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Discourses of Decay and Purity in a Globalised Jazz World
1 Chapter Seven Cold Commodities: Discourses of Decay and Purity in a Globalised Jazz World Haftor Medbøe Since gaining prominence in public consciousness as a distinct genre in early 20th Century USA, jazz has become a music of global reach (Atkins, 2003). Coinciding with emerging mass dissemination technologies of the period, jazz spread throughout Europe and beyond via gramophone recordings, radio broadcasts and the Hollywood film industry. America’s involvement in the two World Wars, and the subsequent $13 billion Marshall Plan to rebuild Europe as a unified, and US friendly, trading zone further reinforced the proliferation of the new genre (McGregor, 2016; Paterson et al., 2013). The imposition of US trade and cultural products posed formidable challenges to the European identities, rooted as they were in 18th-Century national romanticism. Commercialised cultural representations of the ‘American dream’ captured the imaginations of Europe’s youth and represented a welcome antidote to post-war austerity. This chapter seeks to problematise the historiography and contemporary representations of jazz in the Nordic region, with particular focus on the production and reception of jazz from Norway. Accepted histories of jazz in Europe point to a period of adulatory imitation of American masters, leading to one of cultural awakening in which jazz was reimagined through a localised lens, and given a ‘national voice’. Evidence of this process of acculturation and reimagining is arguably nowhere more evident than in the canon of what has come to be received as the Nordic tone. In the early 1970s, a group of Norwegian musicians, including saxophonist Jan Garbarek (b.1947), guitarist Terje Rypdal (b.1947), bassist Arild Andersen (b.1945), drummer Jon Christensen (b.1943) and others, abstracted more literal jazz inflected reinterpretations of Scandinavian folk songs by Nordic forebears including pianist Jan Johansson (1931-1968), saxophonist Lars Gullin (1928-1976) bassist Georg Riedel (b.1934) (McEachrane 2014, pp. -
Jack Dejohnette's Drum Solo On
NOVEMBER 2019 VOLUME 86 / NUMBER 11 President Kevin Maher Publisher Frank Alkyer Editor Bobby Reed Reviews Editor Dave Cantor Contributing Editor Ed Enright Creative Director ŽanetaÎuntová Design Assistant Will Dutton Assistant to the Publisher Sue Mahal Bookkeeper Evelyn Oakes ADVERTISING SALES Record Companies & Schools Jennifer Ruban-Gentile Vice President of Sales 630-359-9345 [email protected] Musical Instruments & East Coast Schools Ritche Deraney Vice President of Sales 201-445-6260 [email protected] Advertising Sales Associate Grace Blackford 630-359-9358 [email protected] OFFICES 102 N. Haven Road, Elmhurst, IL 60126–2970 630-941-2030 / Fax: 630-941-3210 http://downbeat.com [email protected] CUSTOMER SERVICE 877-904-5299 / [email protected] CONTRIBUTORS Senior Contributors: Michael Bourne, Aaron Cohen, Howard Mandel, John McDonough Atlanta: Jon Ross; Boston: Fred Bouchard, Frank-John Hadley; Chicago: Alain Drouot, Michael Jackson, Jeff Johnson, Peter Margasak, Bill Meyer, Paul Natkin, Howard Reich; Indiana: Mark Sheldon; Los Angeles: Earl Gibson, Andy Hermann, Sean J. O’Connell, Chris Walker, Josef Woodard, Scott Yanow; Michigan: John Ephland; Minneapolis: Andrea Canter; Nashville: Bob Doerschuk; New Orleans: Erika Goldring, Jennifer Odell; New York: Herb Boyd, Bill Douthart, Philip Freeman, Stephanie Jones, Matthew Kassel, Jimmy Katz, Suzanne Lorge, Phillip Lutz, Jim Macnie, Ken Micallef, Bill Milkowski, Allen Morrison, Dan Ouellette, Ted Panken, Tom Staudter, Jack Vartoogian; Philadelphia: Shaun Brady; Portland: Robert Ham; San Francisco: Yoshi Kato, Denise Sullivan; Seattle: Paul de Barros; Washington, D.C.: Willard Jenkins, John Murph, Michael Wilderman; Canada: J.D. Considine, James Hale; France: Jean Szlamowicz; Germany: Hyou Vielz; Great Britain: Andrew Jones; Portugal: José Duarte; Romania: Virgil Mihaiu; Russia: Cyril Moshkow; South Africa: Don Albert. -
Program Features Don Byron's Spin for Violin and Piano Commissioned by the Mckim Fund in the Library of Congress
Concert on LOCation The Elizabeth Sprague Coolidge Foundation The McKim Fund in the Library of Congress "" .f~~°<\f /f"^ TI—IT A TT^v rir^'irnr "ir i I O M QUARTET URI CAINE TRIO Saturday, April 24, 2010 Saturday, May 8, 2010 Saturday, May 22, 2010 8 o'clock in the evening Atlas Performing Arts Center 1333 H Street, NE In 1925 ELIZABETH SPRAGUE COOLIDGE established the foundation bearing her name in the Library of Congress for the promotion and advancement of chamber music through commissions, public concerts, and festivals; to purchase music manuscripts; and to support musical scholarship. With an additional gift, Mrs. Coolidge financed the construction of the Coolidge Auditorium which has become world famous for its magnificent acoustics and for the caliber of artists and ensembles who have played there. The McKiM FUND in the Library of Congress was created in 1970 through a bequest of Mrs. W. Duncan McKim, concert violinist, who won international prominence under her maiden name, Leonora Jackson, to support the commissioning and performance of chamber music for violin and piano. The audiovisual recording equipment in the Coolidge Auditorium was endowed in part by the Ira and Leonore Gershwin Fund in the Library of Congress. Request ASL and ADA accommodations five days in advance of the concert at 202-707-6362 [email protected]. Due to the Library's security procedures, patrons are strongly urged to arrive thirty min- utes before the start of the concert. Latecomers will be seated at a time determined by the artists for each concert. Children must be at least seven years old for admittance to the chamber music con- certs. -
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. -
Dave Douglas/Marcus Rojas Duo
Solos and Duos Series Glenn Siegel, Program Director 15 Curry Hicks, 100 Hicks Way (413) 545-2876 University of Massachusetts [email protected] Amherst, MA 01003 www.fineartscenter.com THE 2008 SOLOS & DUOS SERIES PRESENTS: Dave Douglas/Marcus Rojas Duo The Solos & Duos Series, produced by the Fine Arts Center at the University of Massachusetts at Amherst, concludes its 7th season with a duo concert by trumpeter Dave Douglas and tuba player Marcus Rojas on Thursday, November 20, in Bezanson Recital Hall at 8:00pm. Dave Douglas is widely recognized as one of the most important and original American musicians to emerge from the jazz and improvised music scene of the last decade. His collaborations as a trumpeter read like a who's who of important contemporary artists: John Zorn, Joe Lovano, Bill Frisell, Don Byron, Steve Lacy, Anthony Braxton, Myra Melford, Andy Bey, Trisha Brown, Henry Grimes, Tom Waits, Rabih Abou-Khalil, DJ Olive, Ikue Mori, Han Bennink, Misha Mengelberg, Uri Caine, Roswell Rudd, Andrew Cyrille, Marc Ribot, Karsh Kale, Mark Dresser, Marty Ehrlich, and many others. For the past half decade Dave Douglas has repeatedly been named trumpeter, composer, and jazz artist of the year by such organizations as the New York Jazz Awards, Down Beat, Jazz Times, and Jazziz. Dave Douglas is “an original thinker blessed with a seemingly bottomless well of intriguing ideas,” writes Howard Reich. Since 1993, Douglas has released 21 albums of original music, and has appeared on over one hundred recordings. His 2000 album “Soul on Soul”, was voted “Album of the Year” by DownBeat. -
Slash. Uri Caine's Mahler
Interdisciplinary Studies in Musicology 13,2013 © PTPN & Wydawnictwo Naukowe UAM, Poznań 2013 ADAM POPRAWA Institiute of Polish Philology, University of Wroclaw Slash. Uri Caine’s Mahler ABSTRACT: In recent years, artistic projects combining a wide array of musical styles, such as jazz interpretations of classical music or orchestral arrangements of rock songs, have enjoyed considerable popularity. As their authors were focused mainly on sales profits, the artistic value of their works was often highly disputable. Nevertheless, some outstanding achievements in that field have also been made, among them reinterpretations of classical repertoire - Bach, Beethoven, Mozart, Schumann, and, above all, Mahler - by American pianist Uri Caine. He recorded several CDs containing new ver sions of Mahler’s entire works or their excerpts. Sometimes Caine’s music moves far away from the originals, though such artistic experiments are always well-grounded and aesthetically convincing. Caine’s reinterpretations of Mahler have also some (auto)biographical overtones. KEYWORDS: Uri Caine, blurred genres, reinterpretation, Jewish cultural tradition A warehouseman Gladyshev, one of the characters in Vladimir Voinovich’s novel, inspired by Michurin’s and Lysenko’s achievements, decided to grow a new plant which was to have been a combination of a potato and a to mato. Such a crop should bring a double benefit as in the near future it would be possible to pick tomatoes off the top and to dig up potatoes at the bottom of the same plant. Gladyshev named this cross using an acronym PUKS which stood for the ‘Put’ k Sotsialismu’ [Path to Socialism], ‘The experiments [...] have not as yet produced any useful results, however, some characteristic features of PUKS have already appeared: the leaves and stalks of Gladyshev’s plant were sort of potato like, the roots, one the other hand, looked definitely like those of a tomato’1. -
Paolo Fresu & Uri Caine
PAOLO FRESU & URI CAINE Paolo Fresu: tpt, flh & effects – Uri Caine: p, Fender Rhodes el. p Today The duo composed by Paolo Fresu and Uri Caine is the story of the successful meeting of two great personalities of modern jazz. It’s a sort of alternative version of the many projects that look at the most traditional standards of the jazz history for their repertoire, but here they are without a net as the choice of materials is actually dangerous due to its enormous popularity. Contrary to what might seem, it’s not easy at all to perform compositions that are the magma and the sign of jazz history. The duo approaches this game with surprising simplicity, managing to deliver the feeling that drives this extraordinary music. The meeting of these two musicians is one of the most interesting events of the jazz world: Fresu lyrical and dreamy trumpet, his melancholy trademark timbre perfectly matches Uri Caine’s piano full of quotations ranging from the American songbook to the blues to mainstream jazz to avant-garde and classical music, which Caine has revisited according to his personal view in many of his projects in the last ten years. Two real omnivorous artists in its true sense. So much so that each “concert” has spread in a series of 3 or 4 consecutive nights each covering a specific theme. A few years ago at Umbria Jazz Winter the duo performed for 4 distinctive nights each with a different theme of repertoire The first night was dedicated to classical baroque music, the second to jazz standards, the third to popular music (including rock and pop) and the last one to tracks that had been composed by the duo and that had been included in the two albums released by Emi/BlueNote in the previous years. -
NOVEMBER 2012 Jazz History Is Made at Eubie Live!
NOVEMBER 2012 Jazz History Is Made At Eubie Live! . 1 Joseph Howell: Jazz Clarinet Now . 3 John Coltrane Tribute Concert . 5 Sam King and Company Rule at Jazzway . 6 BALTIMORE JAZZ ALLIANCE Jazz Jam Sessions . 8 WEAA’s CD Pick of the Month . 9 BJA’s Redesigned Website Unveiled . 9 BJA Products and Discounts . 10 Ad Rates and Member Sign-up Form . 11 Cultural Happy Hour at Mark Cottman’s Gallery . 12 VOLUME IX ISSUE XI THE BJA NEWSLETTER WWW.BALTIMOREJAZZ.COM Jazz History Is Made At Eubie Live! he scariest thing about Hugh Masekela is that he almost gave up the trumpet. He had been playing for four years when he first listened to TClifford Brown, a trumpet king in the 1950s, and thought there was no hope for a boy from South Africa to blow a horn the way Brown could. Of course, more than half a century later, Masekela was the reason for more than a hundred people to crowd into the fourth floor of the Eubie Blake Center the evening of Oct. 21st, taking seats in overflow rows made up of metal chairs. He was joined on stage by good friend and legendary Charm City pianist, Larry Willis; the two of them, one trumpet, one piano, played a fifteen-tune set. As Masekela told showgoers early in the night, the music he and Willis were playing was what they had learned in the 1960s and 1970s. The duo first met at the Manhattan School of Music in the first half of the 1960s—where Willis had originally been a voice major singing opera and wearing powdered wigs that made him look like George Washington, so Masekela says. -
90 I Went to the House but Did Not Enter
I went to the house but did not enter 90 Concert scénique en trois tableaux Conception, musique et direction de Heiner Goebbels © Mario Del Curto Production et tournées : Caroline Barneaud, Directrice Mail : [email protected] En charge du projet : Elizabeth Gay Mail : [email protected] Tel : +41 21 619 45 22 Skype : elizabethgay I Went to the house but did not enter Concert scénique en trois tableaux De/ By/ Von Heiner Goebbels Générique de création / Credits / Besetzung Conception, musique et mise en scène Avec le / With the /Mit dem Conception, music and direction Hilliard Ensemble Konzeption, Muzik und Regie HEINER GOEBBELS DAVID JAMES (contre-ténor / countertenor /Kontratenor) Scénographie et lumière ROGERS COVEY-CRUMP Set design and light (ténor / tenor / Tenor) Raum und Licht STEVEN HARROLD KLAUS GRÜNBERG (ténor / tenor / Tenor) GORDON JONES Costumes (baryton / baritone / Bariton) Costume Designer Kostüme Textes de / With words by / Mit Texten von : FLORENCE VON GERKAN T.S. Eliot Maurice Blanchot Création espace sonore Franz Kafka Sound design Samuel Beckett WILLI BOPP Musique / Music / Musik : Assistant Heiner Goebbels Assistent © Musikverlag G. Ricordi & Co. (Munich / München) WOLFRAM SANDER Durée / Duration / Dauer : Assistante à la scénographie 1h45 Assistant set designer Spectacle en anglais surtitré / In english with subtitles / in Bühnenbildassistentz englischer Sprache mit Untertiteln CAROLINA ESPIRITO SANTO Producteur délégué / Executive producer / Produktion : Théâtre Vidy-Lausanne E.T.E (CH) Coproduction / Koproduktion : -
Creativity in Jazz
Creativity in Jazz Norman Lawrence Meehan A thesis submitted to Massey University and Victoria University of Wellington in fulfilment of the requirements for the degree of Doctor of Philosophy New Zealand School of Music 2014 1 Creativity in Jazz ................................................................................................................ 1 Acknowledgements .......................................................................................................... 7 Part One: Creativity and Jazz ......................................................................................... 8 Introduction ........................................................................................................................ 9 Why are these questions important? .................................................................................. 9 The central idea ....................................................................................................................... 17 Thesis Plan ................................................................................................................................ 19 Chapter One: Creativity, and its importance ......................................................... 24 Why is creativity important? ............................................................................................... 24 Creativity in Music? ................................................................................................................ 27 Defining creativity ................................................................................................................. -
Cultural Identity and Transnational Heritage in Contemporary Jazz: a Practice-Based Study of Composition and Collaboration
Cultural identity and transnational heritage in contemporary jazz: a practice-based study of composition and collaboration Haftor Medbøe A thesis submitted in partial fulfilment of the requirements of Edinburgh Napier University, for the award of Doctor of Philosophy by Published Works June 2013 Abstract This study focuses on three albums of original music performed and recorded by the author as the leader of the Haftor Medbøe Group and released variously by Linn Records and Fabrikant Records between 2006 and 2010. Through the prisms of historiography, community and boundary, cultural migration, and collaboration, the thesis explores creative identity and practice as formatively and summatively applied in the realisation of the published works. The thesis employs personal reflection on the composition and performance of the published works to present an account of evolving engagement with current and historical thinking on narrative, trope and identity in jazz music and its communities. The discussion will challenge accepted constructions of linear, canonical history in jazz, offering instead a pluralist understanding of its stylistic and aesthetic development over the past century. The assumptive and selective modalities through which jazz histories and practices are collectively constructed will be viewed in parallel with the author’s retrospective understanding of personal creative history and cumulative identity. The imagining of global, national and local communities of jazz production and reception will be examined in relation to their influence on the cultural positioning of the author as a jazz composer and performer. In looking beyond historical perceptions of jazz as an instrument of American cultural diplomacy and dominance, it will be shown that the European adoption of the musical language of jazz has, using the example of Nordic Tone, given rise to discrete reinterpretations and divergences from the genre’s ethnic roots. -
Unbound Jazz: Composing and Performing in a Multi- Cultural Tonality
Unbound Jazz: Composing and Performing in a Multi- Cultural Tonality By Carlo Estolano Commentaries for the PhD folio of compositions University of York Music December 2017 2 3 Unbound Jazz: Composing and Performing in a Multi-Cultural Tonality Thesis submitted in partial fulfilment of a PhD degree in Music at The University of York, December 2018 by Carlo Estolano. Abstract This folio is conceived to propose and demonstrate music realisation of original compositions throughout the employment of elements of mainly two distinct sources: a selection from the wide palette of Brazilian folk styles that have improvisation as a strong element, which is internationally acknowledged as Brazilian Jazz; and its intersections with a certain style of European Jazz represented by artists notable by their keenness to combine elements from distinct musical genres with their Classical background, such as Ralph Towner, Jan Garbarek, John Abercrombie, Eberhard Weber, Kenny Wheeler, Terje Rypdal, Keith Jarrett to name a few. Both Brazilian and European approaches to Jazz seem to share processes of appropriation of foreign musical languages, as well as utilising characteristic features of their own traditions. Another common ground is their relation with some elements and procedures of classical music. The methodology to accomplish an organized collection of musical material was to divide them in five major influences, part of them by composers and part by genres notable by having evolved through absorbing elements from distinct cultural sources. In five projects, fifteen original compositions are provided along with their recorded and/or filmed performances and commentaries about the compositional aspects, concerningthe style or composer focused on.