Here is a link to music for next week. Our topic on “The Young Lions” and Jazz History will deal directly with the institutional legacies of the 1980s. Fittingly, we will read a chapter from Dave Ake’s Jazz Cultures that deals with the contrasting marketing and branding strategies of jazz artists during the late 1980s and early 1990s. As you listen to this music, pay attention to how it contrasts with the music of the last two weeks.
Category Archives: Readings
Here is the link for this week’s listening. We will also by reading Charles Carson’s article on Grover Washington Jr. and Smooth Jazz. Carson is an assistant professor of musicology at the University of Texas at Austin. In addition to his research on jazz, he has also published on the musical experience of Disney theme parks. For those of us living Florida, there is something especially prescient about that.
Here‘s the reading that I have assigned in addition to our textbooks for our week of Be-Bop. It is a chapter from Bernard Gendron’s Between Montmarte and the Mudd Club: Popular Music and the Avant-Garde. Gendron is an unconventional music scholar who comes to jazz and popular music from the perspective of philosophy. He is a very friendly guy and is the only scholar I’ve met who can present a 40-minute scholarly talk without the aide of notes.
Everyone is required to read the first chapter, but the second chapter is also very informative and might be useful to those of you interested in the cultural resonance of Be-Bop within the larger milieu of post-war jazz. Please make time to look at both, if possible.
Since the transcriptions of Parker’s solos in “Ko-Ko” and “Shawnuff” weren’t legible, here are better versions (from the e-flat edition of the Charlie Parker Omnibook). And, finally, here are the tracks we’ll be discussing that aren’t on the Norton CDs.
Swing bands and orchestras were performing and rearranging their tunes at a rapid pace during this period, thus, it is very difficult to find good transcriptions of the recordings we are covering. Here is the lead sheet for “Daphne” and here is the lead sheet for “Bei Mir Bist Du Shoen.”
Next week, we will be discussing the role of women in swing during World War II. Sherry Tucker’s Swing Shift is the best discussion of the role of “all girl” swing bands during the war. Here is a chapter about the role of the “male mass audience.” I look forward to your reactions to her research and how it contrasts with the more typical picture of female jazz musicians as pianists and singers.
I neglected to mention that both of the required texts for History of Jazz are placed on reserve in the NCF Library (I have recalled Keeping Time). You’ll also notice a number of other jazz related texts on the reserves list that might be useful for projects and papers.
Elijah Wald is a music writer and guitarist who has approached topics as diverse as the history of rock ‘n’ roll,* the dozens, narcocorridos, and delta blues legend Robert Johnson. He has also taught at my alma mater, UCLA.**
In this chapter from The Blues: A Very Short Introduction, Wald introduces the relationship between jazz and blues, starting with the statement, “Blues and jazz have been intertwined since before either style had a name.” He then proceeds to tell a history of how the two styles developed in relationship to each other. It’s a fun, quick read.
*This is available as an eBook through the USF library website.
**His feedback influenced an early direction I took with my bossa nova research.