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The artworld is a complicated place. It contains acts of artistic creation, interpretation, evaluation, preservation, misunderstanding, and condemnation. The goal of this book is to turn a critical reflective eye upon various aspects of the artworld, and to articulate some of the problems, principles, and norms implicit in the actual practices of artistic creation, interpretation, evaluation, and commodification. Aesthetic theory is treated as a descriptive, rather than normative, enterprise: one that relates to artworld realities as a semantic theory relates to the fragments of natural language it seeks to describe. Sustained efforts are made to illuminate emotional expression, correct interpretation, and objectivity in the context of artworld practice; the relevance of jazz to aesthetic theory; the goals of ontology (artworld and otherwise); the relation(s) between art and language; and the relation(s) between artistic/critical practice and aesthetic theory.

There are over a million jazz recordings, but only a few hundred tunes have been recorded repeatedly. Why did a minority of songs become jazz standards? Why do some songs—and not others—get re-recorded by many musicians? This book answers this question and more, exploring the underappreciated yet crucial roles played by initial production and markets—in particular, organizations and geography—in the development of early twentieth-century jazz. The book considers why places like New York played more important roles as engines of diffusion than as the sources of standards. It demonstrates why and when certain geographical references in tune and group titles were considered more desirable. It also explains why a place like Berlin, which produced jazz abundantly from the 1920s to early 1930s, is now on jazz's historical sidelines. The book shows the key influences of firms in the recording industry, including how record labels and their executives affected what music was recorded, and why major companies would re-release recordings under artistic pseudonyms. It indicates how a recording's appeal was related to the narrative around its creation, and how the identities of its firm and musicians influenced the tune's long-run popularity. Applying fascinating ideas about market emergence to a music's commercialization, the book offers a unique look at the origins of a groundbreaking art form.

This book investigates and analyzes the music of Billy Strayhorn. Over seventy musical examples, drawn from his original autograph scores, provide insight in the development of his style, in his advanced harmonic language and in his orchestral technique. The book traces the origins of Strayhorn’s music, rooted in European and American idioms, and uncovers hitherto unknown works which cast a new light on his development as a jazz composer and orchestrator. It addresses the mythical, thirty-year partnership of Billy Strayhorn and Duke Ellington. Through research on their autograph scores, it redefines their musical collaboration. The book argues that as opposed to general accepted views, Ellington and Strayhorn were not musical alter-egos, but two distinctively individual composers who worked from different musical perspectives. This book also details how those distinctions stem from the respective musical backgrounds of the two composers, and how that affected their collaboration. The differences between Ellington’s and Strayhorn’s music are clearly audible, yet have eluded most listeners since Ellington — as the main interpreter of his collaborator’s music — played a crucial role in our perception of Strayhorn’s work. The book untangles Strayhorn from Ellington’s shadow, identifies all of his contributions to the Ellington repertory, and points listeners to the most salient features that distinguish Strayhorn’s musical style from Ellington’s.

Jazz Internationalism argues for the critical significance of jazz in Afro-modernist literature, from the beginning of the Great Depression through the radical social movements of the 1960s. Through consideration of literary texts that feature jazz as a mode of social criticism as well as artistic expression, it examines how jazz functions as a discourse of radical internationalism and Afro-modernism during the Long Civil Rights Movement. This book redefines the importance of jazz for African American literary history, as it relates recent jazz historiography to current theoretical articulations of black internationalism, including articulations of socialist, diasporic, and Black Atlantic paradigms. In discussing how jazz is invoked as a mode of social criticism in radical African American writing, it considers how writers such as Claude McKay, Frank Marshall Davis, Ann Petry, Langston Hughes, Bob Kaufman, and Paule Marshall dramatize the possibilities and challenges of black internationalism through their innovative adaptations of black music.

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.

Free Jazz/Black Power is a treatise on the racial and political implications of jazz and jazz criticism published in 1971 by two French jazz critics, Philippe Carles and Jean-Louis Comolli. The goal of the book was to show that the strong and mostly negative reactions provoked by free jazz among classic jazz critics on both sides of the Atlantic could be better understood by analyzing the social, cultural and political origins of jazz itself, exposing its ties to African American culture, history, and the political struggle that was still raging in early 1970s USA. The authors analyze the circumstances of the production of jazz criticism as discourse, a work of cultural studies in a time and place where the practice as such was completely unknown. The book owes much to African American cultural and political thought. Carles and Comolli suggest that the African American struggle had to be seen as a singular branch of a worldwide class struggle, echoing more famous figures of the French Left of the time, such as Jean-Paul Sartre, Simone de Beauvoir, or Jean Genêt. Yet few were those that had articulated this de rigueur political backing with an in-depth cultural critique and analysis of the condition of African Americans informed by African Americans themselves.

If Benny Goodman was the “King of Swing”, then Fletcher Henderson might be considered the power behind the throne. Not only did Henderson arrange the music that fueled Goodman's success, he also helped to launch the careers of several other key figures in jazz history, including Louis Armstrong and Coleman Hawkins, and their work, in turn, shaped Henderson's. Drawing on a wide range of primary sources, including sound recordings, stock arrangements, and score manuscripts available only since Goodman's death, this book traces Henderson's life and work from his youth in the deep South, to his early work as a New York bandleader, to his pivotal role in building the Kingdom of Swing. Henderson, standing at the forefront of the New York jazz scene in the 1920s and 1930s, assembled many of the era's best musicians, forging a distinctive jazz style within the stylistic framework of popular song and dance music. Henderson's style grew out of collaboration with many key players. It also grew out of a deft combination of written and improvised music, of commercial and artistic impulses, and of racial cooperation and competition, and thus stands as an exemplar of musical activity in the Harlem Renaissance. As Henderson's career stalled in the midst of the Depression, record producer John Hammond brought together Henderson and Goodman in a fortuitous collaboration that shaped the history of American music.

This is the first comprehensive, fully documented, intercultural history of tap dance, a uniquely American art form, that explores all aspects of the intricate musical and social exchange that evolved from Afro-Irish percussive step dances like the jig, gioube, buck-and-wing, and juba to the work of contemporary tap luminaries. Tap dance evolved from the oral traditions and expressive cultures of the West Africans and the Irish that converged and collided in America, and was perpetuated by such key features as the tap challenge—any competition or showdown in which dancers compete against each other before an audience of spectators or judges. The book begins with an account of a buck dance challenge between Bill (“Bojangles”) Robinson and Harry Swinton at Brooklyn’s Bijou Theatre, in 1900, and proceeds decade by decade through the twentieth century. Vividly described are tap’s musical styles and steps—from buck-and-wing and ragtime stepping at the turn of the century; jazz tapping to the rhythms of hot jazz, swing, and bebop in the 1920s, 1930s, and 1940s; to hip-hop-inflected hitting and hoofing in heels (high and low) from the 1990s up to today. Tap dancing has long been considered “a man’s game,” and this book is the first history to highlight such outstanding female artists as Ada Overton Walker, Kitty O’Neill, and Alice Whitman, at the turn of the twentieth century, as well as the pioneering women composers of the tap renaissance, in the 1970s and 1980s, and the hard-hitting rhythm-tapping women of the millennium.