Jazz Perspectives最新文献

{"title":"Jaco: The Film; Jaco: Original Soundtrack","authors":"Brian F. Wright","doi":"10.1080/17494060.2015.1258767","DOIUrl":"https://doi.org/10.1080/17494060.2015.1258767","url":null,"abstract":"“My name is John Francis Pastorius III, and I’m the greatest bass player in the world.” According to Weather Report co-founder Joe Zawinul, this is how electric bassist Jaco Pastorius introduced hi...","PeriodicalId":39826,"journal":{"name":"Jazz Perspectives","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2015-09-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/17494060.2015.1258767","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"60104464","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":"“Different Placements of Spirit”: The Unity Music of William Parker’s Curtis Mayfield Project","authors":"C. Hale","doi":"10.1080/17494060.2016.1257733","DOIUrl":"https://doi.org/10.1080/17494060.2016.1257733","url":null,"abstract":"Abstract This article explores the politics of musical process and historiographic revision in bassist William Parker’s project The Inside Songs of Curtis Mayfield. Comprising veteran “downtown” improvisers and poet Amiri Baraka, Parker’s group reimagines Mayfield’s music and message for the twenty-first century, reconstructing form and content anew in the moment of performance. In revisiting Mayfield’s songs, Parker transgresses the genre boundaries of jazz, framing his project instead within a broader lineage of “black music,” a gesture that recalls Baraka’s vision of a revolutionary “Unity Music” from his 1966 essay “The Changing Same (R&B and New Black Music).” By revisiting the 1970s cultural politics of Black Power, uplift, and resistance immanent in Mayfield’s songs, Parker’s project both foregrounds and collapses historical distance, creating a space in which musical and textual interventions signify on the “changing same” of the political landscape. The analyses in this article focus on versions of the song “We The People Who Are Darker Than Blue,” considering three versions recorded by Mayfield (1970, 1971, 1996), as well as two recorded by Parker and his ensemble (2004, 2008). I argue that both Mayfield’s 1996 revision and a 2004 recording by Parker’s ensemble might be understood as varied responses to the collapse of movement politics in the decades since the song’s conception, and, ultimately, I contend that the interpretive practices Parker fosters within his ensemble enact their own form of spiritual and political liberation.","PeriodicalId":39826,"journal":{"name":"Jazz Perspectives","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2015-09-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/17494060.2016.1257733","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"60104688","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":"Recursive Structure and Inversional Pitch-class Relations in Thelonious Monk’s “Ruby, My Dear”: An Analytical Approach to “Monkishness”","authors":"Douglas R. Abrams","doi":"10.1080/17494060.2016.1253492","DOIUrl":"https://doi.org/10.1080/17494060.2016.1253492","url":null,"abstract":"Abstract The goal of this study is to elucidate the musical meanings behind some of the more unusual passages in one of Thelonious Monk’s best-known compositions, “Ruby, My Dear.” A five-note scale-degree set is identified that appears on the surface level of the A sections and the bridge, and on a higher structural level as the set of all tonalities established by authentic cadence throughout the piece, including the final tonality at the end of the coda. Pitch-class inversion operations are found to govern the internal structure of three particularly unusual passages, and, in two of them, are found to highlight the global dominant in conjunction with the higher-level manifestation of the set described above, helping to prepare the final cadence of the piece. Far from being gratuitously non-conformist, then, Monk’s unusual passages—his “Monkish” moments, as it were—are found to play key roles in the logical unfolding of this piece.","PeriodicalId":39826,"journal":{"name":"Jazz Perspectives","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2015-09-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/17494060.2016.1253492","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"60104669","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 Freedoms: Balkan Rhythm, Race, and World Music","authors":"F. Schenker","doi":"10.1080/17494060.2016.1253493","DOIUrl":"https://doi.org/10.1080/17494060.2016.1253493","url":null,"abstract":"Abstract In the late 1980s, a group of young, well-educated white jazz musicians invoked a legacy of jazz freedom in their experiments with Balkan music. Yet they were not embracing a timeless, unchanging concept. Instead, they employed an incipient mode of freedom, one that was deeply informed by a broader political discourse that emerged in the 1980s. This form of freedom, which emphasized individual consumption amidst a world of newly commodified ethnicities and musical traditions, seemed to promise an exciting new direction for musical exploration, yet it also proved starkly incompatible with a still-dominant understanding of freedom shaped during the Cold War era. By examining the emergence of and reception to the small Balkan-influenced jazz scene of the late 1980s and early 1990s, I seek to demonstrate that the last decades of the twentieth century warrant a closer examination of precisely how the public debates about race, innovation, and historiography in jazz were symptomatic of a broader underlying contestation. I suggest that these debates were informed in part by the clash of two competing modes of freedom, one that emerged from new political goals and economic policies of the 1980s, and another that had formed in the crucible of the Civil Rights Movement.","PeriodicalId":39826,"journal":{"name":"Jazz Perspectives","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2015-09-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/17494060.2016.1253493","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"60104677","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":"About the Contributors","authors":"","doi":"10.1080/17494060.2015.1259688","DOIUrl":"https://doi.org/10.1080/17494060.2015.1259688","url":null,"abstract":"","PeriodicalId":39826,"journal":{"name":"Jazz Perspectives","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2015-09-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/17494060.2015.1259688","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"60104526","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":"Letter from the Editor","authors":"Ken Prouty","doi":"10.1080/17494060.2015.1259672","DOIUrl":"https://doi.org/10.1080/17494060.2015.1259672","url":null,"abstract":"As we approach the start of 2017, the jazz world is about to celebrate an important milestone. I refer, of course, to the 100th anniversary of the “first jazz recording” made by the Original Dixieland Jass Band (ODJB) in February of that year. Such an event is sure to be marked by performances, recordings, essays, lectures, and the like. But as most jazz historians understand, the claim of the ODJB session as the “first” example of recorded jazz is open to debate. During the years following the release of this record, spirited discussions were held in the popular press about just what jazz was, what it meant and what the future held for it. Debating the origins and nature of jazz is thus nothing new, and Jazz Perspectives is pleased to continue to be an important venue for this ongoing discourse. In this issue of Jazz Perspectives, we present four original, diverse articles which draw from very different topics and approaches to the study of jazz. Fritz Schenker’s essay addresses the topic of Balkan influence in jazz in the late Cold War era. Schenker situates jazz’s “Balkan-ness,” as heard in the music of artists such as Dave Douglas, as an expression a particular approach to the incorporation of “world music” that was heavily influenced by an evolving approach to Third Stream music, and which paralleled shifts in global consumer culture during this period. Balkan influenced jazz, Schenker argues, provided many white musicians with a source of racial and ethnic authenticity that served as something of an alternative to African American cultural sources. Our second article, written by Doug Abrams, presents a highly detailed analysis of the “Monkishness” of Thelonious Monk’s compositions, focusing on the classic composition “Ruby, My Dear.” Abrams suggests that elements of Monk’s music which have often been characterized as “weird” or eccentric are, in fact, constructed through a highly logical process. With a focus on the analysis of pitch class sets, Abrams asks us to reconsider common conceptions about Monk’s music, and provides a rich theoretical framework with which to examine deep structures in jazz composition. Casey Hale, in his study of interpretations of Curtis Mayfield’s songs, similarly provides a deep, penetrating look at particular musical moments. Hale focuses on the work of bassist William Parker and his recording The Inside Songs of Curtis Mayfield, examining Parker’s collaborations with Amiri Baraka in particular. Hale’s close reading of the music and texts of this project reveals the ways in which the artists sought to link past and present discourses of racial identity and unity through Mayfield’s music. In the final article in this issue, Andrew Sanchirico examines the intellectual heritage of the neo-classicist movement. Sanchirico traces the lineage of what he refers to as Jazz Perspectives, 2015 Vol. 9, No. 3, 215–216, http://dx.doi.org/10.1080/17494060.2015.1259672","PeriodicalId":39826,"journal":{"name":"Jazz Perspectives","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2015-09-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/17494060.2015.1259672","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"60104519","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":"The Culturally Conservative View of Jazz in America: A Historical and Critical Analysis","authors":"Andrew Sanchirico","doi":"10.1080/17494060.2016.1257732","DOIUrl":"https://doi.org/10.1080/17494060.2016.1257732","url":null,"abstract":"Abstract Jazz in America, once identified with social rebellion and political protest, has since the 1980s become closely associated with cultural conservatism, a belief system that places high value on traditionalism. Jazz, from this perspective, embodies traditional American values and norms, particularly those related to the nation’s democratic principles. Those who perceive jazz in this manner commonly depict the music as a model of democracy that serves as a guide to individual behavior. This essay has two basic objectives: the first is to trace the historical development of the culturally conservative view of jazz; the second is to critically analyze this theoretical perspective. The essay’s goal is to combine the historical and critical analyses into a comprehensive examination of the culturally conservative view of jazz in America as it has evolved since its initial conceptualization by Ralph Ellison.","PeriodicalId":39826,"journal":{"name":"Jazz Perspectives","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2015-09-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/17494060.2016.1257732","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"60104683","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":"Bags Still Grooves: Performance Strategies in Milt Jackson's Improvisations","authors":"A. Gagatsis","doi":"10.1080/17494060.2016.1202306","DOIUrl":"https://doi.org/10.1080/17494060.2016.1202306","url":null,"abstract":"Abstract Following a short biographical commentary on Milt Jackson, this essay highlights certain performance strategies that typified the vibist's spirited improvisations. Some of these, it is asserted result in embodied, automated skills in jazz performance. In examining Jackson's music, the analytical discussion is grounded in a number of recordings, focusing on his efforts outside of the context of his work with the Modern Jazz Quartet. While it is not intended to fully answer all of the questions raised, this close study of musical examples on the one hand, and key writings of a number of scholars on the other, allows to expand upon previous research on a number of levels. Notwithstanding the fact that jazz research has been conducted vigorously since the end of the twentieth century, there seems to be a paucity of information on Jackson, which underscores the motivation for and the importance of this discussion.","PeriodicalId":39826,"journal":{"name":"Jazz Perspectives","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2015-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/17494060.2016.1202306","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"60104595","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":"About the Contributors","authors":"","doi":"10.1080/17494060.2015.1203520","DOIUrl":"https://doi.org/10.1080/17494060.2015.1203520","url":null,"abstract":"","PeriodicalId":39826,"journal":{"name":"Jazz Perspectives","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2015-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/17494060.2015.1203520","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"60104446","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":"Listen to This: Miles Davis and Bitches Brew","authors":"J. McCool","doi":"10.1080/17494060.2016.1202899","DOIUrl":"https://doi.org/10.1080/17494060.2016.1202899","url":null,"abstract":"","PeriodicalId":39826,"journal":{"name":"Jazz Perspectives","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2015-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/17494060.2016.1202899","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"60104604","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}