Dave Brubeck And The Performance Of Whiteness
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| Author | : Kelsey Klotz |
| Publisher | : Oxford University Press |
| Total Pages | : 321 |
| Release | : 2023-02-07 |
| Genre | : Jazz |
| ISBN | : 0197525075 |
How can we--jazz fans, musicians, writers, and historians--understand the legacy and impact of a musician like Dave Brubeck? It is undeniable that Brubeck leveraged his fame as a jazz musician and status as a composer for social justice causes, and in doing so, held to a belief system that, during the civil rights movement, modeled a progressive approach to race and race relations. It is also true that it took Brubeck, like others, some time to understand the full spectrum of racial power dynamics at play in post-WWII, early Cold War, and civil rights-era America. Dave Brubeck and the Performance of Whiteness uses Brubeck's performances of whiteness across his professional, private, and political lives as a starting point to understand the ways in which whiteness, privilege, and white supremacy more fully manifested in mid-century America. How is whiteness performed and re-performed? How do particular traits become inscribed with whiteness, and further, how do those traits, now racialized in a listener's mind, filter the sounds a listener hears? To what extent was Brubeck's whiteness made by others? How did audiences and critics use Brubeck to craft their own identities centered in whiteness? Drawing on archival records, recordings, and previously conducted interviews, Dave Brubeck and the Performance of Whiteness listens closely for the complex and shifting frames of mid-century whiteness, and how they shaped the experiences of Brubeck's critics, audiences, and Brubeck himself. Throughout, author Kelsey Klotz asks what happens when a musician tries to intervene, using his privilege as a tool with which to disrupt structures of white supremacy, even as whiteness continues to retain its hold on its beneficiaries.
| Author | : Kelsey A. K. Klotz |
| Publisher | : |
| Total Pages | : |
| Release | : 2022 |
| Genre | : Jazz |
| ISBN | : 9780197525104 |
"How can we-historians, writers, musicians, audiences-understand the legacy and impact of a musician like Dave Brubeck? It is undeniable that Brubeck leveraged his fame as a jazz musician and status as a composer for social justice causes, and in doing so, held to a belief system that, during the civil rights movement, modeled a progressive approach to race and race relations. It is also true that it took Brubeck, like others, some time to understand the full spectrum of racial power dynamics at play in post-WWII, early Cold War, and civil rights America. Dave Brubeck and the Performance of Whiteness uses Brubeck's mid-century performances of whiteness across his professional, private, and political lives as a starting point to understand mid-century whiteness, privilege, and white supremacy more fully. How is whiteness performed, and re-performed? How do particular traits become inscribed with whiteness, and further, how do those traits, now racialized in a listener's mind, filter the sounds a listener hears? To what extent was Brubeck's whiteness made by others? How did audiences and critics use Brubeck to craft their own identities centered in whiteness? Drawing on archival records, recordings, and previously conducted interviews, Dave Brubeck and the Performance of Whiteness listens closely for the complex and shifting frames of mid-century whiteness, and how they shaped the experiences of Brubeck, his critics, and his audiences. Throughout, author Kelsey Klotz asks what happens when a musician tries to intervene, using his white privilege as a tool with which to disrupt structures of white supremacy, even as whiteness continues to retain its hold on its beneficiaries"--
| Author | : Stephen A. Crist |
| Publisher | : Oxford University Press |
| Total Pages | : 297 |
| Release | : 2019-09-04 |
| Genre | : Music |
| ISBN | : 019021774X |
Dave Brubeck's Time Out ranks among the most popular, successful, and influential jazz albums of all time. Released by Columbia in 1959, alongside such other landmark albums as Miles Davis's Kind of Blue and Charles Mingus's Mingus Ah Um, Time Out became one of the first jazz albums to be certified platinum, while its featured track, "Take Five," became the best-selling jazz single of the twentieth century, surpassing one million copies. In addition to its commercial successes, the album is widely recognized as a pioneering endeavor into the use of odd meters in jazz. With its opening track "Blue Rondo à la Turk" written in 9/8, its hit single "Take Five" in 5/4, and equally innovative uses of the more common 3/4 and 4/4 meters on other tracks, Time Out has played an important role in the development of modern jazz. In this book, author Stephen A. Crist draws on nearly fifteen years of archival research to offer the most thorough examination to date of this seminal jazz album. Supplementing his research with interviews with key individuals, including Brubeck's widow Iola and daughter Catherine, as well as interviews conducted with Brubeck himself prior to his passing in 2012, Crist paints a complete picture of the album's origins, creation, and legacy. Couching careful analysis of each of the album's seven tracks within historical and cultural contexts, he offers fascinating insights into the composition and development of some of the album's best-known tunes. From Brubeck's 1958 State Department-sponsored tour, during which he first encountered the Turkish aksak rhythms that would form the basis of "Blue Rondo à la Turk," to the backstage jam session that planted the seeds for "Take Five," Crist sheds an exciting new light on one of the most significant albums in jazz history.
| Author | : Philip Clark |
| Publisher | : Da Capo Press |
| Total Pages | : 764 |
| Release | : 2020-02-18 |
| Genre | : Biography & Autobiography |
| ISBN | : 0306921650 |
THE DEFINITIVE, INVESTIGATIVE BIOGRAPHY OFJAZZ LEGENDDAVE BRUBECK("TAKE FIVE") In 2003, music journalist Philip Clark was granted unparalleled access to jazz legend Dave Brubeck. Over the course of ten days, he shadowed the Dave Brubeck Quartet during their extended British tour, recording an epic interview with the bandleader. Brubeck opened up as never before, disclosing his unique approach to jazz; the heady days of his "classic" quartet in the 1950s-60s; hanging out with Duke Ellington, Charlie Parker, Louis Armstrong, and Miles Davis; and the many controversies that had dogged his 66-yearlong career. Alongside beloved figures like Ella Fitzgerald and Frank Sinatra, Brubeck has achieved name recognition beyond jazz. But finding a convincing fit for Brubeck's legacy, one that reconciles his mass popularity with his advanced musical technique, has proved largely elusive. In Dave Brubeck: A Life inTime, Clark provides us with a thoughtful, thorough, and long-overdue biography of an extraordinary man whose influence continues to inform and inspire musicians today. Structured around Clark's extended interview and intensive new research, this book recounts one of the last untold stories of jazz, unearthing the secret history of "Take Five" and many hitherto unknown aspects of Brubeck's early career-and sharing details about his creative relationship with his star saxophonist, Paul Desmond. Woven throughout are cameo appearances from a host of unlikely figures, from Sting, Ray Manzarek of The Doors, and Keith Emerson to John Cage, Leonard Bernstein, Harry Partch, and Edgard Varèse. Each chapter explores a different theme or aspect of Brubeck's life and music, illuminating the core of his artistry and genius. To quote President Obama, as he awarded the musician with a Kennedy Center Honor: "You can't understand America without understanding jazz, and you can't understand jazz without understanding Dave Brubeck."
| Author | : Ken Prouty |
| Publisher | : Univ. Press of Mississippi |
| Total Pages | : 157 |
| Release | : 2023-12-15 |
| Genre | : Music |
| ISBN | : 149684792X |
Learning Jazz: Jazz Education, History, and Public Pedagogy addresses a debate that has consumed practitioners and advocates since the music's early days. Studies on jazz learning typically focus on one of two methods: institutional education or the kinds of informal mentoring relationships long associated with the tradition. Ken Prouty argues that this distinction works against a common identity for audiences and communities. Rather, what happens within the institution impacts—and is impacted by—events and practices outside institutional contexts. While formal institutions are well-defined in educational and civic contexts, informal institutions have profoundly influenced the development of jazz and its discourses. Drawing on historical case studies, Prouty details significant moments in jazz history. He examines the ways that early method books capitalized on a new commercial market, commandeering public expertise about the music. Chapters also discuss critic Paul Eduard Miller and his attempts to develop a jazz canon, as well as the disconnect between the spotlighted “great men” and the everyday realities of artists. Tackling race in jazz education, Prouty explores the intersections between identity and assessment; bandleaders Stan Kenton and Maynard Ferguson; public school segregation; Jazz at Lincoln Center; and more. He further examines jazz’s “public pedagogy,” and the sometimes-difficult relationships between “jazz people” and the general public. Ultimately, Learning Jazz posits that there is room for both institutional and noninstitutional forces in the educational realm of jazz.
| Author | : Fred Hall |
| Publisher | : University of Arkansas Press |
| Total Pages | : 252 |
| Release | : 1996 |
| Genre | : Jazz musicians |
| ISBN | : 9781610752107 |
| Author | : Ingrid Monson |
| Publisher | : Oxford University Press |
| Total Pages | : 417 |
| Release | : 2007-10-18 |
| Genre | : Music |
| ISBN | : 0199880883 |
An insightful examination of the impact of the Civil Rights Movement and African Independence on jazz in the 1950s and 60s, Freedom Sounds traces the complex relationships among music, politics, aesthetics, and activism through the lens of the hot button racial and economic issues of the time. Ingrid Monson illustrates how the contentious and soul-searching debates in the Civil Rights, African Independence, and Black Power movements shaped aesthetic debates and exerted a moral pressure on musicians to take action. Throughout, her arguments show how jazz musicians' quest for self-determination as artists and human beings also led to fascinating and far reaching musical explorations and a lasting ethos of social critique and transcendence. Across a broad body of issues of cultural and political relevance, Freedom Sounds considers the discursive, structural, and practical aspects of life in the jazz world in the 1950s and 1960s. In domestic politics, Monson explores the desegregation of the American Federation of Musicians, the politics of playing to segregated performance venues in the 1950s, the participation of jazz musicians in benefit concerts, and strategies of economic empowerment. Issues of transatlantic importance such as the effects of anti-colonialism and African nationalism on the politics and aesthetics of the music are also examined, from Paul Robeson's interest in Africa, to the State Department jazz tours, to the interaction of jazz musicians such Art Blakey and Randy Weston with African and African diasporic aesthetics. Monson deftly explores musicians' aesthetic agency in synthesizing influential forms of musical expression from a multiplicity of stylistic and cultural influences--African American music, popular song, classical music, African diasporic aesthetics, and other world musics--through examples from cool jazz, hard bop, modal jazz, and the avant-garde. By considering the differences between aesthetic and socio-economic mobility, she presents a fresh interpretation of debates over cultural ownership, racism, reverse racism, and authenticity. Freedom Sounds will be avidly read by students and academics in musicology, ethnomusicology, anthropology, popular music, African American Studies, and African diasporic studies, as well as fans of jazz, hip hop, and African American music.
| Author | : Noel Grove |
| Publisher | : National Geographic Books |
| Total Pages | : 356 |
| Release | : 2013 |
| Genre | : History |
| ISBN | : 1426211775 |
"With the White House historical Association"--Front cover.
| Author | : John Gennari |
| Publisher | : University of Chicago Press |
| Total Pages | : 495 |
| Release | : 2010-09-15 |
| Genre | : Music |
| ISBN | : 0226289249 |
In the illustrious and richly documented history of American jazz, no figure has been more controversial than the jazz critic. Jazz critics can be revered or reviled—often both—but they should not be ignored. And while the tradition of jazz has been covered from seemingly every angle, nobody has ever turned the pen back on itself to chronicle the many writers who have helped define how we listen to and how we understand jazz. That is, of course, until now. In Blowin’ Hot and Cool, John Gennari provides a definitive history of jazz criticism from the 1920s to the present. The music itself is prominent in his account, as are the musicians—from Louis Armstrong and Duke Ellington to Charlie Parker, John Coltrane, Roscoe Mitchell, and beyond. But the work takes its shape from fascinating stories of the tradition’s key critics—Leonard Feather, Martin Williams, Whitney Balliett, Dan Morgenstern, Gary Giddins, and Stanley Crouch, among many others. Gennari is the first to show the many ways these critics have mediated the relationship between the musicians and the audience—not merely as writers, but in many cases as producers, broadcasters, concert organizers, and public intellectuals as well. For Gennari, the jazz tradition is not so much a collection of recordings and performances as it is a rancorous debate—the dissonant noise clamoring in response to the sounds of jazz. Against the backdrop of racial strife, class and gender issues, war, and protest that has defined the past seventy-five years in America, Blowin’ Hot and Cool brings to the fore jazz’s most vital critics and the role they have played not only in defining the history of jazz but also in shaping jazz’s significance in American culture and life.
| Author | : Keith Hatschek |
| Publisher | : Univ. Press of Mississippi |
| Total Pages | : 221 |
| Release | : 2022-02-04 |
| Genre | : Music |
| ISBN | : 1496837789 |
Recipient of a 2023 Certificate of Merit for Best Historical Research in Recorded Jazz from the Association for Recorded Sound Collections Keith Hatschek tells the story of three determined artists: Louis Armstrong, Dave Brubeck, and Iola Brubeck and the stand they took against segregation by writing and performing a jazz musical titled The Real Ambassadors. First conceived by the Brubecks in 1956, the musical’s journey to the stage for its 1962 premiere tracks extraordinary twists and turns across the backdrop of the civil rights movement. A variety of colorful characters, from Broadway impresarios to gang-connected managers, surface in the compelling storyline. During the Cold War, the US State Department enlisted some of America’s greatest musicians to serve as jazz ambassadors, touring the world to trumpet a so-called “free society.” Honored as celebrities abroad, the jazz ambassadors, who were overwhelmingly African Americans, returned home to racial discrimination and deferred dreams. The Brubecks used this double standard as the central message for the musical, deploying humor and pathos to share perspectives on American values. On September 23, 1962, The Real Ambassadors’s stunning debut moved a packed arena at the Monterey Jazz Festival to laughter, joy, and tears. Although critics unanimously hailed the performance, it sadly became a footnote in cast members’ bios. The enormous cost of reassembling the star-studded cast made the creation impossible to stage and tour. However, The Real Ambassadors: Dave and Iola Brubeck and Louis Armstrong Challenge Segregation caps this jazz story by detailing how the show was triumphantly revived in 2013 by the Detroit Jazz Festival and in 2014 by Jazz at Lincoln Center. This reaffirmed the musical’s place as an integral part of America’s jazz history and served as an important reminder of how artists’ voices are a powerful force for social change.
