ARTICLES: WALTERS, Charles H - Anatomy of a cover: The story of Duke Ellington's appearance on the cover of Time Magazine; GABBARD, Krin - The jazz canon and its consequences; BAUER, William R - Billie Holiday and Betty Carter: Emotion and style in the jazz vocal line; DOWNS, Clive G - An annotated bibliography of notated Charlie Christian solos; FINKELMAN, Jonathan - Charlie Christian, bebop and the recordings at Minton's; BOGGS, Vernon W - Latin jazz, Afro-Cuban jazz or just plain ol' jazz; A Mitchell Seidel photo gallery; BLOCK, Steven - Organised sound: pitch- class relations in the music of Ornette Coleman; JOHNSON, Bonnie L - Words and music by Arthur Taylor; HAYWOOD, Mark S - Melodic notation in jazz transcription; Book reviews.
ARTICLES: BERGER, Morroe - Benny Carter: a life in American music; LAUBICH, Arnold - Art Tatum: a guide to his recorded music; DORAN, James M - Erroll Garner: the most happy piano; BROWN, Scott E - James P Johnson - a case of mistaken identity; VACHE, Warren W - Pee Wee Erwin - This horn for hire; CONNOR, D Russell - Benny Goodman: listen to his legacy; TIMNER, W E - Ellingtonia: the recorded music of Duke Ellington and his Sideman; POLIC, Edward F - The Glen Miller Army Air Force Band: Sustineo alas / I sustain the wings; DEFFAA, Chip - Swing legacy; REIG, Teddy - Reminiscing in tempo: the life and times of a jazz hustler; DEFFAA, Chip - In the mainstream: 18 portraits in jazz; KUEHN, John - Buddy DeFranco: a biographical portrait and discography; HILBERT, Robert - Pee Wee speaks: a discography of Pee Wee Russell; HILL, Dick - Sylvester Ahola: the Gloucester Gabriel; COHEN, Maxwell T - The police card discord; DEFFAA, Chip - Traditionalists and revivalists in jazz; BERGER, Edward - Ba ...
The Annual Review of Jazz Studies (ARJS) is a journal providing a forum for the ever expanding range and depth of jazz scholarship, from technical analyses to oral history to cultural interpretation. Addressed to specialists and fans alike, all volumes include feature articles, book reviews, and unpublished photographs. This 14th issue contains four intriguing articles that to some degree contravene accepted precepts of jazz orthodoxy. John Howland traces the connection between Duke Ellington's extended works and the "symphonic jazz" model of the 1920s as exemplified by Paul Whiteman and his chief arranger, Ferde Grof . Horace J. Maxile Jr. takes an unfashionably broad perspective of Charles Mingus's "Ecclusiastics," applying recent developments in cultural theory as well as the formal tools of traditional music theory. Brian Priestley's exploration of the ties between Charlie Parker and popular music challenges the canonical depiction of Parker as a lone revolutionary genius, instead underscoring the saxophonist's ties to the popular music of his time. Finally, John Wriggle presents an extensive examination of the life and work of arranger Chappie Willet, an unsung hero of the Swing Era. The book reviews cover a cross-section of the burgeoning jazz literature, and Vincent Pelote has again compiled a list of books received at the Institute of Jazz Studies.
Noted jazz scholar, biographer, and critic Stuart Nicholson has written an entertaining and enlightening consideration of the music's global past, present, and future. Jazz's emergence on the world scene coincided with America's rise as a major global power. The uniqueness of jazz's origins--America's singularly original gift of art to the world, developed by African Americans--adds a level of complexity to any appreciation of jazz's global presence. In this volume, Nicholson covers such diverse and controversial topics as jazz in the iPod musical economy, issues of globalization and authenticity, jazz and American exceptionalism, jazz as colonial tip of the sword, global interpretation, and the limits of jazz as a genre. Nicholson caps the volume with fascinating and anecdote-rich discussions of jazz as a form of "modernism" in the twentieth century, the history of jazz fads (such as the cakewalk) that elicited very different reactions among American and European audiences, and a hearty defense of Paul Whiteman and his efforts to legitimize jazz as art. Stuart Nicholson has written a thought-provoking and opinionated work that should equally engage and enrage all manner of jazz lovers, scholars, and aficionados.
Duke Ellington is widely held to be the greatest jazz composer and one of the most significant cultural icons of the twentieth century. This comprehensive and accessible Companion is the first collection of essays to survey, in depth, Ellington's career, music, and place in popular culture. An international cast of authors includes renowned scholars, critics, composers, and jazz musicians. Organized in three parts, the Companion first sets Ellington's life and work in context, providing new information about his formative years, method of composing, interactions with other musicians, and activities abroad; its second part gives a complete artistic biography of Ellington; and the final section is a series of specific musical studies, including chapters on Ellington and song-writing, the jazz piano, descriptive music, and the blues. Featuring a chronology of the composer's life and major recordings, this book is essential reading for anyone with an interest in Ellington's enduring artistic legacy.
Continuing the rich tradition, this latest Annual is particularly impressive. The articles in this volume present important technical analyses of four major figures: Booker Little, Charlie Christian, Herbie Hancock, and Miles Davis.
How can we--jazz fans, musicians, writers, and historians--understand the legacy and impact of a musician like Dave Brubeck? It is undeniable that Brubeck leveraged his fame as a jazz musician and status as a composer for social justice causes, and in doing so, held to a belief system that, during the civil rights movement, modeled a progressive approach to race and race relations. It is also true that it took Brubeck, like others, some time to understand the full spectrum of racial power dynamics at play in post-WWII, early Cold War, and civil rights-era America. Dave Brubeck and the Performance of Whiteness uses Brubeck's performances of whiteness across his professional, private, and political lives as a starting point to understand the ways in which whiteness, privilege, and white supremacy more fully manifested in mid-century America. How is whiteness performed and re-performed? How do particular traits become inscribed with whiteness, and further, how do those traits, now racialized in a listener's mind, filter the sounds a listener hears? To what extent was Brubeck's whiteness made by others? How did audiences and critics use Brubeck to craft their own identities centered in whiteness? Drawing on archival records, recordings, and previously conducted interviews, Dave Brubeck and the Performance of Whiteness listens closely for the complex and shifting frames of mid-century whiteness, and how they shaped the experiences of Brubeck's critics, audiences, and Brubeck himself. Throughout, author Kelsey Klotz asks what happens when a musician tries to intervene, using his privilege as a tool with which to disrupt structures of white supremacy, even as whiteness continues to retain its hold on its beneficiaries.
This 13th issue of the ARJS includes an extensive study of the saxophonist Sonny Red, an analysis of a composition by Steve Swallow, a new perspective on John Coltrane's compositional approach, and an examination of Miles Davis's classic 'Walkin', ' plus book reviews and a continuing bibliography of scholarly articles about jazz in non-jazz journals
