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Albert Mangelsdorff Übungsstunden Im Jazzkel- Ler Frankfurt
JAZZ-PORTRAIT unabhängig davon, dass Ten- denzen des Jazz aus dem Her- kunftsland USA nach dem Zweiten Weltkrieg in Europa wie normative Ideen rezipiert wurden: »Erstens ist es nicht hier gewachsen, zweitens ist es ja eine Musik, von der man eigentlich weg wollte. Was man als Jazz-Musiker will, ist doch immer die eigene Mu- sik«, sagte er einst im Ge- spräch mit Joachim Ernst Be- rendt (in: »Ein Fenster aus Jazz«). Doch Folklore, ebenso wie seine klassische Ausbil- dung, war nur bedingt ein Thema für Albert Mangels- dorff, wie Wolfram Knauer in seinem Essay »Zum Umgang von Jazz-Musikern mit deut- scher Musiktradition« (in: »Tension«) dessen minde- stens skeptische Haltung be- schrieb. Mangelsdorff be- kannte sich ostentativ dazu, »dass die eigentlichen Ele- mente des Jazz nicht verges- sen werden«. Durch seine kritische Abgrenzung von Imitationen, nicht aber die Ablehnung der afro-amerika- nischen Tradition, und seine Hinwendung zu eigenen Ressourcen gab Albert Man- gelsdorff entscheidende und nachhaltige Impulse für die Emanzipation des europäi- Photo: Sven Thielmann schen Jazz. Eigenes entstand für ihn zunächst einzeln, und zwar durch seine legendären Albert Mangelsdorff Übungsstunden im Jazzkel- ler Frankfurt. Von diesen täg- uperlative umgaben Albert Man- ausgezeichnet, sondern er war auch stets lichen Exerzitien war Albert Mangels- gelsdorff (1928 - 2005) schon zu eine kulturell integrative Persönlichkeit. dorff »abhängig, einfach um den S Lebzeiten wie einen Nimbus. Ido- Seine respektierte Autorität wirkte Standard zu halten« für -
Black North American and Caribbean Music in European Metropolises a Transnational Perspective of Paris and London Music Scenes (1920S-1950S)
Black North American and Caribbean Music in European Metropolises A Transnational Perspective of Paris and London Music Scenes (1920s-1950s) Veronica Chincoli Thesis submitted for assessment with a view to obtaining the degree of Doctor of History and Civilization of the European University Institute Florence, 15 April 2019 European University Institute Department of History and Civilization Black North American and Caribbean Music in European Metropolises A Transnational Perspective of Paris and London Music Scenes (1920s- 1950s) Veronica Chincoli Thesis submitted for assessment with a view to obtaining the degree of Doctor of History and Civilization of the European University Institute Examining Board Professor Stéphane Van Damme, European University Institute Professor Laura Downs, European University Institute Professor Catherine Tackley, University of Liverpool Professor Pap Ndiaye, SciencesPo © Veronica Chincoli, 2019 No part of this thesis may be copied, reproduced or transmitted without prior permission of the author Researcher declaration to accompany the submission of written work Department of History and Civilization - Doctoral Programme I Veronica Chincoli certify that I am the author of the work “Black North American and Caribbean Music in European Metropolises: A Transnatioanl Perspective of Paris and London Music Scenes (1920s-1950s). I have presented for examination for the Ph.D. at the European University Institute. I also certify that this is solely my own original work, other than where I have clearly indicated, in this declaration and in the thesis, that it is the work of others. I warrant that I have obtained all the permissions required for using any material from other copyrighted publications. I certify that this work complies with the Code of Ethics in Academic Research issued by the European University Institute (IUE 332/2/10 (CA 297). -
Norway's Jazz Identity by © 2019 Ashley Hirt MA
Mountain Sound: Norway’s Jazz Identity By © 2019 Ashley Hirt M.A., University of Idaho, 2011 B.A., Pittsburg State University, 2009 Submitted to the graduate degree program in Musicology and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Doctor of Philosophy, Musicology. __________________________ Chair: Dr. Roberta Freund Schwartz __________________________ Dr. Bryan Haaheim __________________________ Dr. Paul Laird __________________________ Dr. Sherrie Tucker __________________________ Dr. Ketty Wong-Cruz The dissertation committee for Ashley Hirt certifies that this is the approved version of the following dissertation: _____________________________ Chair: Date approved: ii Abstract Jazz musicians in Norway have cultivated a distinctive sound, driven by timbral markers and visual album aesthetics that are associated with the cold mountain valleys and fjords of their home country. This jazz dialect was developed in the decade following the Nazi occupation of Norway, when Norwegians utilized jazz as a subtle tool of resistance to Nazi cultural policies. This dialect was further enriched through the Scandinavian residencies of African American free jazz pioneers Don Cherry, Ornette Coleman, and George Russell, who tutored Norwegian saxophonist Jan Garbarek. Garbarek is credited with codifying the “Nordic sound” in the 1960s and ‘70s through his improvisations on numerous albums released on the ECM label. Throughout this document I will define, describe, and contextualize this sound concept. Today, the Nordic sound is embraced by Norwegian musicians and cultural institutions alike, and has come to form a significant component of modern Norwegian artistic identity. This document explores these dynamics and how they all contribute to a Norwegian jazz scene that continues to grow and flourish, expressing this jazz identity in a world marked by increasing globalization. -
Recorded Jazz in the 20Th Century
Recorded Jazz in the 20th Century: A (Haphazard and Woefully Incomplete) Consumer Guide by Tom Hull Copyright © 2016 Tom Hull - 2 Table of Contents Introduction................................................................................................................................................1 Individuals..................................................................................................................................................2 Groups....................................................................................................................................................121 Introduction - 1 Introduction write something here Work and Release Notes write some more here Acknowledgments Some of this is already written above: Robert Christgau, Chuck Eddy, Rob Harvilla, Michael Tatum. Add a blanket thanks to all of the many publicists and musicians who sent me CDs. End with Laura Tillem, of course. Individuals - 2 Individuals Ahmed Abdul-Malik Ahmed Abdul-Malik: Jazz Sahara (1958, OJC) Originally Sam Gill, an American but with roots in Sudan, he played bass with Monk but mostly plays oud on this date. Middle-eastern rhythm and tone, topped with the irrepressible Johnny Griffin on tenor sax. An interesting piece of hybrid music. [+] John Abercrombie John Abercrombie: Animato (1989, ECM -90) Mild mannered guitar record, with Vince Mendoza writing most of the pieces and playing synthesizer, while Jon Christensen adds some percussion. [+] John Abercrombie/Jarek Smietana: Speak Easy (1999, PAO) Smietana -
Americans and Europeans Dancing in the Dark
AMERICANS AND EUROPEANS DANCING IN THE DARK A MERICANS AND E UROPEANS DANCING IN THE DARK On Our Differences and Affinities, Our Interests, and Our Habits of Life DENNIS L. BARK HOOVER INSTITUTION PRESS STANFORD UNIVERSITY STANFORD, CALIFORNIA FOR France Marie Catherine Pauline & Dwight, Matthew, Samuel Whichever way they cross the Atlantic they are going home PAGE v The Hoover Institution on War, Revolution and Peace, founded at Stanford University in 1919 by Herbert Hoover, who went on to become the thirty-first president ofthe United States, is an interdisciplinary research centerforadvanced studyondomestic and international affairs. The views expressed in its publications are entirely thoseofthe authors and do notnecessarily reflect the views ofthe staff,officers,or Board ofOverseers ofthe Hoover Institution. www.hoover.org Hoover Institution Press Publication No. 554 Copyright ᭧ 2007 by the Board of Trustees of the Leland Stanford Junior University All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without written permission of the publisher. First printing, 2007 14 13 12 11 10 09 08 07 9 8 7 6 5 4 3 2 1 Manufactured in the United States of America The paper used in this publication meets the minimum requirements of the American National Standard for Information Sciences— Permanence of Paper for Printed Library Materials, ANSI Z39.48–1992.⅜ϱ Library of Congress Cataloging-in-Publication Data Bark, Dennis L. Americans and Europeans dancing in the dark : on our differences and affinities, our interests, and our habits of life / Dennis L. -
Lbert Mangelsdorff
lbert Mangelsdorff Born: September 5, 1928 | Died: July 5, 2005 Trombonist Albert Mangelsdorff pioneered the art of jazz polyphonics, introducing to the avant-garde the symphonic tradition of playing multiple notes simultaneously. Born in Frankfurt, Germany, on September 5, 1928, Mangelsdorff grew up enthralled by jazz, devouring his older brother Emil's record collection. His uncle, a professional violinist, gave him music lessons as a teen, but the rise of the Third Reich forced him to keep his passion for jazz in check. Over time Mangelsdorff taught himself guitar, but following World War II he managed to acquire a used trombone in exchange for cigarettes he often played for audiences comprised of the American soldiers who remained stationed overseas, finally performing to crowds who shared his appreciation for jazz. Word of Mangelsdorff's prowess on the trombone soon reached his fellow musicians, and in 1952 he made his recording debut in support of saxophonist Hans Koller. He also worked in small groups and with the Dance Hesse Radio Orchestra throughout the decade, and in 1958 was selected to serve as the German representative for the Newport Jazz Festival International Band, an opportunity that resulted in collaborations with U.S. giants like Gerry Mulligan and Louis Armstrong. Upon returning to Germany, Mangelsdorff inaugurated a prolific recording period that included collaborations with sibling Emil, Modern Jazz Quartet pianist John Lewis (the 1962 Atlantic LP Animal Dance), and his own quintet featuring his longtime associate, saxophonist Heinz Sauer. As the decade continued, Mangelsdorff moved increasingly into the realm of free jazz, culminating in his first unaccompanied solo performance at the Munich Olympic Games in 1972. -
1 Konzertkritiken, Programme, Flyer U.Ä. 1.1 (Vorwiegend)
- 2 - 1 Konzertkritiken, Programme, Flyer u.ä. 1.1 (vorwiegend) Programme, Flyer u.ä. AM-1-A/84 Konzertprogramme, Flyer, diverse Drucksachen zum Jazz Enthält u.a.: Dizzy Gillespie, King of Bepop, o. J. der drummer. Herausgeg. von Sonor-Werke. Frankfurt, 1953, Nr. 1 der drummer. VI. deutsches jazz-festival. Herausgeg. von Sonor-Werke. Frankfurt, [1958] hans kollers new jazz group, Köln, 22.3.1954 Jazz 1956 (Programm der Deutschen Jazz-Föderation) REPORT. Mitteilungen des New Jazz-Circle Berlin e.V., Dez. 1958 hans kollers new Jazz stars, 1958 Teatro Sociale, Mantua, 23.2.1959 jazzforum (5 jahre jazzstudio nürnberg ev). Nürnberg, 1959 Mai Festival du Jazz, 2.8.1959 1953 - 1959 AM-1-A/82 Programmhefte, Flyer, Einladungen, diverse Drucksachen zu Frankfurter Jazzveranstaltung Enthält u.a.: - "Jazz 1956" und "Jazz 1958"; - Deutsches Jazz Festival, 4./1956, 7./1960, 12./1970, 15./1976, 22./1990; - 16 Jahre Hot Club Ffm, 6 Jahre Domicile du Jazz. (Programm der Jubiläumswoche, Faltblatt), 9.-15.9.1957 - Konzert in Jazz. Albert-Mangelsdorff-Quintett. (Programmzettel für ein Konzert im Haus Ronneburg), 8.9.1962 - Lieder im Park (Günthersburgpark), 1975 f.; - 1952-1977. 25 Jahre "der jazzkeller" Frankfurt. Festschrift, herausgeg. von Willi Geipel, 1977 1956 - 2003 AM-1-A/16 Jazz-Konzerte und Tourneen Enthält v.a.: Programme, Flyer, vereinzelte Kritiken ca. 1960-1969 unsortiert AM-1-A/18 Jazz-Konzerte und Tourneen Enthält v.a.: Presseartikel, Kritiken, Programme, Flyer ca. 1960-1969 ungeordnet AM-1-A/80 Programmhefte, Flyer, Einladungen, diverse Drucksachen zu Jazzveranstaltung Enthält u.a.: Jazz "Solo now!", Asien-Tournee (Jakarta) "Solo now!", 5 Jahre Jazzclub Hannover; 2. -
Make It New: Reshaping Jazz in the 21St Century
Make It New RESHAPING JAZZ IN THE 21ST CENTURY Bill Beuttler Copyright © 2019 by Bill Beuttler Lever Press (leverpress.org) is a publisher of pathbreaking scholarship. Supported by a consortium of liberal arts institutions focused on, and renowned for, excellence in both research and teaching, our press is grounded on three essential commitments: to be a digitally native press, to be a peer- reviewed, open access press that charges no fees to either authors or their institutions, and to be a press aligned with the ethos and mission of liberal arts colleges. This work is licensed under the Creative Commons Attribution- NonCommercial- NoDerivatives 4.0 International License. To view a copy of this license, visit http://creativecommons.org/licenses/ by-nc-nd/4.0/ or send a letter to Creative Commons, PO Box 1866, Mountain View, California, 94042, USA. DOI: https://doi.org/10.3998/mpub.11469938 Print ISBN: 978-1-64315-005- 5 Open access ISBN: 978-1-64315-006- 2 Library of Congress Control Number: 2019944840 Published in the United States of America by Lever Press, in partnership with Amherst College Press and Michigan Publishing Contents Member Institution Acknowledgments xi Introduction 1 1. Jason Moran 21 2. Vijay Iyer 53 3. Rudresh Mahanthappa 93 4. The Bad Plus 117 5. Miguel Zenón 155 6. Anat Cohen 181 7. Robert Glasper 203 8. Esperanza Spalding 231 Epilogue 259 Interview Sources 271 Notes 277 Acknowledgments 291 Member Institution Acknowledgments Lever Press is a joint venture. This work was made possible by the generous sup- port of -
Schlüter-Nabatov-Antolini
SCHLÜTER-NABATOV-ANTOLINI SWING KINGS Wolfgang Schlüter Simon Nabatov Charly Antolini ACT 9298-2 Veröffentlichung: Oktober 2001 Wieviel Swing braucht der Jazz? Ich gestehe: Auf Swing fahre ich ab. Diese aktuellen Konzerte, in denen sich armenische Ziegenhirten und ein Berliner Saxophonist die Bälle zuwerfen, sind mir fremd. Sehr nahe ist mir so ein Trio aus Hampton, Tatum, Rich. Und mein Freund Wolfgang Schlüter, in dem fast alle Vibraphonisten der Welt durchschimmern, also auch Lionel Hampton, gibt mir Gelegenheit, die nach Tolstoi klingende Frage zu beantworten: Wieviel Swing braucht der Jazz? Die Antwort geben die Swing Kings. Eines Tages sagte ich: "Jungs, ab in den Club "Birdland"! Der NDR macht dort eine Aufmahme!" Das war am 12. September 1996. One of those nights! Das Trio ist nostalgisch bis in die Haarspitzen. Kein Wunder, diese Sehnsucht nach den verlorenen Paradiesen, als wir noch in den kühlen Hotels von New York zu Count Basie tanzten und tantzten und an der Bar andockten und Drinks bunkerten und Joe Williams uns mit seinem "Every Day" in den Wahnsinn trieb. So ähnlich verlief die Nacht im "Birdland". Altmeisterliche Sounds. Allen dämmerte es: Swing ist eine wundervolle Alternative zu den "Herz-Rhythmus-Störungen" gewisser Modernismen. Es war, als schaute Benny Goodman väterlich-gütig aus den Wolken zu. Und das Publikum? Wie bei Benny´s Europa-Tóur von 1950. "Es war", so schreibt er, "fröhlich und von einem gesunden Enthusiasmus." Statt Blumen: Variationen auf Worte von James Joyce aus seinem "Ulysses": Lieb dreckig Swing. Michael Naura Wolfgang Schlüter, der 1949 bis 1954 an der Hochschule für Musik in Berlin Pauken und Schlagzeug studierte, begann sich 1953 für das Vibraphon zu interessieren. -
Jazz, Race, and Gender in Interwar Paris
1 CROSSING THE POND: JAZZ, RACE, AND GENDER IN INTERWAR PARIS A dissertation presented by Rachel Anne Gillett to The Department of History In partial fulfillment of the requirements for the degree of Doctor of Philosophy in the field of History Northeastern University Boston, Massachusetts May, 2010 2 CROSSING THE POND: JAZZ, RACE, AND GENDER IN INTERWAR PARIS by Rachel Anne Gillett Between 1920 and 1939 the nightclubs of Montmartre became a venue where different nationalities came into contact, danced, talked, and took advantage of the freedom to cross the color line that Paris and the ―color-blind‖ French audience seemed to offer. The fascination for black performers known as the tumulte noir provided the occasion for hundreds of jazz and blues performers to migrate to Paris in these years. French society was inundated with the sounds of jazz and also with images and stereotypes of jazz performers that often contained primitivist, exotic and sexualized associations. The popularity of jazz and its characterization as ―black‖ music raised the question of how the French state dealt with racial difference. It caused consternation among „non- jazz‟ black men and women throughout the Francophone Atlantic many of whom were engaged in constructing an intellectual pan-Africanist discourse with a view to achieving full citizenship and respect for French colonial subjects. This manuscript examines the tension between French ideals of equality, and „color-blindness,‟ and the actual experiences of black men and women in Paris between the wars. Although officially operating within the framework of a color-blind Republican model, France has faced acute dilemmas about how to deal with racial and ethnic differences that continue to spark debate and controversy. -
Airwaves (1980-08)
AIRW\VES A Service of Continuing Education and Extension - l5il University of Minnesota , Duluth VOL. 2 NUMBER 2 AUGUST 1980 • calendaP of events The UMD Theatre makes your summer Minnesola Bluegrass & Old Time EXHIBITION SCHEDULE The Whole Food Co-op will be Music Associalion Feslival, Augusl8, 9, entertaining with four great plays sponsoring a benefil dance .on Friday, & IO al Wildwood Campgrounds in showing through August 16th. "The August 8lh al lhe Park Point School Taylor Falls, Minnesota. Fealuring THE TWEED MUSEUM OF ART Workers Wife", "South Pacific", Gymnasium (24lh and Minnesola Ave ) Spectrum from Lexinglon, Kentucky. "Arsenic and Old Lace" , and "A Funny from 9-12 p .m. Irish and American Plus some of lhe finesl bands in lhe Thing Happened On The Way To The music by the Corona Twins. The dance Upper Midwesl. To order lickels and July 29-Sept. 7 Forum". For informalion call 726-8561 . is direclly sponsored by lhe Muriel for further informalion conlacl Selections from the permanent Engstrom Library and Boo1< Exchange. collection. Sludio Gallery. M.B.O.T.M.A., Box 9782, Minneapolis, TAKE BACK THE NIGHT SPEAK All proceeds will direct! y benefi l lhe co- MN. 55440 or call (612)633-9473. op library. Admission at lhe door is one in HibbingAugust2al OUT-MARCH good boo)s or a $2 donation. For more Aug. 1-27 7:30 p .m.. The women of Northern informalion call lhe Co-op al 723-1687. Contemporary Japanese Prints - Main Minnesota gather 10 peacefully Fiddle Contesl Mower County Gallery Fairgrounds, Sunday, Augusl 10, 1980 demonstrate and publicly denounce at 12:00 p.m. -
American Restaurant Culture and the Rise of the Middle Class, 1880-1920
TURNING THE TABLES: AMERICAN RESTAURANT CULTURE AND THE RISE OF THE MIDDLE CLASS, 1880-1920 by Andrew Peter Haley BA, Tufts University, 1991 MA, University of Pittsburgh, 1997 Submitted to the Graduate Faculty of Arts and Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2005 UNIVERSITY OF PITTSBURGH FACULTY OF ARTS AND SCIENCES This dissertation was presented by Andrew Peter Haley It was defended on May 26, 2005 and approved by Dr. Paula Baker, History, The Ohio State University Co-Dissertation Director Dr. Donna Gabaccia, History, University of Pittsburgh Co-Dissertation Director Dr. Richard Oestreicher, History, University of Pittsburgh Dr. Carol Stabile, Communications, University of Pittsburgh Dr. Bruce Venarde, History, University of Pittsburgh ii © Andrew Peter Haley iii TURNING THE TABLES: AMERICAN RESTAURANT CULTURE AND THE RISE OF THE MIDDLE CLASS, 1880-1920 Andrew Peter Haley, PhD University of Pittsburgh, 2005 This dissertation examines changes in restaurant dining during the Gilded Age and the Progressive Era as a means of understanding the growing influence of the middle- class consumer. It is about class, consumption and culture; it is also about food and identity. In the mid-nineteenth century, restaurants served French food prepared by European chefs to elite Americans with aristocratic pretensions. “Turning the Tables” explores the subsequent transformation of aristocratic restaurants into public spaces where the middle classes could feel comfortable dining. Digging deeply into the changes restaurants underwent at the turn of the century, I argue that the struggles over restaurant culture—the battles over the French-language menu, the scientific eating movement, the celebration of cosmopolitan cuisines, the growing acceptance of unescorted women diners, the failed attempts to eliminate tipping—offer evidence that the urban middle class would play a central role in the construction of twentieth-century American culture.