and the public and trade press, making this a persuasive and compelling work for scholars across music, industry, and cultural studies.
This Is Our Music, declared saxophonist Ornette Coleman's 1960 album title. But whose music was it? At various times during the 1950s and 1960s, musicians, critics, fans, politicians, and ...entrepreneurs claimed jazz as a national art form, an Afrocentric race music, an extension of modernist innovation in other genres, a music of mass consciousness, and the preserve of a cultural elite. This original and provocative book explores who makes decisions about the value of a cultural form and on what basis, taking as its example the impact of 1960s free improvisation on the changing status of jazz. By examining the production, presentation, and reception of experimental music by Ornette Coleman, Cecil Taylor, John Coltrane, and others, Iain Anderson traces the strange, unexpected, and at times deeply ironic intersections between free jazz, avant-garde artistic movements, Sixties politics, and patronage networks. Anderson emphasizes free improvisation's enormous impact on jazz music's institutional standing, despite ongoing resistance from some of its biggest beneficiaries. He concludes that attempts by African American artists and intellectuals to define a place for themselves in American life, structural changes in the music industry, and the rise of nonprofit sponsorship portended a significant transformation of established cultural standards. At the same time, free improvisation's growing prestige depended in part upon traditional highbrow criteria: increasingly esoteric styles, changing venues and audience behavior, European sanction, withdrawal from the marketplace, and the professionalization of criticism. Thus jazz music's performers and supporters-and potentially those in other arts-have both challenged and accommodated themselves to an ongoing process of cultural stratification.
The Jazz Republic examines jazz music and the jazz artists who shaped Germany’s exposure to this African American art form from 1919 through 1933. Jonathan O. Wipplinger explores the history of jazz ...in Germany as well as the roles that music, race (especially Blackness), and America played in German culture and follows the debate over jazz through the fourteen years of Germany’s first democracy. He explores visiting jazz musicians including the African American Sam Wooding and the white American Paul Whiteman and how their performances were received by German critics and artists. The Jazz Republic also engages with the meaning of jazz in debates over changing gender norms and jazz’s status between paradigms of high and low culture. By looking at German translations of Langston Hughes’s poetry, as well as Theodor W. Adorno’s controversial rejection of jazz in light of racial persecution, Wipplinger examines how jazz came to be part of German cultural production more broadly in both the US and Germany, in the early 1930s. Using a wide array of sources from newspapers, modernist and popular journals, as well as items from the music press, this work intervenes in the debate over the German encounter with jazz by arguing that the music was no mere “symbol” of Weimar’s modernism and modernity. Rather than reflecting intra-German and/or European debates, it suggests that jazz and its practitioners, African American, white American, Afro-European, German and otherwise, shaped Weimar culture in a central way.
Jazz matters Ake, David
2010., 20100907, 2010, 2010-10-07
eBook
What, where, and when is jazz? To most of us jazz means small combos, made up mostly of men, performing improvisationally in urban club venues. But jazz has been through many changes in the decades ...since World War II, emerging in unexpected places and incorporating a wide range of new styles. In this engrossing new book, David Ake expands on the discussion he began in Jazz Cultures, lending his engaging, thoughtful, and stimulating perspective to post-1940s jazz. Ake investigates such issues as improvisational analysis, pedagogy, American exceptionalism, and sense of place in jazz. He uses provocative case studies to illustrate how some of the values ascribed to the postwar jazz culture are reflected in and fundamentally shaped by aspects of sound, location, and time.
In 1971, French jazz critics Philippe Carles and Jean-Louis Comolli co-wroteFree Jazz/Black Power, a treatise on the racial and political implications of jazz and jazz criticism. It remains a ...testimony to the long ignored encounter of radical African American music and French left-wing criticism. Carles and Comolli set out to defend a genre vilified by jazz critics on both sides of the Atlantic by exposing the new sound's ties to African American culture, history, and the political struggle that was raging in the early 1970s. The two offered a political and cultural history of black presence in the United States to shed more light on the dubious role played by jazz criticism in racial oppression.
This analysis of jazz criticism and its production is astutely self-aware. It critiques the critics, building a work of cultural studies in a time and place where the practice was virtually unknown. The authors reached radical conclusions--free jazz was a revolutionary reaction against white domination, was the musical counterpart to the Black Power movement, and was a music that demanded a similar political commitment. The impact of this book is difficult to overstate, as it made readers reconsider their response to African American music. In some cases it changed the way musicians thought about and played jazz.Free Jazz / Black Powerremains indispensable to the study of the relation of American free jazz to European audiences, critics, and artists. This monumental critique caught the spirit of its time and also realigned that zeitgeist.
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