Jill Flanders Crosby and Michèle Moss
- Published in print:
- 2014
- Published Online:
- May 2014
- ISBN:
- 9780813049298
- eISBN:
- 9780813050119
- Item type:
- chapter
- Publisher:
- University Press of Florida
- DOI:
- 10.5744/florida/9780813049298.003.0007
- Subject:
- Music, Dance
The history of jazz dance is intimately tied to the history of jazz music. Collectively, as jazz expression with common histories and shared aesthetic characteristics, their entwined history from ...
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The history of jazz dance is intimately tied to the history of jazz music. Collectively, as jazz expression with common histories and shared aesthetic characteristics, their entwined history from emancipation to the 1970s is complex. Their parallel histories reveal a multiplicity of aesthetic approaches and interactions, and a fluidity of cultural, musical, and dance identities. Thus, jazz history is a landscape of evolving meanings, values, ideas, sounds, movements, contestations, contradictions, pluralities, and multiple constructions of “what is jazz.” In this chapter, the historical discussion of jazz and its West African roots is framed through an examination of relevant jazz dance and music history literature, as well as oral history interviews. This discussion and analysis offers a broad historical overview intended to introduce the sweep of jazz dance and music history.Less
The history of jazz dance is intimately tied to the history of jazz music. Collectively, as jazz expression with common histories and shared aesthetic characteristics, their entwined history from emancipation to the 1970s is complex. Their parallel histories reveal a multiplicity of aesthetic approaches and interactions, and a fluidity of cultural, musical, and dance identities. Thus, jazz history is a landscape of evolving meanings, values, ideas, sounds, movements, contestations, contradictions, pluralities, and multiple constructions of “what is jazz.” In this chapter, the historical discussion of jazz and its West African roots is framed through an examination of relevant jazz dance and music history literature, as well as oral history interviews. This discussion and analysis offers a broad historical overview intended to introduce the sweep of jazz dance and music history.
Travis Jackson
- Published in print:
- 2012
- Published Online:
- September 2012
- ISBN:
- 9780520270442
- eISBN:
- 9780520951921
- Item type:
- book
- Publisher:
- University of California Press
- DOI:
- 10.1525/california/9780520270442.001.0001
- Subject:
- Music, History, American
New York City has always been a mecca in the history of jazz, and in many ways the city's jazz scene is more important now than ever before. This book examines how jazz has thrived in New York ...
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New York City has always been a mecca in the history of jazz, and in many ways the city's jazz scene is more important now than ever before. This book examines how jazz has thrived in New York following its popular resurgence in the 1980s. Using interviews, in-person observation, and analysis of live and recorded events, the author—an ethnomusicologist—explores both the ways in which various participants in the New York City jazz scene interpret and evaluate performance, and the criteria on which those interpretations and evaluations are based. Through the notes and words of its most accomplished performers and most ardent fans, jazz appears not simply as a musical style, but as a cultural form intimately influenced by and influential upon American concepts of race, place, and spirituality.Less
New York City has always been a mecca in the history of jazz, and in many ways the city's jazz scene is more important now than ever before. This book examines how jazz has thrived in New York following its popular resurgence in the 1980s. Using interviews, in-person observation, and analysis of live and recorded events, the author—an ethnomusicologist—explores both the ways in which various participants in the New York City jazz scene interpret and evaluate performance, and the criteria on which those interpretations and evaluations are based. Through the notes and words of its most accomplished performers and most ardent fans, jazz appears not simply as a musical style, but as a cultural form intimately influenced by and influential upon American concepts of race, place, and spirituality.
Michael Jarrett
- Published in print:
- 2016
- Published Online:
- May 2017
- ISBN:
- 9781469630588
- eISBN:
- 9781469630601
- Item type:
- chapter
- Publisher:
- University of North Carolina Press
- DOI:
- 10.5149/northcarolina/9781469630588.003.0003
- Subject:
- Music, Popular
The A&R man became a record producer with the development of magnetic tape (a spoil of World War II) and the introduction of the vinyl long-playing record by Columbia Records in 1948. Producers could ...
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The A&R man became a record producer with the development of magnetic tape (a spoil of World War II) and the introduction of the vinyl long-playing record by Columbia Records in 1948. Producers could capture on tape—for reproduction and sale on records—jazz that had routinely happened for many years only on various stages. When recording technology caught up with the actual practice of improvising musicians, jazz discovered an ideal form in the "album." George Avakian's visionary work with Duke Ellington, Miles Davis, Erroll Garner, Buck Clayton, and Dave Brubeck realized what could be done with the new format and technology. The productions of Milt Gabler, Bob Weinstock, Esmond Edwards, Don Schlitten Teo Macero, Bob Thiele, Orrin Keepnews, Nesuhi Ertegun, Creed Taylor, Lester Koenig, Nat Hentoff ushered in a golden age for jazz.Less
The A&R man became a record producer with the development of magnetic tape (a spoil of World War II) and the introduction of the vinyl long-playing record by Columbia Records in 1948. Producers could capture on tape—for reproduction and sale on records—jazz that had routinely happened for many years only on various stages. When recording technology caught up with the actual practice of improvising musicians, jazz discovered an ideal form in the "album." George Avakian's visionary work with Duke Ellington, Miles Davis, Erroll Garner, Buck Clayton, and Dave Brubeck realized what could be done with the new format and technology. The productions of Milt Gabler, Bob Weinstock, Esmond Edwards, Don Schlitten Teo Macero, Bob Thiele, Orrin Keepnews, Nesuhi Ertegun, Creed Taylor, Lester Koenig, Nat Hentoff ushered in a golden age for jazz.
Michael Jarrett
- Published in print:
- 2016
- Published Online:
- May 2017
- ISBN:
- 9781469630588
- eISBN:
- 9781469630601
- Item type:
- chapter
- Publisher:
- University of North Carolina Press
- DOI:
- 10.5149/northcarolina/9781469630588.003.0004
- Subject:
- Music, Popular
Recording jazz onto multitrack tape meant that, while music continued to be captured onto tape in studios, albums could be constructed in postproduction: analogous to the way movies were shot on ...
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Recording jazz onto multitrack tape meant that, while music continued to be captured onto tape in studios, albums could be constructed in postproduction: analogous to the way movies were shot on soundstages and assembled in editing rooms. Some musicians—especially Miles Davis and his jazz fusion bands—directed improvisations in the recording studio and left the task of assembling albums to their producers. Audiences for such albums heard, not studio games of cut 'n' paste, but tracks that resembled the turn-on-a-dime musical performances they heard in concert—performances which imitated techniques devised in postproduction. Enabling the naiveté of this audience is an overarching truth: jazz production almost always uses available technologies to ensure that in-the-moment performances are recorded (and, later, reproduced) as perfectly as possible.Less
Recording jazz onto multitrack tape meant that, while music continued to be captured onto tape in studios, albums could be constructed in postproduction: analogous to the way movies were shot on soundstages and assembled in editing rooms. Some musicians—especially Miles Davis and his jazz fusion bands—directed improvisations in the recording studio and left the task of assembling albums to their producers. Audiences for such albums heard, not studio games of cut 'n' paste, but tracks that resembled the turn-on-a-dime musical performances they heard in concert—performances which imitated techniques devised in postproduction. Enabling the naiveté of this audience is an overarching truth: jazz production almost always uses available technologies to ensure that in-the-moment performances are recorded (and, later, reproduced) as perfectly as possible.
Floyd Levin
- Published in print:
- 2000
- Published Online:
- May 2012
- ISBN:
- 9780520213609
- eISBN:
- 9780520928985
- Item type:
- chapter
- Publisher:
- University of California Press
- DOI:
- 10.1525/california/9780520213609.003.0003
- Subject:
- Music, History, American
This chapter explores the colorful history of jazz. It pieces together the origins of great jazz recordings, hit songs, and important performances. Next, it takes a look at some of the popular jazz ...
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This chapter explores the colorful history of jazz. It pieces together the origins of great jazz recordings, hit songs, and important performances. Next, it takes a look at some of the popular jazz groups and singers, such as the 369th Infantry Jazz band, Spud Murphy, and Jack Teagarden. It also studies the first recorded hit of the jazz age and the world premiere of “Rhapsody in Blue.” The chapter also studies the development of recording technology by studying Dick Hyman's recording session, which included the direct-to-CD production of Dick Hyman Plays Duke Ellington.Less
This chapter explores the colorful history of jazz. It pieces together the origins of great jazz recordings, hit songs, and important performances. Next, it takes a look at some of the popular jazz groups and singers, such as the 369th Infantry Jazz band, Spud Murphy, and Jack Teagarden. It also studies the first recorded hit of the jazz age and the world premiere of “Rhapsody in Blue.” The chapter also studies the development of recording technology by studying Dick Hyman's recording session, which included the direct-to-CD production of Dick Hyman Plays Duke Ellington.
Michael Jarrett
- Published in print:
- 2016
- Published Online:
- May 2017
- ISBN:
- 9781469630588
- eISBN:
- 9781469630601
- Item type:
- chapter
- Publisher:
- University of North Carolina Press
- DOI:
- 10.5149/northcarolina/9781469630588.003.0005
- Subject:
- Music, Popular
When digital audio workstations (DAWs) do not multiply recording options to unthinkable levels of over-choice, they have simplified and automated tasks that were exceedingly difficult and time ...
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When digital audio workstations (DAWs) do not multiply recording options to unthinkable levels of over-choice, they have simplified and automated tasks that were exceedingly difficult and time consuming to execute on analog tape. But they have informed jazz production most profoundly in the smallest sorts of ways. Fixing the little stuff that once marred, otherwise stellar, performances is now very quick and easy. A number of jazz recordings discussed in this chapter were not recorded digitally, and when they were, many of their producers merely treated digital tape and hard drives as the new, perhaps "improved," analog tape. Much of the time, in the world of jazz production a potentially revolutionary technology is just added to—and conceptualized in terms of–what was already available.Less
When digital audio workstations (DAWs) do not multiply recording options to unthinkable levels of over-choice, they have simplified and automated tasks that were exceedingly difficult and time consuming to execute on analog tape. But they have informed jazz production most profoundly in the smallest sorts of ways. Fixing the little stuff that once marred, otherwise stellar, performances is now very quick and easy. A number of jazz recordings discussed in this chapter were not recorded digitally, and when they were, many of their producers merely treated digital tape and hard drives as the new, perhaps "improved," analog tape. Much of the time, in the world of jazz production a potentially revolutionary technology is just added to—and conceptualized in terms of–what was already available.
Joshua Berrett
- Published in print:
- 2004
- Published Online:
- October 2013
- ISBN:
- 9780300103847
- eISBN:
- 9780300127478
- Item type:
- chapter
- Publisher:
- Yale University Press
- DOI:
- 10.12987/yale/9780300103847.003.0002
- Subject:
- Music, History, American
This chapter focuses on the life of Paul Whiteman, beginning with Wilberforce Whiteman's disgust for his son's “laziness” and the eventual departure of Paul from his home in Denver, and his move to ...
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This chapter focuses on the life of Paul Whiteman, beginning with Wilberforce Whiteman's disgust for his son's “laziness” and the eventual departure of Paul from his home in Denver, and his move to San Francisco, and his eventual arrival at Atlantic City. Louis Armstrong's story, on the other hand, begins in New Orleans, where segregation based on race and class was a part of life. Whiteman anticipated finding work in San Francisco as a symphony musician, a journey and goal that he hoped would gain his father's respect. He was fortunate enough to acquire a position in the viola section of the eighty-piece San Francisco Exposition Orchestra. Armstrong, on the other hand, would somehow find a way to lift himself out of his family's history of slavery and privation. Thus, the chapter marks all the significant steps and events in Paul Whiteman's and Louis Armstrong's lives that would place them in the timeline of jazz music.Less
This chapter focuses on the life of Paul Whiteman, beginning with Wilberforce Whiteman's disgust for his son's “laziness” and the eventual departure of Paul from his home in Denver, and his move to San Francisco, and his eventual arrival at Atlantic City. Louis Armstrong's story, on the other hand, begins in New Orleans, where segregation based on race and class was a part of life. Whiteman anticipated finding work in San Francisco as a symphony musician, a journey and goal that he hoped would gain his father's respect. He was fortunate enough to acquire a position in the viola section of the eighty-piece San Francisco Exposition Orchestra. Armstrong, on the other hand, would somehow find a way to lift himself out of his family's history of slavery and privation. Thus, the chapter marks all the significant steps and events in Paul Whiteman's and Louis Armstrong's lives that would place them in the timeline of jazz music.
Michael Jarrett
- Published in print:
- 2016
- Published Online:
- May 2017
- ISBN:
- 9781469630588
- eISBN:
- 9781469630601
- Item type:
- book
- Publisher:
- University of North Carolina Press
- DOI:
- 10.5149/northcarolina/9781469630588.001.0001
- Subject:
- Music, Popular
In histories of music and audio technologies, and particularly in narratives about jazz, record producers tend to fall by the wayside. They're seldom acknowledged and generally unknown. But without ...
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In histories of music and audio technologies, and particularly in narratives about jazz, record producers tend to fall by the wayside. They're seldom acknowledged and generally unknown. But without them and their contributions to the art form, we’d have little on record of some of the most important music ever created. This oral history—organizing interviews gathered by music scholar Michael Jarrett—tells the stories behind some of jazz's best-selling and most influential albums. Beginning in the mid-'30s and continuing to the present, it draws together conversations with over fifty producers, musicians, engineers, and label executives. It shines a light on the world of making jazz record albums by letting producers tell their own stories and share their experiences in creating the American jazz canon. Packed with fascinating stories and fresh perspectives on over 200 albums and artists—including legends such as Louis Armstrong, Duke Ellington, John Coltrane, Ornette Coleman, and Miles Davis, as well as contemporary artists such as George Benson, Diana Krall, and Norah Jones—Pressed for All Time tells the unknown stories of the men and women who helped to shape the quintessential American sound.Less
In histories of music and audio technologies, and particularly in narratives about jazz, record producers tend to fall by the wayside. They're seldom acknowledged and generally unknown. But without them and their contributions to the art form, we’d have little on record of some of the most important music ever created. This oral history—organizing interviews gathered by music scholar Michael Jarrett—tells the stories behind some of jazz's best-selling and most influential albums. Beginning in the mid-'30s and continuing to the present, it draws together conversations with over fifty producers, musicians, engineers, and label executives. It shines a light on the world of making jazz record albums by letting producers tell their own stories and share their experiences in creating the American jazz canon. Packed with fascinating stories and fresh perspectives on over 200 albums and artists—including legends such as Louis Armstrong, Duke Ellington, John Coltrane, Ornette Coleman, and Miles Davis, as well as contemporary artists such as George Benson, Diana Krall, and Norah Jones—Pressed for All Time tells the unknown stories of the men and women who helped to shape the quintessential American sound.
Michael Jarrett
- Published in print:
- 2016
- Published Online:
- May 2017
- ISBN:
- 9781469630588
- eISBN:
- 9781469630601
- Item type:
- chapter
- Publisher:
- University of North Carolina Press
- DOI:
- 10.5149/northcarolina/9781469630588.003.0002
- Subject:
- Music, Popular
Production before the advent of magnetic tape—in the era of 78-RPM records—emphasized "pre-production." A&R men (short for "artists and repertoire") chose artists to record, and they paired songs ...
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Production before the advent of magnetic tape—in the era of 78-RPM records—emphasized "pre-production." A&R men (short for "artists and repertoire") chose artists to record, and they paired songs from the publishing firms of Tin Pan Alley with artists. The A&R work of Milt Gabler (at Commodore and Decca Records) and John Hammond and George Avakian (at Columbia) is exemplary. Gabler organized a series of jam sessions, which he recorded. Avakian produced Chicago Jazz (1940), the first jazz "album" of original material. As part of their popular music divisions the major labels—Columbia, Decca, and RCA Victor—record and market jazz. A number of specialty labels emerge: Commodore, Prestige, Contemporary, Verve, Blue Note, Atlantic, Riverside, and Savoy. Though dependent on pressing plants owned by the majors, they reflect the production philosophies of the connoisseurs who founded and owned them.Less
Production before the advent of magnetic tape—in the era of 78-RPM records—emphasized "pre-production." A&R men (short for "artists and repertoire") chose artists to record, and they paired songs from the publishing firms of Tin Pan Alley with artists. The A&R work of Milt Gabler (at Commodore and Decca Records) and John Hammond and George Avakian (at Columbia) is exemplary. Gabler organized a series of jam sessions, which he recorded. Avakian produced Chicago Jazz (1940), the first jazz "album" of original material. As part of their popular music divisions the major labels—Columbia, Decca, and RCA Victor—record and market jazz. A number of specialty labels emerge: Commodore, Prestige, Contemporary, Verve, Blue Note, Atlantic, Riverside, and Savoy. Though dependent on pressing plants owned by the majors, they reflect the production philosophies of the connoisseurs who founded and owned them.
