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Jazz Cultures PDF

239 Pages·2002·2.87 MB·English
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00-C1877-FM 8/20/2001 12:45 PM Page i Jazz Cultures 00-C1877-FM 8/20/2001 12:45 PM Page ii ROTH FAMILY FOUNDATION Music in America Imprint Michael P.Roth and Sukey Garcetti have endowed this imprint to honor the memory of their parents, Julia and Harry Roth, whose deep love of music they wish to share with others. 00-C1877-FM 8/20/2001 12:45 PM Page iii DAVID AKE Jazz Cultures university of california press berkeley los angeles london 00-C1877-FM 8/20/2001 12:45 PM Page iv The following chapters have appeared previously in somewhat different form: Chapter 1 appeared as “Blue Horizon: Creole Culture and Early New Orleans Jazz,” in Echo: A Music-Centered Journal1:1 (Fall 1999); chapter 3 appeared as “Re-Masculating Jazz: Ornette Coleman, ‘Lonely Woman,’ and the New York Jazz Scene in the Late 1950s,” inAmerican Music16:1 (1998), 25–44; and chapter5 appeared as a chapter ofThe Cambridge Companion to Jazz(Cambridge: Cambridge University Press, 2001). University of California Press Berkeley and Los Angeles, California University of California Press, Ltd. London, England © 2002 by the Regents of the University of California Library of Congress Cataloging-in-Publication Data Ake, David Andrew. Jazz cultures / David Ake. p. cm. Includes index. isbn0-520-22887-1 (alk. paper)—isbn0-520-22889-8 (pbk. : alk. paper) 1. Jazz—History and criticism. 2. Jazz musicians— United States. I. Title. ml3507 .a44 2002 781.65—dc21 2001027443 Manufactured in the United States of America 11 10 09 08 07 06 05 04 03 02 10 9 8 7 6 5 4 3 2 1 The paper used in this publication meets the minimum requirements of ansi/niso z39.48-1992 (r1997) (Permanence of Paper). (cid:2)(cid:2) 00-C1877-FM 8/20/2001 12:45 PM Page v contents list of illustrations vii preface ix acknowledgments xi introduction 1 one “blue horizon” Creole Culture and Early New Orleans Jazz 10 two jazz historiography and the problem of louis jordan 42 00-C1877-FM 8/20/2001 12:45 PM Page vi three regendering jazz Ornette Coleman and the New York Scene in the Late 1950s 62 four body and soul Performing Deep Jazz 83 five jazz ’traning John Coltrane and the Conservatory 112 six jazz traditioning Setting Standards at Century’s Close 146 notes 177 index 209 00-C1877-FM 8/20/2001 12:45 PM Page vii illustrations figures 1. Cover, Just Say MOE!: Mo’ of the Best of Louis Jordan, Louis Jordan 56 2. “Harlem 1958,” photograph by Art Kane 58 3. Cover, Cool Struttin’,Sonny Clark 75 4. Cover, The Shape of Jazz to Come,Ornette Coleman 76 5. Cover, Portrait in Jazz,Bill Evans Trio 90 6. Logo for Letter from Evansnewsletter 98 7. Cover, Standard Time Vol. 2: Intimacy Calling, Wynton Marsalis 161 8. Cover, Have a Little Faith,Bill Frisell 172 tables 1. Contents and dates of recordings accompanying Frank Tirro’s Jazz: A History 52 2. Aebersold Scale Syllabus 124 vviiii 00-C1877-FM 8/20/2001 12:45 PM Page viii 3. “Giant Steps” harmonic structure 131 4. “Impressions” formal structure 133 5. Album selections, Wynton Marsalis, Standard Time Vol. 2: Intimacy Calling 153 6. Album selections, Bill Frisell, Have a Little Faith 166 viii illustrations 00-C1877-FM 8/20/2001 12:45 PM Page ix preface When i entered graduate school at UCLA, in 1994, it was with hopes of answering a question that had dogged me in one way or an- other since I had relocated to New York in early 1990. Before that move and its resulting quandary, I had enjoyed a certain amount of professional success as a jazz pianist in Los Angeles and Munich. But somehow the notion that “real jazz” resided only in New York grabbed hold of me, and I set forth for “The City” with my friend, the out- standing saxophonist and composer John Schroeder. Like so many jazz pilgrims before me, I experienced New York as a dailyrollercoasterofgloriouslittlevictoriesanddiscouraginglittlede- feats. Supremely inspiring rehearsals, gigs, and recording sessions with like-minded players (they deserve mention: Ralph Alessi, Ben Allison, Jeff Ballard, Chuck Braman, Scott Colley, Ravi Coltrane, Mark Feld- man, Gerry Gibbs, Philip Harper, Mike Karn, Kiyoshi Kitagawa, Jeff Lederer, Ben Monder, Scott Neumann, John Schroeder) redeemed the tedious day-to-dayness of subsistence living. During that New York period—I don’t know when, exactly—this question presented itself to me: How did I get here? Now, this wasn’t posed in the metaphysical sense of “where does life come from?” but in the very literal sense of “how did a white, beer- ix

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From its beginning, jazz has presented a contradictory social world: jazz musicians have worked diligently to erase old boundaries, but they have just as resolutely constructed new ones. David Ake's vibrant and original book considers the diverse musics and related identities that jazz communities h
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