Daniel Goldmark
- Published in print:
- 2012
- Published Online:
- September 2012
- ISBN:
- 9780520271036
- eISBN:
- 9780520951358
- Item type:
- chapter
- Publisher:
- University of California Press
- DOI:
- 10.1525/california/9780520271036.003.0008
- Subject:
- Music, History, American
This chapter examines the idea of genre as it applies to jazz by focusing on the output of Atlantic Records' jazz division. Under the stewardship of two men, Nesuhi Ertegun and Joel Dorn, Atlantic ...
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This chapter examines the idea of genre as it applies to jazz by focusing on the output of Atlantic Records' jazz division. Under the stewardship of two men, Nesuhi Ertegun and Joel Dorn, Atlantic Jazz came to signify not a particular approach, but rather a wide variety of artists, styles, and sounds. After tracing a general a history of Atlantic's jazz output from the 1940s to the 1970s, the essay focuses on Rufus Harley. Signed to the label by Joel Dorn, Harley recorded four albums for Atlantic in the 1960s, playing saxophone, flute, and bagpipes, although it was on the last of these that he was best known. While few critics saw Harley as little more than a gimmick, his career can be seen as emblematic as the ways that Atlantic's jazz defies easy categorization; further examination of Atlantic wind players Rahsaan Ronald Kirk and Yusef Lateef amplify this discussion. The chapter ends by questioning the current work on jazz and genre and positing some possible new paths for research.Less
This chapter examines the idea of genre as it applies to jazz by focusing on the output of Atlantic Records' jazz division. Under the stewardship of two men, Nesuhi Ertegun and Joel Dorn, Atlantic Jazz came to signify not a particular approach, but rather a wide variety of artists, styles, and sounds. After tracing a general a history of Atlantic's jazz output from the 1940s to the 1970s, the essay focuses on Rufus Harley. Signed to the label by Joel Dorn, Harley recorded four albums for Atlantic in the 1960s, playing saxophone, flute, and bagpipes, although it was on the last of these that he was best known. While few critics saw Harley as little more than a gimmick, his career can be seen as emblematic as the ways that Atlantic's jazz defies easy categorization; further examination of Atlantic wind players Rahsaan Ronald Kirk and Yusef Lateef amplify this discussion. The chapter ends by questioning the current work on jazz and genre and positing some possible new paths for research.
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.
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/9780226376011.003.0007
- Subject:
- Music, Ethnomusicology, World Music
Chapter 6 centers on the Art Ensemble’s activities during the 1970s. Back home in America, the musicians worked to build a larger domestic audience, a task that became easier after they signed with ...
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Chapter 6 centers on the Art Ensemble’s activities during the 1970s. Back home in America, the musicians worked to build a larger domestic audience, a task that became easier after they signed with Atlantic Records. They also formalized the cooperative practices that they first implemented in France, establishing Art Ensemble of Chicago Operations (AECO), a corporation held equally by the five members of the group. But the most significant change to their social model was a new ethic of personal autonomy. The musicians set up separate residences and launched independent side projects that could generate supplemental income when the Art Ensemble was on hiatus. This arrangement allowed them to reinvest even more of the band’s earnings, which increased throughout the 1970s as the Art Ensemble toured the United States, Europe, and Japan.Less
Chapter 6 centers on the Art Ensemble’s activities during the 1970s. Back home in America, the musicians worked to build a larger domestic audience, a task that became easier after they signed with Atlantic Records. They also formalized the cooperative practices that they first implemented in France, establishing Art Ensemble of Chicago Operations (AECO), a corporation held equally by the five members of the group. But the most significant change to their social model was a new ethic of personal autonomy. The musicians set up separate residences and launched independent side projects that could generate supplemental income when the Art Ensemble was on hiatus. This arrangement allowed them to reinvest even more of the band’s earnings, which increased throughout the 1970s as the Art Ensemble toured the United States, Europe, and Japan.
