The New York Jazz Scene in the 1990s

Jackson, Travis A.

doi:10.1525/california/9780520270442.003.0004

Cited by 3 publications

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“…Manouche aural learning is said to be irreducible to systematic and articulable pedagogical techniques, but the relatively unstructured activities musician‐educators advocate — looking, listening, imitating — are only part of the process. Similar to some African American jazz musicians and listeners who assert that an “understanding of or embeddedness within African American culture constitutes one potential source of or pathway toward understanding a blues aesthetic” (Jackson 2012: 127), immersion in Manouche culture is also considered crucial to the development of an authentically Manouche and truly feelingful sound. As one guitarist put it to me, a non‐Manouche musician who has not lived with Manouches cannot adequately convey musical “meaning”; “he’ll learn the rhythm of the notes well, but he lacks a little something” ( il va bien apprendre le rythme des notes, mais il manque un petit truc ).…”

Section: “It Has To Be Natural”mentioning

confidence: 99%

“…A focus on the metapragmatics of talk about musical skill development, especially where speakers privilege the aural and kinesic dimensions of musical communication, allows me to investigate how Manouche ethnoracial identities are produced along contrastive lines with French Whiteness. I bring together concerns of scholarship that shows how jazz musicians reflect on the various communicative modalities they use to accomplish musical tasks interactively (Berliner 1994; Black 2008; Duranti 2009; Duranti and Burrell 2004; Monson 1996; Wilf 2014) and of scholarship that unpacks the racialized dimensions of jazz performance (e.g., Braggs 2016; Horne 2019; Jackson 2012; Monson 1995, 2007; Porter 2002).…”

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Feeling to Learn: Ideologies of Race, Aurality, and Manouche Music Pedagogy in France

Lie

2021

J Linguistic Anthropol

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This article explores how music professionals promote interdiscursive oppositions between musical aurality and musical literacy to unsettle the terms of their racialization. For many French Manouches (a subgroup of Romanies/"Gypsies"), music is a source of pride, profit, and public recognition. Manouche musicians often valorize their own sensorially centered pedagogical approaches in distinction to music literacy as espoused by French schools and conservatories. In doing so, they link notions of expressivity, naturalness, and ethical behavior to their Manouche identity in contrast to White French society. They construct parallel contrasts between Black and White musicalities in the jazz world to convey their value as racialized musicians, pointing to transnational formations of race and White supremacy. Because French color-blind policy constrains speech about race and racism, advocacy for an aurally centered approach to music pedagogy becomes a way for speakers to denounce the discrimination Manouches face as racialized subjects. For these musicians, self-exoticization is a multifaceted tactic to develop a market niche, to prove themselves as good neoliberal subjects, and to disrupt the racial logics that render such alterity both an asset and a burden. Their discourse remains powerful even if, in practice, some make use of the very musictheoretical frameworks they critique.

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Section: “It Has To Be Natural”mentioning

confidence: 99%

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confidence: 99%

Feeling to Learn: Ideologies of Race, Aurality, and Manouche Music Pedagogy in France

Lie

2021

J Linguistic Anthropol

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“…I believe it is not incidental that the medium of music has been a key location for Aboriginal and Melanesian people to not only represent but in fact develop racial identities and identifications in the 20th century and beyond. In general, the ethnomuiscological literature of the past two decades has shown fairly conclusively that music is consistently and deeply tied to social identities, both as they are experienced by individuals and as they are performed, commemorated, and used to motivate communities by larger social groups (Buchanan, 2006; Charles-Dominique, 1996; Jackson, 2012; Radano and Bohlman, 2000; Rice, 2007; Sardo, 1997; Sugarman, 1997; Turino, 1993, 2000; Turino and Lea, 2004). As such, we might expect to find music connected to the development of racialized identities in the Southwestern Pacific.…”

Section: Music Modernity and The Politics Of Identitymentioning

confidence: 99%

The Black Pacific: Music and Racialization in Papua New Guinea and Australia

Solis

2014

Critical Sociology

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Music has been critical to the alliances and affiliations that have connected black-identified artists and activists from North America and the Caribbean with indigenous artists and activists from Australia and Papua New Guinea since as late as the end of the 19th century. This article sketches out those connections, asking what kinds of social formation this 'Black Pacific' has represented. Following Howard Winant, I argue that though affecting a relatively small number of people in places that are generally remote from western metropoles, nevertheless, this story of transcultural identification is crucial to understanding the trajectory of racialization as a component of modernity. 1

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“… 10 Travis A. Jackson, Blowin’ the Blues Away: Performance and Meaning on the New York Jazz Scene (Berkeley: University of California Press, 2012), 6.…”

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confidence: 99%

Fred Hersch at the Village Vanguard: The Sound of Jazz Heritage at New York's Oldest Jazz Club

Teal¹

2018

J Soc American Mus

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A small basement in Manhattan's Greenwich Village neighborhood, an area known for its bohemian values, is home to what is now one of jazz's oldest and most significant venues, the Village Vanguard. Although its very name, geography, and twentieth-century countercultural context define the Village Vanguard, a haven for experiment, its unequaled historical significance and current status as a major landmark within worldwide jazz culture have led to a twenty-first-century reality in which the club not only features but also plays an important role in defining the music that constitutes the most widely accepted subgenre of contemporary jazz, an improvisatory, small-group tradition rooted in the philosophical and musical heritage of bebop. Through an examination of performances both at the Vanguard and in other contexts by pianist Fred Hersch, a performer regularly featured at the club, this article argues that the cultural role of the Village Vanguard, both in spite of and because of the way its longtime owner Lorraine Gordon retained mid-twentieth-century appearances and practices, has shifted from its former purpose as a space for avant-garde experiments to become a powerful force in defining mainstream jazz. Hersch tailors his performances to suit the culture of the Vanguard at multiple levels, including his choice of personnel and ensemble type, the repertoire he does and does not play there, and the musical details of his improvisatory practices. Due to the venue's fame and prevalence as a recording space, choices like these by Hersch and other musicians shape the music widely understood to be at the center of the “jazz tradition,” marking a shift in the nature of the Vanguard that parallels changes in both its local and global context over the past half century as Greenwich Village has undergone substantial gentrification and jazz has gained an ever-stronger foothold as an institutionally recognized art music.

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The New York Jazz Scene in the 1990s

Cited by 3 publications

References 0 publications

Feeling to Learn: Ideologies of Race, Aurality, and Manouche Music Pedagogy in France

Feeling to Learn: Ideologies of Race, Aurality, and Manouche Music Pedagogy in France

The Black Pacific: Music and Racialization in Papua New Guinea and Australia

Fred Hersch at the Village Vanguard: The Sound of Jazz Heritage at New York's Oldest Jazz Club

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