David Ake
Charles Hiroshi Garrett and Daniel Goldmark (eds)
- Published in print:
- 2012
- Published Online:
- September 2012
- ISBN:
- 9780520271036
- eISBN:
- 9780520951358
- Item type:
- book
- Publisher:
- University of California Press
- DOI:
- 10.1525/california/9780520271036.001.0001
- Subject:
- Music, History, American
Jazz/Not Jazz explores some of the musicians who (and concepts, places, and practices that), though deeply connected to established jazz institutions and aesthetics, have rarely, if ever, appeared in ...
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Jazz/Not Jazz explores some of the musicians who (and concepts, places, and practices that), though deeply connected to established jazz institutions and aesthetics, have rarely, if ever, appeared in conventional jazz narratives. The book's goal is neither to map out a supposedly all-inclusive history of jazz, nor necessarily to salvage the reputations of typically dismissed styles or figures, but rather to explore what these missing people and pieces tell us about the ways in which jazz has been defined and its history told. That is, in focusing their inquiries beyond the veritable hall of jazz greatness, the authors seek to determine what we can learn about jazz as a whole by interrogating its traditionally understood musical and cultural margins (though not necessarily the economic margins: many of the performers and performances discussed in these essays have been enjoyed by millions of listeners), and to find out what is gained—and what is lost—when particular communities erect their own fences around jazz.Less
Jazz/Not Jazz explores some of the musicians who (and concepts, places, and practices that), though deeply connected to established jazz institutions and aesthetics, have rarely, if ever, appeared in conventional jazz narratives. The book's goal is neither to map out a supposedly all-inclusive history of jazz, nor necessarily to salvage the reputations of typically dismissed styles or figures, but rather to explore what these missing people and pieces tell us about the ways in which jazz has been defined and its history told. That is, in focusing their inquiries beyond the veritable hall of jazz greatness, the authors seek to determine what we can learn about jazz as a whole by interrogating its traditionally understood musical and cultural margins (though not necessarily the economic margins: many of the performers and performances discussed in these essays have been enjoyed by millions of listeners), and to find out what is gained—and what is lost—when particular communities erect their own fences around jazz.
