(What Is This Thing Called Jazz? African American Musicians as Artists Critics and Activists Music of the African Diaspora) PDF/EPUB ↠ Eric Porter
N art orm However as I would learn by reading the those claims are nothing new and in act have been at the center of an on going debate between neoclassicists Albert Murray Stanely Crouch and Marsalis himself and the various strains of established contemporary jazz musicianship and scholarship I would very much recommend the inal chapter of Porter s book to anyone who has seen the documentary or plans on doing so Porter
provides a ramework or understanding its claims within a larger context of political and aesthetic positions The book as a whole a ramework or understanding its claims within a larger context of political and aesthetic positions The book as a whole up the specific project of identifying some of the primary themes and contradictions that have appeared in jazz discourse beginning in the 1920s In particular Porter ocuses on the words of the actual practitioners and how artists like Duke Ellington Dizzy Gillespie Charles Mingus Abbey Lincoln and many others have navigated the placement of jazz within the discourses of history aesthetics and politics This attention to the artists themselves made the book especially compelling ensuring that the artists and not the critics have the last word Given Porter s The Seduction of Miranda Prosper focus on the specific themes of the discourse it is to be expected that the book deliberatesar on the spoken and written word than on the music itself This is not to say that Porter pays no attention to the music However this is not a study in composition but rather an intellectual history that recognizes artists own power of reflection and analysis Over the course of the books chapters arranged largely chronologically one begins to discern the key themes or contradictions that organize how the problem of jazz has been conceptualized I say problem because The Warrior Princess of Pennyroyal Academy for one thing as is often stated the very word jazz is highly contested and has beenrom the beginning. Erican thought Porter examines several crucial moments in the history of jazz the ormative years of the 1920s and 1930s; the emergence of bebop; the political and experimental projects of the 1950s 1960s and 1970s; and the debates surrounding Jazz at Lincoln Center under the direction of Wynton Marsalis Louis Armstrong Anthony Braxton Marion Brown Duke Ellington WC Handy Yusef Lateef Abbey Lincoln Charles Mingus Archie Shepp Wadada Leo Smith Mary Lou Williams and Reggie Workman also eature prominently in this book The wealth of information Porter uncovers shows. .
The nature of those complains spans a variety
of professional artistic and political investments rom the unmarked terms of sexism to that universalism anti Jimprofessional and political investments Elizabeth I from the unmarked terms of sexism to that of universalism anti Jim anti capitalist black nationalist separatist pan Africanist Black Marxist to a conservativeorm of American exceptionalism Also at the center of these debates is a undamental problem around the tension between race and culture It is a problem that gets played out in jazz as symptomatic of larger tensions within the civil rights struggles of the 20th Century For this reason Porter s book
Makes For Something Like Afor something like a study on how the problems of race as a category play out in material culture It s one thing to study critical race theory It s another to investigate how race as an unstable and always ideologically determined category structure and is structured by actual lived experience What makes Porter s book especially powerful in this regard is his decision to eschew the theoretical ormulations of critical race theory He refrains Theres Always a Trail / Home in the Valley from burying the musician s words beneath convoluted writing and academic jargon not a the way in which in the entire book I can write much about this book but I will stop here Much recommendedor both the scholar and the popular reader My one recommendation is to keep in mind that this book is an investigation And as such narrative and inclusiveness are subordinated to the development of a set of uestions or themes The careful reader will begin to take note of those themes and observe how they change and shift rom period to period and rom one artist to the next In this sense the book is not just an analysis of jazz discourse but a lesson in practice that is not uniue to jazz but cultural practice in general within the ramework of a racist and capitalist national context. How these musicians have expressed themselves in print; actively shaped the institutional structures through which the music is created distributed and consumed and how they aligned themselves with other artists and activists and how they were influenced by orces of class and gender What Is This Thing Called Jazz challenges interpretive orthodoxies by showing how much black jazz musicians have struggled against both the racism of the dominant culture and the prescriptive definitions of racial authenticity propagated by the music's supporters both white and blac. Also helpful the emphasis on musicians thoughts on the music they make on the performercomposer as intellectual and the use of Gramsci s model of intellectualism are all appropo I think Similar take on bebop as what I take to LB porter has created what is sure to be a standard text or any jazz course or the orseeable uture as he has combined exceptional scholarship with a solid but never heavy handed theory on the origins and course of jazz in america rooted in the belief that this music is a uniuely african american cultural
creation he inds the time to give credence to both the amiri barakashe inds the time to give credence to both the amiri barakas stanley crouches of this world all the while spinning a antastic yarn about the development of this music and the intellectuals who create it his writing is rarely especially musical but is always concise and always plentiful in its informati Having recently watched Ken Burns s epic documentary on jazz recently I wanted to gain a in depth perspective on some of the claims made in the The Essential Library for New Moms 4-Book Bundle: Healthy Sleep Habits, Happy Child; The Baby Food Bible; Infant Massage; Colic Solved film Notably I was struck by what seemed to me rather doctrinaire positions taken by Wynton Marsalis and others in dismissing the entire post 1960 avant garde current in jazz I do not know much about jazz but I know enough to be deeply suspicious of the wholesale rejection ofree jazz Turning to Eric Porter s study of the discourses of jazz I was hoping to get of a scholarly analysis particularly in light of what I perceived as a contentious set of claims made by Burns and others in the The Triangle of Truth: The Surprisingly Simple Secret to Resolving Conflicts Largeand Small film Published a year after the PBS series Porter s book was no doubt written in stuck in the academic press pipeline during the broadcast of the series and the explosion of attention thatollowed in its wake Conseuently the book makes no mention of Burns and his heroic depiction of jazz as a uniuely America. Despite the plethora of writing about jazz little attention has been paid to what musicians themselves wrote and said about their practice An implicit division of labor has emerged where or the most part black artists invent and play music while white writers provide the commentary Eric Porter overturns this tendency in his creative intellectual history of African American musicians He oregrounds the often ignored ideas of these artists analyzing them in the context of meanings circulating around jazz as well as in relationship to broader currents in African Am. .