Alex Stewart
- Published in print:
- 2007
- Published Online:
- May 2012
- ISBN:
- 9780520249530
- eISBN:
- 9780520940161
- Item type:
- chapter
- Publisher:
- University of California Press
- DOI:
- 10.1525/california/9780520249530.003.0012
- Subject:
- Music, History, American
This chapter discusses the Lincoln Center Jazz Orchestra. It includes an analysis of Wynton Marsalis's Pulitzer Prize-winning oratorio, Blood on the Fields, and the relationship of this work to his ...
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This chapter discusses the Lincoln Center Jazz Orchestra. It includes an analysis of Wynton Marsalis's Pulitzer Prize-winning oratorio, Blood on the Fields, and the relationship of this work to his efforts to build an orchestra in the Ellington mold. The chapter addresses why he let go of his original all-star band to work with young, mostly inexperienced players from outside New York, and how Blood reflected changes in his musical thinking and his ideology.Less
This chapter discusses the Lincoln Center Jazz Orchestra. It includes an analysis of Wynton Marsalis's Pulitzer Prize-winning oratorio, Blood on the Fields, and the relationship of this work to his efforts to build an orchestra in the Ellington mold. The chapter addresses why he let go of his original all-star band to work with young, mostly inexperienced players from outside New York, and how Blood reflected changes in his musical thinking and his ideology.
Larry Kart
- Published in print:
- 2004
- Published Online:
- October 2013
- ISBN:
- 9780300104202
- eISBN:
- 9780300128192
- Item type:
- chapter
- Publisher:
- Yale University Press
- DOI:
- 10.12987/yale/9780300104202.003.0008
- Subject:
- Music, Theory, Analysis, Composition
This chapter focuses on musical pieces that revolve around the advent in 1980 of trumpeter/composer Wynton Marsalis and the several sorts of jazz neoconservatism or revivalism that he and his ...
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This chapter focuses on musical pieces that revolve around the advent in 1980 of trumpeter/composer Wynton Marsalis and the several sorts of jazz neoconservatism or revivalism that he and his associates proposed at that time: this meant a return to a kind of classicized version of the Miles Davis Quintet of the mid-1960s and a series of visits to chosen styles of the jazz past. The difference of the so-called Wyntonian era from the New Orleans Revival and Marsalis's arrival on the scene is that never before had a return to selected aspects of the jazz past been presented—and, to a remarkable degree, accepted—as an event of central aesthetic importance. A cut-and-paste, mix-and-match attitude toward the jazz past has been one result of this revisiting of jazz past.Less
This chapter focuses on musical pieces that revolve around the advent in 1980 of trumpeter/composer Wynton Marsalis and the several sorts of jazz neoconservatism or revivalism that he and his associates proposed at that time: this meant a return to a kind of classicized version of the Miles Davis Quintet of the mid-1960s and a series of visits to chosen styles of the jazz past. The difference of the so-called Wyntonian era from the New Orleans Revival and Marsalis's arrival on the scene is that never before had a return to selected aspects of the jazz past been presented—and, to a remarkable degree, accepted—as an event of central aesthetic importance. A cut-and-paste, mix-and-match attitude toward the jazz past has been one result of this revisiting of jazz past.
Ken Prouty
- Published in print:
- 2012
- Published Online:
- September 2012
- ISBN:
- 9780520271036
- eISBN:
- 9780520951358
- Item type:
- chapter
- Publisher:
- University of California Press
- DOI:
- 10.1525/california/9780520271036.003.0005
- Subject:
- Music, History, American
This chapter examines a variety of virtual communities on the World Wide Web where the boundaries of jazz and of the jazz community are negotiated. The creation of jazz articles on Wikipedia ...
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This chapter examines a variety of virtual communities on the World Wide Web where the boundaries of jazz and of the jazz community are negotiated. The creation of jazz articles on Wikipedia demonstrates key processes in the generation of knowledge concerning how genre boundaries are defined along lines of race, culture, and jazz history. Likewise, exchanges on the message board of the website All About Jazz reveal significant debates by virtual communities over establishing boundaries of jazz. While such boundaries remain fluid and continually redetermined, virtual communities offer the opportunity for a wider group of jazz people to engage in this ongoing and long-standing conversation across vast geographic and demographic spaces. Among the artists treated in detail are Kenny G, the Mahavishnu Orchestra, The Bad Plus, and Wynton Marsalis.Less
This chapter examines a variety of virtual communities on the World Wide Web where the boundaries of jazz and of the jazz community are negotiated. The creation of jazz articles on Wikipedia demonstrates key processes in the generation of knowledge concerning how genre boundaries are defined along lines of race, culture, and jazz history. Likewise, exchanges on the message board of the website All About Jazz reveal significant debates by virtual communities over establishing boundaries of jazz. While such boundaries remain fluid and continually redetermined, virtual communities offer the opportunity for a wider group of jazz people to engage in this ongoing and long-standing conversation across vast geographic and demographic spaces. Among the artists treated in detail are Kenny G, the Mahavishnu Orchestra, The Bad Plus, and Wynton Marsalis.
Paul Steinbeck
- Published in print:
- 2017
- Published Online:
- September 2017
- ISBN:
- 9780226375960
- eISBN:
- 9780226376011
- Item type:
- chapter
- Publisher:
- University of Chicago Press
- DOI:
- 10.7208/chicago/9780226376011.003.0009
- Subject:
- Music, Ethnomusicology, World Music
Chapter 8 addresses the Art Ensemble’s tenure at ECM Records, when the group achieved international renown and critical acclaim. By the 1980s, the band was touring more widely than ever, both abroad ...
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Chapter 8 addresses the Art Ensemble’s tenure at ECM Records, when the group achieved international renown and critical acclaim. By the 1980s, the band was touring more widely than ever, both abroad and at home. In the United States, the musicians’ mastery of intermedia allowed them to break into the performing-arts scene, while the success of their ECM albums earned them a prominent place in the jazz community, which was contending with the rise of a powerful traditionalist movement headed by Wynton Marsalis. This movement attracted many opponents, including the members of the Art Ensemble, who resisted traditionalism by proposing an alternative aesthetic, expressed in their evocative slogan “Great Black Music, Ancient to the Future.”Less
Chapter 8 addresses the Art Ensemble’s tenure at ECM Records, when the group achieved international renown and critical acclaim. By the 1980s, the band was touring more widely than ever, both abroad and at home. In the United States, the musicians’ mastery of intermedia allowed them to break into the performing-arts scene, while the success of their ECM albums earned them a prominent place in the jazz community, which was contending with the rise of a powerful traditionalist movement headed by Wynton Marsalis. This movement attracted many opponents, including the members of the Art Ensemble, who resisted traditionalism by proposing an alternative aesthetic, expressed in their evocative slogan “Great Black Music, Ancient to the Future.”
Dale Chapman
- Published in print:
- 2018
- Published Online:
- September 2018
- ISBN:
- 9780520279377
- eISBN:
- 9780520968219
- Item type:
- chapter
- Publisher:
- University of California Press
- DOI:
- 10.1525/california/9780520279377.003.0002
- Subject:
- Music, History, American
Chapter 1 approaches managerial theory as an entry point for examining the relationship between jazz and risk. If management theorists have looked to jazz practice as an analogy for risk-taking, jazz ...
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Chapter 1 approaches managerial theory as an entry point for examining the relationship between jazz and risk. If management theorists have looked to jazz practice as an analogy for risk-taking, jazz affords us with a powerful window onto a more complex narrative of risk in American life. This chapter develops a distinction between risk and uncertainty crafted by economic theorist Frank Knight, where uncertainty implies a conception of risk in which the parameters of risk are impossible to quantify. Chapter 1 culminates with an examination of postbop, as it was realized by the 1960s Miles Davis Quintet and subsequent artists: the embrace of “controlled freedom” by the Davis Quintet brought an unprecedented level of virtuosity to bear upon improvisatory risk-taking.
Less
Chapter 1 approaches managerial theory as an entry point for examining the relationship between jazz and risk. If management theorists have looked to jazz practice as an analogy for risk-taking, jazz affords us with a powerful window onto a more complex narrative of risk in American life. This chapter develops a distinction between risk and uncertainty crafted by economic theorist Frank Knight, where uncertainty implies a conception of risk in which the parameters of risk are impossible to quantify. Chapter 1 culminates with an examination of postbop, as it was realized by the 1960s Miles Davis Quintet and subsequent artists: the embrace of “controlled freedom” by the Davis Quintet brought an unprecedented level of virtuosity to bear upon improvisatory risk-taking.
Jason C. Bivins
- Published in print:
- 2015
- Published Online:
- April 2015
- ISBN:
- 9780190230913
- eISBN:
- 9780190230944
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780190230913.003.0003
- Subject:
- Music, History, American
This chapter investigates long-form suites that narrate American history in ways critical and celebratory. Since the 1930s, jazz suites have served as ways for musicians to enact sonically their ...
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This chapter investigates long-form suites that narrate American history in ways critical and celebratory. Since the 1930s, jazz suites have served as ways for musicians to enact sonically their differential understandings of race, religion, and American history. Charles Mingus, Max Roach and Abbey Lincoln, and Archie Shepp investigated African American vernacular music and history for their liberatory potential. Fred Ho and Sun Ra sounded out alternate pasts to criticize Christianity and American culture. And Duke Ellington, John Carter, and Wynton Marsalis crafted detailed settings of particular episodes in African American history, using jazz as the voice of historical authenticity. These historical efforts resonate with long-standing American traditions—from remembrances of the “city on a hill” to LDS sacred history, from Alexander Crummell to Elijah Muhammad—of narrating the sacred past in contrast to the depredations of the present.Less
This chapter investigates long-form suites that narrate American history in ways critical and celebratory. Since the 1930s, jazz suites have served as ways for musicians to enact sonically their differential understandings of race, religion, and American history. Charles Mingus, Max Roach and Abbey Lincoln, and Archie Shepp investigated African American vernacular music and history for their liberatory potential. Fred Ho and Sun Ra sounded out alternate pasts to criticize Christianity and American culture. And Duke Ellington, John Carter, and Wynton Marsalis crafted detailed settings of particular episodes in African American history, using jazz as the voice of historical authenticity. These historical efforts resonate with long-standing American traditions—from remembrances of the “city on a hill” to LDS sacred history, from Alexander Crummell to Elijah Muhammad—of narrating the sacred past in contrast to the depredations of the present.
Larry Kart
- Published in print:
- 2004
- Published Online:
- October 2013
- ISBN:
- 9780300104202
- eISBN:
- 9780300128192
- Item type:
- book
- Publisher:
- Yale University Press
- DOI:
- 10.12987/yale/9780300104202.001.0001
- Subject:
- Music, Theory, Analysis, Composition
This anthology of jazz criticism casts a wide net. Discussing nearly seventy major jazz figures and many of the genre's key stylistic developments, the book sees jazz as a unique perpetual ...
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This anthology of jazz criticism casts a wide net. Discussing nearly seventy major jazz figures and many of the genre's key stylistic developments, the book sees jazz as a unique perpetual narrative—one in which musicians, their audiences, and the evolving music itself are intimately intertwined. Because jazz arose from the collision of specific peoples under particular conditions, it says, its development has been unusually immediate, visible, and intense. The book reacts to and judges the music in a similarly active, attentive, and personal manner. The book contains chapters that analyze the supposed return to tradition that the music of Wynton Marsalis has come to exemplify; provide accounts of the careers of Miles Davis, Thelonius Monk, Bill Evans, and Lennie Tristano; and explore jazz's relationship to American popular song and examine the jazz musician's role as actual and would-be social rebel.Less
This anthology of jazz criticism casts a wide net. Discussing nearly seventy major jazz figures and many of the genre's key stylistic developments, the book sees jazz as a unique perpetual narrative—one in which musicians, their audiences, and the evolving music itself are intimately intertwined. Because jazz arose from the collision of specific peoples under particular conditions, it says, its development has been unusually immediate, visible, and intense. The book reacts to and judges the music in a similarly active, attentive, and personal manner. The book contains chapters that analyze the supposed return to tradition that the music of Wynton Marsalis has come to exemplify; provide accounts of the careers of Miles Davis, Thelonius Monk, Bill Evans, and Lennie Tristano; and explore jazz's relationship to American popular song and examine the jazz musician's role as actual and would-be social rebel.
