{"title":"How “The Kid from Red Bank” Came to Newark","authors":"Elizabeth Surles","doi":"10.14713/jjs.v14i1.243","DOIUrl":"https://doi.org/10.14713/jjs.v14i1.243","url":null,"abstract":"Institute of Jazz Studies Archivist Elizabeth Surles reports on the acquisition, conservation, and processing of the Count Basie family papers and artifacts. She details select notable items in the collection and emphasizes portions of the collection of particular interest to jazz researchers.","PeriodicalId":331183,"journal":{"name":"Journal of Jazz Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-05-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135641877","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":"Buddy Bolden’s Photo","authors":"Luca Bragalini","doi":"10.14713/jjs.v14i1.227","DOIUrl":"https://doi.org/10.14713/jjs.v14i1.227","url":null,"abstract":"In their 1939 monograph Jazzmen, Frederic Ramsey Jr. and Charles Edward Smith presented the photograph of a sextet from New Orleans which prominently features a cornet player identifed as Buddy Bolden. From the time of its publication, this photo has been the subject of controversy and many unanswered questions. What is the correct orientation of the photograph? What are the mysterious spherical objects that are seen on the edge of the photograph? Who is the leader of the band?\u0000This article presents a detailed photographic analysis of this so-called first jazz photo, proposing a solution to an enigma that has lasted for eighty years. Analysis of early photographic processes, analysis of the history of musical instruments portrayed in 19th century photographs, study of the history of US clothing in 19th century photographs, and organological investigations have helped provide answers to the riddles that Buddy Bolden's photography has raised.","PeriodicalId":331183,"journal":{"name":"Journal of Jazz Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-05-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123790881","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":"John Arthur \"Jaki\" Byard","authors":"Scott E. Brown","doi":"10.14713/jjs.v13i1.194","DOIUrl":"https://doi.org/10.14713/jjs.v13i1.194","url":null,"abstract":"2022 marks the centennial of the birth of pianist/composer John Arthur “Jaki” Byard. Byard is highly regarded among his many musician students and serious students of jazz history, but his place in the historical narrative of twentieth century jazz, and the nature of his music, have challenged conventional approaches to assessing them. Attributes are assigned to his playing and methodology that convey a simplistic interpretation of a complex man who expressed a profound and individual notion of the cultural, social, and political nature of his music and jazz. Well known for a comprehensive grasp of jazz history and a virtuosic ability to articulate it musically, his intentions are diluted and obfuscated by misinterpretation of the way he applies humor, eclecticism, and historical reference. This paper will examine Byard’s background as the source of his expansive view, his natural talents as humorist and educator, and how these elements led him to adopt the classical definition of eclecticism to craft a unique voice that was both inclusive and specific. ","PeriodicalId":331183,"journal":{"name":"Journal of Jazz Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-11-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130039252","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":"Editor's Preface","authors":"Vincent Pelote","doi":"10.14713/jjs.v13i1.202","DOIUrl":"https://doi.org/10.14713/jjs.v13i1.202","url":null,"abstract":"","PeriodicalId":331183,"journal":{"name":"Journal of Jazz Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-11-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"120948374","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 Standard as Archive","authors":"Toby Wren","doi":"10.14713/jjs.v13i1.190","DOIUrl":"https://doi.org/10.14713/jjs.v13i1.190","url":null,"abstract":"The jazz standard remains an enduring part of the tradition of jazz performance and pedagogy. Contemporary jazz scholarship has tended to focus on improvisation as a practice and jazz-as-lived-experience and, while the jazz standard repertoire has occasionally been the subject of study the relationship between the standard repertoire and the ‘language’ or style of jazz has not been theorised. In this article I argue that the distinctive style of jazz improvisation is at least in part, determined by the characteristics of its shared repertoire and the statements that have accrued around that repertoire. I borrow Foucault’s conception of the archive to propose a reexamination of the historical progression of ideas that troubles the narrative of the individual creative genius and of jazz as the normative condition of improvisation. In this genealogical context, the jazz standard is positioned as an archive of a particular body of thought, a way of organizing and understanding the transmission, evolution and connection of ideas over time. The intended effect is to provide an alternative perspective on creativity in jazz, and a theorisation of an idea that is already implicit in jazz pedagogy and practice.","PeriodicalId":331183,"journal":{"name":"Journal of Jazz Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-11-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127051674","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":"Bud Powell Behind the Scenes","authors":"D. Biunno","doi":"10.14713/jjs.v13i1.188","DOIUrl":"https://doi.org/10.14713/jjs.v13i1.188","url":null,"abstract":"The Francis Paudras collection on Bud Powell contains over twenty hours of footage of the renowned American jazz pianist Bud Powell (1924-1966). This article explores the major highlights from the Francis Paudras collection and outlines how archivists at the Institute are making the films more accessible to researchers.","PeriodicalId":331183,"journal":{"name":"Journal of Jazz Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-11-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115302847","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":"All-Star Television","authors":"E. Iverson","doi":"10.14713/jjs.v13i1.198","DOIUrl":"https://doi.org/10.14713/jjs.v13i1.198","url":null,"abstract":"Recorded in 1965 at the Village Gate, but rarely seen until recently, the National Educational Television program Jazz: The Experimenters features music from Charles Mingus and Cecil Taylor. This article explores and contextualizes both the extraordinary performances and critical commentary contained in this program, as provided by Ralph Ellison and Martin Williams. Since being uploaded to YouTube for the Mingus centennial on April 22, 2022, Jazz: The Experimenters has been viewed over 140,000 times, a remarkable number for an old arty black and white TV show, and quite possibly far more than the number of people who watched when first broadcast. It isn’t surprising that the program has struck a chord with contemporary audiences, for the sounds are still fresh and the debates remain unresolved.","PeriodicalId":331183,"journal":{"name":"Journal of Jazz Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-11-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130721535","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":"Performing Authenticity “In Your Own Sweet Way”","authors":"Kelsey A. K. Klotz","doi":"10.14713/jjs.v12i1.118","DOIUrl":"https://doi.org/10.14713/jjs.v12i1.118","url":null,"abstract":"(Opening paragraph): \" In a 2001 interview for a PBS documentary titled Rediscovering Dave Brubeck , jazz critic Ira Gitler volunteered that the songs “In Your Own Sweet Way” and “The Duke,” both Dave Brubeck originals, became jazz standards “when Miles Davis played them, that gave them the official stamp of approval.” When interviewer Hedrick Smith asked Gitler why Davis could give the songs a stamp approval that Brubeck himself could not, Gitler responded, “Well because Miles Davis, in giving his stamp of approval to these Brubeck compositions by recording them, here was a black jazz man who was respected in both the black and white circles, and when he did it black people had to say, you know, ‘that’s cool.’” Put simply, Davis’s versions were “cool”—were somehow authentic —while Brubeck’s versions were not, despite being considered by most critics and audiences to be part of the cool jazz genre. In distinguishing between these uses of the term “cool,” Gitler rooted Davis’s authenticity and jazz authority in his blackness, implying that Brubeck’s whiteness kept him from achieving the same status.","PeriodicalId":331183,"journal":{"name":"Journal of Jazz Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2019-12-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123333702","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":"Listening to Jazz. By Benjamin Bierman.","authors":"Edward Berger","doi":"10.14713/jjs.v12i1.120","DOIUrl":"https://doi.org/10.14713/jjs.v12i1.120","url":null,"abstract":"","PeriodicalId":331183,"journal":{"name":"Journal of Jazz Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2019-12-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114185668","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":"Sonic Grounding and Internalizing Structure: Themes of Continuity in the Music of John Coltrane","authors":"J. Squinobal","doi":"10.14713/jjs.v12i1.116","DOIUrl":"https://doi.org/10.14713/jjs.v12i1.116","url":null,"abstract":"(Opening paragraph): Examining the musical development of John Coltrane, one often gets a deep sense of change. Respected Coltrane scholar Lewis Porter characterizes Coltrane’s career by the “fact that he was constantly developing and changing.” To account for this perception of change, the tendency is to divide Coltrane's music into segmented stylistic periods. This allows us a greater understanding of Coltrane’s developmental building blocks, and the specific elements that he focused on while creating his music. For example, Eric Nisenson divides Coltrane’s work into “Early Coltrane” including his work with Dizzy Gillespie, Miles Davis, and his first recordings for Atlantic, a “Middle Period” including his work with Thelonious Monk and the early Impulse recordings, and finally a “Late Period” including Coltrane’s avant-garde albums. In The Dawn of Indian Music in the West Peter Lavezzoli states “Coltrane’s music went through more evolutionary stages during his ten years as a solo recording artist than many musicians realize in a fuller lifetime.” Historical and bibliographical references including the New Grove Dictionary of Music and Musicians also characterized Coltrane’s development as moving from one period to the next.","PeriodicalId":331183,"journal":{"name":"Journal of Jazz Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2019-12-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115370926","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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