Jazz Perspectives最新文献

{"title":"Dinner Jazz: Consumption, Improvisation, and the Politics of Listening","authors":"Mark Laver","doi":"10.1080/17494060.2020.1821081","DOIUrl":"https://doi.org/10.1080/17494060.2020.1821081","url":null,"abstract":"ABSTRACT It’s rare to find a high-end restaurant in North America that doesn’t have jazz music on the menu. As the acoustic counterpart to your braised leg of lamb and Napa Valley Cabernet Sauvignon, jazz music signals a level cultural refinement that befits culinary sophistication. Nor is the relationship between jazz and fine dining a unidirectional appropriation: from jazz album covers featuring bottles of fine wine, to the numerous beloved “club date” live albums, to the photography of artists like Herman Leonard, jazz musicians and other stakeholders have also developed the link between jazz and haute cuisine over many decades. Certainly, the jazz-dining connection might be summarily dismissed as a simple matter of historical coincidence. Nevertheless, the historical connection between the two practices subtends an intriguing analogy: both the practices of playing jazz music and dining out are improvisatory. Dining out therefore represents a fascinating juxtaposition of modes of improvisation: one – jazz music – potentially politically radical; the other – dining – highly pleasurable, but altogether mundane, elitist, and ostensibly apolitical. This paper examines the juncture of jazz and the restaurant “servicescape,” with a view to unpacking the politics of dining, the limits of politicized improvised musical practice, and the responsibilities of the listener.","PeriodicalId":39826,"journal":{"name":"Jazz Perspectives","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2020-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/17494060.2020.1821081","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44368631","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’s Improvising and the Aesthetics of Bebop Rhythm","authors":"D. DeMotta","doi":"10.1080/17494060.2020.1840417","DOIUrl":"https://doi.org/10.1080/17494060.2020.1840417","url":null,"abstract":"ABSTRACT This article explores the ways in which Bud Powell’s improvising embodies and contributes to the aesthetics of bebop rhythm. Special attention is paid to the relationship between Powell’s music and the textural developments of the rhythm section, especially advances in jazz drumming and the underlying harmonic rhythm as temporal reference. Topics include asymmetry of phrase placement and structure in relation to meter and cyclic form, irregular accents and left-hand “bombs,” beat-one avoidance and negative accents, harmonic displacement, phrasing “over the barline,” and cross-rhythmic groupings.","PeriodicalId":39826,"journal":{"name":"Jazz Perspectives","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2020-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/17494060.2020.1840417","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44149940","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":"Editors’ Note","authors":"Marian Jago, Ken Prouty","doi":"10.1080/17494060.2020.1843287","DOIUrl":"https://doi.org/10.1080/17494060.2020.1843287","url":null,"abstract":"","PeriodicalId":39826,"journal":{"name":"Jazz Perspectives","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2020-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/17494060.2020.1843287","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47352901","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":"Media Review Essay","authors":"K. Gabbard","doi":"10.1080/17494060.2020.1840781","DOIUrl":"https://doi.org/10.1080/17494060.2020.1840781","url":null,"abstract":"Released in May 2019, Bolden played in a few theaters for a week or less and then vanished. The film was not even reviewed in the New York Times. Such neglect is a shame because the film is a biopi...","PeriodicalId":39826,"journal":{"name":"Jazz Perspectives","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2020-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/17494060.2020.1840781","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47445377","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":"Audiotopias of the Multi-Local Musician: Israeli Jazz Musicians, Transcultural Jazz and the Polyphony of Style","authors":"N. Lemish","doi":"10.1080/17494060.2020.1757188","DOIUrl":"https://doi.org/10.1080/17494060.2020.1757188","url":null,"abstract":"ABSTRACT In this essay I consider transcultural iterations of jazz as practiced by Israeli jazz musicians and their implications for a post-nationalist world. By considering the performers discussed multi-local musicians, I offer an alternative to both American exceptionalist views of jazz as well as to “jazz nationalism,” a scholarly outlook that emphasizes the localization of “jazz” in (non-American) nation-states, and that continues to hold sway around the world. In so doing, I also aim to invite explorations of the multi-local music making practices of jazz musicians worldwide. Following a brief discussion about transcultural and transgeneric jazz, and an introduction to my conceptualization of the multi-local musician I discuss the work of Israeli jazz oudist and guitarist Amos Hoffman whose music clearly exemplifies ways in which many jazz artists follow the commonly heard directive to “play their own voice” to the tune of music blending diverse global sources. Finally, I argue that Hoffman and his Israeli colleagues’ stylistic polyphony supports the case for transcultural jazz as an “audiotopia” of “multi-locality,” and that their music offers the possibility of envisioning a better future in the Middle-East.","PeriodicalId":39826,"journal":{"name":"Jazz Perspectives","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2020-05-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/17494060.2020.1757188","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45938657","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":"“Hot Collecting Off the Record: Ralph J. Gleason’s Start in Music Journalism”","authors":"Don Armstrong","doi":"10.1080/17494060.2019.1702574","DOIUrl":"https://doi.org/10.1080/17494060.2019.1702574","url":null,"abstract":"ABSTRACT Ralph J. Gleason (1917–75) was one of the most influential writers on jazz and popular music from the 1930s until his death. Because of his significance to music journalism, Gleason’s contributions to music writing have been studied in numerous articles and books, yet his formative years remain understudied. This article will take a closer look at a wide array of early experiences, and will show how they shaped Gleason’s journalistic persona, music aesthetic, and political activism. The accounts of Gleason’s early years focus exclusively on two events: his teenage jazz conversion in Chappaqua, New York, and his initiation into record collecting at Columbia University during the nascent years of the Swing Era. While these incidents were deeply formative, they were part of larger pattern of experiences that shaped Gleason in this critical period.","PeriodicalId":39826,"journal":{"name":"Jazz Perspectives","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2020-05-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/17494060.2019.1702574","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45058806","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":"Polystylism and Stylistic Adaptation in 1970s Jazz-Rock: The Case of Return to Forever’s “Duel of the Jester and the Tyrant (Part I & Part II)”","authors":"Justin A. Williams","doi":"10.1080/17494060.2019.1701064","DOIUrl":"https://doi.org/10.1080/17494060.2019.1701064","url":null,"abstract":"ABSTRACT This article examines Chick Corea’s jazz fusion composition by applying Soviet composer Alfred Schnittke’s concept of “stylistic adaptation” (1973), a specific type of intertextuality, to Return to Forever’s “Duel of the Jester and Tyrant (Part I and Part II)” from Romantic Warrior (1976). Closer investigation of intra-musical features from classical and jazz styles will show how artists from different musical backgrounds and training came to sound strikingly similar despite their generic separation (in this case, jazz fusion and progressive rock). Through such an analysis, I argue that a re-evaluation of jazz fusion as not simply what Amiri Baraka called “dollar-sign music” is important, not only for how its reception reflected specific anxieties regarding race and changing global economic systems in the 1970s, but also to demonstrate how identifying the sonic markers of these genres are a key component to understanding them.","PeriodicalId":39826,"journal":{"name":"Jazz Perspectives","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2020-05-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/17494060.2019.1701064","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41522028","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":"Media Review Essay","authors":"S. Lewis","doi":"10.1080/17494060.2020.1790173","DOIUrl":"https://doi.org/10.1080/17494060.2020.1790173","url":null,"abstract":"For much of the past one hundred years, film has played a central role in turning jazz musicians into recognizable cultural figures, condensing their lives into formulaic narratives of genius and tragedy. In his 2010 book Jazz Icons: Heroes, Myths and the Jazz Tradition, Tony Whyton argues that audiences’ experience of jazz is heavily influenced by the symbolic power of venerated iconic figures like Duke Ellington and Miles Davis. For Whyton, the process of mediation – the representation of jazz artists in recordings, film, photographs, etc – is essential for creating and maintaining this symbolic power. At the same time, the prevailing ideology of jazz as an autonomous art form and the romantic mythology of the “jazz life” insist on jazz as an unmediated experience of idealized genius. This insistence on jazz as unmediated experience leads, Whyton argues, to an erasure of the difference between “the star on stage and the living person backstage”:","PeriodicalId":39826,"journal":{"name":"Jazz Perspectives","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2020-05-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/17494060.2020.1790173","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47495971","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 Note","authors":"Ken Prouty","doi":"10.1080/17494060.2020.1790172","DOIUrl":"https://doi.org/10.1080/17494060.2020.1790172","url":null,"abstract":"The jazz scene, as is the case with so many aspects of our lives, is facing unprecedented challenges. There has been – and will continue to be – intense discussion about what jazz might look and sound like in the post COVID world. So too have scholarly pathways been impacted, with conferences and meetings canceled, archives closed, and research agendas disrupted. I am confident, however, that jazz, and the scholarship associated with it, will prove to be resilient in the face of these challenges. It is my hope that Jazz Perspectives can, in some modest way, contribute to these efforts. It will be a time of transition, both for jazz at large, and for this journal. More information will be forthcoming in the final issue of this volume (expected in late 2020). In this issue, we present four articles. Leading off this issue is Justin Williams, whose article examines the early 1970s work of Chick Corea, with an eye towards disrupting the conventional “commercial” interpretations of fusion recordings. Williams positions these efforts as reflecting an “intertextual” approach, engaging with other forms across traditionally-recognized boundaries of genre, such as the resonances between jazz fusion and progressive rock. Following this, Charles (Chuck) Hersch contributes a study of the “aural history” which characterizes recordings by Charlie Haden and John Zorn. The invocation of the past, Hersch argues, is often the result of what are often regarded as postmodern techniques; yet they do not necessarily reflect postmodernism’s seeming rejection of historical narrative. Drawing on the work of Mikhail Bakhtin, Hersch shines a light on the ways that Haden and Zorn enact the past within the context of contemporary composition and performance. Our third article comes to us from Noam Lemish, whose study centers the work of his musical collaborator, guitarist and oudist Amos Hoffman, and drawing on his own identity as a transnational artist (Israel, the U.S., Canada), Lemish leads us towards a “postnational” understanding of jazz, which stands in contrast to typical nation-defined jazz narratives. The music of Hoffman (and Lemish), which draws on approaches and forms from many different (and often seemingly opposed) cultures leads us to hear jazz as a product of “multi-localities.” Finally, Don Armstrong brings us a deeply researched and detailed account of renowned jazz and pop critic Ralph Gleason. Specifically, Armstrong focuses on Gleason’s early development, including his burgeoning interest in jazz as a teenager, and his early involvement in jazz journalism while a student at Columbia. Drawing on an exhaustive and meticulous review of Gleason’s contemporary writings, Armstrong presents us with a portrait of a jazz writing in formation, trying to make sense out of the newly emerging jazz scene. This issue also features a review essay by Steven Lewis, who examines the films Miles Ahead and Born to Be Blue. Please enjoy this issue, and as always, we welcome yo","PeriodicalId":39826,"journal":{"name":"Jazz Perspectives","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2020-05-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/17494060.2020.1790172","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41600024","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":"Hearing the Present, Remembering the Past: “Aural History” from Charlie Haden and John Zorn","authors":"C. Hersch","doi":"10.1080/17494060.2019.1702575","DOIUrl":"https://doi.org/10.1080/17494060.2019.1702575","url":null,"abstract":"ABSTRACT The representation of the past in “postmodern” musical works is often seen as a rejection of coherent historical narratives. Works featuring a mixture of styles (“polystylism”), “borrowed” sounds (either sampled or quoted), and a collage structure supposedly reflect and enact postmodernism’s rejection of “grand narratives” in general and the idea that history has a coherent meaning in particular. This essay contests this interpretation of such postmodern devices by looking at two works using such musical features in the service of what I call “aural history”: the musical enactment of historical events. Using Bakhtin, I argue that Charlie Haden’s Liberation Music Orchestra (1969) and John Zorn’s “Shtetl” (from his 1993 composition Kristallnacht) use postmodern devices to craft dialogical narratives. Rather than mirroring postmodern undecidability, such musical narratives “orchestrate” (Bakhtin) historical voices into an enactment of the past as seen from the present.","PeriodicalId":39826,"journal":{"name":"Jazz Perspectives","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2020-02-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/17494060.2019.1702575","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49448677","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}