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Die Britische Canterbury Scene Als Jazzgeschichte

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Die Britische Canterbury Scene Als Jazzgeschichte DIE BRITISCHE CANTERBURY SCENE ALS JAZZGESCHICHTE 2. Präsentation Vortragender: Lukas Proyer Betreuer: André Doehring, Franz Krieger, Jürgen Arndt (Muho Mannheim) Ph.D.-Studium im Bereich Jazzforschung Präsentationsablauf 1. Themengegenstand und Forschungsausrichtung 2. Unternommene Forschungs- und methodische Schritte 3. Datenauswertung und methodologische Überlegungen 4. Zwischenergebnisse und herausgebildete Hypothesen 5. Ausblick nach vorne Canterbury Scene Canterbury Sound/Canterbury Rock/Canterbury School “Purveyors of a more exclusively English jazz-rock style” (Macan 1997: 127) The Wild Flowers (1964-1967) Jahreszahlen entsprechen Gründungsjahr 1966: Soft Machine 1968: Caravan 1968: Delivery 1972: Hatfield & the North 1968: Henry Cow 1969: Nucleus Hörbsp.: Bittern Storm over Ulm (Unrest, 1974) Forschungsausrichtung Zwei Untersuchungsebenen: 1. Historiografie zur Canterbury Scene 2. Diskurs-/Rezeptionsanalyse Theoretische Basis: Genre-Theorie in Relation zu stilgeschichtlichen Kanonisierungsprozessen 1. Exklusion aus der Jazzgeschichte: Welche Faktoren sind ausschlaggebend? 2. Alternatives Rezeptions-Modell als Teil der Jazzgeschichte 3. Wie müsste eine solche Jazzgeschichte veranlagt sein? Unternommene Forschungs- und methodische Schritte 1. Quellenorientierte Arbeit Historiografisch / diskursanalytisch Akquisition von Primärquellen: . Umfassende Internetmaterialien . Archivmaterialien . Fokus auf journalistische Medien Unternommene Forschungs- und methodische Schritte 2. Zwei Forschungsreisen nach England September 2019 / Januar 2020 Qualitative Interviews mit: . John Marshall (Nucleus, Centipede, Soft Machine) . John Etheridge (Soft Machine) . Roy Babbington (Delivery, Nucleus, Soft Machine) . Pye Hastings und Geoffrey Richardson (Caravan) . Carol Grimes (Delivery) . Mont Campbell (Egg, National Health) . Dave Liebman (Miles Davis) Archivarbeit im: . BBC Written Archives Centre (Reading) . National Jazz Archive (Birmingham) Datenauswertung und methodologische Überlegungen Datenauswertung mittels: ATLAS.ti 1. Individuelle Fallbeispiele: Vergleich der Daten führt zu 2. 2. Allgemeinere Ebene: Verbindende Aktionsmuster und historische Umstandsbedingungen Genealogie: Welche Faktoren bestimmen die Herausbildung dieser musikalischen Aktionen? Welche Umstände ermöglichen sie? Qualitative Ebene Verständniskonstruktionen unterschiedlicher Akteure: Musiker Journalisten Akademische Musikhistoriker Bedeutung der zeitlichen Ebene bei Diskurs-/Rezeptionsanalyse Gegenüberstellung: Vergangener historizistischer Verständnisse Gegenwärtiger präsentistischer Verständnisse Verbindung qualitativer Interviews mit schriftlicher Quellen Auf der zeitlichen Ebene: Aktuell rückblickende Wahrnehmungen vergleichend mit damaligen Motivationen / medialen Selbstvermarktungen Aus schriftlichen Quellen nicht hervorgehende Informationen zu historischen Ereignissen und biographischen Hintergründen Qualitative Interviews: Oral history halbstrukturierte Experteninterviews mit teils biographischem Charakter Integration von Musikanalyse als komplementärer Methode Spuren nachverfolgen (Musiker-)Aussagen / Rezeptionsverständnisse überprüfen Belegungen musikalischer Sachverhalte, z.B.: . Improvisationspraktiken – live versus Studioaufnahmen . Verbindungen zwischen Jazz und Rock -- konkrete Umsetzungen . Jazz- und Rockmusiker: Unterschiede in ihrer Bezugnahme auf eine etablierte “language of jazz” Zwischenergebnisse und herausgebildete Hypothesen “The barriers are coming down” - “forget categories” Artikel Headline: How B S & T [Blood, Sweat & Tears] broke down the Barriers Welch, Chris. “How B S & T broke down the Barriers.” Melody Maker, 20.6.1970, 19. This band can break down the barriers of the labels we put on music, and that`s all for the good. Klee, Joe. “The Soft Machine: Third.” Downbeat. 15.4.1971, 24. The place is alive and swinging with the Soft Machine in gear, and there is no category. Zwerin, Michael. “A Different Drummer.” Downbeat. 5.10.1967, 16. Forget labels, categories, pigeon-holes, influences and directions when you listen to Miles Davis`s "Bitches Brew." Williams, Richard. “Miles Davis: Bitches Brew.” Melody Maker. 4.7.1970, 26. Übergreifende Innovationsbestrebungen 1. “Freedom” durch Verbinden verschiedenster Einflüsse Chris Cutler (Henry Cow, Schlagzeug): “And ours was a generation serious about innovation and experimentation. Think of Frank Zappa, who pulled every kind of style and every kind of music into his own, making no hierarchy or distinction between them. His example encouraged and licensed a similar freedom in others.” (Workshop – Compositional Techniques in Progressive Rock Bands) “It was what it was.” Roy Babbington über die Musik von Delivery (Interview mit Vortragendem) Richard Sinclair über Hatfield and the North: “Everybody seems to label the band as a jazz-rock band. I don`t know why. It`s a little broader than that.” (New Musical Express, 16.11.1974) Übergreifende Innovationsbestrebungen 2. Individuell eigene Ausdrucksweisen Vermeidung in der Vergangenheit etablierter Formen und Stilvokabularien Hugh Hopper (Soft Machine, E-Bass): “We hadn’t any other bother than … not to sound like anything else.” (Workshop – Compositional Techniques in Progressive Rock Bands) Kevin Ayers (Soft Machine, E-Bass): “I guess it`s because the music isn’t based on the blues, really. We kind of stay away from those familiar patterns.” (Downbeat 11.7.1968: 21) Chris Cutler (Henry Cow, Schlagzeug): “Jazz, for instance, has strong genre rules, even free jazz. There were things one was simply not allowed to do. … Our vocabulary was far more open.” (Workshop – Compositional Techniques in Progressive Rock Bands) Jazz-Trompeter Ian Carr über die Gründung von Nucleus “The seductive idea of progress, of breaking new ground, becomes an overriding factor. … It becomes imperative to be “original”, and not just within the confines of existing structures, but in trying to create new structures.” (Carr 1973: 144) John Marshall über Ian Carr`s Innovationsanspruch: “Ian always said that Nucleus predated Miles [Davis]. I don’t know. That’s what he always said.” (Interview mit Vortragendem) Überschneidungen und Lernprozesse zwischen Jazz- und Rockszene John Marshall: “We decided to learn a few lessons from bands on the rock scene.” (Interview mit Vortragendem) Überschneidungen von Jazz- und Rockszenen: Soft Machine Rezeption in Jazz-Medien: Mike Zwerin schreibt in Downbeat: “There is no doubt that the music they play is jazz. … The sound is as new, as strange-and as fresh-to jazz as bebop seemed at first.” (Downbeat 5.10.1967: 16) Rezeption durch Jazzmusiker: “ORNETTE COLEMAN`s presence in the audience was no coincidence – there is mutual admiration between the CBS group and the avant jazz man.” (Billboard 17.7.1971) Konzertaktivitäten: 11. und 18. November 1969: Support group für das Thelonious Monk Quartet im Ronnie Scott’s Jazz Club in London 20.–25.April 1970: 6-tägige Residenz im Ronnie Scott’s Jazz Club. Soft Machine, Third, 1970 Nucleus, Elastic Rock, 1970 Hörbeispiel: Slightly all the Time Hörbeispiel: Elastic Rock Rezension unter New Pop Albums Rezension unter Jazz Records (Melody Maker 27.6.1970: 22) (Melody Maker 27.6.1970: 26) Hypothesen zu Rezeptionsprozessen Nebenfaktoren bestimmen Rezeption oft stärker als die Musik der Bands 1. Identifikation von Musikern mit einer Szene Musikalischer Background Berufung der Musiker auf eine Tradition 2. Ästhetische Überlegenheitsansprüche von Jazz-Autoren, Jazzkritikern und Jazzmusikern Jazz muss von gelernten Jazzmusikern gespielt werden 2. Geographischer Ort als Kategorisierungsfaktor Einbettung in eine regional sich entwickelnde, zielgerichete und reibungsfreie Geschichtsnarrative Die Canterbury Scene als Teil der Jazzgeschichte? Jazzgeschichte müsste nach 1970 weitergehen: Keine singuläre teleologische und regional-fokussierte Entwicklungslinie Musiker, die sich verschiedenartig auf Jazz berufen, hierarchisieren nicht notwendigerweise zwischen verschiedenen Einflüssen. Neue Formen von Jazz greifen nicht auf ein etabliertes Vokabular von Jazz zurück. Ausblick nach vorne Weitere Interviews sind über Zoom geplant Theoretische Sättigung größtenteils erreicht zu: Soft Machine, Caravan, Nucleus und Henry Cow Zu manchen Fragenbereichen und Bands (Hatfield & the North, National Health) erhoffe ich mir mittels neuer Daten noch mehr Einsichten. Persönliche Zielsetzung bezüglich Abgabe: Ende WS 2021/22 Herzlichen Dank für Ihre Aufmerksamkeit! Zitierte Quellen: Billboard. “Soft Machine: Gaslight, New York NY.” 17.7.1971. Carr, Ian. Music Outside: Contemporary Jazz in Britain. London: Latimer, 1973. Cutler, Chris. Workshop – Compositional Techniques in Progressive Rock Bands. http://www-3.unipv.it/britishrock1966-1976/testien/cut1en.htm, abgerufen am: 11.6.2020. Downbeat. “A Different Drummer.” 5.10.1967. Downbeat. “The Soft Machine.” 11.7.1968. Downbeat. “The Soft Machine: Third.” 15.4.1971. Melody Maker. “Miles Davis: Bitches Brew.” 4.7.1970. Hopper, Hugh. Workshop – Compositional Techniques in Progressive Rock Bands. http://www-3.unipv.it/britishrock1966-1976/testien/hop1en.htm, abgerufen am: 11.6.2020. Jost, Eckehard. Europas Jazz: 1960-1980. Frankfurt am Main: Fischer, 1987. Macan, Edward Lawrence. Rocking the Classics: English Progressive Rock and the Counterculture. Oxford: Oxford University Press, 1997. Melody Maker. “How B S & T broke down the Barriers.” 20.6.1970, 19. Melody Maker. “Jazz Records: Nucleus. Elastic Rock.” 27.6.1970. Melody Maker. “New Pop Albums: Soft Machine. Third.” 27.6.1970. New York Times. “What Jazz Is-and Isn`t.” 31.7.1988. New Musical Express. “Hatfield & the North.” 16.11.1974. Zitierte Interviews mit Vortragendem: Roy Babbington, London, 12.9.2019. John Etheridge, London, 10.9.2019. Pye Hastings und Geoffrey Richardson, Canterbury, 11.1.2020. Dave Liebman, Zagreb, 3.7.2019. John Marshall, London, 7.9.2019..
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