Silent revolutions: An exploration of 1941, Jimmie Blanton’s ‘forgotten’ year

IF 0.1 0 MUSIC

Jazz Research Journal Pub Date : 2016-07-19 DOI:10.1558/JAZZ.V9I2.30202

Matthias Heyman

引用次数: 0

Abstract

Normal 0 21 false false false EN-GB JA X-NONE Jimmie Blanton (1918-1942), best known for his tenure with Duke Ellington between 1939 and 1941, is by many considered to be one of the most influential bassists in jazz history. He has been widely studied, resulting in a paradigmatic depiction of his life and music. But a closer look reveals that all studies on Blanton focus on a single year, from November 1939 and November 1940, of his six-year career as a performer. Thus, a paradox is born. While many believe to profoundly understand Blanton’s music through the writings that abound, many of its aspects remain ‘hidden’, and only a partial and unnuanced narrative of this musician surfaces. Using 1941, Blanton’s final year with Ellington, as a case study, I will unravel the reasons, several of which are extra-musical, behind this period’s omission and detail its far-reaching consequences, which continue to pervade literature on the bassist to this day.

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无声的革命:对1941年的探索，吉米·布兰顿“被遗忘”的一年

吉米·布兰顿(1918-1942)，因1939年至1941年在艾灵顿公爵乐队(Duke Ellington)的演奏而闻名于世，被许多人认为是爵士历史上最有影响力的贝斯手之一。人们对他进行了广泛的研究，从而对他的生活和音乐进行了典型的描述。但仔细观察就会发现，所有关于布兰顿的研究都集中在1939年11月至1940年11月这一年，也就是他6年演艺生涯中的一年。因此，一个悖论就诞生了。虽然许多人相信通过大量的作品可以深刻地理解布兰顿的音乐，但它的许多方面仍然是“隐藏的”，只有对这位音乐家的部分和不细致的叙述才会浮出水面。1941年是布兰顿与艾灵顿合作的最后一年，我将以1941年为例，揭示这一时期遗漏背后的原因，其中一些是音乐之外的原因，并详细说明其深远的影响，这些影响直到今天仍在贝斯手的文学作品中广泛存在。

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来源期刊

Jazz Research Journal MUSIC-

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期刊介绍： Jazz Research Journal explores a range of cultural and critical views on jazz. The journal celebrates the diversity of approaches found in jazz scholarship and provides a forum for interaction and the cross-fertilisation of ideas. It is a development and extension of The Source: Challenging Jazz Criticism founded in 2004 at the Leeds College of Music. The journal aims to represent a range of disciplinary perspectives on jazz, from musicology to film studies, sociology to cultural studies, and offers a platform for new thinking on jazz. In this respect, the editors particularly welcome articles that challenge traditional approaches to jazz and encourage writings that engage with jazz as a discursive practice. Jazz Research Journal publishes original and innovative research that either extends the boundaries of jazz scholarship or explores themes which are central to a critical understanding of the music, including the politics of race and gender, the shifting cultural representation of jazz, and the complexity of canon formation and dissolution. In addition to articles, the journal features a reviews section that publishes critical articles on a variety of media, including recordings, film, books, educational products and multimedia publications.