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.
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.
In this interview with Professor Jim Merod, composer and trombonist Tom McIntosh reflects on overcoming many kinds of racial barriers, criticizes the idea of jazz as an expression of "primitive" human culture, and explores the impact of African-American culture on popular music.
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.
Monson counters the romantic notion of Monk as an apolitical aesthete or isolated genius by pointing to his support of and explicit opinions on civil rights at the peak of the movement in the early 1960s. She focuses on Monk's participation in a series of concerts benefiting leading Civil Rights organizations, such as the Student Nonviolent Coordinating Committee.
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.
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 . . ."
Rowan suggests that improvisation and noise-making are viable elements in urban planning and discusses three urban designers who use them. Whereas rational processes and settled laws are often asserted to be necessary foundations of music as well as urban development, Rowan argues that "spontaneity will inevitably insinuate itself within a plan as creativity, resistance, and response to crisis" and that its embrace is "conducive to the polyrhythm and discord of heterogeneous society."