Session 1: 1 Jazz & Gender 21 WEDNESDAY 23 JUNE 10.45 GMT CONFER ENCE PROG RAM ME 2 Credits Contents 3

Copyright 2021 Edinburgh College Images copyright The Library of Congress of Art and the author(s). available online at: Welcomes 6 – 9

74 Lauriston Place www.flickr.com/photos/library-of-congress/ Edinburgh albums/72157624588645784/. EH3 9DF Timetables/schedules 10 – 13 www.eca.ed.ac.uk Front cover: 52nd Street, NYC, July 1948, William P. Gottlieb, 1917. Image copyrights as marked. The use of images is for educational Page 15: Portrait of Mary Lou Williams, Day 1: Sessions 15 – 26 purposes only. Every effort has New York, N.Y., ca. 1946, William P., been made to contact the copyright Gottlieb, 1917. holders for the images used in this book. Please contact Edinburgh Page 27: Portrait of Milt (Milton) Jackson Day 2: Sessions 27 – 37 College of Art with any queries. and Ray Brown, New York, N.Y., between 1946 and 1948, William P. Gottlieb, 1917. Book design by Nicky Regan. Page 40: Portrait of Sarah Vaughan, Café Day 3: Sessions 38 – 47 Edited by Dr. Marian Jago. Society (Downtown) New York, N.Y., ca. August 1946, William P. Gottlieb, 1917. All rights reserved. Page 38: Portrait of Dizzy Gillespie and Keynote 47 No part of this book may be Georgie Auld, Downbeat, New York, N.Y., reproduced in any form or by any ca. August 1947, William P. Gottlieb, 1917. electronic or mechanical means including information storage Page 58: Portrait of Thelonious Monk, Day 4: Sessions 48 – 57 and retrieval systems, without Minton’s Playhouse, New York, N.Y., ca. permission in writing from the September 1947, William P. Gottlieb, 1917. authors. Back cover: Portrait of Art Hodes, Kaiser Biographies 58 – 69 Printed in Scotland by Ivanhoe Marshall, Henry (Clay) Goodwin, Sandy Caledonian. Williams, and Cecil (Xavier) Scott, Times Square, New York, N.Y., ca. July 1947, ISBN: 978-1-912669-37-0 William P. Gottlieb, 1917. In memorium 70 – 71 4 Committees 5

Conference Committee Programme Committee

Dr. Marian Jago Dr. Marian Jago Conference Chair, University of Edinburgh Conference Chair, University of Edinburgh Roderick Buchanan-Dunlop Dr. Pedro Cravinho University of Edinburgh Birmingham City University Dr. James Cook Maya Cunningham University of Edinburgh University of Massachusetts, Amherst Dr. Pedro Cravinho Dr. Damian Evans Birmingham City University Research Foundation for Music in Ireland Maya Cunningham Dr. Marc Edward University of Massachusetts, Amherst Hannaford University of Michigan Dr. Damian Evans Dr. Matthias Heyman Research Foundation for Music in Ireland University of Antwerp Prof. Björn Heile Dr. Kelsey Klotz University of Glasgow University of North Carolina at Charlotte Prof. Raymond MacDonald Dr. Mark Lommano University of Edinburgh Albright College Dr. Haftor Medböe Dr. Gayle Murchison Edinburgh Napier University William & Mary Dr. Nikki Moran Dr. Loes Rusch University of Edinburgh Utrecht University Prof. Gabriel Solis Dr. Floris Schuiling University of Illinois, Urbana Utrecht University Dr. Aleisha Ward National Library of New Zealand Dr. Christi J. Wells Arizona State University 6 Welcome Welcome 7

The Reid School of Music at Edinburgh Edinburgh College of Art has the College of Art is delighted to be ambition to bring together and entangle hosting this year’s Documenting academic rigour, research power, Jazz conference. inspiring education, inventive methods, disciplinary engagement and creative The themes offered in the call for papers practices, with subjects originating expose important seams that demand within an ‘ancient’ and world-leading attention and reflection both in jazz university coming together with those scholarship and more broadly across music stemming from one of the longest studies. Well-being, race, gender, and established art schools in the UK. environment are active concerns here at our School and understanding how music As an international community of plays into and around them is more practitioners, historians and theorists, important now than ever before. we aim to create new knowledge and innovation, based on our capacity to facilitate Documents of music performances tell conversations across disciplines and achieve of stories, journeys, possibilities, and an in-depth understanding about how new experiences yet without scholarship, they forms of representation and experience are rest untold and unshared. Conferences like developed and articulated as and in practice. this can help connect us with perspectives of We are also committed to conjoining data history that reach beyond text into archive, and creativity, and contend that knowledge place and sound. and artistry are interdependent complex We are particularly excited to welcome such coordinates of creativity. a diverse array of academics from across the We are therefore delighted to host the 2021 globe and while we all wish we could host edition of the Documenting Jazz conference, you in person and share the magnificent city which seems so well aligned with the of Edinburgh with you, I have no doubt that objectives of Edinburgh College of Art the conference will sustain discussion late to analyse and understand creative practice into the Zoom night and collaborations in order to foment its further ambition long into the future. and reach. Huge thanks to the conference and programme committees for bringing everything together so skilfully.

Professor Juan Cruz Principal, Edinburgh College of Art Dr. Martin Parker Head of the Reid School of Music Edinburgh College of Art 8 Conference Welcome 9

While the limits placed on us by the global In some instances their sense of the music, its It is my sincere pleasure to welcome you Covid pandemic have led to mitigation people, its aesthetic, its values, and its place practices which we have largely found less within American culture have been formed all to this third iteration of Documenting than ideal in their limiting in most cases the by them, silently. Through his association live, in-the-moment, and in-person aspects of with publications such as Down Beat, The Jazz hosted by the Reid School of Music, jazz that so often sit at the heart of the music Washington Post, and Record Changer, and its community, I invite us here to consider Gottlieb’s images have joined with the written part of the Edinburgh College of Art at the positive aspects of our very strange year – discourse on jazz, and with the intersections the ways in which being forced to ‘encounter’ between journalism, criticism, and scholarly the University of Edinburgh. It’s a shame jazz in new ways might have brought us writing. In being housed in their entirety to new perspectives. In having to take this as an archive hosted by the Smithsonian that I’m not able to welcome you here on- conference online, for example, while we miss Institute, these images highlight the essential the chance to meet with one another in-person role played by jazz archives, and the ways campus in the heart of the amazing city and in Edinburgh, we have been able to in which access to stable, public-serving open our event up to a wider audience funding maintains, preserves, and makes of Edinburgh—hopefully that opportunity than would have been possible otherwise! accessible such important key ‘documents’. I’m very pleased to report that we have Such archives by their very existence also will arise again in the future! presenting delegates at Documenting Jazz help to move the music—and therefore its 2021 from North America, South America, constitutive communities—into the cultural the UK, the EU, and Israel, as well as an mainstream. Having decreed that his images audience which includes practitioners, enter the public domain, the collection also This year’s conference theme invites us students (both undergraduate and post- links through to issues of rights, accessibility, graduate), and other colleagues from within and ownership. They’re also gorgeous works to consider the various ways, places, and the jazz studies community around the world. of art in their own right, and I’m very pleased to be able to make use of them here. I would like to thank Dr. Damian Evans contexts in which jazz is encountered and and Dr. Pedro Cravinho as past chairs of I look forward to meeting as many of you Documenting Jazz for their hard-earned as I can over the four days of the conference, the impacts that these encounters have wisdom; the conference and programme and to hearing what promises to be diverse committees for their assistance across these and thought-provoking program of papers. upon the identity, reception, reputation, past several months; the Principal of the My thanks to all of you for sharing your Edinburgh College of Art, Juan Cruz and work and your time with us. practice, and perceived value of jazz and Head of the Reid School of Music, Martin Fàilte! Parker for their enthusiasm and support; Dr. its constituents. This theme is perhaps James Cook for his incredible help in setting up some of the online aspects of this event; particularly resonant following a year and Nicky Regan for the brilliant design work. in which we’ve all had to encounter Indeed, in framing the design of this conference program around iconic jazz jazz—whether as performer, researcher, images taken by William P. Gottlieb between 1938-1948, we’ve managed to engage with student, teacher, listener, or archivist several of the themes central to Documenting Jazz. The images that Gottlieb captured of jazz Dr. Marian Jago (primarily in New York City and Washington —in radically new ways. 2021 Conference Chair D.C.) during this time have become some Edinburgh College of Art of the most iconic and widely reproduced jazz images of all time – many people have ‘encountered’ jazz for the first time through these images. 10 Day 1: Day 2: 11 Wednesday 23 June Thursday 24 June

Sessions/Time in Edinburgh (BST) Attend online Sessions/Time in Edinburgh (BST) Attend online Session 1 12:00 – 13:30 Session 7 12:00 – 13:30 Matthew Jacobson: Non-standard Standards: Using Jazz Standards as Vehicles for Non-structured ROUND TABLE: Archives Improvisations

Session 2 12:00 – 13:30 Pauline Black: Imagine if There Was No Fear of Failure? Encounters With Jazz and Improvisation in UK Michele Corcella: Duke Ellington’s Scoring for Films Secondary Schools Una MacGlone & Guro Gravem Johansen: Approaches to Teaching Improvisation in European Matthias Heyman: How Do They Know Who Wins?: The Representation of Jazz Competitions in Whiplash Higher Music Education Tim Wall: A question for the 1973 BBC Jazz Committee: “Does the BBC have a jazz policy... and if so, is it satisfying the needs of the general listening audience and the Jazzworld? Session 8 12:00 – 13:30

13:00 – 13:30 COFFEE BREAK Attend online Rebecca Zola: Women in Jazz: A Failed Brand

15:15 – 15:30 Conference Welcome/Chair’s Remarks Tom Sykes: “Can I play in the big band?” Encountering Jazz at University Session 3 15:30 – 17:00 Friederike Bartel: Jazz: In-between Community and Competition

Ricardo Enrique Alvarez Bulacio: Jazz on TV During the Chilean Dictatorship 13:00 – 13:30 COFFEE BREAK Attend online

Pedro Cravinho: Encounters With Jazz on Television in Cold War Era Portugal (1954–1974) Session 9 15:30 – 17:0 Guro Gravem Johansen: Playing jazz is what she does!’: How Creating a Micro-community of Renan Ruiz: Grupo Um and the Changes in Brazilian Jazz (1976-1984) Children Builds Female Identification with Jazz Performance Session 4 15:30 – 17:00 Joy Ellis: Marian McPartland’s Piano Jazz John Ehrenburg: ‘Stuff and Nonsense’: The Writings of Helen Oakley in the Jazz Press, 1935-1936 Janette Lambert: Why Are You Singing That? Encounters With Gender Bias in the Lyrics of Jazz John Gennari: A Cool Encounter: Stephanie Barber, John Lewis, and Music Inn Standards and Other Pitfalls of Being a Chick Singer

AJ Kluth: JAZZ IS DEAD – Long Live Jazz Session 10 15:30 – 17:0

17:00 – 17:30 COFFEE BREAK Attend online Mark Lomanno: On Inked Traces and Golden Repair: Comping More Sound Grammars for Jazz Scholarship Session 5 17:30 – 19:00 Maya Cunningham: Jazz Improvisation as African-American Male Gendered Code in Mid-Twentieth Century New York City – A Historical Study ROUND TABLE: Encounters with Jazz in Brazil Ron Levi & Ofer Gazit: Resonant Tensions: (Re)positioning African Jazz between Europe and America Session 6 17:30 – 19:00 17:00 – 17:30 COFFEE BREAK Attend online ROUND TABLE/BOOK TALK: Artistic Research in Jazz: Positions, Theories, Methods Session 11 17:30 – 19:00 19:00 – 20:00 COFFEE BREAK Attend online ROUND TABLE: Encountering Gender in Jazz

19:00 – 20:00 COFFEE BREAK Attend online

See pages 15 to 26 See pages 27 to 37

Click here to register via Eventbrite. Click here to register via Eventbrite. 12 Day 3: Day 4: 13 Friday 25 June Saturday 26 June

Sessions/Time in Edinburgh (BST) Attend online Sessions/Time in Edinburgh (BST) Attend online Session 12 12:00 – 13:30 Session 17 12:00 – 13:30

Stewart Smith: Things That Zap the Mind: Tom McGrath, the Third Eye Centre, and Avant-garde Pedro Cravinho & Brian Homer: Birmingham Jazz Perspectives: Encounters With a Local Jazz Community Jazz in 1970s Glasgow Through Photography

Alex de Lacey: The Rye Lane Shuffle: Re-rendering Jazz Practice in London’s Displaced Diasporas Alan John Ainsworth: A Cultural Encounter: Bill Bernbach, Bert Sten, Louis Armstrong and Polaroid

Daniel Marx: ‘Something you do over there’: Jewish Musicians and the Mediation of Identity in Christian Glanz: The Imagery of ‘Jazz’ within Vienna’s Popular Culture during the 1920s in Popular Literature Contemporary British Jazz and Musical Entertainment Session 13 12:00 – 13:30 Session 18 12:00 – 13:30

Michael Kahr: Seeing Jazz Harmony: The Visual Documentation of Harmonic Structures in Jazz Philipp Schmickl: A Ground Breaking Encounter at the Chapelle des Lombards: Tracing and Documenting the Impact of Personal Global Jazz-networks on a Festival Located at the Borders Spillane & Jackson: ‘Nuages’: Different Takes on a Django Reinhardt Original Michael Saunders: Goodbye Pork Pie Hat: Charles Mingus and Joni Mitchell’s Late Encounter Adolfo Mendonca Slink: An Investigation of Lyle Mays’ Composition and Improvisation Eric Petzoldt & Joshua Weitzel: ‘Jazz, Baseball, Boxing’: Jazz Encounters at Documenta IX 13:00 – 13:30 COFFEE BREAK Attend online 13:00 – 13:30 COFFEE BREAK Attend online Session 14 15:30 – 17:00 Session 19 15:30 – 17:00 Christa Bruckner-Haring: Was ist Jazz? Jazz in Austrian Television and its Relation to Classical Music Ken Prouty: Audience and Identity in Maynard Ferguson’s Science Fiction Theme Song Recordings Kennedy & Wells: ‘With Great Wit and Imagination’: Jazz Ballet no.1, Archaeo-choreology, and the Ethics of Recreation Monica Herzig: Anyone Can Improvise: The ABCs of Arts Entrepreneurship – a Case Study

Andrew Hamilton: Jazz as Classical Music Philip Arneill: Entering the Inner Sanctum: Japanese Jazz Kissaten as Sacred Spaces Session 15 15:30 – 17:00 Session 20 15:30 – 17:00

Laurisabel Maria de Ana da Silva: Marilda and her Orchestra: women’s work in the Jazes and Sean Mills & Eric Fillion: Swirling Notes: Lou Hooper’s Life in Jazz Invisibility in Salvador in the 1950’s Kira Dralle: Archival Silence in the Collections of Dietrich Schulz-Köhn Jen Wilson: Blanche Finlay: The ‘Otherness’ of a Cultural Intervention in 1960s Britain Chris Inglis: Electro Swing in Europe: Hopping the Atlantic to Become a Dance Music Phenomenon Damian Evans: ‘Internationally-famous Lady Saxophonist’: Documenting the Life of Irish Musician Josephine ‘Zandra’ Mitchell 17:00 – 17:30 COFFEE BREAK Attend online

17:00 – 17:30 COFFEE BREAK Attend online Session 21 17:30 – 19:00

Session 16 17:30 – 19:00 Margot Morgan: In Conversation: An Encounter with Dylan Thomas

KEYNOTE: Nate Chinen Oliver Nelson Jr.: (Lecture/Recital) Oliver Nelson’s Small Group Compositions Arrangements and Improvisations

19:00 – 20:00 COFFEE BREAK Attend online CLOSING REMARKS

19:00 – 20:00 COFFEE BREAK Attend online

See pages 38 to 47 See pages 48 to 57

Click here to register via Eventbrite. Click here to register via Eventbrite. 14 DAY 1 15 WED 23 JUNE 16 Session 1 17 Panel Session

WEDNESDAY 23 JUNE Search, Surprise, and Serendipity A Living Archive: Jazz at the Third Eye JAZZ’DAP: An Approach to Using AI to Open Q&A in the Jazz Archive Enhance Discovery in the ‘Long Tail’ of SESSION 1 Stewart Smith Recorded Music in Jazz Archives 12:00 – 13:30 Session Chair: Marian Jago Documenting Independent Scholar Jazz 2021 Conference Chair Gabriel Solis University of Edinburgh University of Illinois This project is a Creative Scotland Welcome: Rachel Hosker, Archives Manager Tillman Weyde funded residency at the Centre for and Deputy Head of Special Collections City, University of London Contemporary Arts Glasgow, dedicated University of Edinburgh to establishing a free-to-access digital Pedro Cravinho Jazz Archives Introductions and Updates, archive of jazz and improvised music at Birmingham City University UK and Ireland its previous incarnation, the Third Eye Adriana Cuervo Centre, from 1975 to 1992. Institute of Jazz Studies at Rutgers, Newark This session brings together those This new archive aims to establish the Simon Dixon engaged with documenting, preserving, Third Eye Centre as an important hub for Queen Mary University of London and disseminating jazz research via community creativity in Scotland, and shed Haftor Medbøe their involvement with jazz archives. light on an overlooked part of Scotland’s Edinburgh Napier University The session welcomes by invitation cultural history. The project also takes a all those with an active interest in jazz creative approach to the sharing of research archives, and will include a series of by inviting contemporary Glasgow-based New Directions in Digital Jazz Studies: short presentations followed by open artists to create new works inspired by the Music Information Retrieval and AI discussion/Q&A. archive. The aim is to create a living archive, Support for Jazz Scholarships in Digital highlighting the diversity of Glasgow’s music Jazz Archives, or, the Jazz in Digital scene and opening up a dialogue between Archives Project (JAZZ’DAP) brings past and present. together jazz archivists, musicologists, and computer scientists in the US and UK to work on implementing digital humanities methodologies to give jazz researchers new ways to find relationships between jazz recordings in large corpuses held in archives.

With test cases from the Institute for Jazz Studies at Rutgers, Newark, and the Scottish Jazz Archive, this collaborative project uses computational audio transcription and melodic pattern comparison tools to indicate potential relationships between jazz recordings held in the archives. We see this as a useful exploratory tool to help drive archival discovery, particularly in the ‘long tail’ of less-well-known audio such as in situ recordings, radio broadcasts, alternate takes, and rehearsal recordings held in archives but not widely commercially distributed. DAY 1 18 Session 2 19

WEDNESDAY 23 JUNE Michele Corcella Matthias Heyman Tim Wall SESSION 2 Bologna Conservatory University of Antwerp Birmingham City University 12:00 – 13:30 Duke Ellington’s Scoring for Films How Do They Know Who Wins?: A question for the 1973 BBC Jazz Committee: The Representation of Jazz Competitions ‘Does the BBC have a jazz policy?’ and if in Whiplash so, is it satisfying the needs of the general Despite having scored only a few listening audience and the Jazzworld’? soundtracks, the film music composed by Duke Ellington is nevertheless Damien Chazelle’s 2014 film Whiplash of considerable interest, especially has received widespread critical This paper explores the ways that perhaps in light of his expressed need acclaim, culminating in the awarding audiences encounter jazz through to compose having always in mind of three Academy Awards. However, radio. Using as a jumping-off-point a an image, a story or an extra-musical within the jazz community, the response December 1973 BBC report, ‘A BBC Jazz subject. In this paper I analyze and has been rather lukewarm, with praise Policy?’, this research investigates both compare three soundtracks: Assault for the film’s aesthetics, but little how we can understand the role of radio on a Queen, Paris Blues and Anatomy appreciation for the representation in national jazz cultures in the second of a Murder. of jazz and its practitioners. half of the twentieth century, and how we should read the archived documents In large part this paper is based upon Whiplash centres on the abusive of these encounters. copies of Ellington’s original manuscripts, relationship between student-drummer augmented in places by personal Andrew Neiman (Miles Teller) and teacher- The report was submitted to the then BBC transcription. The original scores are full of bandleader Terence Fletcher (J.K. Simmons), Jazz Committee, specifically focused on the annotations, which reveal to us some very as they both strive for musical perfection, BBC radio broadcasts of jazz programming in important aspects of film production, the whatever the emotional and physical cost. the early 1970s; a period in which, it is often link between Ellington and the directors While much attention has been devoted argued, jazz ‘lost its way and its audience’. and, above all, the original intentions of the to the film’s (mis)representation of jazz In exploring our engagement with varied composer: in some scenes, for example, pedagogy, I focus on the framing of jazz archived materials as researchers, and the the music wasn’t edited following his ideas. competitions. Critical moments in the British post-war listener’s engagement Going further, these manuscripts also exhibit protagonists’ relationship coincide with three with broadcast jazz that is illuminated by some hidden aspects of the relationship fictional contests. Neiman wins the coveted these materials, we can start to address between Duke and Billy Strayhorn, as seat of core drummer in the first competition, how we can understand the mediation of a evidenced by some alterations made by only to lose it again in the second one, even mediation of a mediation. What emerges is Ellington to Strayhorn’s arrangements. abandoning music altogether. The film’s an unstable sense of the British jazz listener, Additionally, the paper will examine climax, where Neiman confronts Fletcher, the conflicted notion of jazz as a ‘problematic Ellington’s compositional approaches, is not an actual contest but is presented music’ for BBC staff, and of the struggle such as his matching a given member of as an audition of sorts before an industry- British musicians had to make their music his orchestra with a particular character or connected audience. relevant for their listeners and for themselves. a particular scene or mood, and likewise After sketching the history of collegiate It is during this time that jazz is seen by BBC how Ellington focused in particular upon jazz competitions, I examine how Whiplash’s personnel as a specialist music that requires expressing the feelings of the main female competitions compare to their non-filmic specialist programmes and presenters, characters. Finally, we’ll consider the limits counterparts. I highlight particular aspects and yet struggles to find a home in the new of Ellington’s scoring for movies such as gender and race, and consider these broadcast services established at this time. and the potential reasons why the film in the real-life context of competitions such industry did not call upon him to compose as Essentially Ellington (US) or Generations further soundtracks. in Jazz (AU). Overall, I argue that the representation of contests is more nuanced than that of education; some elements are rooted in reality, whereas others are exaggerated or simplified for the narrative’s sake. Nevertheless, the net result remains: the audience’s understanding of jazz pedagogy and competitions is equally flawed. DAY 1 20 Session 3 21

WEDNESDAY 23 JUNE Ricardo Enrique Alvarez Bulacio Pedro Cravinho Renan Ruiz SESSION 3 Music Institute of the Pontificia Universidad Birmingham City University Universidade Estadual Paulista Católica de Valparaíso 15:30 - 17:00 Encounters With Jazz on Television in Cold Grupo Um and the Changes in Brazilian Jazz Jazz on TV During the Chilean Dictatorship War Era Portugal (1954–1974) (1976–1984) (1973–1989)

This paper explores the encounters Grupo Um (Group One) (1976–1984) The practice of jazz in Chile dates back with jazz on television in Cold War Era was one of the most experimental and to the 1920s in the multicultural port of Portugal (1954–1974). It analyses the innovative bands in the history of jazz Valparaíso, where tourists spread jazz relationship between jazz and television in Brazil. Its discography is essential to recordings that stimulated the practice in the twentieth century in one understand at least three aspects of the and composition of original repertoire particular country during a period transformations undergone by jazz in by local musicians, starting a constant of profound change. the country during the latest years of the practice in Valparaíso and other cities civil-military dictatorship (1964–1985). developed by amateurs and some By examining the cultural politics of professional musicians since then. jazz on Portuguese public television (RTP) These aspects include changes in under the corporatist far-right Estado Novo the social and aesthetic intelligibility of The coup d’état of September 11, 1973 (New State) regime, it addresses ways and what could or could not be understood put live music in risk due the application contexts in which jazz was encountered on as Brazilian jazz (in constant friction with of the curfew and the censorship of the television during the Cold War Era Portugal. the idea of ‘Brazilian Instrumental Popular Latin American repertoire associated with By locating jazz production within a critical Music’) as well as the reception of fusion artists linked with the Socialist government cultural milieu like television, it looks to the jazz in Brazil as a central reference for of Salvador Allende that was overthrown impact of these encounters have upon the making the compositions feasible without by the military forces. However, jazz was identity, practice, and perception of jazz in compromising the ‘Brazilian impetus’ of not considered ‘political music’ by the new one of the last European colonial states. the music. In addition, Grupo Um was also authorities, which allowed it to have a By analyzing the musicians and a pioneer in career self-management in prominent presence on the state channel repertoires, the production processes, the field of instrumental music, providing Televisión Nacional de Chile on TV programs and the policies and strategies of the symbolic and practical subsidies (alongside such as Tiempo de Swing (Swing Time) which time it explores connections between the Lira Paulistana label) to strengthen the was broadcast on primetime until 1974 and RTP’s productions, both the national and so-called ‘independent’ musical production made some jazz players, such as trumpeter international jazz scenes, other Western and the movement recognized as ‘Vanguarda Daniel Lencina, into media celebrities. The television corporations, and the US Paulista’ (São Paulo’s Vanguard). Grupo aim of this paper is to analyze how Chilean Embassy in Lisbon and that country’s Um’s first studio album, entitled Marcha jazz was developed during the military propaganda organization, the USIA sobre a cidade (March on the City) (1979) dictatorship of Augusto Pinochet (1973–1989) (United States Information Agency). started a new moment for jazz in São Paulo, based on performance recordings on TV Source material includes those archival anticipating a series of new bands (Divina at the time, press archives, interviews with records of television programmes, official Increnca, Pé Ante Pé, Pau Brasil, Metalurgia, jazz musicians active in the country at that institutional documentation, press archives, Medusa, among others) with sonorities based time and existing research. The presentation complemented by interviews with key figures on the combination of instrumental music, seeks to explain the reasons for the apparent in television jazz production. It highlights the jazz fusion, and Brazilian popular music. non-existing relationship between jazz and Portuguese television jazz programming, and By articulating such characteristics, the politics during the most turbulent years in the TV JAZZ series in particular, by exposing trajectory of Grupo Um can be understood the country’s history. the way jazz was used as subversive as an index of the changes undergone opposition to dominant colonial ideology. by Brazilian jazz in São Paulo precisely Finally, this paper addresses opportunities for at the moment of ‘political opening’ of a comparison of the Portuguese experience the totalitarian civil-military government with that of other countries, situating Cold (1964–1985). War-era television jazz broadcasting as part of a bigger, still unwritten story. DAY 1 22 Session 4 23

WEDNESDAY 23 JUNE John Ehrenburg John Gennari AJ Kluth SESSION 4 RIPM Jazz University of Vermont Case Western Reserve University 15:30 – 17:00 ‘Stuff and Nonsense’: The Writings of Helen A Cool Encounter: Stephanie Barber, JAZZ IS DEAD—Long Live Jazz Oakley in the Jazz Press, 1935–1936 John Lewis, and Music Inn

A few years back, posters emblazoned Helen M. Oakley Dance (1913–2001), In a late 1950s photograph, Stephanie with ‘JAZZ IS DEAD’ started appearing née Oakley, is remembered today as a Barber, proprietress of the Music Inn in around Los Angeles. No further pioneering jazz figure for her long and Lenox, Massachusetts, casually chats comment or context was offered; consequential career as a producer, with John Lewis, composer and pianist just white block letters on black paper. writer, and promoter; for advancing civil of the Modern Jazz Quartet and artistic Was this statement earnest? Ironic? rights causes; and for being one of the director of the Lenox School of Jazz. Related to a brand or ad campaign? few recognized, white female voices within the history of jazz journalism. The photo, by Clemens Kalischer, is not Yes. JAZZ IS DEAD turns out to be a one of special artistic distinction; it appears concert series and influencer brand in Los Yet despite these achievements, there to be a routine, unremarkable image meant Angeles that deploys a discursive move remains, as American jazz writer and to record a passing moment. But there is asserting the death of jazz, or at least the critic Nate Chinen has noted, a ‘shroud nothing routine about the social implications term’s problematization, while simultaneously of obscurity’ surrounding Oakley’s early of what Kalischer captured, or the complex being a proponent of the many ways ‘jazz’ contributions as a jazz critic. Writings by histories deeply embedded within the image. presently manifests. In doing so it figures jazz women such as Oakley constitute a small Unpacking what lies behind this photograph, as a non-essentialized intermusical archive but invaluable body of jazz criticism still and digging into the cultural discourses of practices, attitudes, and histories of taste largely unexplored. surrounding it, helps us understand the that echo their communities of production. This paper situates Helen Oakley’s fascinating social dynamics of Lenox’s jazz More importantly, it moves strangers with presence as both the subject of, and a scene and the power of photography as a varied backgrounds and values to meet in contributor to, the burgeoning popular form of jazz documentation. a room and dance. My paper presents this American jazz press of the mid-1930s. It My paper will read this encounter between phenomenon as one trading on the idea that explores how Oakley garnered the status Lewis, Barber, and Kalischer as a challenge jazz is not monolithic, but rather a negotiation of the ‘Foremost Woman Swing Authority’ to long-standing social hierarchies—a black located in an intermusical constellation— working in a field dominated by patriarchal man and a white woman figured in a Jewish manifest materially in a complex socially- attitudes. In her writings and criticisms— émigré photographer’s image as professional and historically-situated urban space. spotlighted in the journals Melody News, collaborators in the time of Jim Crow and By programming small-group jazz, funk, Tempo, Metronome, and, in particular, Emmet Till. In particular, I’ll consider how samba, hip-hop, experimental beat music, DownBeat—Oakley expresses not only the image underscores the importance of etc., JAZZ IS DEAD is by accident or design a critical awareness of her subjects, but what Nichole Rustin-Paschale calls ‘female engaged in the sonic and spatialized curation also a critical self-awareness of her gender. jazzmen’, figures like Barber, Chan Parker, of a community that models those musical Sue Mingus, Maxine Gordon, and Pannonica interspaces—mixing audiences of varied de Koenigswarter who, in their roles histories of taste, races, and socioeconomic as partners, managers, patrons, and backgrounds often separated by those impresarios, found the primarily masculine very differences. JAZZ IS DEAD is, then, space of jazz conducive to their own quest for a vivifying, symbolically rich space that authority, expertise, and freedom as women. transcends genre from which we can In playing with this idea, I’ll draw on Joel uniquely consider music’s relationship Dinerstein’s work to contextualize Stephanie to issues of popular culture, memory, Barber and these other better-known figures representation, and resistance. as cool jazz women. DAY 1 24 Session 5 25 Panel Discussion

WEDNESDAY 23 JUNE Encounters with Jazz in Brazil The Word ‘Jazz’ in the Brazilian Press Jazes in Salvador During the 1950s: in the 1920s A Gendered Perspective SESSION 5 Chair: Pedro Cravinho 17:30 – 19:00 Birmingham City University, UK Marília Giller will conduct a brief analysis Still in the Brazilian Northeast during of the emergence of the word jazz in Brazil the 1950s, Laurisabel Silva will reflect on Panelists: Marília Giller centred on a myth constructed around how the musical practices involving the Universidade Federal do Paraná) a character called ‘Jazzbo Brown’, and ‘jazes’ bands in Salvador (the capital of Nicolau Clarindo will consider how the appropriation and the state Bahia) lend themselves to a Universidade do Estado de Santa Catarina diffusion of this myth by the Brazilian press gendered analysis of the prevalent socio- contributed to the construction of the idea cultural climate. Thiago Santiago about Jazz in Paraná during the 1920s. Universidade Federal do Paraná Antônio Carlos Araújo Experimentalism and Dictatorship: Universidade Federal do Maranhão Jazz Bands in Southern Brazil: Paraná, Jazz in Brazil During the 1970s and 1980s Santa Catarina, and Rio Grande do Sul Laurisabel Silva Renan Ruiz will make brief considerations Universidade Federal da Bahia Nicolau Clarindo will discuss early jazz about the substantial changes in the notion bands during the 1920s in the three states of of Brazilian jazz during the 1970s and 1980s, Renan Ruiz the Southern region of Brazil: Paraná, Santa which saw in these decades a move away Universidade Estadual Paulista Catarina, and the Rio Grande do Sul. from the legacy left by bossa nova and samba jazz tied to the social and cultural transformations during the authoritarian This panel discussion intends to Jazz in North Brazil: Belém do Pará During civil-military regime (1965–1985). expand the conversation around the Jazz Band Age (1922–1940) ‘Jazz in Brazil’ by sharing ongoing research focusing on diverse Thiago Santiago brings to the discussion chronological periods and geographical the presence of jazz in Northern Brazil regions. Dr. Pedro Cravinho will chair between 1922 and 1940. This presentation the session, and will briefly address will highlight the emergence of jazz in Belém the significant contribution of the do Pará, including groups, instrumentation Brazilian Jazz Studies Group GEJAZZBR. and repertoires, as well as the public spaces This introduction will be followed by where this music was performed. a series of short research statements and an open Q&A/discussion. From Congo Square to São Luís: The First Evidences of Jazz in Maranhão (1924–1965) The trail of Brazilian jazz-bands also includes the Northeast of the country, and Antonio Carlos Araújo will analyse the emergence of jazz in this area, focusing on the State of Maranhão. Consideration will be paid to its unique connections with the Brazilian capital at the time, as well as with Europe and via American radio broadcasts this region which prompted a boom in local jazz-bands from the mid-1920s onwards. DAY 1 26 Session 6 27 Roundtable Discussion & Book Presentation

WEDNESDAY 23 JUNE Artistic Research in Jazz: Positions, The International Network for Artistic SESSION 6 Theories, Methods Research in Jazz was established in 2019 in reaction to the increasing relevance of artistic 17:30 – 19:00 Convenor: Michael Kahr perspectives in the academic discourses in JMLU/KUG jazz research. It aims establish a formalized Panelists: Andrew Bain network of artistic researchers in jazz, open Royal Birmingham Conservatoire dialogue on the state of artistic research in jazz internationally and increase visibility of Mike Fletcher artistic research in jazz as an independent Royal Birmingham Conservatoire sub-discipline. The network has organized Petter Frost-Fadnes two conferences (2019 and 2021) and its University of Stavanger member have delivered individual papers and participated in various panel discussions Monika Herzig on artistic research in jazz (e.g. Weimar Jazz Indiana University Research Conference 2018, Rhythm Changes Conference Graz 2018, JEN Conference Louisville 2021). This panel discussion aims to shed light Artistic Research (AR) is situated at the on the multiplicity of positions, theories interface between scientific and artistic and methods in artistic research based knowledge. It encompasses various research on and/or involving artistic knowledge perspectives such as research on, for and and experience in jazz. In consideration in the arts (Frayling 1993). It is based on of the increasing specialization of a dynamic relationship between scientific academic discourse and the potential and artistic roles and positions; artistic alienation between practitioners, researchers question the separation between theorists and the general public, research object and subject, embark on the discussion stresses the potential questions and problems derived from to re-merge the often divergent within the artistic practice and re-integrate perspectives of practice and theory in research results in new, often experimental music in general and jazz in particular. forms of practice (Dogantan-Dack 2016). The panel brings together a diverse Nevertheless, AR often appears in close range of artist-researchers connected interrelation with a range of scientific to the International Network for Artistic methods, such as laboratory settings and Research in Jazz. experiment design, applied phenomenology, music analysis and historical research (Assis 2018). Artistic research has begun to be supported as an academic discipline particularly at European universities but is often explicitly and implicitly evident in works of jazz artists as well as researchers across the globe. Concepts related to AR have been adopted, adapted and complemented over DAY 2 the past two decades in Europe, UK, Australia and South Africa, with the aim to highlight the relevance of arts-based knowledge within academic jazz research. The panel discussion will include a presentation of the multi-authored volume Artistic Research in Jazz Positions, Theories, Methods (Routledge THUR 2021) (10 minutes).

DAY 1 24 JUNE 28 Session 7 29

THURSDAY 24 JUNE Matthew Jacobson The main part of the paper features Pauline Black Una MacGlone SESSION 7 Dublin City University analyses of two non-standard performances University of Aberdeen Royal Conservatoire of Scotland of jazz standards. One featuring Thelonius 12:00 – 13:30 Frank Lyons Imagine if There Was No Fear of Failure? Guro Gravem Johansen Monk’s composition ‘Boo Boo’s Birthday’ Ulster University Encounters With Jazz and Improvisation Norwegian Academy of Music by piano and drum duo Sanders/Jacobson in UK Secondary Schools Brian Bridges and the other, Arthur Altman’s piece ‘All Approaches to Teaching Improvisation Ulster University or Nothing At All’ by guitar trio Fireplace in European Higher Music Education Dragon. Given the open-ended intention of Non-standard Standards: Using Jazz This paper is drawn from a PhD in the performances—and their presence in Standards as Vehicles for Non-structured progress studying the identities and the context of non-structured improvisations In music education contexts, Improvisations lived experience of educators and the using motivic compositions—there were improvisation is currently a rapidly young people they work with. expectations that traditional harmonic evolving field across musical genres. forms would not be adhered to. However, In Higher Music Education (HME), This paper was originally formed ‘If it wasn’t for the jazz band we wouldn’t in practice, departure from structure was improvisation has traditionally been as part of a larger practice-based know anything about music’... ’we just learn limited. The paper will also compare these taught as part of Western jazz curricula. research project on non-structured stuff to pass the exam’... ‘stress, assessments, performances to some of the limited number improvisations using motivic pressure’ (conversations with young people). of practical examples of such an approach in It is increasingly introduced as part compositions. One category of the current practice including Ellery Eskelin of Western classical music and in cross- investigation was the use of jazz Studies show that in the secondary school (2011; 2013) and Anthony Braxton (2010; 2014). genre courses. The underlying purposes standards as vehicles for non- music curriculum there is generally a focus when teaching improvisation may vary structured improvisations, which on technical development, musical skills from developing and testing musical skills, this paper will focus on. and reproduction, rather than the more to fostering creativity and a socio-musical creative activities such as improvisation and aptitude. A number of improvisational The paper will consider relevant literature composition. There are resultant tensions teaching concepts are emerging, however, as in a variety of fields including musicology, between the performativity and creativity with jazz pedagogy, debates on improvisation cognitive psychology, and sociocultural agendas found in schools and issues of pedagogy seem to be tension-loaded, theory; and will make use of a brief teacher agency, freedom and control are perhaps stemming from socio-historical discussion of the hybridised mixed-method prominent. This paper will discuss an online battles of power, status and artistic identity. methodologies used by the study, including survey examining attitudes, beliefs and Issues such as decision making over teaching descriptive and transcriptive analysis, fully experiences of educators (n = 170) with content, whether it draws on jazz, classical adapted Schenkerian analysis, graphs regard to jazz and improvisation in UK or free improvisational artistic practices, representing comparative levels of elaboration secondary schools. The data shows that highlight hegemonic hierarchies and the and a semi-structured qualitative interview there are marked differences between males tradition versus liberation contradiction. In series with performers of non-structured and females, as well as Instrumental and the context of HME, there are scarce to no improvisations. Classroom Teachers, concerning confidence, research studies exploring such issues and anxiety, amount and type of activity. the musical backgrounds which inform the Implications for professional learning many different practices in Europe. needs, gender issues, pushing boundaries A new study addresses this gap in and the climate for learning will be discussed. current research by utilising surveys and Improvisation as a distinct way of being in interviews, with the purpose of investigating the world, embodying qualities such as risk- micro-practices within the teaching of free taking and spontaneity in order to develop improvisation in European HME institutions. the generative skills, resilience and creative Research questions were: What conceptual disposition to come to know music well will tools do teachers in free improvisation be discussed. Thinking about whose norms use HME institutions in Europe, and how might be privileged, whilst being mindful may these relate do different cultural and of the power relations that condition social genre-related educational values? Results relations within our environments will be provide insight into both the institutional considered. and personal educational aims which inform approaches to teaching improvisation and map contradictions and complexities of this new and evolving area of pedagogy. DAY 2 30 Session 8 31

THURSDAY 24 JUNE Rebecca Zola Tom Sykes Friederike Bartel SESSION 8 Hebrew University Liverpool Hope University Independent Scholar 12:00–13:30 Women in Jazz: A Failed Brand ‘Can I play in the big band?’ Jazz: In-between Community and Encountering Jazz at University Competition

‘Women in jazz’ is a neoliberal feminist brand that functions successfully for Critical discussions of systematic This paper seeks to examine the few successful individuals. This brand jazz education have been prevalent in simultaneity of community and benefits profiteering organizations jazz studies for some time— see, for competition in the jazz scenes of within the jazz scene, while maintaining example, Whyton (2006), Prouty (2012) Europe, and draws upon my lived a patriarchal hierarchy in the and Wilf (2014). This type of intensive experience of the jazz scenes in community. study, taught largely in conservatoires Weimar, London and Leipzig. and performance-based university It does so by continuing to frame women music departments, is aimed at and In particular, this paper asks the question as the exception, and in this case forcing marketed towards students with an ‘how do experiences of community and them to become individual entrepreneurs existing interest in jazz. competition influence and shape the scenes?’, in order to succeed in a scene that is built and considers the simultaneity of community to exclude them. This argument will be There are, however, students following and competition, of support and envy, within fleshed out first by examining the history of classical and popular music programmes these scenes. neoliberalism since the second half of the that discover or develop an interest in As a theoretical basis I use the sociological 20th century in the United States. This will jazz while at university. At a time when analysis of communities and the jazz contextualize how neoliberalism has become professional musicians need to be more community in particular ‘A Theory of the Jazz inseparable from every facet of both public versatile than ever, coupled with digital Community’ by Robert A. Stebbins (London and private sectors and social movements, access to a huge range of recorded music, 1968), as well as the work of Marc Huygens including in the arts, and in the feminist student encounters with jazz should not (Rotterdam 1999) and a German abstract on movement. be overlooked. virtuosity in jazz ‘Varianten von Virtuosität. Two case studies substantiate this For this paper I will investigate ways in Innovationen des Jazzavantgardisten Anthony argument: the first will examine Jazz at which undergraduate students studying Braxton’ by Timon Hoyer (Bielefeld 2017). Lincoln Center (J@LC), and their previously music in programmes that are non-jazz These studies point out two different sides of annual Diet Coke Women in Jazz Festival, specific encounter jazz while at university. competition – competition for achievements, addressing previous scholarship on J@LC’s Using case studies from my own institution popularity and opportunities to be part ties to neoliberalism (Laver), and on gender I intend to gain some insight into the of the music industry on the one side and at J@LC (Teal, Pellegrinelli, McMullen). The pedagogical, social and institutional factors competition for being one of the best players, second case study will conduct remote field that give rise to such encounters. By gaining comparable to competitive sports. My aim research on The New York City Winter Jazz an interest in jazz, how are these students’ is to discuss how this ambivalence can Fest (WJF) and their programming for gender, preconceptions or attitudes towards be fruitful and hindering at the same time, jazz and social justice. Each of the case the music changed? Could there be an whether this is specific to the jazz music studies will reveal their ties to neoliberalism institutional benefit in providing contexts in scene, and whether or not links might be and neoliberal feminism, and therefore which students may encounter jazz? With made with the increasing professionalization how ‘women in jazz’ as brand fails to create reference to post-Bourdieusian theoretical and institutionalization of jazz over the productive (feminist) change for gender frameworks such as Richard A. Peterson’s last decades? Is community with highly equity in the genre. cultural omnivore theory and subsequent experienced competition possible? What debates, I hope to find out what the discovery is the influence of the music industry on of jazz means to the non-jazz major. competition within jazz communities? DAY 2 32 Session 9 33

THURSDAY 24 JUNE Guro Gravem Johansen Joy Ellis Jeannette Lambert SESSION 9 Norwegian Academy of Music Independent Scholar Independent Scholar 15:30 – 17:00 ‘Playing jazz is what she does!’: How Creating Marian McPartland’s Piano Jazz Why Are You Singing That? Encounters with a Micro-community of Children Builds Gender Bias in the Lyrics of Jazz Standards Female Identification with Jazz Performance and Other Pitfalls of Being a Chick Singer. An exploration of the work of professional female jazz musicians Jazz has been called a hegemonic across three decades of radio Drawing on notes from my personal masculine space, and despite a relative broadcasts. journal as a jazz singer who began increase in gender equality in other performing publicly as a child, I will cultural fields, changes within the Hosted by British-born jazz pianist Marian describe my encounters with the jazz community seem to be slow. McPartland, and first airing in 1978, Piano Jazz Great American Song Book, the vast was the longest running show on America’s repertoire known as jazz standards. A common explanation is that when National Public Radio (NPR). The hour-long I was told to learn as many of these students enter higher jazz education, males, weekly broadcast gave prominence to the songs as possible early on as it and especially instrumentalists, are already in work of emerging and established jazz artists, was considered vital to one’s jazz clear majority. Thus, the question arise: how both male and female. Featured guests would credentials. does the jazz community recruit and keep discuss and perform their music, often in females from a younger age? duet alongside McPartland. Through her If called upon in a jazz club or jam session, As part of a bigger ethnographic study, warm personality, relaxed interview style I was expected to stand up and sing any of this paper presents the gender policy of the and intricate knowledge of working in jazz, these from memory at any given moment. Norwegian learning practice Improbasen, Marian offered an accessible insight into I will give examples of lyrics that raised red where children are taught jazz improvisation. the lives and careers of some of the world’s flags for me and how I went about filtering Improbasen is widely acclaimed for its high finest jazz musicians for music connoisseurs my choices. Also, the consequences of those levels among even young children, and its and casual radio listeners alike. Over the choices, such as being fired after pretending international interaction with jazz playing course of roughly three decades, the 700+ I didn’t know one of them. Does encountering children from all over the world. broadcasts featured a variety of celebrated gender bias in this repertoire discourage In many ways, its gender strategies are musicians such as the programme’s first ever women from pursuing jazz music? Also, unconventional compared to common tuition guest, Mary Lou Williams, as well as Chick how often do we stop to consider who for children or jazz education. Girls are Corea, Shirley Horn, Bill Evans, and Sarah wrote a song and in what context? I will always in majority, and pupils are normally Vaughan to name but a few. McPartland was describe the steps I took to sidestep the assigned non-stereotypical instruments from a passionate educator, often interviewing restrictions placed on me and the places the teacher. Pupils are seldom introduced pedagogically when questioning guests where I found inspiration. Hopefully sharing to historical jazz masters, but think of jazz on their approach to music and was an this path will provide inspiration for other performance as natural for children to do ardent advocate for women in jazz. Utilising women looking for solutions to the sexism with their peers. interviews, transcripts and the radio inherent in the jazz community and also In the presentation, I discuss the success broadcasts themselves, this paper will give others ideas for how to become freely of Improbasen’s gender policy in the light seek to explore McPartland’s encounters expressive in their music. of concepts such as tokenism, stereotype with some of the women she interviewed threat, empowering through mastery, and on her show, including Blossom Dearie, identification. Finally, I discuss the impact Eliane Elias, Renee Rosnes, Geri Allen and on young girls’ and boys’ possibilities for more. The presentation will highlight the building self-efficacy if they are socialised women’s experiences of working in jazz and to experience jazz as a thing among peers, the ways in which the industry advanced as opposed to socialisation in an adult, during the years of the broadcasts in regards monolithic culture of admiration of the to gender equality. ‘great masters’. Or ‘the need to admire Parker, Garbarek, and God’, to paraphrase Improbasen’s founder Odd André Elveland. DAY 2 34 Session 10 35

THURSDAY 24 JUNE Mark Lomanno Maya Cunningham Ron Levi SESSION 10 Albright College University of Massachusetts, Amherst Tel-Aviv University 15:30 – 17:00 On Inked Traces and Golden Repair: Jazz Improvisation as African-American Male Ofer Gazit Comping More Sound Grammars for Gendered Code In Mid-Twentieth Century Tel-Aviv University Jazz Scholarship New York City: A Historical Study Resonant Tensions: (Re)positioning African Jazz Between Europe and America On his 2017 album Work Songs This study is an Africanist, gendered drummer Jaimeo Brown exemplifies reading of the jazz tradition that Recent jazz scholarship has dedicated the ‘rootwork’ of Afro-Diasporic critical explores the African functionality of much attention to core/diaspora creative practice by incorporating the music. relationships in the context of jazz archival and ethnographic research on as a global cultural act. traditional African American culture into This paper seeks to reclaim the music as his technology-rich performances. an African-American creation from cultural Scholars such as David Ake (2004), Kristin appropriation efforts that deem it ‘America’s McGee (2019) and others have framed the Brown draws on hip hop’s sampling classical music’ by examining an unseen music of European jazz musicians as a aesthetics to reimagine African American aspect of its Africanity: the language of local derivation of an African-American art musical communities and collapses the space- jazz improvisation as Black male gendered form, and African-Americans in Europe as time that separates him from his imagined code. Using the cultural theories of Turino the authentic bearers of this tradition. On collaborators. In an attempt to connect these (2008) and Matsue (2016), I argue that the other hand, Robin Kelley (2012), Ingrid communities’ historical struggles with similarly African-American male jazz musicians in Monson (2007) and Steven Feld (2012) have marginalized populations around the world, mid-twentieth century New York City formed described African and African-American Brown inserts the track ‘Safflower’—featuring a gendered cultural cohort that parallels collaborations as revolving almost entirely a sampled Japanese folk song sung by female the West African Mandé djali artisan class, around a sense of pan-African affinity dye-workers—into the middle of the album. through which they created the language between musicians of Afro-diasporic On first listen, though, the emancipatory of bebop. In Mandé cultures djalis are a descent. The dynamics between African and appeal of this Afrofuturist aesthetic politics hereditary class of musicians who keep African-American musicians on questions that so effectively overwrites difference may lineage and community histories. Through of nationality, universality and authenticity suggest an all-too-facile transcendence the lens of Carr’s ‘way of being’ theory in jazz, however, have remained largely that fails to account for the fundamentally concerning Black American Africanity, unexplored. ‘untranslatable’ aspects of everyday life and I argue that African-American musicians In this paper, we examine the relationships cultural identities. formed a similar class, which is evident in between African jazz musicians and their In response to Work Songs and Brown’s the collaborative relationships, instrumental African-American counterparts in order to integrated approach to research and lineages, and private jam and practice show their complex positioning vis a vis the performance, this presentation espouses sessions reported by Black be-bop/hard- ‘Americanness’ of jazz. Through analysis ‘comping’ as a performance practice that bop architects like Dizzy Gillespie, Max of the complex role of ‘America’ in shaping can aid researchers in thoughtfully attending Roach and Freddie Hubbard. Building on the transnational artistic identity of Mulatu to their interlocutors and the inherent studies in Africanist/African-Americanist Astatke (Ethiopia), Hugh Masekela and ‘untranslatability’ that characterizes written ethnomusicology (Nketia, 2005, Coleman, Johnny Dyani (South Africa), we argue scholarship on sonic phenomena. Whereas 2013 Maultsby, 2015 and Monson, 2017), that while African musicians share similar Brown compares his sampling to traditional gendered music traditions (Koskoff, positions regarding nationality, universality, quilting practices, I suggest the Japanese 2000), anthropology (Bourdieu, 1977) and authenticity in jazz with their European pottery art of kintsugi (‘golden repair’) as an and ethnolinguistics (Smitherman 2006), counterparts, their musical reflections of equally evocative metaphor for scholarship this paper examines jazz musician’s archival these positions are markedly different. that must fuse together disparate musical papers, oral histories, Black autobiographies, Framing musical, social and political cultures like those invoked in Work Songs. and ethnographic interviews with jazz ‘tensions’ as generative and positive forces in Along with works on sonic Afromodernity, masters, to assert that African-American jazz, we suggest that the musics of Astatke, I invoke Nakamura’s research on Japanese male bebop musicians in mid-twentieth Masekela and Dyani offer new ways of using calligraphy as another model for jazz studies century New York City formed a cultural tension to foreground the importance of that creates breaks for the embodied cohort that resulted in a gendered, Black popular and folk musics in jazz. processes and particularities of scholarship male improvisational language based in that are too often polished off its final gendered musical roles that are ubiquitous products. in African-American culture. DAY 2 36 Session 11 37 Round Table

THURSDAY 24 JUNE Round Table: Encountering Gender in Jazz To this end, we have sought to approach Following Session 11, the conference the topic of gender in jazz in a broad and invites delegates and attendees to an SESSION 11 James M. Reddan global definition. The term gender, broadly, extended coffee break. 17:30 – 19:00 Western Oregon University includes male, female, transgender, gender Breakout rooms will be available for more Monika Herzig non-conforming, non-binary, cis-gender, and targeted discussions. Indiana University any other definition currently used in the vernacular. The broader definition requires Michael Kahr further exploration and discussion to consider Universität für Musick und Darstellende Kunst how we encounter gender within jazz and Jasna Jovi evi how to continue to explore and discuss this Univerzitet Singidunum topic within the broad field of jazz. In this round-table session, panel members will share results and observations The exploration of Jazz and Gender has of their research in the area. As we will also been a significant topic in the field of be in the editing phase of the upcoming Jazz Studies and within Jazz Research Routledge Companion to Jazz and Gender and Education for some time. As artists, (Routledge 2021), we will share themes and teachers, educators, and scholars we results from the 40+ chapter contributions. encounter Gender in Jazz differently. Our goal is to expand the conversation on the topic and gather feedback, ideas, In the current world climate, the topic and thoughts on a broader definition and of gender is complex and fraught with strategies towards inclusive practice. controversy depending on who you talk to, individual perceptions and definition of gender, and value systems. With the rise of the #MeToo movement, attention to gender inequalities in the workplace, culture, on stage and more, there is an urgent need to address deep-rooted barriers and eliminate glass ceilings towards equal participation in the art form jazz. While scholars have discussed gender issues and produced an impressive body of scholarship in the past, there has been a strong emphasis on women in jazz and men versus women within such discourse. In the current state of world affairs, the definition of gender has changed and evolved in relationship to society, politics, cultural stereotypes, history, education, and more. DAY 2 38 Session 12 39

Stewart Smith Alex de Lacey, FRIDAY 25 JUNE Independent Scholar Goldsmiths University of London SESSION 6 Things That Zap the Mind: Tom McGrath, The Rye Lane Shuffle: Re-rendering Jazz 12:00 – 13:30 the Third Eye Centre, and Avant-garde Jazz Practice in London’s Displaced Diasporas in 1970s Glasgow

In the early 1940s, Ken ‘Snakehips’ In 1973, a 15-year-old Ivor Kallin Johnson’s West Indian Dance Orchestra attended a concert by Derek Bailey were the hottest ticket in London town. at the Scottish Arts Council Gallery in Glasgow. The finest purveyors of swing outside 52nd street, the Orchestra were an all-black At first, Kallin struggled to cope with the ensemble whose Caribbean influences guitarist’s challenging free improvisation. rendered loud and clear. Localised practice But he persevered and found the experience of London’s diaspora communities continues transformative. Kallin is now a respected to provide scope for cross-pollination: in the musician and a stalwart of London 1990s, Cleveland Watkiss (Jazz Warriors) Improviser’s Orchestra. He is one of many worked closely with drum ‘n’ bass DJ Goldie; Glaswegians who had their first encounter today, Catford drummer Moses Boyd’s album with avant-garde jazz through concerts Displaced Diaspora captures the freneticism organised by Tom McGrath and his fellow of Peckham’s Rye Lane, incorporating Yoruba travellers in Platform, the Scottish Arts bata drumming, police sirens, low-end square Council funded jazz body. waves and Mandinga praise songs. A dramatist, poet and jazz musician, This paper will explore jazz’s incubation McGrath brought the spirit of the counter- within distinctly local spaces—such as Jazz culture to 1970s Glasgow as director of the Re:Freshed, Total Refreshment Centre, SAC Gallery and its successor, the pioneering Steam Down—and their intersection with Third Eye Centre. He helped nurture free municipal entities. Alto saxophonist and music in the city, working with musicians rapper Soweto Kinch is a self-declared such as bassist George Lyle and drummer ‘product of Tomorrow’s Warriors’, a youth Nick Weston, and turning many others jazz programme established by Gary Crosby on to the music through his involvement in 1991; Moses Boyd is an alumnus. It will with Platform and the Third Eye. While his also highlight syncretisms between the own music was largely undocumented, he jazz tradition and the specifically London left behind a remarkable archive of video multiculture that has birthed both Dizzee recordings of Bailey, Brotherhood of Breath Rascal and Shabaka Hutchings. The ease and other Platform bookings. with which grime, jazz, reggae and West Drawing on extensive archival research African practice overlap is evidential of and oral history, I explore McGrath’s activities localised ways in which jazz’s ontological as a jazz musician and proselytiser, and basis is re-rendered in London’s ‘multi-ethnic DAY 3 discuss the influence of the counter-culture urban’ milieu (Bramwell and Butterworth, and improvisation on his practice as director 2019: 2510). of the Third Eye. Embracing the vernacular Through synthesizing ethnographic and the avant-garde, McGrath articulated interviews, critique of live performance, a vision of cultural democracy in which all analysis of recordings and investigation of members of the local community could municipal financing, this paper will therefore access ‘things that zap the mind’. show how a meeting of street and state has FRI resulted in diasporic reinventions of jazz that are both locally signalling and globally resonant (Appert, 2016: 293).

25 JUNE DAY 3 40 Session 13 41

Daniel Marx Michael Kahr Jeremiah Spillane THURSDAY 24 JUNE University of Liverpool Universität für Musick und Darstellende Goldsmiths, University of London SESSION 14 Kunst ‘Something you do over there’: Jewish Tom Jackson 12:00 – 13:30 Musicians and the Mediation of Identity Seeing Jazz Harmony: The Visual Independent Scholar in Contemporary British Jazz Documentation of Harmonic Structures ‘Nuages’: Different Takes on a Django in Jazz Reinhardt Original Britain’s jazz scene (focusing in particular on London) is known for The many ways of documenting jazz Recorded in 1940, in Nazi-occupied its diversity of culture, ethnicity, include the historically significant focus Paris, ‘Nuages’ would become one socio-economic and formal educational on harmony in the artistic practice, of Django Reinhardt’s most memorable backgrounds. education and academic research compositions and part of the popular in jazz. imagination of those living in Vichy Among this melting pot of identities, France. Jewishness and its position within the Despite the relevance of myriad other contemporary British jazz scene is seldom features of music, harmonic structures Reinhardt wasn’t satisfied with the first discussed. Jewish musicians in UK jazz rarely have been central in defining the stylistic recording of the piece and a second version, advertise themselves as such, yet we find properties and artistic characteristics of recorded two months later on December ourselves in a cultural and political moment individual artists. The structural relationships 13th 1940, saw Hubert Rostaing’s clarinet in the UK where both jazz and Jewish in jazz harmony have been understood and/ augmented by the second clarinet of Alix communities are more visible than ever. In or constructed as abstract phenomena, Combelle. It was this version that captured light of the inextricable relationship between defined by a hierarchical theory based on the imagination of its French audience. As jazz and identity, this paper examines the logic reasoning, resemblances to natural Reinhardt’s biographer Michel Dregni puts it, experiences of Jewish musicians involved phenomena and the musicians’ auditory ‘with its release as ‘Swing No. 88’, all of Paris with British jazz, exploring the ways in which perception. seized upon ‘Nuages’ and more than 100,000 those musicians interact with the wider Nevertheless, jazz harmony is also bound copies were sold. It was more than just a hit scene. Its focus is on the significance of to multiple ways of seeing; the understanding song. ‘Nuages’ was truly a paean’. their individual Jewish identities in those of music-immanent structures involves a Part musical analysis, part cultural interactions, the ways in which they perform variety of visual aspects: First, the visual history, this joint presentation sees Jeremiah those identities, as well as the internal representation of jazz tunes, arrangements Spillane and Tom Jackson compare the and external factors which have ensured and improvised solos in the form of scores, earliest versions of ‘Nuages’ to examine what that there are significant barriers between lead sheets and transcriptions as well as Reinhardt hoped to achieve compositionally Jewish musicians and insider status within the related visualization concepts in music with the addition of the second clarinet. British jazz. notation, chord symbolization, analytical ‘Nuages’ saw Reinhardt move beyond his The research was conducted via a series graphs and handwritten annotations. most famous era with his all string ensemble of interviews with musicians such as Sam Second, visual metaphors and spatial terms to embrace a more Americanised jazz band Eastmond, Olie Brice, Liran Donin, Alex in the verbal descriptions of relationships format. At the same time there is evidence of Roth and others. These interviews uncovered in jazz harmony such as ‘motion’, ‘direction’, compositional impulses that nod to European the experiences of Jewish musicians ‘ascending’, ‘high’ and ‘low’. Third, art music: melodic and harmonic devices that working today and the ways in which their performative expressions of harmonic could be found in the music of Stravinsky, Jewishness, as well as the socio-political tension and release involving bodily motion Debussy and Mahler. Was Reinhardt keen to environment of Britain and its jazz scene and gestures. demonstrate that his compositional scope impact their professional lives. This paper explores the visual aspects extended beyond what he had become of jazz harmony in a case study concerning best known for? What does this say about the music of singer, composer and multi- Reinhardt’s ambitions at the time and the instrumentalist Jacob Collier, whose musical machinery of cultural production in the development has been shaped by a distinct circumstantial conditions of WWII? online presence and complex harmonic techniques which refer to a wide range of music from the past. DAY 3 42 Session 14 43

Adolfo Mendonça Christa Bruckner-Haring Fen Kennedy THURSDAY 24 JUNE Guarulhos Municipal Conservatory University of Music and Performing University of Alabama SESSION 15 Arts, Graz Slink: An Investigation of Lyle Mays’ Christi Jay Wells 15:30–17:00 Composition and Improvisation Was ist Jazz? Jazz in Austrian Television and Arizona State University its Relation to Classical Music ‘With Great Wit and Imagination’: Jazz Ballet no.1, Archaeo-choreology, and the This presentation provides a detailed Ethics of Recreation examination of Lyle Mays’ jazz fusion Upon arriving in Austria, jazz quickly composition ‘Slink’ (1986). secured a place in the cultural landscape. However, the country is Jazz Ballet No.1 premiered at the 1959 ‘Slink’ provides a great example of deeply steeped in classical music Newport Jazz Festival and was lauded May’s intelligent and creative approach for history, and jazz has often been as ‘history making’ by contemporary composition, arrangement and improvisation, compared to it. critics. as well as an important example of his ability to break with typical structures and This has resulted in two opposing The work was commissioned by jazz foundations in jazz composition. In contrast viewpoints: Jazz has been perceived historian Marshall Stearns to extend his to typical ‘melody and chords’ main theme either as an (inferior) form of popular music existing collaboration with jazz dancers Al in jazz, in this piece the ‘head’ (theme) is that threatened the country’s rich musical Minns and Leon James and to ostensibly arranged as 3-part counterpoint. More culture, or as a modern, highly developed ‘elevate’ jazz dance by fusing it with ballet than this, its form features an uncommon a music—‘America’s classical music’. such that it might receive the institutional recapitulation of this same structure at the This paper explores the presentation of support and credibility increasingly afforded solo section along with a unique approach jazz in Austrian television in the 1960s and jazz music. Sources documenting the ballet to harmony during Mays’ solo. Despite 1970s by analyzing selected TV programs are scarce. Three sheets of rehearsal stills the creativity and quality of Mays’ musical from the period: the documentary Was housed in the unprocessed materials of the approach, he is rarely studied by researchers, ist Jazz? (1969, with Friedrich Gulda) and Institute of Jazz Studies’ Marshall Stearns composers and performers when compared excerpts from Walter Richard Langer’s Collection give few hints as to the order to his colleague Pat Metheny, to other show Bourbon Street (1975–1979). These of, or the transitions between, the still 1980s musicians such as Jaco Pastorius or examinations focus specifically on frames. A handful of newspaper reviews to other jazz pianists such as Bill Evans, aspects of the relationship between and the Newport Festival program offer Oscar Peterson and Bud Powell. That said, jazz and classical music. The analyses additional clues as they summarize the this presentation also tries to bring a (well- are augmented by archival records, work’s plot, describe the dancers’ movement deserved) highlight to the memory, legacy musicological and journalistic texts. backgrounds, and identify the two recordings and work of the genius of Lyle Mays. This Looking at jazz from a classical by the Modern Jazz Quartet to which the presentation on ‘Slink’ will discuss the perspective during those years not only dance was performed. composition’s structure, its use helped the audience to better understand This paper explores a collaborative of melodic motifs, as well as Mays’ this—at the time—still foreign-sounding effort to recreate this work from the approach to improvisation. American music, but was also integral to surviving documentation through archaeo- the legitimization and broad acceptance choreological methods and our own deep of jazz as a serious music in Austria. engagement with jazz dance and music as practitioner/scholars with issues of care and creative ethics at the forefront of our process. The re-creation of a work from documentary artifacts (be they scores, photographs, recordings, films, etc.) necessarily also creates new documentation through that work’s realization in performance. Our paper asks how the new documents we generate should be framed and treated in order that they live alongside, but do not supplant, the existing primary materials through this new realization’s perceived ‘completeness’. DAY 3 44 Session 15 45

Andy Hamilton Laurisabel Maria de Ana da Silva Jen Wilson THURSDAY 24 JUNE Durham University University Federal of Bahia Jazz Heritage Wales SESSION 16 Jazz as Classical Music Marilda and her Orchestra: Women’s Work in Blanche Finlay: The ‘Otherness’ of a Cultural 15:30–17:00 the Jazes and Invisibility in Salvador in Intervention in 1960s Britain the 1950’s Is jazz encountered as a classical or art music—and what follows concerning its Blanche Finlay, blues and jazz vocalist, aesthetic status and perceived value? Musical groups with instrumental embodies the feminist theory of formations similar to jazz-bands became ‘otherness’ with multiple cultural and In an earlier article, I argued that jazz known as ‘jazes’ in Salvador, the capital political positionings and identities. has features of a classical music, agreeing of the Brazilian state of Bahia, where with Scott DeVeaux that ‘in the discourse of their presence in the city was marked Her performances were described jazz, the point at which jazz becomes ‘Art’ by the determination of specific places as ‘sassy’, a term rarely bestowed on is thought to be in the move from swing to dedicated to the genre, and to which white singers, and her appearance bebop [when] it sheds... this exterior husk musicians and party goers belonged. as ‘coloured’ to denote her difference. of commercialism.’ An art, with a fairly Blanche was negotiating her way through capital ‘A’, is a practice involving skill, Fieldwork consisting of interviews, the ‘symbolic struggle’ of a white perception with an aesthetic end, that richly rewards photographic archives, newspapers and of performance prevalent during 1960/70s serious attention. magazine materials concerning these musical Britain. She later used her metier to Many would deny that jazz is an art groups during the 1950s, suggested that men influence how education for black women music—especially, not a classical music. could be in hold various places and positions was perceived, and became a force for I argue that jazz has many of the features within these areas as singers, musicians, change in women’s politics. of art music, drawing on popular music arrangers, band businessmen, contractors, Blanche Finlay arrived in Britain from with its powers of association for individual owners of clubs or residences where the Jamaica in 1955. She is not only one of those listeners, to create an art of great power. groups performed. Additionally, they could singers who sprinkle stardust in her wake, Unlike Western classical music, jazz’s freely attend the events where these bands she was also an educator and politician artistry consists not in composition, but in played. For women however, who had their in Manchester. Blanche opened the first improvisation, and its associated aesthetics bodies and behaviours monitored both integrated nightclub in Manchester in 1967, of imperfection, developed from the work socially and politically, these places and the Ebony Club. She described it as ’the first of Ted Gioia. This treatment requires positions were restricted. Women could really posh nightclub that black people could analysis of the concept of a tradition, still performer as singers because of the public attend on an equal level with white people.’ not satisfactorily addressed in Philosophy or admiration for radio singers in this time, and It wasn’t just a nightclub. During the day it Sociology. The distinction between thinking the possibility was left open to attend the was a meeting place for the Trade Union and unthinking acceptance of tradition, or festivities where the jazes worked provided Equity, and also the Manchester Council for intellectual and non-intellectual tradition, is they were accompanied by men who were Community Relations. Seminars, courses the distinction between a living and dead trusted by their families. and Asian evenings were also held there. tradition, as discussed by James Parakilas However, a singer named Marilda, Blanche would return at night performing in his article ‘Classical Music as Popular mentioned several times during my master’s with her band. Blanche went on to win a Music’. A living classical repertory is one that degree fieldwork interviews, accumulated scholarship to Ruskin College, Oxford, taking is kept up to date – as in Western classical roles both of crooner and manager of the jaze her twin babies with her, and campaigned for music, and jazz, understood as a classical that carried her name in Salvador during the married women to be allowed into the halls of music. Our conceptual terminology around 1950’s. As a singer, she obtained social and residence, previously only allocated to male these questions continues to be frustratingly cultural support since this place was socially students. She inaugurated the first black inadequate, however. reserved for women, however such singers women’s group at Manchester city hall and were not the usually the contractors. Marilda recorded an LP Now Tomorrow in 1977. was different. Perhaps this could explain Blanche fought for black rights for access the scarcity of information about her, as is to representation, and conveyed the politics historically the case in Brazil for women’s of jazz from the bandstand through gospel musical productions (ROSA et al, 2013). This and blues. She also confronted institutional, presentation seeks to explore Marilda’s case social and cultural barriers, collaborating as an example of the relationships between across disciplines. jazz, gender positions and invisibilities. DAY 3 46 Session 16 47

Keynote Michael Lionstar Photo:

Damian Evans THURSDAY 24 JUNE Research Foundation for Music in Ireland SESSION 17: KEYNOTE ‘Internationally-famous Lady Saxophonist’: 17:30 – 19:00 Documenting the Life of Irish Musician Zandra ‘Zandra’ Mitchell All God’s Children Got Algorithm:

Josephine ‘Zandra’ Mitchell (1903–1995) How Jazz Went Down the Tubes was a Dublin born saxophonist and bandleader whose career included leading an all-woman band and associations with Jack Hylton, Coleman Hawkins and Django Reinhardt. Documenting Jazz 2021 is proud

Mitchell left Ireland in the early 1920s to announce a keynote talk by for a one-week stint in London, but did not return home until 1947. She was disowned by award-winning critic and writer her parents and spent the duration of WWII in Berlin. Upon her return Mitchell played Nate Chinen. relatively little and ended her days living a reclusive life in County Donegal. Probably the first Irish musician playing jazz to achieve Nate Chinen has been writing about jazz Chinen was born in Honolulu, to a musical success outside of Ireland, her life story for more than 20 years. He spent a dozen family: his parents were popular nightclub has inspired both a radio documentary of them working as a critic for The New entertainers, and he grew up around the and a stage show, however information on York Times, and helmed a long-running local Musicians Union. He went to college Mitchell is scarce and often contradictory. column for JazzTimes . on the east coast and began writing about This paper reports on research into jazz in 1996, at the Philadelphia City Paper. Mitchell’s life and attempts to draw As Director of Editorial Content at WBGO, His byline has also appeared in a range together the various strands of information Chinen works with the multiplatform program of national music publications, including that are known about her. Both the radio Jazz Night in America and contributes a DownBeat, Blender and Vibe. For several DAY 3 documentary and stage show used poetic range of coverage to NPR Music. years he was the jazz critic for Weekend licence to enhance the telling of Mitchell’s He is author of Playing Changes: Jazz For America, a radio program syndicated by story, and as such there is no ‘official’ the New Century, published in hardcover American Public Media. And from 2003 to version of her life. Most of the information by Pantheon in 2018, and on paperback by 2005 he covered jazz for the Village Voice. available is from letters and documents left Vintage in 2019. Hailed as one of the Best His work appears in Best Music Writing with Mitchell’s friends after her death, and Books of the Year by NPR, GQ, Billboard, and 2011 (Da Capo); Pop When the World Falls interviews with the same. In addition to JazzTimes, it's a chronicle of jazz in our time, Apart: Music in the Shadow of Doubt (Duke codifying some of the information regarding and an argument for the music's continuing University Press, 2012), and Miles Davis: Mitchell, this paper asks what Mitchell’s relevance. It has also been published The Complete Illustrated History (Voyageur story can tell us about women playing jazz internationally, in Italian and Spanish editions. Press, 2012). in Ireland in the first half of the twentieth A thirteen-time winner of the Helen century. It also considers other women Dance–Robert Palmer Award for Excellence performing in Ireland throughout the same in Writing, presented by the Jazz Journalists period whose stories have not received the Association, Chinen is also coauthor of same attention, including Maureen Turner, Myself Among Others: A Life in Music, the Bridie McGuinness and Bridie Howitt. 2003 autobiography of festival impresario and producer George Wein, which earned the JJA’s award for Best Book About Jazz. 48 Session 17 49

Pedro Cravinho Alan John Ainsworth SATURDAY 26 JUNE Birmingham City University Independent Scholar SESSION 19 Brian Homer A Cultural Encounter: Bill Bernbach, 12:00 – 13:30 Independent Scholar Bert Sten, Louis Armstrong and Polaroid Birmingham Jazz Perspectives: Encounters With a Local Jazz Community A ground-breaking advertising Through Photography campaign launched by Polaroid in 1958 featured Bert Stern’s stunning portrait of Louis Armstrong. Our paper examines fragments of a Birmingham jazz community. As part of The campaign was however notable an ongoing project entitled ‘Everyday for the ways in which personal quests, Jazz Life: A photographic project on commercial goals, cultural and technological contemporary jazz musicians lives change and jazz coalesced. Stern was in Birmingham’, this paper explores an iconoclastic photographer, a cultural different perspectives of the lives of six provocateur who defined the creative distinct musicians using photography revolution with his seminal Smirnoff-vodka and fieldwork research as a vehicle ads; Bill Bernbach an outsider who helped to reveal their lives off and on stage. to redefine Madison Avenue advertising by tapping into shifting cultural trends and his The participants in this strand of the own Jewish heritage; and Louis Armstrong project are musicians who mainly earn their had by the late-1950s become a central figure living from other professional activities. in American culture, representing for many Inspired by Jeffery (1992), we acknowledge the face of jazz. that photographs can be understood as My paper will argue that the coming ‘fragments’ of everyday lives allowing together of these forces to promote a us to reimaginedistinct community jazz remarkable technological advance in experiences. Justified in part by Lofland, photography was in the nature of a cultural due to the ‘very incompleteness of the encounter of some significance. information’ that a photograph gathers this perhaps highlights the binary between the ‘invisible’, what can be detected in a photograph , and the ‘visible’, what a photograph depicts (Lofland, 1998:81). Echoing the work like Walker Evans and James Agee (1941), our project highlights perspectives of distinct jazz lives through text and image taken from our encounters with local musicians in Birmingham, UK. The photographs reveal different contexts DAY 4 of their everyday generating interrelated questions: How those musicians’ negotiate their daily journeys in the light of changing modes of interacting with the music within the ‘real-and-imagined space’ Lefebvre (1991)? How revealing is photography of the individuals social and musical dynamics? SAT This paper will be expanding on the case for the use of photography as a potentially fertile field of enquiry of the living experiences of Birmingham jazz musicians. 26 JUNE DAY 4 50 Session 18 51

Christian Glanz Philipp Schmickl Michael Saunders SATURDAY 26 JUNE Institut für Musikwissenschaft und University of Music and Performing Arts, Northumbria University SESSION 20 Interpretationsforschung Graz Goodbye Pork Pie Hat: Charles Mingus 12:00 – 13:30 The Imagery of ‘Jazz’ within Vienna’s Popular A Ground Breaking Encounter at the Chapelle and Joni Mitchell’s Late Encounter Culture during the 1920s in Popular Literature des Lombards: Tracing and Documenting and Musical Entertainment the Impact of Personal Global Jazz-networks on a Festival Located at the Borders In the last year of his life, Charles Mingus approached singer-songwriter This paper considers the manifold use Joni Mitchell to aid him in creating his of ‘jazz’ as a cultural symbol within The first encounter of young Austrian final project—the album Mingus (1979). Viennese literature and popular music jazz club owner Hans Falb and the of the 1920s. African-American avantgarde jazz His once formidable playing abilities musician Clifford Thornton in 1977 in having been curtailed by Motor Neuron After World War I Viennese daily Paris had a lasting impact. Thornton Disease, the album became a collaborative culture was characterized by manifold became Falb’s guide in musical, effort which produced a contemplative, manifestations of crisis. At the same time spiritual and political matters. experimental, musical statement—its diverse innovations appeared, not least in the subject, Mingus’ life and legacy. field of entertainment cultures. In this context Falb organized concerts for Thornton, not Such a work brings to mind the concept ‘jazz’ as a ‘trademark’ (in addition to the real only in his own club, the Jazzgalerie in the of Late Style, most commonly attributed to thing: Vienna had an actual jazz-scene, too, East-Austrian countryside close to the Iron Theodore W Adorno. Adorno defines Late including international acts) evolved towards Curtain, but as well spent time in Thornton’s Style as describing a pattern in the later a frequently used symbol within daily life, home in Geneva where he got acquainted works of select Romantic era Germanic but also in political and cultural discourse, with the musician’s worldview. composers, wherein the compositions representing both optimistic and (more This paper discusses the extent to which appeared to be simultaneously self-referential numerous) pessimistic positions. This can this relationship shaped the (community of and anticipating future developments of the often be found in Viennese literature of the the) Jazzgalerie—the place where since 1980 genre. While the term has been used widely day, in novels as well as in poems. My central the ‘Konfrontationen’, one of the globally since its conception, only recently has Late example in this context is the ‘Viennese most renowned festivals for free jazz and Style begun to be examined against a wider Novel’ Jazz by Felix Dörmann (1925), which improvised music, took place. To begin with, range of artists and genres. stages this symbolism in reference to the I am going to examine Thornton’s trajectory Adorno’s writings on jazz are as culturally novel’s general attitude as a moral warning as a scholar and musician/composer and significant as his work on Late Style; his and accusation of contemporary urban his views on music and politics (symbolically dismissal of the genre remains prevalent decline, linked to sexuality and deterioration summarized in his participation in the in academia and wider discussions around of traditional values. In addition to this Festival panafricain d’Algers in 1969). These jazz. With this in mind, my presentation and analysis of the image and appearances of insights will then serve as a foil for the further research will examine how Mingus ‘jazz’ in Viennese literature I will give an analysis of the rich data I have gathered is a parting statement which expresses example for the presence of this symbolic use (with full access to Falb’s private archive) Charles Mingus’ contentious criticism of within local popular music (the ‘Wienerlied’) for my PhD project on the Jazzgalerie, The his experience as a musician working in too, with exemplifying focus on some songs Improvisation of Resilience: Global Networks a marginalized field, and how this informed created by the then famous Viennese and Local Practices of a Jazz Festival at the his unapologetically complex jazz music. entertainer Hermann Leopoldi. Borders. Accordingly, the central issue of this Further, I will explore how Mingus’ paper is how we strive to document these collaboration with Mitchell impacted the personal, spiritual, but half-remembered (or album, and posit that the nature of their forgotten?) encounters spread across time, composition process can further expand space, and media that seem so crucial for our understanding of Late Style. writing alternative jazz histories. DAY 4 52 Session 19 53

Joshua Weitzel Ken Prouty Monika Herzig SATURDAY 26 JUNE University of Edinburgh/University of Mainz Michigan State University Indiana University SESSION 21 Eric Petzoldt Audience and Identity in Maynard Ferguson’s Anyone Can Improvise: The ABCs of Arts 15:30 - 1 7:00 University of Cambridge Science Fiction Theme Song Recordings Entrepreneurship—A Case Study ‘Jazz, Baseball, Boxing’: Jazz Encounters at documenta IX Canadian trumpeter Maynard Ferguson The concept of improvisation and was, by any standard, among the most the model of the jazz jam session as popular figures on the jazz scene in the a gathering of creative minds with The large-scale quinquennial exhibition 1970s. the goal of creating a new outcome is documenta in Kassel, Germany, is frequently used in the entrepreneurship regarded as one of the most influential In this paper, my focus is on a series literature. events in contemporary art. of recordings made by Ferguson in the latter part of the 1970s, which appeared Especially the unique setting of a jam In 1992, the ninth documenta was led consecutively on three albums: Conquistador session exemplifies a successful model by Belgian artistic director Jan Hoet, who (1976, released in 1977), New Vintage (1977), of group creativity and the transformative included accompanying events entitled and Carnival (1978). Ferguson’s engagement opportunities of regular training in ‘jazz, baseball, boxing’. These events with film and TV music followed a typical improvisation towards developing a growth emphasised the exhibition’s focus on the path for many popular musicians of the mindset. This case study developed for a human being rather than a theoretical day; disco-tinged versions of the themes special edition on Arts Entrepreneurship underlying concept. Among baseball and from popular films such as Star Wars and Education of the journal Artivate traces boxing events, a film programme and theatre, Close Encounters of the Third Kind achieved the entrepreneurial accomplishments of the events-programme of documenta IX substantial success on the U.S. pop charts. Jamey Aebersold, David Baker, and Jerry featured concerts of musicians such as Cecil While Ferguson’s version of Bill Conti’s Coker, often referred to as the ABC’s of jazz Taylor, Betty Carter, Steve Lacy, Geri Allen, ‘Gonna Fly Now’, the theme song from the education. Furthermore, this case study Lawrence D. ‘Butch’ Morris, Noah Howard, hit film Rocky, was the certainly his most documents the entrepreneurial mindset Charlie Haden and David Murray. documenta popular theme song, his trilogy of ‘space’ of these three innovators as a result of IX received mixed reviews by contemporary themes, which included arrangements of their improvisational training and regular critics but was highly popular with the theme songs from Star Trek, Star Wars, and participation in jazz jam session situations audience and especially the people in Kassel. Battlestar Galactica, point to intersections and thus implies strategies for teaching It is now often described as having been between jazz and popular music, audience creative thinking techniques and the growth a ‘Volksfest’ (a folk fair). demographics, music education, and visual mindset needed for entrepreneurial thinking. Drawing on archival research and media. Specifically, I argue that Ferguson’s The work of these three individuals interviews, this paper explores how jazz was engagement with such music capitalized exemplifies the encounter of jazz as encountered in the framework of the events- on the growing popularity of film and a discourse and model for effectual programme at documenta IX and investigates television science fiction among adolescent entrepreneurship, the growth mindset how and by whom jazz itself was understood and early adult males, a demographic needed to create new opportunities from as a mode of encountering documenta IX. which overlapped significantly with a core the resources at hand. Especially in times How does the jazz programme relate to the element of Ferguson’s musical audience: of uncertainty a growth mindset and main programme of contemporary art and young musicians, especially high school and improvisational capacities facilitate action the notion of documenta as a ‘Volksfest’? college aged men who were participants in and problem solving. Similarly, Aebersold, We further discuss the relationship between the swiftly growing school jazz ensemble Baker, and Coker developed the curriculum jazz and sports within this framework, in movement. I suggest that Ferguson’s sci-fi framework, the teaching materials, play-along order to seek a more nuanced understanding theme song recordings cultivated a sense principles, and summer camp training that of jazz at documenta IX. of belonging and in-group identity and were became the foundation of jazz education likely a significant factor in his contemporary worldwide as a result of their problem- popularity and influence. solving capacities developed during regular engagement in improvisation and jam sessions. The jam session model and this case study provide evidence for the benefits of improvisational training in any area and strategies for pedagogy and organizational leadership. DAY 4 54 Session 20 55

Philip Arneill Sean Mills Kira Dralle SATURDAY 26 JUNE Ulster University University of Toronto UC Santa Cruz SESSION 22 Entering the Inner Sanctum: Japanese Eric Fillion Archival Silence in the Collections of 15:30 - 17:00 Jazz Kissaten as Sacred Spaces University of Toronto Dietrich Schulz-Köhn Swirling Notes: Lou Hooper’s Life in Jazz The Japanese word ‘kissaten’ In my search to find the identities of ( ) translates directly as the ‘four unnamed black musicians’ in 喫茶店 Louis ‘Lou’ Hooper (1894–1977) was near ‘tea-drinking shop’. the infamous photograph with Django the end of a long career when members Reinhardt, Henri Battut, and Dietrich of the Montreal Vintage Music Society, a There are approximately 600 jazz kissaten Schulz-Köhn, taken in late 1942 at the 78 rpm collecting group of jazzophiles, spread across the five main islands of Japan, Place Pigalle in Paris, many of the logics ‘rediscovered’ him while trying to piece and while jazz kissaten truly emerged as of early jazz collectors were unveiled. together the history of Ajax Records in audio-listening bars in the post-war years, the early 1960s. they peaked in ubiquity in the late 1960s/ In the Dietrich Schulz-Köhn Archive in early 1970s, during which times they were Graz, evidence of early twentieth century The Buxton-born pianist had remained out often a hub for counter-culture movements in fascist logics become entangled with of the limelight after serving in the Canadian bohemian areas like Tokyo’s Shinjuku district. fantasies of blackness and American army as the leader of a concert party during Tokyo Jazz Joints (www.tokyojazzjoints. celebrity. However, black musicians who the Second World War. With an education com) is an ongoing research project, were not famous nor American, faced very from the Detroit Conservatory of Music, photographed by Philip Arneill, which has dire fates, and were scrubbed from every Hooper had navigated his way through documented this rapidly vanishing culture account of the history of Django Reinhardt’s various pit orchestras and jazz combos, since 2015, and to date has created an audio- group in Paris in 1942. settling in Harlem for most of the 1920s visual chronicle of over 160 of these kissaten. While conducting my research in the where he accompanied, either on stage or Drawing on the idea of Foucault’s archives in Graz, what caught my attention on records, the likes of Paul Robeson and heterotopia, and using a selection of was not the expansive collection of early Ethel Waters. Beginning in the 1930s, he images from Tokyo Jazz Joints, this paper records or the personal library of Schulz- made Montreal his home, accompanying will present the unique environment of Köhn, but instead the uncatalogued portion visiting artists like Billie Holiday, teaching the Japanese jazz kissaten as a pseudo- of the archive that consists of thousands of aspiring musicians such as Oscar Peterson, religious sacred space, replete with its own candid personal photographs, trinkets, and and showing his chops on radio shows and in rituals, protocols, iconography and clergy. intimate letters tucked inside books. Given dancehalls. His ‘rediscovery’ in 1962 led to a These unique, sacred spaces are a product that most of the photographs were inscribed great deal of publicity, prompting Hooper to of the cultural environment which created with lengthy and detailed descriptions of reflect on his life spent in jazz. He performed them, while simultaneously existing in musicians and performances, I had hoped to many concerts, recorded an album for direct cultural contestation with that same locate the names of all of the black musicians Radio Canada International (1973), and gave environment. Their very existence is a result photographed alongside Schulz-Köhn in late numerous interviews about his experiences of their owners’ decision to step outside of 1942, in order to recover narratives that the from the 1910s to the 1930s. He also drafted Japanese mainstream culture, and depends regime deemed unworthy of memorialization. an autobiography (still unpublished). on their continued fervour and commitment Unfortunately, only one of these musicians’ Focusing on Hooper’s encounter with a to keep the faith in an era of changing identities could be found. new generation of jazz enthusiasts, this paper tastes, digitisation and relentless urban This lack of documentation leads us will ask what Hooper’s ‘rediscovery’, and the gentrification. to question not only the circumstances enormous attention that he subsequently surrounding original documentation and received in the nationalmedia, says about the validity of non-traditional primary the racial and cultural politics of Canada source material, but also demands an during the 1960s and 1970s. The paper will examination of how these erasures in therefore examine the differing meanings of documentary practices have impacted jazz that circulated in Montreal— including contemporary jazz historiography. those pertaining to the politics of the music’s creation, dissemination, and reception—while attending to the relationship between the local and the global, the past and the present, in the making and documenting of jazz

culture. DAY 4 56 Session 21 57

Chris Inglis Margot Morgan Oliver Nelson, Jr. SATURDAY 26 JUNE Independent Scholar Independent Scholar Indiana University SESSION 23 Electro Swing in Europe: Hopping the Atlantic Marian Jago (interlocutor) Lecture/Recital: Oliver Nelson’s Small 17:30 - 19:30 to Become a Dance Music Phenomenon University of Edinburgh Group Compositions Arrangements and Improvisations In Conversation: An Encounter with Dylan Thomas—Jazz and Poetry Recent years have seen the introduction and rise of the electro swing genre: Oliver Nelson (1932–1975) was a prolific a style built upon the fusion of swing composer, arranger and saxophonist In conversation with the conference and jazz along with influences from who developed a unique harmonic chair Dr. Marian Jago, this session contemporary electronic dance music. and melodic style. will explore the inspiration behind and challenges found in the pairing Through this, the genre has managed His work on Prestige and Impulse Records of jazz approaches and the poetry of to achieve a level of popularity with a new with avant-garde saxophonist Eric Dolphy celebrated Welsh poet Dylan Thomas. generation of fans from an altogether highlighted his ability to compose and different background than that of the arrange in a way that would allow Dolphy In 2001, Jen Wilson, founder of Jazz traditional jazz enthusiast; thus, it is arguably to be very creative in his improvisations by Heritage Wales, invited vocalist Margot one of the most innovative and relevant styles utilizing intervals and voicings that were Morgan to fit the words of twelve Dylan of jazz to emerge in today’s popular music dissonant in nature, yet which worked well in Thomas poems to a suite of jazz melodies landscape. a traditional jazz tune setting. This arranging she’d composed. As Wilson put it, Thomas A curious feature of electro swing however, and composing style continued to develop ‘... threw a line as fancy as Charlie Parker and is the surroundings and cultures in which it and lead to two Important recordings made understood spaces as deftly as Thelonious has emerged. When considering the genres for the new Impulse recording company. Sphere Monk...’ from which electro swing draws, there is Blues and the Abstract Truth (1961) and Thomas’ poetry is not easy to read, and a stark contrast in terms of geographical More Blues and The Abstract Truth (1965) Morgan found difficulty in singing words location and ethnic origin. Jazz is of course are arguably two of the most influential to which she couldn’t easily relate. Born in the quintessential African American music, jazz albums in terms of small group Wales and raised in America, she chose to and similar arguments can be made arrangements and pushing the compositional view the process of learning to sing Thomas’ regarding various electronic dance music boundaries of the blues form. In addition to poetry as a way to gain greater purchase on styles, such as house, garage, and techno. the exploration of new harmonic textures her cultural inheritance. A student of Anglo This is also undoubtedly the case for hip hop, and timbres found in his compositions and Welsh literature, Morgan wanted to examine which has exhibited a great influence over arrangements, Nelson’s improvisational style Thomas’ poetry through the lens of other electro swing too. can be heard to reflect similar approaches internationally renowned artists who were Yet electro swing has developed almost as he improvised in like fashion to his inspired by his work, and who came from exclusively in white European communities compositional and arranging style. the area that shaped him. Lithographs based – only emerging in the United States in In this lecture/recital, Oliver Nelson, Jr. on Thomas’ poems by his contemporary, recent years. These cultures have played will highlight several small group Swansea painter Ceri Richards helped her to some role in the development of electro compositions from the albums Blues and come to an understanding of Thomas’ words, swing too, but one cannot ignore the overt the Abstract Truth and More Blues and the his surrealism, brutality and playfulness. She African American influence. This paper Abstract Truth, performing the arrangements also listened to Swansea’s John Cale, a post- explores the connotations found when in a virtual format and discussing the war avant-garde composer who, like Thomas presenting contemporary jazz in such development of Nelson’s compositional and and Richards, brings an oneiric sensibility disparate environments, engaging with the improvisational ideas via the use of use of to his work, and has also done settings of themes of appropriation, historical nostalgia, manuscripts, personal stories and memories. Thomas’ poems. signification, and escapism. In recognising This lecture/recital is particularly significant By drawing on these influences and of electro swing’s increasingly noteworthy in that it is the 60th Anniversary of The as well as the personal experiences that status, this paper presents a relevant and Impulse Record Company: The Album Blues had drawn her to sing jazz music, Morgan much-needed discussion. and the Abstract Truth was one of the first succeeded in fitting Thomas’ ‘fancy lines six albums in its catalogue. and spaces’ into Wilson’s measures of music. ‘Twelve Poems, released in 2011 has been heralded as an inspired and spirited interpretation of some of Dylan Thomas’s

greatest works...’ (Jazzman review, 2011). DAY 4 58 Biographies 59

Dr. Alan John Ainsworth He is currently researching the Friederike Bartel emergence of jazz in the north- Dr. Alan John Ainsworth is a eastern Brazilian state of Maranhão, Friederike Bartel was born in 1988 freelance photographer and investigating how the notion of in northern Germany and studied independent scholar based in musical modernity impacted the musicology and jazz saxophone in Edinburgh. His most recent book, region through the jazz-bands. both Weimar and London. She now Brussels Art Nouveau: Architecture lives in Leipzig where she organizes and Design, was published in Philip Arneill her own band project for which she 2016 by Unicorn Press. In the jazz also composes, as well as teaching field has published a number of Philip Arneill is a photographer saxophone and clarinet. In 2019 research articles and his book who, having lived for 20 years in she studied at the Guildhall School Sight Readings: Photographers and Japan, is currently based in Ireland. of Music in London where she American Jazz 1900–1960 will be He holds an MA in Photojournalism had lessons with Mark Lockheart, published by Intellect Books later & Documentary Photography from Jean Tousseaut and Simon Purcell this year. UAL and is currently researching (among others). When studying his PhD through creative practice musicology, her subject of research Laurisabel de Ana da Silva in Art & Design at Ulster University. was how individual style in jazz His work explores the illusory develops and how it can be Laurisabel de Ana da Silva is ideas of home, culture and identity described. a flautist and composer from by exploring insider-outsider Salvador, Bahia, Brazil, currently dynamics, liminal and interstitial Pauline Black working on her musical project spaces, and autoethnographic called ‘Dezesseis’ and other issues of place and identity. His Pauline Black is currently musical projects. Also, she is a work has been exhibited and completing a PhD at the University PhD student in Ethnomusicology published worldwide. of Edinburgh and she is a Senior at the Universidade Federal da Lecturer in Music Education Bahia (UFBA), Brazil. She holds Andrew Bain at the University of Aberdeen. a MA in Ethnomusicology and a She has extensive experience BA in Musical Education from the Andrew Bain is one of the leading leading participatory music and same institution. In 2011, Silva was performers and educators in jazz projects in education and a Doctoral Visiting Researcher at the UK having performed with community music contexts. In King’s College London, UK. jazz luminaries such as Wynton 2016 Pauline was part of the Marsalis, Kenny Wheeler, Randy Aberdeen City team receiving Antonio Carlos Araújo Brecker, Dave Liebman and Bob a Will Michael Jazz Diploma Mintzer. Andrew’s latest project— in recognition of showing an Antonio Carlos Araújo is a (no)boundaries (Whirlwind outstanding commitment to jazz drummer and historian. He has a Recordings, March 2020)—is a education. Pauline is a Fellow of MA in Culture and Society from free improv exploration featuring the Royal Society of Arts and the the Universidade Federal do Peter Evans, Alex Bonney, and John Higher Education Academy. Her BIO Maranhão and a graduate student O’Gallagher. Andrew is currently research interests are in jazz and in Afro-Brazilian and indigenous Deputy Head of Jazz at the Royal improvisation, creativity, inclusion, history and culture. His dissertation Birmingham Conservatoire, education and community music. focuses on studying the Brazilian Director of Jazz for the National music critic’s discourses about Youth Orchestras of Scotland, and jazz’s influence on Brazilian sits on the steering committee Popular Music (1962–1970). He has for the International Network for GRA published academic and journalistic Artistic Research in Jazz. He will articles on jazz and blues, and complete his PhD in 2020. the monograph O lugar do jazz na construção da música popular brasileira (1950–1956) (The Place of Jazz in the Construction of Brazilian PHIES Popular Music, 1950–1956). 60 Biographies 61

Christa Bruckner-Haring Michele Corcella Maya Cunningham Dr. John Ehrenburg Joy Ellis Eric Fillion

Christa Bruckner-Haring is Michele Corcella is one of the most Maya Cunningham is an Dr. John Ehrenburg is the Editor Joy Ellis is a jazz pianist, singer, Eric Fillion is a SSHRC/FRQSC Deputy Director of the Institute for sought-after Italian jazz composers ethnomusicologist, a cultural of RIPM Jazz Periodicals, the composer and educator based postdoctoral fellow in the Jazz Research at the University of and arrangers. Besides winning activist, a Fulbright scholar, and first online full-text collection of in London and an alumni of the Department of History at the Music and Performing Arts Graz many prizes in international a jazz vocalist. She is completing historic, out-of-print jazz journals Guildhall School of Music & Drama. University of Toronto. His research and co-edits its publication series composition competitions, he has a PhD at the University of and magazines, and the latest She has toured throughout the explores the social and symbolic Jazzforschung / Jazz Research, worked as arranger/conductor with Massachusetts, Amherst in initiative of the scholarly non-profit UK supported by the Arts Council importance of music, within Beiträge zur Jazzforschung / David Liebman, Kenny Wheeler, Afro American studies and organization, RIPM (Répertoire England and was described by countercultures and in Canadian Studies in Jazz Research, and Jazz Steve Swallow, Tom Harrell, John ethnomusicology. Cunningham international de la presse musicale). Kevin Le Gendre on BBC Radio international relations. His ongoing Research News. Her research Taylor, Norma Winstone, WDR received a MA in ethnomusicology John previously held faculty 3 as having ‘fantastically wistful work on cultural diplomacy and focuses primarily on historical Big Band, Glauco Venier, Enrico from the University of Maryland, positions at the Peabody Institute ambiance and beautiful voice.’ She Canadian-Brazilian relations builds and sociocultural investigation as Pieranunzi and Mario Brunello. College Park, a MA in jazz of the Johns Hopkins University currently teaches at the Junior on the experience he has acquired well as musical transcription and He is also a specialist on Duke performance from Aaron Copland and Frostburg State University. An Guildhall School of Music & Drama, as a musician. It also informs his analysis of jazz and popular music. Ellington’s composition techniques School of Music at Queens accomplished trumpet player, he is Morley College and Middlesex current postdoctoral project, which and has given lectures at the Duke College and a Bachelor of Music a founding member of the C Street University, London. Her research examines international music Nate Chinen Ellington International Conferences in jazz studies from Howard Brass. entitled ‘Women and the Jazz Jam’ festivals as transnational, contested in Amsterdam (2014), New York University. Her research focus is was presented at and published sites of cultural performance during Nate Chinen is the author of (2016), Birmingham (2018,) and at on music and African American Dr. Ricardo Enrique by the Darmstadt Jazzinsitut, the long, global sixties. An affiliate Playing Changes: Jazz For the New the International Jazz Composers’ identity. Cunningham directs the Alvarez Bulacio Germany. She recently presented a of the North American Cultural Century. A former jazz critic for Symposium in Tampa (2017). He Ethnomusicology In Action project, paper at the Second International Diplomacy Initiative (NACDI), he is The New York Times and former teaches jazz composition at the and has travelled all over the world Dr. Ricardo Enrique Alvarez Conference on Women’s Work in the founder of the Tenzier archival columnist for JazzTimes, he is the Italian conservatory in Bologna. conducting research and learning Bulacio is music researcher, Music in Bangor, Wales. record label and the author of JAZZ director of editorial content at traditional music. saxophonist and composer. He LIBRE et la révolution québécoise WBGO, and a regular contributor Dr Pedro Cravinho completed a MA, PhD in Music Dr. Damian Evans (2019). to NPR Music. A thirteen-time Kira Dralle and a Postdoctoral Fellowship at Sean Mills and Eric Fillion are winner of the Helen Dance–Robert Pedro Cravinho is a Senior the University of York, UK (2011- Dr. Damian Evans is a double currently working with co-editor Palmer Award for Excellence in Research Fellow at Birmingham Kira Dralle is a PhD Candidate 2017). He has presented his work bassist and researcher who Désirée Rochat on an edition Writing, he is also the coauthor Centre for Media and Cultural in Cultural Musicology at UC in ethnomusicology and jazz completed his PhD studies at TU of Lou Hooper’s writings for of George Wein’s Myself Among Research (BCMCR) at Birmingham Santa Cruz, where she is also an conferences in Europe such as Dublin where he was awarded McGill-Queen’s University Press Others: A Life in Music. City University (BCU). He is the instructor in the History of Art and British Forum for Ethnomusicology the Fiosraigh Dean of Graduates (provisionally titled Lou Hooper in Keeper of the Archives at the Visual Culture, as well as Feminist Annual Conference (Belfast 2013, award. A research associate of the Jazz City: Writings on Race, Music, Nicolau Clarindo Faculty of Arts, Design, and Media Studies. In 2020, she was a Visiting Sheffield 2017), Latin American Research Foundation for Music in and Montreal). (BCU), and BCMCR History, Scholar in Residence in the Music Seminar (London 2013, Ireland, he has guest lectured at Nicolau Clarindo is a guitar player, Heritage & Archives Research collections at the Künstuniversität 2014, 2017 and 2019); Rhythm University College Dublin and has music teacher and researcher. He Cluster co-lead. His research Graz. Her dissertation examines Changes International Jazz co-edited The Musicology Review is currently a Master’s student in interested includes the political, Black musicians in Nazi-occupied Conference (Amsterdam 2018). As (UCD). He established the Galway Music (Musicology) at the State cultural, and social history Europe, and the weight that racial a composer his pieces have been Jazz Club and Galway Jazz Festivals University of Santa Catarina of the twentieth century jazz fantasy holds over the writing of performed by the Julian Arguelles before moving to Dublin where (UDESC), Brazil. Clarindo has a diaspora, and its distinct media jazz history. Her forthcoming article, Octet, Quotuor Diotima, Latin he is established the Jazz Studies BMus from the University of Vale do representation on the public sphere. entitled ‘The Historiography of Strings, The Assembled and the reading group and chaired the 2019 Itajaí (Univali), with complementary His is currently working on his post- Myth and the Racial Imagination: University of York Jazz Orchestra. Documenting Jazz conference in training in Popular Guitar from the doctoral project ‘Portujaze: Jazz recontextualizing Joséphine Baker Currently he is Associate Lecturer Dublin. He is Honorary Secretary Conservatory of Popular Music of Cultures, Scenes and Networks in in the Jim Crow South and the at Music Institute of the Pontificia for the Society for Musicology in Itajaí (CMPI). His research interests Contemporary Porto’ at CITCEM – Third Reich’ will be published in Universidad Católica de Valparaíso, Ireland and Book Review Editor for include music in Itajaí, focusing on Transdisciplinary Centre ‘Culture, Jazzforschung/Jazz Research. Chile, and leader of Ricardo Alvarez the Jazz Perspectives journal. the history of jazz in Santa Catarina, Space and Memory’ at the Quartet. Brazil, the traffic of musicians and University of Porto. jazz bands in southern Brazil, and the transatlantic movements of the musician Harry Kosarin. 62 Biographies 63

Petter Frost Fadnes He has presented at a number Marilia Giller Dr. Guro Gravem Johansen Monika Herzig Brian Homer of conferences in the UK and Petter Frost Fadnes is a Europe, and has chapters in edited Marilia Giller is a pianist, Dr. Guro Gravem Johansen is Monika Herzig is senior lecturer Brian Homer is a photographer, Norwegian saxophone player, collections published by Routledge composer, researcher, and an Associate Professor of Music at Indiana University as well designer and writer. He ran the lecturer and researcher based and Leuven University Press. PhD Candidate (History) at the Education at the Norwegian as the author of David Baker: A Handsworth Self Portrait at the University of Stavanger. Universidade Federal do Paraná Academy of Music. Her research Legacy in Music (IU Press) and project with Derek Bishton and He is Associate Professor and Dr. Ofer Gazit (UFPR), Brazil. She holds a MA interests cover all levels of learning Experiencing Chick Corea: A John Reardon in 1979 and has Assistant Dean of Research at the in Ethnomusicology (UFPR), a and teaching within jazz and Listener’s Companion (Rowman since co-curated many self-portrait Faculty of Performing Arts, and Dr. Ofer Gazit is a lecturer in specialisation in Brazilian Popular improvised music, instrumental and Littlefield, 2017). She is also the projects including for the opening former principal investigator for Ethnomusicology at the Buchmann- Music at Faculdade de Artes do practising, and Activity Theory. She chair of the research committee for of the Library of Birmingham and the HERA-funded research project Mehta School of Music at Tel Aviv Paraná (FAP), a BA in Popular co-edited the anthology Expanding the Jazz Education Network and for the 50th Anniversary of Telford. Rhythm Changes: Jazz Cultures University, Israel. Dr. Gazit writes Music (FAP), and BA in Fine the Space for Improvisation editor of JAZZ. As a jazz pianist His photographs and reviews have and European Identities. His book, about transnational migration from Arts at Escola de Música e Belas pedagogy: A Trans-Disciplinary she has toured the world, opened appeared in Jazzwise magazine, Jazz on the Line— Improvisation a musical perspective, focusing on Artes do Paraná (EMBAP). Giller Approach (Routledge, 2019), and for acts such as Power of Tower, London Jazz News and UK Vibe in Practice, was published in jazz and African diasporic musics. teaches piano jazz, jazz practice, wrote the book Children’s guided Sting, Yes. Her awards include a websites. From 2012 to 2018 he 2020 at Routledge. With a PhD in He has published on topics such as and several music seminars at participation in jazz improvisation: 1994 Down Beat Magazine Award, was on the board of Birmingham performance from the University of jam sessions and social boundaries, Universidade Estadual do Paraná A case study of the ‘Improbasen’ a JJZ Hero 2015 award, as well as Jazz. He is a member of the Jazz Leeds, Frost Fadnes was for many migrant musicians in the Harlem (UNESPAR) Campus II. Her learning centre (Routledge, 2021). grants from the NEA, the Indiana Research Cluster at Birmingham years part of the highly creative Renaissance, and on New York’s research interests include Popular She is Editor-in-Chief of Nordic Arts Commission, MEIEA, and Jazz City University, documenting the Leeds music scene, and now African jazz scene. His book Jazz Music, Jazz Studies, Composition Research in Music Education, Tours. Monika is a CASIO Artist. jazz scene through photography performs regularly with The Geordie Migrations is under consideration and Performance Studies. Giller and has led the revision of the and also collaborates with Pedro Approach, Mole and Kitchen by the University Press of leads the Grupo de Estudos de Jazz Norwegian national curriculum Matthias Heyman Cravinho. Orchestra. He has released several Mississippi. no Brasil (Brazilian Jazz Studies for the music program in upper albums, tours internationally, and Group; GEJAZZBR). secondary school during 2019–2021. Matthias Heyman is Postdoctoral Dr. Chris Inglis continues to seek ‘the perfect John Gennari Fellow for the Research Foundation melody’ through eclectic musical Professor Christian Glanz Andy Hamilton – Flanders at the University of Dr. Chris Inglis is a musicologist approaches – mostly within the John Gennari is Chair of the Antwerp (Belgium). He currently based in Cardiff, Wales, whose settings of improvised music. Department of English and Professor Christian Glanz studied Andy Hamilton teaches conducts a study of cultural values research explores the emergence Professor of English and Critical musicology and history in Graz, Philosophy, and Aesthetics of in international jazz competitions. and development of the electro Mike Fletcher Race and Ethnic Studies at the obtaining his PhD in 1988 and his Jazz, at Durham University UK. His Additionally, he is a board member swing genre. After studying at University of Vermont. He is the habilitation in 2007. He is currently monographs include Aesthetics for IASPM Benelux and the lead De Montfort University, and the Mike Fletcher is a woodwind author of Blowin’ Hot and Cool: Professor for Historic Musicology at and Music (Continuum, 2007), organiser for its October 2021 University of Sheffield, in 2019 he multi-instrumentalist, composer, Jazz and Its Critics (2006) and the Department of Musicology and and Lee Konitz: Conversations on conference in Antwerp. His work received his doctorate from the arranger and researcher who Flavor and Soul: Italian America at Performance Studies; where his the Improviser’s Art (University has appeared in journals such as University of South Wales. He has works predominantly in the Its African American Edge (2017), central research interests concern of Michigan Press, 2007), and Jazz Perspectives, Popular Music, previously had chapters published fields of jazz and improvised both published by the University of music and politics, Jazz in Austria, titles on philosophy of mind, and and Rock Music Studies, and he has in Continental Drift: 50 Years of Jazz music and a post-doctoral Chicago Press, and of many essays Gustav Mahler, and Hanns Eisler. Wittgenstein. His latest book is presented at various international from Europe (2016), and Popular researcher at Royal Birmingham and chapters in venues such as Professor Glanz participated in the Pianos, Toys, Music and Noise: conferences, including the past Music in the Post-Digital Age: Conservatoire. His latest project The Routledge Companion to first Documenting Jazz conference Conversations with Steve Beresford Documenting Jazz conferences. Politics, Economy, Culture is Picasso(s):Interactions, a Jazz Studies, Uptown Conversations: in Dublin 2019. (Bloomsbury, 2021) and his Matthias is preparing a monograph and Technology (2019). suite for large ensemble that The New Jazz Studies, Brilliant monograph Art and Entertainment on jazz bassist Jimmie Blanton critiques notions of originality Corners, and Miles Davis and is forthcoming (Routledge, 2022). (Oxford UP) and a co-edited in contemporary jazz practice. American Culture. He is a long-standing contributor volume on the Beatles and In addition to composing for his to The Wire magazine. humour (Bloomsbury). own ensembles, Mike has also written music for soloists including saxophonists Lee Konitz and Andrew D’Angelo and drummer Dan Weiss. Mike’s research spans jazz practice-research, musicology and art theory. 64 Biographies 65

Tom Jackson Dr. Marian Jago Michael Kahr AJ Kluth Jeannette Lambert Dr. Mark Lomanno

Tom Jackson is a performer, Dr. Marian Jago is currently Michael Kahr is Senior Lecturer AJ Kluth is a musicologist with Jeannette Lambert is a jazz Dr. Mark Lomanno, Assistant composer, researcher and educator lecturer in Jazz & Popular Music and postdoctoral researcher at the interdisciplinary interests in vocalist, composer and music Professor of Music at Albright based in London. As a clarinet Studies at the University of Institute for Jazz and the Institute music and philosophy. Primarily producer living in Montreal, College, is a music studies scholar and saxophone specialist, he is Edinburgh, where she also directs for Jazz Research, University of concerned with music after 1950, Quebec, Canada. She runs the and jazz pianist who specializes largely dedicated to the fields of the Edinburgh College of Art’s Jazz Music and Performing Arts in his teaching and research focus on music label Jazz from Rant and in the music of the Atlantic world. contemporary classical music & & Popular Music Study Group. Graz, Austria as well as Dean experimentalisms, popular music, writes about living creatively His current projects include free improvisation. In 2016 Tom Her first monograph, Live at the and Head of MA Studies at Jam and aesthetics. His publications through jazz and intuition on her ethnographic and archival work in received a PhD from Canterbury Cellar: Vancouver’s Iconic Jazz Club Music Lab Private University for appear in the Journal of Jazz blog. She presented a paper on her the Canary Islands, edited volumes Christ Church University for work and the Canadian Co-operative Jazz and Popular Music in Vienna. Studies, The International Journal studies with Cecil Taylor at the Unit on improvisational pedagogy and on free improvisation, the clarinet Jazz Scene in the 1950s and ‘60s He published the award-winning of New Media, Technology, and Structures conference in Brooklyn Black aesthetics in global jazz, and and relational aesthetics, which was released by the University of monograph Jazz & the City: Jazz in the Arts, and DownBeat magazine in 2019 and was cited in the IICSI a monograph on improvisation, was completed with an AHRC British Columbia Press in 2018. She Graz von 1965 bis 2015, various book and he has presented research publication ImprovNotes. In the intercultural collaboration, and scholarship. He maintains an has published regularly in various chapters, articles, CDs and musical at conferences throughout the 1990s she ran the online community interdisciplinary pedagogy. extensive & eclectic performance journals and has contributed scores. He is also the editor for the United States, UK, and Europe. for women in jazz called JazzGrrls. Lomanno is a former chair of the schedule, and is the recording artist chapters to Kerouac on Record: A volume Artistic Research in Jazz and As a saxophonist he has worked She has recorded over ten albums Society for Ethnomusicology’s for Schott’s Romantic Clarinet and Literary Soundtrack (Bloomsbury, Popular Music: Positions, Theories, in American and European scenes as a leader and toured worldwide. Improvisation section and a Klezmer Clarinet series. Tom has 2018), The Art of Record Production: Methods (Routledge) as well as co- and has been a teaching artist for Her recent releases include Ask co-founder of Jazz Studies worked with myriad contemporary Creative Practice in the Studio editor of the Routledge Companion the Herbie Hancock Institute of Her, newly distributed in Japan, and Collaborative, an international, chamber groups such as Apartment (2019), and The Routledge of Jazz and Gender. Jazz. Genius Loci East, music inspired by virtual, unaffiliated collective of jazz House, Lontano, Plus-Minus, Companion to Jazz Studies (2018). the spirit of place. artists, educators, and scholars. ChampdAction, Ictus and Splinter She maintains an active research Dr. Fen Kennedy Dr. Alex de Lacey Cell. interest in music scenes, the music Dr. Ron Levi Dr. Una MacGlone and pedagogy of Lennie Tristano Dr. Fen Kennedy is an Assistant Dr. Alex de Lacey is a Lecturer Matthew Jacobson and Lee Konitz, as well as the Professor of Dance at the in Popular Music at Goldsmiths, Dr. Ron Levi is an Dr. Una MacGlone is a lecturer career of Bruce Springsteen. Since University of Alabama. Their University of London. His research ethnomusicologist specializing in at the Royal Conservatoire of Matthew Jacobson is an Irish 2020 she has been Editor-in-Chief research explores the articulation examines Afrodiasporic music processes of cultural mediation Scotland. She has designed drummer, composer, educator of the journal Jazz Perspectives. of socio-political values through practice with a particular focus and musical diplomacy in diverse and delivers modules in Cross- and researcher. He is currently dance and language, and how on grime and jazz, and his PhD, historical periods and arenas. He Disciplinary Collaboration, a Jazz Lecturer at Dublin City Jasna Jovi evi those values can be challenged entitled Level Up: Live Performance holds a PhD in Cultural Studies Improvisation and Music University, and has a particular and changed. Kennedy has and Collective Creativity in Grime from the Hebrew University of Psychology. Her research interests research interest in the interstices Jasna Jovi evi is a jazz reconstructed and documented Music, was successfully examined Jerusalem. His dissertation was include improvisation, pedagogy of composition and improvisation. saxophone player, composer, dance works by Martha Graham, in 2019. He is published in Global dedicated to the politics and global and wellbeing impacts of creative In 2013 he received a Fulbright and PhD Candidate (Art Theory) Merce Cunningham, Anna Sokolow Hip-Hop Studies, Popular Music circulation of Israeli women’s music-making. She is co-editor of Scholar Award to spend a nine- at Singidunum University in and others, working primarily History, with a chapter forthcoming voices in the contemporary global an anthology: Expanding the Space month period in New York Belgrade, Serbia. She completed with Labanotation. Their research in Critical Digital Pedagogy. Alex culture industry. He also served for Improvisation pedagogy: A Trans- developing this research. As well jazz saxophone studies at Franz into the racialization of Dance is also a journalist, and writes for as a doctoral researcher in the Disciplinary Approach (Routledge, as performing, composing for and Liszt Music Academy (Budapest) History and social dance has been Red Bull, Passion of the Weiss and European Research Council project 2019). She is a double bassist recording with his own groups and composition at York University presented at the Congress on Songlines. He is the DJ for grime ‘Apartheid: The Global Itinerary and works in and across different ReDiviDeR and Insufficient Funs, (Toronto). Jovi evi has won Research in Dance, and published crew Over The Edge, with 1948–1990’, and published on topics genres appearing on many CDs he also co-leads Roamer, a quartet several awards, competitions, and in the Journal of Dance Education. a monthly show on Mode FM. such as musical pan-Africanism, and radio broadcasts. of Ireland’s most internationally residencies throughout the world. transnational music festivals and recognised improvisers and She performed original music with making music in exile. Dr. Levi is a performs regularly with like-minded distinguished musicians, released 5 post-doctoral researcher at Tel- artists around the world. He is also solo albums, doubles as a sideman, Aviv University School of Music. a co-director of Diatribe Records, teaches music methodology at the His current research, under the Ireland’s leading independent College of Vocational Studies in direction of Dr. Ofer Gazit, focuses record label for new sounds and Subotica, and instructs yoga. She on intermediations between African is the Irish producer of European has founded educational music music and American jazz culture in exchange tour and event network projects affirming gender equality, the New York scene of the 1960s. Match&Fuse. and arts & science in music research. She leads the NSJO- Balkan Women in Jazz Orchestra. 66 Biographies 67

Laurisabel Maria de Ana He is particularly interested in jazz Oliver Nelson Jr Ken Prouty He is particularly interested in Philipp Schmickl da Silva pedagogy and promoting jazz in the generation of instrumentalists Brazil. Oliver Nelson Jr is a flutist, teacher Ken Prouty is an Associate from São Paulo, also known as Philipp Schmickl graduated in Laurisabel Maria de Ana da and lecturer who holds a Doctor Professor of Musicology and ‘Vanguarda Paulista Instrumental’ anthropology (University of Vienna, Silva is a flautist and composer Sean Mills of Musical Arts degree in jazz Jazz Studies at Michigan State (Instrumental São Paulo’s Vanguard) 2010) with the thesis Das scape from Salvador, Bahia, Brazil who performance from the University of University. He earned his MA and (VPI). Ruiz was a teacher in several jazzistique. Improvisationen in currently working on your own Sean Mills is professor and Canada Illinois. He has studied with David PhD in ethnomusicology from the schools in Franca (SP) for about einem globalen Feld. Since 2011 he musical project called ‘Dezesseis’. Research Chair in Canadian Baker (Distinguished Professor of University of Pittsburgh, and also ten years. He also worked as a has been editor of the book-series Also, she is a doctoral student and Transnational History at the Jazz Studies at Indiana University), holds a Masters degree in jazz drummer and music event producer THEORAL and has published 15 in Ethnomusicology at the University of Toronto. In 2010, Karen Moratz (Principal Flutist studies from the University of North in Sorocaba and Franca (SP). issues with conversations including Postgraduate Program of the he published The Empire Within: of the Indianapolis Symphony Texas. Ken is the author of Knowing improvising musicians in German, School of Music at the University Postcolonial Thought and Political Orchestra), and Jonathan Keeble Jazz: Community, Pedagogy and Thiago Santiago English and French. He has Federal of Bahia (UFBA). She is Activism in Sixties Montreal, and (Professor of Flute at The University Canon in the Information Age and attended and worked for festivals licensed in Music Degree by the in 2016 he published A Place in of Illinois). He has performed with numerous other scholarly works on Thiago Santiago is a drummer and in Europe, Lebanon and Mexico, same institution and a former the Sun: Haiti, Haitians, and the the Smithsonian Masterworks Jazz jazz. He is a frequent speaker and historian interested in Amazonian and has held a Science stipend Doctoral Visiting Researcher at Remaking of Quebec. Mills is also Orchestra, Benny Golson, Jamey presenter on jazz topics at scholarly History and Culture. Santiago from of the City of Vienna in 2017 King’s College London. the co-editor of New World Coming: Aebersold, David Baker, James meetings and conferences around is an MA student (History) at and 2019. Since March 2020 he is The Sixties and the Shaping of Williams, Bob Crenshaw, Grady North America and Europe. Universidade Federal do Paraná, a PhD student at the University of Daniel Marx Global Consciousness (2009), Tate, Doug Carn and numerous Brazil. He teaches History in Music and Performing Arts in Graz and Canada and the Third World: other jazz legends. He presently Dr. James Reddan Santarém (Pará), and his research (Institute of Jazz Research) where Daniel Marx (he/him/his) is a Overlapping Histories (2016). In is an Adjunct Lecturer at the interest includes the development he is researching the history of the NWCDTP PhD candidate in music the fall of 2018, he was inducted as Indiana University Jacobs School Dr. James Reddan is the Director of of jazz in the capital of Pará and the ‘Konfrontationen’, a 40-year-old at the University of Liverpool. a Member of the College of New of Music, also teaches in the Arts Choral Activities & Music Education city of Santarém in the state of Pará. festival for free jazz and improvised His current research deals with Scholars, Artists, and Scientists Administration department of the at Western Oregon University music. Jewishness in contemporary of the Royal Society of Canada. Indiana University O’Neill School (Oregon, USA). His research Michael Saunders jazz, focusing on the identity Sean Mills and Eric Fillion are of Public and Environmental interests include music perception, Dr. Stewart Smith performance and community currently working with co-editor Affairs, and has conducted jazz and gender, gender and music, Michael Saunders is currently integration of Jewish musicians in Désirée Rochat on an edition jazz improvisation workshops and music education. He is co- studying for a Masters in Research Dr. Stewart Smith is an independent the New York jazz scene. Originally of Lou Hooper’s writings for at conferences and school editor for the upcoming text, The at Northumbria University. scholar and music journalist. His from North West London, Daniel’s McGill-Queen’s University Press corporations nationwide. Routledge Companion to Jazz and His dissertation topic is the research explores alternative own Jewish identity has informed (provisionally titled Lou Hooper in Gender (Routledge 2021). A sought- collaboration between Charles cultural histories of Scotland, with a research into the Jewish identities Jazz City: Writings on Race, Music, Eric Petzoldt after conductor and clinician, Mingus and Joni Mitchell on particular focus on the intersection of Aaron Copland and Leonard and Montreal). Reddan has conducted and directed the 1979 album Mingus in of music, literature and visual art. He Bernstein as well as Jewishness Eric Petzoldt is a PhD student at both jazz and classical ensembles relation to Adornean Late Style. completed his PhD on the poetry and in contemporary British jazz. Margot Morgan the Faculty of Music, University of all over the world. He received the Interdisciplinary research within art of Ian Hamilton Finlay and Alec Cambridge (Wolfson College) as citation for Excellence in Music theHumanities is of particular Finlay in 2016. Adolfo Mendonça Margot Morgan is a teacher, singer part of the ERC-funded research Education from the American interest to him; affording the and performer, as well as deputy project ‘Past and Present Musical Prize in Choral Performance. opportunity to examine the ways Jeremiah Spillane Adolfo Mendonça is a full-time chair of Jazz Heritage Wales. She Encounters across the Strait of inwhich apparently separate art music professor at the Guarulhos has written articles for Planet Gibraltar’ (2019-2022). His doctoral Renan Ruiz forms influence one another, and Jeremiah Spillane is a PhD Municipal Conservatory, in Brazil. International magazine and Agenda, studies focus on jazz as a medium in order to better understand researcher at Goldsmiths, University He holds a master’s degree in jazz the magazine for the Institute of for intercultural dialogue and Renan Ruiz is PhD candidate their social, cultural and historical of London. His research theorizes performance from the University of Welsh Affairs. It has been her aim cultural diplomacy in Morocco (History and Social Culture) at context. the flow of influence around the South Florida and is currently a PhD to contribute to the dissemination within the past twenty-five years. Universidade Estadual Paulista jazz guitarist Django Reinhardt. student at the Music Teaching and of Welsh cultural inheritance, and In 2019, he completed his Masters (UNESP, São Paulo (SP) Franca), His research explores ideas of Learning Program at the Arizona to continue to write about the lives in Cultural Musicology and Social Brazil. His MA was awarded hybridity and intertextuality and State University. He has recently of important Welsh artists, writers & Cultural Anthropology at Georg- a scholarship for excellence from how constructions and codifications been invited for masterclasses in and thinkers. She holds an MA August-University in Göttingen, São Paulo Research Foundation of jazz styles become embedded in some of the best Latin American Jazz Performance, as well as an Germany. Eric is an active musician (FAPESP). Ruiz is currently (or excluded from) larger discourses universities and has performed in MA in Anglo Welsh Literature. engaging in improvised music conducting his doctoral research around the music. He has worked jazz clubs and festivals in Brazil, and jazz practices and currently on the transformations in ‘Brazilian as an associate lecturer in Popular United States, France and Mexico. acts as the co-coordinator for jazz’ during the final period of Music Studies & Jazz Studies at masterclasses of the Jazz Studies the civil-military dictatorship Goldsmiths, University of London Collaborative. (1964–1985). and Middlesex University. 68 Biographies 69

Tom Sykes Joshua Weitzel Jen Wilson

Tom Sykes studied jazz as an Joshua Weitzel is a PhD student Jen Wilson left school aged 16 undergraduate at Leeds College of at the Reid School of Music, in 1960 as they had locked the Music and has since led a career Edinburgh College of Art and piano, describing her as ‘a moral in music teaching and performing. Artistic Research Associate for threat who lowered the decorum While studying for his PhD at the Sound Art and Sound Research of the whole school.’ She then University of Salford he was a at the research group ARS (Art formed Jenny and the Giants and member of the Rhythm Changes - research - sound) at the Mainz performed in the local jazz club: project team (2010–2013). Until Music School, University of Mainz. trad on Wednesdays, be-bop on recently he led the popular music His doctoral research investigates Fridays. Wilson would earn an degree at the City of Liverpool sound in the context of documenta M.Sc (Econ) in Women’s Studies College and is now Lecturer in exhibitions from 1955-2017. He in 1996, and became Tutor in Music Performance at Liverpool holds an MA in Education in Arts Performing Arts at DACE Swansea Hope University. He has published and Cultural Settings from King’s University 1992–1996. She then in the areas of jazz and digital College London and a BA in turned her attention the voluntary media, British jazz and, most Musicology and Politics from the and community sector, developing recently, jazz violin (with Ari University of Göttingen. Besides and delivering arts projects, incl. Poutiainen). His research interests academia he works as a freelance Jazz Heritage Wales which has also include jazz and popular musician, curator and art mediator. been based at UWTSD since 2009. music pedagogy. Wilson was made Hon. Professor Dr. Christi Jay Wells of Practice at UWTSD in 2016. Tim Wall Her book Freedom Music: Wales, Dr. Christi Jay Wells is Assistant Emancipation and Jazz 1850–1950 Tim Wall is Professor of Radio Professor of Musicology at was published by University of and Popular Music Studies at Arizona State University’s School Wales Press in 2019. Birmingham City University. He of Music, Dance and Theatre as researches into the production well as affiliate faculty with ASU’s Rebecca Zola and consumption cultures around Center for the Study of Race and popular music and radio. Democracy. A recipient of both the Rebecca Zola is a graduate student He is author of Studying Popular Housewright Dissertation Award in the department of musicology Music Culture and co-editor of The and Lowens Article Award from at Hebrew University. Originally Northern Soul Scene, his published the Society for American Music, from Lexington, Massachusetts, work embraces articles on David their research focuses on the she earned her BA in writing and Murray, televised histories of jazz, history and historiography of jazz her BFA in vocal performance jazz collectives, Duke Ellington music with a particular emphasis from The New School in New York on the radio, and jazz radio. He is on intersections with popular and City. Rebecca’s main research currently researching the history of social dance. Their book Between interests lie in jazz and gender, jazz on BBC radio and co-editing Beats: The Jazz Tradition and and has presented her research Rethinking Miles Davis. Black Vernacular Dance (Oxford at conferences both within Israel University Press, 2021) explores jazz and internationally. Additionally, music’s ever shifting relationship Rebecca is a performing jazz with popular and social dance. vocalist and has recorded her original music with her band, Zolaban. She is also the managing review editor for YUVAL online academic journal for Jewish music. 70 In memorium 71

The past 16 months have exacted a significant toll on the jazz community, and for a time it seemed that each day brought news of another elder taken by Covid and its complications.

These losses are at times hard to fathom, and are compounded by our not having been able to come together as a community to grieve and to celebrate the lives lost. In the wake of the pandemic we will need to continue to come to terms with the wisdom and experience so suddenly removed, and with the exacerbated stresses now placed upon performing communities as venues, audiences, educators, and performers confront whatever the ‘new normal’ turns out to be. May it see us all together again in a venue sometime soon. I’m not going to attempt to list those we’ve lost during the pandemic – it would be an impossible task. I am, however, going to exercise a bit of privilege as the chair of Documenting Jazz 2021 to dedicate my efforts in organizing this event to the memory of my teacher, mentor and dear friend, Lee Konitz, who was lost to the virus on the 15th April, 2020. The impact he had on my life cannot be overstated—without him, I certainly wouldn’t be where, or who I am today. He is greatly missed.

LEE KONITZ Photo: Josh Goleman, courtesy Dan Tepfer & Universal 13 OCTOBER 1927 – 15 APRIL 2020 Music France.