Remixing European Jazz Culture examines a jazz culture that emerged in the 1990s in cosmopolitan cities like Amsterdam, Rotterdam, Berlin, London, and Oslo—energized by the introduction of studio technologies into the live performance space, which has since developed into internationally-recognized, eclectic, hybrid jazz styles. This book explores these oft-overlooked musicians and their forms that have nonetheless expanded the plane of jazz’s continued prosperity, popularity, and revitalization in the 21st century—one where remix is no longer the sole domain of studio producers.
Seeking to update the orthodoxies of the field of jazz studies, Remixing European Jazz Culture
With an expansion of international networks and a disintegration of artistic boundaries, the collaborative, performative, and real-time improvisational process of remixing has stimulated a merging of the music’s past and present within European jazz culture.
Introduction Remixing European Jazz Culture: Historical Precedents, Methodological Approaches, and Theoretical Interventions / Chapter 1 Jazz in Post-War Europe: From Free Collectives to Electronic Jazz / Chapter 2 Blue Note Trips and Wicked Jazz Sounds: Dance Tourists and Musical Migrants in Amsterdam’s Crossover Jazz Scene / Chapter 3 DJs and PLOs in Berlin’s Electronic Jazz Scene: The Hybrid Production Aesthetics of Jazzanova / Chapter 4 Oslo’s Jazzland Records: Finding Home in a New Conception of Jazz / Chapter 5 (Part I) The ‘Revival of the Revival’ or a Swing Dance Continuum? Mediascapes, Time-Machines, and Intercultural Encounters at the Herräng Dance Camp / Chapter 5 (Part II) Jazz Records, Dance Media, and Survival Technologies within Herräng’s Professional Jazz Dance Network / Chapter 6 (Part I) Configuring Crisis and Sampling Swing in Vintage Festivals and Electro Swing / Chapter 6 (Part II) (Re)Generating the Jazz Past in the Vintage Remix of Caravan Palace and Caro Emerald / Epilogue
The field of New Jazz Studies has emerged out of traditional modes of musicological inquiry, with an increasing number of scholars examining jazz as a discursive cultural practice. Drawing on a range of disciplinary perspectives, New Jazz Studies has begun to promote a multiplicity of canons, exploring the overlapping and exchanges between different countries and cultural groups and challenging existing modes of understanding. Transnational Studies in Jazz presents cross-disciplinary and international perspectives on the relationship between jazz and its social, political, and cultural contexts.
While supporting ongoing research on American themes, artists and scenes, Transnational Studies in Jazz also seeks to develop understandings of jazz in different contexts, approaching the American influence - as well as the rejection of America - through analysis of international discourses and local scenes. Through US, UK and international contributors, jazz would be understood not only as a sonic form or subject of artistic expression and analysis but also as a key social and political agent in the development and exchange of culture.