Journalism and Criticism

Analysis of jazz solos has often focused on formal coherence. Proponents of this approach have often tried to establish a parallel to the formal rigor of classical music-and thus to uphold jazz' status as an art form (for example, see Sonny Rollins and the Challenge of Thematic Improvisation). Givan argues that close analysis can be instead be used to highlight not continuity in a jazz solo but discontinuity, which has its own creative and symbolic possibilities.

Mandel offers his thoughts about the calling of the jazz journalist and critic: the skills the work requires, the responsibilities it entails, and how it enriches our experience of the music. He sees his craft as a difficult, even elusive quest: "jazz journalists . . . are so struck by the glories and multiple dimensions of the art as to need to struggle to describe what we perceive, and to understand our reactions to the sensations."

Smith explores the act of naming jazz compositions. He takes Thelonious Monk's "Let's Call This," which is elliptical and open to multiple meanings, as a starting point. Smith believes the song title is an example of African-American transgressiveness, through the creation of an aloof, sometimes deliberately ironic aesthetic. The author explores the music, and the titles, of Dizzy Gillespie, Charlie Parker, and Anthony Braxton in this regard. He also bases his argument on the poetry of Nathaniel Mackey, who "sees language as history.