American Midwest

How the Creole Band Came to Be

Black Music Research Journal

This essay explores the way New Orleans jazz was disseminated throughout the country, taking the Creole Band as a case study. This group included legendary jazz musicians Freddy Keppard and George Bacquet, was a popular vaudeville act, and traveled earlier and more widely than its New Orleans peers. Yet the Creole Band has had far less historical documentation and discussion. The authors address this gap by examining notice of the Creole Band in the white theatrical press.

Gittin' to Know Y'all: Improvised Music, Interculturalism, and the Racial Imagination

Author: 
Critical Studies in Improvisation

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.

“Area by Area the Machine Unfolds”

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.

The Community that Gave Jazz to Chicago

Author: 

Chicago's notoriety as the hub of the Jazz Age of the 1920s is unquestioned.  But little has been written about how African-American entrepreneurs and community leaders built the commercial infrastructure for the rise of jazz and blues clubs in the city. Although Chicago's mob rule put its stamp on the era in public consciousness, Vincent observes that it was only after black entrepreneurs laid the foundation that the mob decided it wanted "a piece of the action."

Asian/American Improvisation in Chicago: Tatsu Aoki and the 'New' Japanese American Taiko

Author: 

Bassist Tatsu Aoki produces Chicago's Asian American Jazz Festival. His work often draws on taiko, a form of folkloric Japanese drumming, as well as experimental jazz. Wong views Aoki's activity as a process of constructing a dynamic, transnational Asian American identity. She argues that Aoki takes his status as a "Shin Issei" (a recent Japanese immigrant) as a starting point, but aims to "become" American on his own terms-an aspiration of the contemporary Asian American community at large.

Researching the New Orleans-Chicago Jazz Connection: Tools and Methods

Author: 
Black Music Research Journal

This article discusses the research methods and issues involved in investigating the musical migration from New Orleans to Chicago in the early 20th century and surveys research sources on this period of early jazz. Wang seeks to put several myths to rest, such as that of a musical exodus after the closing of Storyville, New Orleans' red light district, and of a rapid, unidirectional flow of talent between the two cities.

Review—Rhythm Science

Author: 

Stewart remarks that Paul D. Miller-better known as DJ Spooky that Subliminal Kid-has created "a manifesto of sorts for the digital age." Stewart believes that Rhythm Science belongs in the first rank of theories of improvisation, because it views DJ culture in terms of improvisatory musical traditions associated with the African diaspora, and because Miller's writing style itself is improvisatory,"like the improvised freestyle of a hip hop MC."

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