Despite the favorable environment for jazz in France, African-American musicians’ turn toward using intellectual and formal techniques of European art music during the 1970s met with a cool reception in the French jazz press. Lehman suggests that a genuine fascination with this new music was tempered by received notions about race and musical idiom, which viewed through-notated forms and intellectualism as uniquely French or European.
The movie "Paris Blues" and album "The Great Summit" are the only collaborations between Duke Ellington and Louis Armstrong. Gabbard offers a critical appraisal and behind the scenes glimpse of both works. By studying the film's discarded footage, Gabbard reveals decisions by its producers to expunge images of racial and sexual self-expression and tolerance, along with their sonic equivalents.
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This essay documents the absorption of jazz by the European artistic vanguard between 1910 and 1930. Because of jazz' perceived spontaneous and libidinous qualities, avant-garde artists exploited it as a symbol of modernism "like a decal on a traveler's bag," in turn preparing jazz' appropriation by the world of fashion of that time.