Tenor saxophonist Scott Hamilton talks about his connections to an earlier, submerged mainstream jazz "tradition" of the 1940s and ‘50s and speaks eloquently of the music that inspired him.
1970s and 1980s
In "'Come on in North Side, you're just in time': Musical-Verbal Performance and the Negotiation of Ethnically Segregated Social Space," Scruggs explores the ways that tenor saxophonist Von Freeman used both music and speech to create a sense of community and shared tradition through his performances at Chicago's Enterprise Lounge during the 1970s and 1980s.
Bernstein asks why poets would read their work aloud and what happens when they do. He views the performance of poetry as a "competing realization" of the written work and explores the possibilities for tonal, rhythmic, and phrasing dynamics that performance adds to poetry. That in turn suggests a comparison with jazz performance, and specifically that of Thelonious Monk for his pauses and silences.
Miller argues that Caribbean music is central to the emergence and development of jazz. The Caribbean islands were a crucial transfer point to the mainland United States for African rhythms and musical forms from the beginning of the slave trade until the present. Caribbean music was especially important in the development of jazz in New Orleans, America's Caribbean city.
Lewis notes that race has been "e-raced" in studies of free jazz in Europe and America, which he finds surprising given the music's emancipatory thrust. He investigates a recurrent ambivalence about the African-American contribution to free jazz, at once taking experimental cues from it, yet denying that it is capable of evolving or progressing itself. After uncovering coded assumptions about race, ethnicity, and class behind this ambivalence, Lewis explores the possibilities for artists to transcend, transgress, and perhaps even erase boundaries.
Nicholls argues that the way artistic projects are represented depends at least in part upon the willingness of critics to look beyond musical sounds alone and take notice of issues of identity and social positioning-their own and that of the artists they evaluate. To illustrate this point, she discusses the varying reception of John Coltrane, whose stature gave him a platform to resist and redress the negative judgments his experimental work received.
Since their emergence from the Association for the Advancement of Creative Musicians (AACM) in the 1960s, the members of the Art Ensemble of Chicago have created a distinctive multidisciplinary performance practice centered on collective improvisation. In this article, Steinbeck conceptualizes Art Ensemble improvisations as networks of group interactions, and he analyzes an excerpt from a 1972 Art Ensemble concert recording using a phenomenological perspective informed by his conversations with the group about the performance and by my own experience as an improvised-music practitioner.
Vocalist Jeanne Lee took a multidisciplinary approach to improvisation that incorporated dance and visual media and produced remarkable innovations in vocal sound. She remained relatively obscure throughout her 40-year professional career, Porter argues, because of her iconoclastic performance art, and because of her status as a woman, working mother, and black person. He explores the challenges to assumptions about nation, gender, and race in Lee's work, particularly in her performance of her poem "In These Last Days."
Recording engineer Rudy Van Gelder has been active since the 1940s. Skea notes that that the quality of Van Gelder's output rests not necessarily on technical innovation but on determination to master successive waves of state-of-the-art technology available to him and a legendary degree of perfectionism.
In this article, composer and educator Mike Heffley analyzes the libretto and score of a Braxton's magnum opus, the opera Trillium R (Shala Fears for the Poor) of 1991. With the term "speculative music," Heffley designates music as a "speculum," or a mirror of the natural world or cosmic order. Heffley considers the opera's libretto in the context of the entire corpus of Braxton's writings, particularly his Tri-Axium Writings of 1985. Heffley argues that Braxton's use of language is "a driving force behind, first, his music, and, further, his body of work as a whole . . ."