Jazz Research Journal最新文献

{"title":"Bruce Epperson, More Important than the Music: A History of Jazz Discography . Chicago: University of Chicago Press, 2013. xvi + 284 pp. ISBN 978-0-226- 06753-7 (hbk). $45.00","authors":"Maristella Feustle","doi":"10.1558/JAZZ.V9I1.25529","DOIUrl":"https://doi.org/10.1558/JAZZ.V9I1.25529","url":null,"abstract":"","PeriodicalId":40438,"journal":{"name":"Jazz Research Journal","volume":"9 1","pages":"82-87"},"PeriodicalIF":0.0,"publicationDate":"2015-04-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67543242","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":"Icons Among Us: Jazz in the Present Tense . Michael Rivoira, Lars Larson and Peter J. Vogt, directors. John W. Comerford and Theo N. Ianuly, producers. Lars Larson, director of photography. Paradigm Studio. 2009. DVD B002RNO1BW","authors":"Colter Harper","doi":"10.1558/jazz.v7i2.16482","DOIUrl":"https://doi.org/10.1558/jazz.v7i2.16482","url":null,"abstract":"Icons Among Us: Jazz in the Present Tense. Michael Rivoira, Lars Larson and Peter J. Vogt, directors. John W. Comerford and Theo N. Ianuly, producers. Lars Larson, director of photography. Paradigm Studio. 2009. DVD B002RNO1BW.The documentary Icons Among Us: Jazz in the Present Tense makes a case for jazz as a living culture and growing art form in North America and Europe. Jazz artists, including Nicholas Payton, Terence Blanchard, Ravi Coltrane, Bill Frisell, Donald Harrison, Wynton Marsalis and Esperanza Spalding, provide the film's primary voices; these musicians, along with others, address how they reconcile the demands of tradition with the realities of changing audiences and markets. This is no small task because, as the documentary demonstrates, jazz is comprised of a fractured and contested set of overlapping and often conflicting values and practices. Because of this approach, Icons provides an alternative narrative to Ken Burns's Jazz (2000), which has drawn criticism for portraying jazz as a uniform expression of American democratic ideals rather than a multiplicity of stories struggling to be told.1This 93-minute documentary is presented in a traditional style with talking heads interspersed with performances and other B-roll material. This format allows the viewer to connect the featured musicians' personalities to their live performances while not getting mired in extended concert footage or thirdparty pontifications. We see the jazz musician as a working artist, struggling with their craft while negotiating shifting economic and social worlds. We are also taken into the contemporary contexts of jazz, from grimy college bars, to concert halls; from outdoor festivals to street corners and intimate clubs. Few viewers will miss the stark contrast of saxophonist Skerik's (Eric Walton) punk-laced mosh-inducing performance in a cramped and sweaty bar with clarinetist Anat Cohen's delicately crafted interpretations of American songbook standards for reserved Manhattan listeners.The central theme of the documentary emerges from a survey of musicians' attitudes towards the idea of change, a long-contested concept in jazz. The viewer quickly realizes that while the various musicians interviewed in Icons draw from a common tradition of music-making, they interpret that tradition in widely varied ways. The documentary opens with trumpeter Nicholas Payton's enigmatic statement, 'The truth never remains the same and to me a lie is anything that has nothing to do with now'. While setting a revisionist tone, this statement does little to clarify what the boundaries of change are or should be in jazz. For guitarist Bill Frisell, the boundaries of change are theoretically limitless:I just don't like it when the name of something has the effect of exclud - ing. If you say it's one thing then it can't be something else. That doesn't work for me because the words are always smaller than whatever it is you're trying to describe. For me jazz is infinite.","PeriodicalId":40438,"journal":{"name":"Jazz Research Journal","volume":"7 1","pages":"238-242"},"PeriodicalIF":0.0,"publicationDate":"2015-01-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67542474","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":"Jedi mind tricks: Lennie Tristano and techniques for imaginative musical practice","authors":"Marian Jago","doi":"10.1558/JAZZ.V7I2.20971","DOIUrl":"https://doi.org/10.1558/JAZZ.V7I2.20971","url":null,"abstract":"In the 1940s, pianist Lennie Tristano was among the first to attempt to teach jazz improvisation as an area of study distinct from instrumental technique. In doing so, he employed a methodology which was considered highly unorthodox at the time and which is still somewhat unique for jazz pedagogy. Chief among these unorthodox pedagogical devices was the use of visualization and other mental techniques for musical practice and composition. These methods enabled students to separate imaginative musical experiences from the habits of muscle memory, while at the same time speeding the acquisition of certain digital techniques and developing the musical imagination. \u0000 Visualization techniques also served to extend available practice time for students who lacked space suited to audible instrumental practice, and to those who were working day jobs and had limited time available for instrumental practice. Recent studies in brain plasticity bear out Tristano’s intuitive use of mental techniques as a useful addendum to more traditional forms of instrumental and compositional practice. Though certainly not the first to emphasize the importance of mental conditioning and imaginative practice methods, Tristano’s use of them within a methodology for jazz instruction constitutes a unique pedagogical approach worthy of further research and discussion.","PeriodicalId":40438,"journal":{"name":"Jazz Research Journal","volume":"7 1","pages":"183-202"},"PeriodicalIF":0.0,"publicationDate":"2015-01-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67542808","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":"Duncan Heining, George Russell: The Story of an American Composer . London: Scarecrow Press, 2010. 400 pp. ISBN 978-0810869977 (hbk). £37.95","authors":"F. Griffith","doi":"10.1558/jazz.v7i2.19105","DOIUrl":"https://doi.org/10.1558/jazz.v7i2.19105","url":null,"abstract":"","PeriodicalId":40438,"journal":{"name":"Jazz Research Journal","volume":"7 1","pages":"243-246"},"PeriodicalIF":0.0,"publicationDate":"2015-01-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67542524","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 Sonic Camera: Intermodality and Intermediality in Contemporary Jazz Composition","authors":"David Cosper","doi":"10.1558/jazz.v7i2.19899","DOIUrl":"https://doi.org/10.1558/jazz.v7i2.19899","url":null,"abstract":"Instead of seeking to fix the essential nature of some idea through an analysis of language alone, privileging visual perception and its linguistic description over other modes of perception and reasoning..., a pragmatic approach seeks to locate uses of language within a given set of practices which determine the meaning of the terms used... Other descriptive habits, commonly thought of as 'metaphorical', are similarly basic to musical experience [and] need not, for example, be taken as evidence of delusional thinking, but of a developed practice...before it is presumed that the description is false, or that it must be explained as an aural translation of visual experience-a matter of appearances (Cumming 2001: 15).The question of listening with the ear is inseparable from that of listening with the mind, just as looking is with seeing. In other words, to describe perceptual phenomena, we must take into account that conscious and active perception is only one part of a wider perceptual field in operation (Chion 1994: 33).I think Bigfoot is blurry, that's the problem. It's not the photographer's fault. Bigfoot is blurry. And that's extra scary to me, because there's a large, out-of-focus monster roaming the countryside (Hedberg 1999).The music of bassist and composer Ben Allison is rife with visual allusions, especially references to photography and film. His albums include com - positions with titles such as 'Spy', 'Jazz Scene Voyeur', 'A Life in the Day of Man Ray' and 'Roll Credits', and all but the first bear the following copyright inscription: 'All compositions © Ben Allison (Sonic Camera, SESAC)'. In liner notes, not coincidentally, Allison frequently mentions photographs either as inspirations for or descriptions of his compositions. But while there may be a photographic aesthetic at work in some of Allison's compositions, more often than not the 'sonic camera' in question is more like a video camera, and the music itself more like cinema or television than still photography.1 In interviews, Allison has often articulated his compositional approach in filmic terms.2 For example, in a 2011 interview with Jason Crane:As an instrumental musician, I'm always thinking visually, and I'm a huge fan of film music... I think I hear visually, and I try to write and play in that way, where there's a visual component to it, and it seems to work well with film... (Crane 2011).And from a 2008 interview with Tom Greenland:I guess sometimes people remark that my music has some kind of film-like quality and I'm actually happy when they say that... I'm not telling stories in my mind as I'm writing it, but I'm referencing a lot of that kind of music... I think the best description for me is, as a composer, I'm trying to create a landscape that the musicians are then free to explore. So, in an abstract way, another way of saying that is you're setting up a mood, a tone, a colour, a timbre, whatever you want to call it (Greenland 2008).3Allison's music is also ","PeriodicalId":40438,"journal":{"name":"Jazz Research Journal","volume":"7 1","pages":"203-237"},"PeriodicalIF":0.0,"publicationDate":"2015-01-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67542571","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":"Frontierism, intellectual listeners and the new European wave: On the reception of Dutch jazz in DownBeat, 1960–1980","authors":"L. Rusch","doi":"10.1558/JAZZ.V9I1.28462","DOIUrl":"https://doi.org/10.1558/JAZZ.V9I1.28462","url":null,"abstract":"This article engages with the understanding of non-American jazz practices and the global spread of jazz from an American mainstream perspective, through a critical investigaton of the mediation of Dutch and European jazz in the American jazz magazine Down Beat. It explores the role and function of some of the key actors through which the story of European jazz is told; correspondents, American musicians visiting and migrating Europe, European musicians, and European audiences. By exposing underlying defining notions, such as “jazz as an essentially American music practice” and “the intellectual European,” this essay demonstrates how local, non-American jazz practices in Down Beat during the 1960s and 1970s are understood—misunderstood, perhaps—in terms of equality rather than in differentiating terms in comparison with the American jazz tradition.","PeriodicalId":40438,"journal":{"name":"Jazz Research Journal","volume":"9 1","pages":"62-81"},"PeriodicalIF":0.0,"publicationDate":"2015-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67543812","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":"Oscar Peterson's Piano Prostheses: Strategies of Performance and Publicity in the Post-Stroke Phase of His Career","authors":"Alex Lubet","doi":"10.1558/JAZZ.V7I2.17492","DOIUrl":"https://doi.org/10.1558/JAZZ.V7I2.17492","url":null,"abstract":"In 1993, Oscar Peterson had a stroke that rendered him in essence a right-hand-only pianist. He resumed performing from 1994 until shortly before his death in 2007. The stroke. This paper examines how Peterson and his handlers employed “piano prostheses” to assist him. Two categories of prosthetic, analogous to uses of actual artificial limbs, are observed: 1) “performance;” band mates provide accompanimental support different from his pre-stroke groups 2) “cosmetic,” a non-disabled appearance is attempted, mostly by record annotators, by denying/minimizing the stroke’s impact. Peterson appeared ambivalent or vacillating in his attitude toward his disability, sometimes but not always relying on sidemen for extra assistance, and expressing highly varying degrees of openness in his public statements about his limitations. By contrast, his record annotators uniformly ignored or minimized the stroke’s impact. As a disabled public figure, Peterson’s situation is compared to that of Franklin Delano Roosevelt.","PeriodicalId":40438,"journal":{"name":"Jazz Research Journal","volume":"7 1","pages":"151-182"},"PeriodicalIF":0.0,"publicationDate":"2014-10-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67542518","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 ‘grave disease’: interwar British writers look at ragtime and jazz","authors":"Robert Lawson-Peebles","doi":"10.1558/JAZZ.V7I1.23","DOIUrl":"https://doi.org/10.1558/JAZZ.V7I1.23","url":null,"abstract":"","PeriodicalId":40438,"journal":{"name":"Jazz Research Journal","volume":"7 1","pages":"23"},"PeriodicalIF":0.0,"publicationDate":"2014-10-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67542389","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":"Duncan Heining, Trad Dads, Dirty Boppers and Free Fusioneers: British Jazz, 1960–1975. Sheffield: Equinox, 2012. 495 pp. ISBN 978-1-84553-405-9 (hbk) £29.99/ $45.00.","authors":"T. Sykes","doi":"10.1558/JAZZ.V7I1.132","DOIUrl":"https://doi.org/10.1558/JAZZ.V7I1.132","url":null,"abstract":"","PeriodicalId":40438,"journal":{"name":"Jazz Research Journal","volume":"7 1","pages":"132-136"},"PeriodicalIF":0.0,"publicationDate":"2014-10-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67542131","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":"Post-World War II Jazz in Britain: Venues and Values 1945–1970","authors":"K. Williams","doi":"10.1558/JAZZ.V7I1.113","DOIUrl":"https://doi.org/10.1558/JAZZ.V7I1.113","url":null,"abstract":"IntroductionThe relationship between jazz and its performance spaces is bound up with cultural connotations and audience expectations. From its birth in turn-of- the-century New Orleans, jazz and its reception have been restricted, legiti- mized and liberated by different performance venues. In this article, I focus on London in the quarter-century after World War II, showing how different types of venue and the ethos associated with each of them allowed for dif- fering styles of presentation, mediation and reception of jazz.My relatively narrow geographical and temporal focus allows me to draw specific conclusions that can be applied to the larger jazz scene in Britain. In this twenty-five-year period, jazz was simultaneously presented in a wide variety of ways in London. I shall focus on four: New Orleans-style jazz was commonly performed in Rhythm Clubs (jazz appreciation societ- ies that began life as record circles) and concert halls; jazz clubs such as the 100 Club that had a fixed venue, but hosted different styles of jazz on different nights of the week, bringing in different audiences; bebop clubs such as Club Eleven, which existed from 1948 to 1950, and Ronnie Scott's Jazz Club (founded in 1959) changed venue throughout their lifetimes, but hosted visiting and local musicians, providing an idiomatic consistency that ensured a regular and loyal fan base; and the experimental theatres of the 1960s and 1970s that hosted the British free jazz movement. Using these four case studies and methods of jazz appreciation as examples of the post-World War II jazz scene in London, I evaluate who was playing what, in what venue, and to whom, in order to assess the mediation of British jazz through venue, during the period 1945 to 1970.My sources for this article are drawn from the existing literature on jazz clubs, historical accounts by fans and musicians, contemporaneous periodi- cals, and interviews I undertook with musicians from the period.1 My meth- odology is therefore a combination of historical and archival research and of ethnographic practices. I use the term 'jazz venue' to refer to any place in which jazz was performed, rather than venues built especially for jazz perfor- mance, which has become the common usage of the term.Early Jazz VenuesJazz is commonly understood to have originated and been first performed at the turn of the twentieth century in the Louisiana port city of New Orleans. Although the geographical specificity of the emergence of the music has since been disputed, the colourful narratives surrounding the location and connotations of early jazz performances provide a context and springboard for this discussion of post-World War II jazz venues in Britain.2The earliest performances of jazz, in the nightclubs, speakeasies and brothels of New Orleans and elsewhere, were characterized by the improvi- satory and energetic 'hot' style of music, and by the intimate dances devel- oped by audiences. The changing nature of jazz venu","PeriodicalId":40438,"journal":{"name":"Jazz Research Journal","volume":"7 1","pages":"113-131"},"PeriodicalIF":0.0,"publicationDate":"2014-10-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67542075","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}