Global Jazz

A Research and Information Guide

Clarence Bernard Henry

• Publisher: Routledge
• Year: 2021
• ISBN:
  9781000430998
• Edition: 1
• Topic: Médias et arts de la scène
• Subtopic: Théorie et appréciation de la musique

Global Jazz: A Research and Information Guide is an annotated bibliography that explores the global impact of jazz, detailing the evolution of the African American musical tradition as it has been absorbed, transformed, and expanded across the world's historical, political, and social landscapes. With more than 1, 300 annotated entries, this vast compilation covers a broad range of subjects, people, and geographic regions as they relate to interdisciplinary research in jazz studies. The result is a vivid demonstration of how cultures from every corner of the globe have situated jazz—often regarded as America's classical music—within and beyond their own musical traditions, creating new artistic forms in the process. Global Jazz: A Research and Information Guide presents jazz as a common musical language in a global landscape of diverse artistic expression.

1

North America: United States and Canada

DOI: 10.4324/9781003154969-1

I GENERAL STUDIES

1 Atkins, E. Taylor, ed. 2003. Jazz Planet. Jackson: University Press of Mississippi. xxvii, 292 p. Illustrations, Music Examples, Bibliography, and Index. ISBN: 1-578-06608-5.

A collection of essays that focus on the global influences of jazz and geo-cultural settings of the jazz historical narrative. The essays deal with assessing jazz in various locales in terms of how jazz has been perceived, discussed, debated, and integrated into local/global contexts over identity, power, aesthetics, and status. Among the global areas covered include Cuba, Brazil, Japan, Sweden, China, Soviet Union, South Africa, Zimbabwe, India, and United Kingdom.

2 Atkins, E. Taylor, ed. 2003. “Toward a Global History of Jazz.” In Jazz Planet. E. Taylor Atkins, ed. Jackson: University Press of Mississippi. xxvii, 292 p. Illustrations, Music Examples, Bibliography, and Index. ISBN: 1-578-06608-5.

Argues that all jazz discourse rests on the premise of American exceptionalism. But jazz, emerged in the United States, was a product and instigator of early 20th century processes and trends that were global in scope of mass manufacture of culture, urbanization, the leisure revolution, and primitivism. In addition, jazz combined with sheer and early ubiquity of the music leads to the conclusion that practically from its inception jazz was a harbinger of what now is referred to as “globalization.”

3 Banfield, William C. 2015. “Don’t Use the ‘J-Word’: Jazz and Its Connections to Culture and Meaning.” In Ethnomusicologizing Essays on Music in the New Paradigms. William C. Banfield, ed. Lanham: Rowan & Littlefield. xii, 383 p. Illustrations, Bibliography, and Index. ISBN: 9-781-44222-971-6.

A chapter that is part of a collection of essays that offer an approach to being involved in music with the theme referred to as Ethnomusicologizing. The purpose is to explore ways of creating, sharing, and teaching to discuss music as more than a sound and to examine a way of being more critically present as musician and citizens sharing in a musical culture. This chapter presents an argument of notions that are similar to ethnomusicology with themes, concepts, and interdisciplinary bridges that link music to culture that make implications that these types of notions should also be applied to the study and meanings in jazz.

4 Berendt, Joachim-Ernst, and Helmut Bredigkeit, translator. 1991. The World Is Sound: Nada Brahma: Music and Landscape of Consciousness. Rochester: Destiny Books. xiii, 258 p. Bibliography and Index. ISBN: 0-89281-318-0.

Joachim-Ernst Berendt, a noted jazz scholar, engages in a journey through Asia, Europe, Africa, and Latin America to explore the musical traditions of diverse cultures of sound, rhythm, and vibration. Discussions are included about the author’s experiences of encountering jazz musicians in Indonesia, Japan, Europe, and the United States. Tributes are offered to noted figures such as Hans Kayser, Jean Gebser, Sufi Hazrat Inayat Khan, John Coltrane, and Ravi Shankar.

5 Berendt, Joachim-Ernst. 1968. “Jazz Meets the World.” The World of Music 10(3): 8. ISSN: 0043-8774.

A cross-cultural study that integrates how jazz has influenced the musical world. Discussion is provided of various topics to demonstrate the variety of influences of jazz in the world. These topics relate to improvisation, rhythm, Japanese culture, musical instruments such Kotos, and others. Discussions are also provided about the many interactions of jazz musicians with world music and cultural influences by such musicians as John Coltrane, Don Ellis, Ravi Shankar, Indonesian All Stars, and others.

6 Beuttler, Bill. 2019. Making It New: Reshaping Jazz in the 21st Century. Series: Book Collections on Project MUSE. Amherst: Lever Press. One Volume [Electronic Resource]. ISBN: 9-781-64315-006-2.

Reveals new ways in which jazz is engaging with society. Incorporates the biographical profiles of several new generation of jazz musicians: Jason Moran, Vjay Iyer, Rudresh Mahanthappa, The Bad Plus, Miguel Zenón, Anat Cohen, Robert Glasper, and Esperanza Spaulding. Discusses how this new generation of jazz musicians are freely incorporating other genres of music into jazz from classical (both Western and Indian) to popular (hip hop, R & B, rock, bluegrass, klezmer, Brazilian choro), and other innovative artistic venues.

7 Bohlman, Philip, and Goffredo Plastino, eds. 2016. Jazz Worlds, World Jazz. Series: Chicago Studies in Ethnomusicology. Chicago: University of Chicago Press. xxxi, 496 p. Illustrations, Music Examples, Compact Disc, Bibliography, and Index. ISBN: 9-780-22615-808-2.

A collection of essays that examine the global influence of jazz. The essays stem from conferences held at Newcastle University in 2005 and the University of Chicago in 2006. On the whole, the essays pervade an argument against American exceptionalism in jazz historiography and emphasize jazz as a global phenomenon that informs both global and local dynamics. The essays explore the relationships between jazz and culture and how they influence each other across a range of topics including politics, improvisation, modes, globalization, race, and localities in Scandinavia, Balkans, Azerbaijan, Iran, France, Portugal, Ethiopia, South Africa, Italy, India, and Armenia.

8 Brown, Robin. 2005. “Americanization at its Best? The Globalization of Jazz.” In Resounding International Relations: On Music, Culture, and Politics. M. I. Franklin, ed. New York: Palgrave Macmillan. xv, 320 p. Illustrations, Music Examples, Bibliography, and Index. ISBN: 1-40396-755-5.

Makes the argument that music creates great passion among its fans and critics, and as a consequence, it is easy to make conclusions that music must have social and political significance. Another argument is made that jazz is no different, and from a global perspective, suggestions are presented that jazz has been seen as a way of spreading a particular set of values whether negative or positive.

9 Delaunay, Charles. 1978. “Jazz and World Culture.” Australian Journal of Music Education 22: 3-8. ISSN: 0004-9484.

A writing on jazz and world culture that describes jazz—vocal and instrumental—as “peoples” music resulting from a mixture of several cultures (e.g., African, Latin/Creole, and Anglo-Saxon). Suggestions are made that jazz has influenced a variety of contemporary music from the popular song to the serious compositions of the so-called “civilized” world.

10 De Stefano, Gildo. 2014. Una Storia del Jazz: dai canti della schiavitù al jazz liquid (A Social History of Jazz: From the Songs of the Slaves to Liquid Jazz). Series: Eterotopie; n. 237. Milano: Mimesis. 182 p. Italian text. Bibliography, Discography, and Index. ISBN: 9-788-85752-001-8.

Cites the presence of jazz in world music culture as a fact that is difficult to refute. Argues that jazz is more than music but a “social factor” that involves its origins with African Americans. But jazz should be understood at the “glocal” level. Furthermore, jazz as musical language has always played a significant role in the social construction processes of reality and individual and collective imagination.

11 DeVeaux, Scott. 1991. “Constructing the Jazz Tradition: Jazz Historiography.” Black American Literature Forum 25(3): 525–560. ISSN: 0148-6179.

Evaluates and considers the narratives of jazz historiography in terms of what has taken hold as a type of canon for jazz teaching in academic settings. Discusses this narrative in terms of how jazz moved stylistically from many different styles from New Orleans Jazz of the 1920s to the more contemporary fusion traditions. Presents an argument about the history of jazz in the context of an evolutionary progression.

12 Dorin, Stéphane. 2016. “The Global Circulations of Jazz.” Jazz Research Journal 10(1–2): 5–12. ISSN: 1753-8637.

Argues that the history of jazz has been constructed around the ideology of a jazz traditionalist essentialist inspiration. However, the history of jazz has been informed by different musical genres, places, styles, and multiple socio-historical contexts in an evolutionary progression. Moreover, jazz can also be regarded as a multiplicity of narratives that sometimes with parallel, divergent branches are linked to various places (e.g., Sweden, France, Greece, India, Brazil, and Portugal) and social worlds in which jazz was listened to and played.

13 Esch, Michael E. 2019. Music and Revolt-A Breakneck Ride through the Transregional Production and Significance of Jazz and Rock.” In The Routledge Handbook of Transregional Studies. Matthias Middell, ed. Abingdon, Oxon & New York: Routledge. 704 p. Bibliography. ISBN: 9-781-13871-836-4.

Offers the position that the transnational influences of jazz and rock are part of a conversation relating to studies for the advancement of the conceptualization of global and area-bound development. Examines jazz and rock in terms of sounds that swept through the globalized world. Moreover, the impact of distribution and production of jazz and rock in many ways drew transnational regions closer communication and interactions with each other.

14 Farley, Jeff. 2011. “Jazz as a Black American Art Form: Definitions of the Jazz Preservation Act.” Journal of American Studies 45(1): 113–129. ISSN: 0021-8758.

Observes that jazz music and culture have experienced a surge of popularity after the passage of the Jazz Preservation Act. This resolution defined jazz as a black American art form using race, national identity, and cultural value as key components in making jazz one of the nation’s most subsidized arts. However, such preservation has not always been a simple process particularly in identifying jazz with black culture and with America as a whole. This has required a balancing of social and musical aspects of jazz.

15 Fadnes, Petter Frost. 2020. Jazz on the Line: Improvisation in Practice. Series: Transnational Studies in Jazz. London & New York: Routledge. 254 p. Illustrations, Bibliography, and Map. ISBN: 9-780-36722-672-5.

Presents an ethnographic focus on improvisation as performance and examines how musicians think and act when negotiating improvisational frameworks. Offers an interdisciplinary scope and explores the musical choices made by performers. Emphasizes how these choices can be logically understood within the context of controlled musical innovation.

16 Fewell, Garrison. 2014. Outside Music, Inside Voices: Dialogues on Improvisation and the Spirt of Creative Music. Somerville: Saturn University Press. 329 p. Illustrations, Discography, and Bibliography. ISBN: 9-780-69223-563-8.

Generated from the author’s experience as a jazz musician turned “creative improviser” and his desire to illuminate the metaphysical and spiritual aspects of creative improvisation. Also stems from the author’s conversations with fellow jazz musicians who shared similar feelings of musical–spiritual experiences. Provides dialogs concerning what can be described as “globalscape” of commentaries by various jazz musicians on topics of improvisation, creative ability, and spirituality in jazz. Some of the commentators in these dialogs include John Tchicai, Wadada Leo Smith, Myra Melford, and others.

17 Fischlin, Daniel, and Eric Porter, eds. 2020. Playing for Keeps: Improvisation in the Aftermath. Series: Improvisation, Community, Social Practice. Durham: Duke University Press. x, 336 p. Illustrations. ISBN: 9-781-47800-680-0.

An edited volume of essays that explore the global dimensions of musical improvisation. The essays on global jazz include “The Rigors of Afro/Canarian Jazz: Sounding Peripheral Vision with Severed Tongues” (by Mark Lomanno), “Opening Up a Space that Maybe Wouldn’t Exist Otherwise/Holding it Down in the Aftermath” (Vjay Iyer in conversation with Daniel Fischlin and Eric Porter), and “Nina Simone: Civil Jazz” (by Randy DuBurke).

18 Freeland, Gregory. 2018. “Globalism in Rhythm Music at the Crossroads of Populism and Multiculturalism.” Perspectives on Global Development and Technology 17(3): 281–298. ISSN: 1569-1497.

Deals with music as having a political, cultural awareness, and popular existence. Also deals with governments’ responses to music, popular resistance among people living in politically, religiously, economically unequal situations, and globalized unsettled sensitivities. Expands the research on the role of music in the 21st century and points out that musical genres as jazz, hip hop with their popularity and multicultural associations provide insights into the social, cultural, and political power in general.

19 Gebhardt, Nicholas, and Tony Whyton, eds. 2015. The Cultural Politics of Jazz Collectives: This is Our Music. Series: Transnational Studies in Jazz. New York: Routledge. xii, 250 p. Illustrations, Bibliography, and Index. ISBN: 9-781-13878-062-0.

A collection of essays that focus on cross-cultural perspectives in jazz—collectivity in terms of jazz performances, organizations, concepts, improvisation, and so forth. The essays examine the history of musician-led collectives and the ways in which they offer a powerful counter-model for rethinking jazz praxis in the postwar period. The essays also document and examine jazz case studies in New York, Austria, South Wales, Birmingham, United Kingdom, San Francisco, and others areas.

20 Gebhardt, Nicholas, Nicole Rustin-Paschal, and Tony Whyton, eds. 2019. The Routledge Companion to Jazz Studies. Series: Routledge Music Companions. New York: Routledge. xxxi, 481 p. Illustrations, Bibliography, and Index. ISBN: 9-781-13823-116-0.

A collection of essays from international scholars that highlight the strengths of current jazz scholarship in cross-disciplinary and global perspectives. Each essay reflects the developments within jazz studies over the last 25 years and offers surveys and new insights into the major perspectives and approaches to jazz research in terms of historical perspectives, methodologies, core issues, communities, politics, and others. Some examples of global jazz titles, topics, and authors included in this collection are: Listening to Em...

Table of contents

• Cover
• Half Title
• Series Page
• Title Page
• Copyright Page
• Dedication
• Table of Contents
• Preface
• 1. North America: United States and Canada
• 2. South America/Latin America and Caribbean
• 3. Europe
• 4. Africa and Middle East
• 5. Asia
• 6. Australia, New Zealand, and Oceania
• Index of Names
• Index of Countries, Geographical Regions & Localities
• Index of Subjects