The Routledge Companion to Jazz Studies presents over forty articles from internationally renowned scholars and highlights the strengths of current jazz scholarship in a cross-disciplinary field of enquiry. Each chapter reflects on developments within jazz studies over the last twenty-five years, offering surveys and new insights into the major perspectives and approaches to jazz research. The collection provides an essential research resource for students, scholars, and enthusiasts, and will serve as the definitive survey of current jazz scholarship in the Anglophone world to-date. It extends the critical debates about jazz that were set in motion by formative texts in the 1990s, and sets the agenda for the future scholarship by focusing on key issues and providing a framework for new lines of enquiry. It is organized around six themes: I. Historical Perspectives, II. Methodologies, III. Core Issues and Topics, IV. Individuals, Collectives and Communities, V. Politics, Discourse and Ideology and VI. New Directions and Debates.
Table of Contents
PA RT I: Historical Perspectives 1. Wilkie’s Story: Dominant Histories, Hidden Musicians, and Cosmopolitan Connections in Jazz (Tony Whyton) / 2. Diasporic Jazz (Bruce Johnson) / 3. I Like to Recognize the Tune: Interrupting Jazz and Musical Theater Histories (Julianne Lindberg) / 4. “That Ain’t No Creole, It’s a . . .!”: Masquerade, Marketing, and Shapeshifting Race in Early New Orleans Jazz (Bruce Boyd Raeburn) / 5. Jazz Education: Historical and Critical Perspectives (Ken Prouty) / 6. Swan Songs: Jazz, Death, and Famous Last Concerts (Walter van de Leur) 7. Jazz on Radio (Tim Wall) PART II: Methodologies 8. After Wynton: Narrating Jazz in the Postneotraditional Era (David Ake) / 9. Jazz and the Material Turn (Floris Schuiling) / 10. Jazz Meets Pop in the United Kingdom (Catherine Tackley) / 11. On Billboard, Isaac Hayes, and the “Swinging Relationship” Between Jazz and Its Popular Music Cousins, 1950–1973 (John Howland) / 12. “Wacky Post-Fluxus Revolutionary Mixed Media Shenanigans”: Rethinking Jazz and Jazz Studies Through Jason Moran’s Multimedia Performance (John Gennari) / 13. Conceptualizing Jazz as a Cultural Practice in Soviet Estonia (Heli Reimann) / 14. And Then I Don’t Feel So Bad: Jazz, Sentimentality, and Popular Song (Alan Stanbridge) PART III: Core Issues and Topics 15. Space and Place in Jazz (Andrew Berish) / 16. Time in Jazz (Mark Doffman) / 17. Jazz and Disability (George McKay) / 18. Race in the New Jazz Studies (Patrick Burke) / 19. The Vocalized Tone (Tom Perchard) / 20. Jazz and the Recording Process (Benjamin Bierman) / 21. Figuring Improvisation (Peter Elsdon) / 22. Listening for Empire in Transnational Jazz Studies (Frederick J. Schenker) PART IV: Individuals, Collectives, and Communities 23. New Orleans, the “Creole Concept,” and Jazz (Wolfram Knauer) / 24. Sitting In and Subbing Out: The Gig Economy of 1960s New York (Marian Jago) / 25. George Lewis’s Voyager (Paul Steinbeck) / 26. Quiet About It—Jazz in Japan (Michael Pronko) / 27. Performing Improvisation: Bill Evans and Jean-Yves Thibaudet (Deborah Mawer) / 28. Bossa Nova and Beyond: The Jazz as Symbol of Brazilian-Ness (Eduardo Vicente) / 29. Individuals, Collectives, and Communities: Festivals and Festivalization: The Shaping Influence of a Jazz Institution (Scott Currie) PART V: Politics, Discourse, and Ideology 30. The Birth of Jazz Diplomacy: American Jazz in Italy, 1945–1963 (Anna Harwell Celenza) / 31. Jazzing for a Better Future: South Africa and Beyond (Christopher Ballantine) / 32. Eric Hobsbawm (Roger Fagge) / 33. Jazz at the Crossroads of Art and Popular Music Discourses in the 1960s (David Brackett) / 34. The Rhetoric of Jazz (Gregory Clark) / 35. Unfinalizable: Dialog and Self-Expression in Jazz (Charles Hersch) / 36. Improvisation: What Is It Good for? (Raymond MacDonald and Graeme Wilson) / 37. Friends and Neighbors: Jazz and Everyday Aesthetics (Nicholas Gebhardt) PART VI: New Directions and Debates 38. “The Reason I Play the Way I Do Is”: Jazzmen, Emotion, and Creating in Jazz (Nichole Rustin-Paschal) / 39. The Art of Improvisation in the Age of Computational Participation (David Borgo) / 40. Renaissance or Afterlife? Nostalgia in the New Jazz Films (Björn Heile) / 41. Comics as Criticism: Harvey Pekar, Jazz Writer (Nicolas Pillai) / 42. Free Spirits: The Performativity of Free Improvisation (Petter Frost Fadnes) / 43. My Jazz World: The Rise and Fall of a Digital Utopia (Simon Barber) / 44. Writing the Jazz Life (Krin Gabbard)
Nicholas Gebhardt is Professor of Jazz and Popular Music Studies at Birmingham City University and Director of the Birmingham Centre for Media and Cultural Research. His work focuses on jazz and popular music in American culture, and his publications include Going For Jazz: Musical Practices and American Ideology and Vaudeville Melodies: Popular Musicians and Mass Entertainment in American Culture, 1870-1929.
Nichole Rustin-Paschal earned a J.D. from the University of Virginia and a Ph.D. from New York University. She is the author of The Kind of Man I Am: Jazzmasculinity and the World of Charles Mingus Jr. and co-editor with Sherrie Tucker of Big Ears: Listening for Gender in Jazz Studies.
Tony Whyton is Professor of Jazz Studies at Birmingham City University and author of Jazz Icons: Heroes, Myths and the Jazz Tradition and Beyond A Love Supreme: John Coltrane and the Legacy of an Album. As an editor, Whyton has worked as the co-editor of the Jazz Research Journal since 2004 and he currently co-edits the Routledge series ‘Transnational Studies in Jazz’.
"The Routledge Companion to Jazz Studies is a thoroughly stimulating, provocative collection that challenges myriad assumptions about jazz cultures. The beauty of it is that it raises just as many questions, as all good research should, as it answers."
—Ian Patterson, All About Jazz