Browsing by Subject "Jazz"

At the Vanguard of Vinyl investigates the jazz industry's adoption of the long-playing record (LP), 1948-1960. The technological advancements of the LP, along with the incipient use of magnetic tape recording, made it feasible to commercially issue recordings running beyond the three-minute restrictions of the 78-rpm record. LPs began to feature extended improvisations, musical mistakes, musicians' voices, and other moments of informal music making, revolutionizing the standard recording and production methods of the previous recording era. As the visual and sonic modes of representation shifted, so too did jazz's relationship to white mainstream culture, Western European musical aesthetics, US political structures, and streams of Afro-modernism. Jazz, as an African American social and musical practice, became a form of resistance against the violent structures of institutional racism within the United States in the 1950s.

Using the records of Miles Davis, Duke Ellington, Dizzy Gillespie, and Cannonball Adderley, this study outlines the diverse approaches to record making that characterized the transitional years as the LP became the standard recording format. Through archival research, close listening, and detailed discographical analyses of the era's most influential record labels, I show how jazz practices and musical "mistakes" caught on record provided opportunities for recording experimentation. I examine choices made during the record production process, such as tape edits, microphone placement, overdubbing, and other sound processing effects, connecting such choices to the visual and tactile attributes of these discs. Drawing on scholarship that considers how sound reproduction technologies mediate constructions of race and ethnicity, I argue that the history of jazz in the 1950s is one of social engagement by means of and through technology. At the Vanguard of Vinyl is a cultural history of the jazz LP that underscores the ways in which record making is a vital process to music and its circulation.

In jazz circles, someone with "big ears" is an expert listener, one who hears the complexity and nuance of jazz music. Listening, then, figures prominently in the imaginations of jazz musicians and aficionados. While jazz scholarship has acknowledged the discourse on listening within various jazz cultures, to date the actual listening practices of jazz musicians and listeners remain under-theorized. This dissertation investigates listening and aural experience in a New York City community devoted to avant-garde jazz. I situate this community within the local history of Manhattan's Lower East Side, discuss the effects of changing neighborhood politics on music performance venues, and analyze social interactions in this scene, to give an exposition of "listening to music" as a practice deeply tied into other aspects of my interlocutors' lives. I engage with cultural anthropology, urban sociology, and media studies, applying insights from those fields while engaging perennial concerns and topics of jazz scholarship: the nature of musical improvisation, and relatedly, the dynamics of listening and aural perception, as well as the complex, changing, but continuing relationship between African American cultural practices and jazz.

This project makes several contributions to the ethnomusicology of listening and to jazz studies. First, I argue for and demonstrate an ethnographically-informed mode of music analysis: I use ethnographic data on participants' aural experience as the basis for

fine-grained sound analysis. Second, in attending to the processes that produce alternative, parallel, and sometimes intersecting canons, I locate the work of canon formation in the everyday lives of listeners and reveal its political and ideological implications. Finally, building on the previous two arguments, I propose that listening, though often experienced as subjective and private, takes place in networks of social relationships that listeners constitute both through real-time interaction and through engagements with history. Although scene participants vary widely in their theories of how to listen, it is through interactions around shared aural experiences that they carry on the ethos of the 1960s countercultural and Civil Rights movements and reproduce their investments in the ideas of social and musical marginality in the post-Fordist New York of the early 21st century.

What ideological dreams does music express? And how does it do so? In listening to three paradigmatic moments in American Jazz, this dissertation attempts to answer these two problems by illustrating how the modes of our production structure the range of our interpretive possibilities, and how music responds to and overcomes these dilemmas aesthetically.

Miles Davis, never one for self-effacing humility, took his boasting to new heights when he proclaimed in a Rolling Stone interview from December 1969, "I could put together the greatest rock and roll band you ever heard." Most critics agree that A Tribute to Jack Johnson, recorded between February and April of 1970, was his attempt to do just that. The album featured an ensemble that was closer to a rock power trio than a jazz quintet, musicians who were as schooled in rock and R&B as in jazz, and a prominent use of emerging instrument and studio technologies previously unheard in Davis's music. In highlighting these stylistic markers, A Tribute to Jack Johnson made definitive the musical transition that Davis's immediately preceding works had set in motion.

Though few fans of the era would have been surprised by Davis's invocation of the value-laden vocabulary of "greatness" in describing his music, many were taken aback by his desire to associate with rock and roll. For a musician trained in the jazz tradition and revered as a master of the genre, the intentional incorporation of influences from popular music was viewed by many jazz listeners as nothing short of heretical. What did it mean, then, for Davis to make such a claim - and such an album - at the particular time that he did?

To address these two questions, I investigate in my dissertation the production, circulation, and reception of both the stand-alone album A Tribute to Jack Johnson and the documentary film for which parts of the album were initially the soundtrack. Combining my training in music with scholarly perspectives on identity politics, technology studies, film studies, and African American social and political history, I demonstrate how this recording comprises both a signal incursion into accepted jazz practice, and a unique window onto vital debates around jazz, popular culture, and identity constructions in the U.S. in the early 1970s. This dissertation thereby offers one approach for continuing the critical re-evaluation of fusion jazz that has prominently been in progress since the late 1990s.