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Download Blowin' the Blues Away: Performance and Meaning on the New by Travis A. Jackson PDF

By Travis A. Jackson

ISBN-10: 0520270444

ISBN-13: 9780520270442

New York urban has constantly been a mecca within the historical past of jazz, and in lots of methods the city’s jazz scene is extra very important now than ever sooner than. Blowin’ the Blues Away examines how jazz has thrived in big apple following its well known resurgence within the Nineteen Eighties. utilizing interviews, in-person statement, and research of reside and recorded occasions, ethnomusicologist Travis A. Jackson explores either the ways that numerous individuals within the big apple urban jazz scene interpret and overview functionality, and the standards on which these interpretations and reviews are established. during the notes and phrases of its so much comprehensive performers and such a lot ardent lovers, jazz looks now not easily as a musical sort, yet as a cultural shape in detail prompted by means of and influential upon American techniques of race, position, and spirituality.

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Blowin' the Blues Away: Performance and Meaning on the New York Jazz Scene

Manhattan urban has continuously been a mecca within the historical past of jazz, and in lots of methods the city’s jazz scene is extra very important now than ever earlier than. Blowin’ the Blues Away examines how jazz has thrived in big apple following its well known resurgence within the Nineteen Eighties. utilizing interviews, in-person remark, and research of dwell and recorded occasions, ethnomusicologist Travis A.

Extra info for Blowin' the Blues Away: Performance and Meaning on the New York Jazz Scene

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Through [their] input into the shared perspective from individual experience. . The collective system of meanings is also cumulative, like the individual consciousness. It expands as individuals face new experiences together, inform each other of individual perceptions against the background of what they already have in common, or discover additional facets of their individual systems of meanings to be shared” (Hannerz 1980, 284). The musical event, participation in it, responses to it, and talk about it force participants to face new experiences together, share perceptions, and discover new ways to share their understandings.

Following Potter (1990), one can loosely group the analytical approaches to jazz in the categories represented in table 1. Analyses mapping pitch onto harmony or mode examine, moment to moment, what pitch choices are common or idiomatic for a particular improviser. Those analyses classed as “thematic/motivic/formulaic” have attempted to show how specific improvisers such as Charlie Parker, Sonny Rollins, and John Coltrane developed themes or motives in individual improvisations or consistently used the same melodic shapes (formulae) over specific harmonic progressions.

I explained to them that I was interested in observing their performances and recording sessions to gain a better understanding of the workings of the scene and their place in it. In addition, I told them that I would welcome suggestions for other musicians whose perspectives they thought I should seek. I also reestablished the few relationships I had with recording industry personnel, most notably Sharon Blynn, then at Verve Records. In addition, to acquaint myself with what was happening on the New York scene and beyond, I started systematically reading the national and local jazz periodicals (Down Beat, JazzTimes, and Cadence) as well as jazz-related articles in newspapers such as the New York Times and the Village Voice.

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