News, callouts, conferences, jobs, and more...
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October 2023
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Welcome to the October edition of the JEN Research Interest Group newsletter. Below please find a variety of news items, announcements, callouts, new publications, and job opportunities. Scheduling for the January 2024 conference in New Orleans has been announced and can be viewed here, so make sure to mark the calendars and reserve your hotel rooms - this one will be very special!. Research presentations and poster sessions will be Thursday of the conference and we’re planning on a JENRing meeting on Friday 11am to introduce the
mentoring initiative and provide info on how to prepare articles for the journal. Volume 5 of JAZZ will be ready for distribution by the conference. I also plan on an Encore dinner gathering of our JENRing members and presenters on Thursday evening. It was wonderful to connect in Orlando with many of you and it would be great to catch up and share about projects and more. If you’d like to join send me a note so I can gage interest and make reservations. Just like last year everyone will buy their own dinner but we can all spend some time together.
The monthly series of webinars will continue on November 3 with Jake Hertzog - The Museum, the Laboratory, the Nightclub, the Embassy: Public Universities and the Future of Jazz and on the first Friday of every month featuring one of the authors published in JAZZ (Jazz Education in Research and Practice). The goal of the presentations is to share the findings as well as ideas for practical implementations in the classroom and curricula. Please look for links and invitations to the webinars on the JEN website and Facebook page. They’ll be live streamed on Facebook, but those who register for the zoom webinar will be able to ask questions and interact with the panelists. All previous presentations can be accessed here.
Please feel free to share this news compilation and invite colleagues to join the mailing list and/orFacebook page. Remember to check the updated job listings here. If you have new books/ articles/ dissertations published, send me the info to be included in the newsletter. Also send over ideas on how JENRing can help you in your jazz research and networking. Items of interest related to
jazz research may also be shared on the Facebook page.
Sincerely,
Monika Herzig
JEN Research Interest Group Committee Chair
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Newsletter Sections
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Jump to any section by clicking below
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⬇ FREE WEBINAR ⬇
The Museum, the Laboratory, the Nightclub, the Embassy:
Public Universities and the Future of Jazz
with Jake Hertzog
Friday, November 3 • 3pm ET
Zoom (Members) & Facebook Live (Non-members)
Join Dr. Jake Hertzog, critically-acclaimed guitarist and Assistant Professor and jazz-area coordinator at the University of Arkansas, as he presents and discusses the roles that public universities play as a national infrastructure for jazz in the United States. A focus will be placed on conceptualizing these roles as a Museum, a Laboratory, a Venue, and an Embassy and a discussion of policies and collective action to support these roles will be featured.
Plus a Q & A with the live audience.
A presentation from the Jazz Education Research and Practice Journal, a publication of the Jazz Education Network.
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Wynton Marsalis reflects on the way time flies, as Jazz at Lincoln Center Orchestra plays a program full of his work
by Alexander Varty
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WHEN WYNTON MARSALIS and the Jazz at Lincoln Center Orchestra play an all-Marsalis program at the Orpheum on October 10, it will mark a significant departure from their usual practice: honouring the giants of the jazz past by reconstructing their music for the jazz present.
Previous JLCO concerts and recordings have honoured such foundational figures as Louis Armstrong and Duke Ellington, bebop and post-bop innovators Charlie Parker and Charles Mingus, and even relative radicals like fusion pioneer Chick Corea and free-jazz mastermind Ornette Coleman. But as the ensemble’s artistic director since 1991, Marsalis has always been shy of presenting his own work with the band in such a comprehensive fashion.
With Marsalis due to turn 62 this fall, should we see this change of focus as some kind of career overview or retrospective?
Not on your life.
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Carla Bley, Jazz Composer, Arranger and Provocateur, Dies at 87
by Nate Chinen
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Carla Bley, an irrepressibly original composer, arranger and pianist responsible for more than 60 years of wily provocations in and around jazz, died on Tuesday at her home in Willow, a hamlet that is part of the town of Woodstock, N.Y. She was 87.
Her longtime partner in life and music, the bassist Steve Swallow, said the cause was complications of brain cancer.
Ms. Bley’s influential body of work included delicate chamber miniatures and rugged, blaring fanfares, with a lot of varied terrain in between. She was branded an avant-gardist early in her career, but that term applied more to her slyly subversive attitude than to the formal character of her music, which always maintained a place for tonal harmony and standard rhythm.
Within that given frame, Ms. Bley found plenty of room to confound expectations and harbor contradictions. In the 2011 biography “Carla Bley,” Amy C. Beal described her music as “vernacular yet sophisticated, appealing yet cryptic, joyous and mournful, silly and serious at the same time.”
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Coltrane: A Love Supreme, Part 3, for his Birthday—Overdubbing
by Lewis Porter
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In honor of Coltrane’s birthday (September 23), let’s continue our in-depth study of his most famous recording. (Please look in the Index on the home page for Parts 1 and 2.)
In a previous essay, we mentioned that Coltrane overdubbed his voice chanting “A Love Supreme.” We’ll discuss that in a later essay. But it has not been generally recognized that he also overdubbed instruments on this album.
One curious thing I noticed back in 1978 is that there’s a second saxophone at the very end of “Psalm.” Over 20 years later, Victor Lin, an excellent pianist and violinist who took one of my Rutgers seminars when he was a grad student, pointed out that there are also two basses, and overdubbed drums.
Listen now to the end of “Psalm” as it appears on the released album—see if you can hear all the overdubbing. The second sax appears at 0:05. And please notice that there are two-handed rolls on timpani drums, along with cymbal crashes and other drum sounds at the same time. And at the very end, two basses are still playing after everyone else has finished, one bowing and one strumming:
In 2015, thirty-some years after I first wrote about the overdubbing, the original, undubbed ending was released as part of the super deluxe 3-CD edition. Please listen, and if you wish, go back to the dubbed version above to compare. Notice that there is only one cymbal crash (at 0:20) on this original version, and only the bowed bass (not plucked). And of course, there’s no sign of the second saxophone:
In September 1995 (or possibly ’96), while writing my book, I decided to see if I could find more information about the use of overdubbing, which was then still an unknown fact about this well-known album. I phoned Bob Thiele, the producer of this and most of Coltrane’s albums for Impulse. He had the reputation of being a bit of a gruff personality. The reputation was accurate. He said: “Are you crazy? Millions of people have heard that album. Don’t you think someone would have noticed if there is overdubbing on it?”
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VIS Open Call #12
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The call for participation in VIS – Nordic Journal for Artistic Research number 12 is open! The theme is Contemporary Ar(t)chaeology: A dead-alive of Artistic Re-search and History. The editors for this issue are Behzad Khosravi Noori and Magnus Bärtås.
The 12th issue of VIS extends an invitation to artistic practitioners from all fields who possess an interest in historiography. It seeks explorations into methodologies, reinterpretations, and re-examinations of the past. Through the perspective of contemporary Ar(t)chaeology, a fusion of art and archaeology, the journal aims to demonstrate how artistic research can offer an alternative methodology capable of challenging established historical narratives and presenting opportunities for reimagining the past.
The deadline for submitting exposition proposals is 30 November 2023, and the issue will be published in October 2024.
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6th International Jazz Composers’ Symposium
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The sixth International Jazz Composers’ Symposium, co-sponsored by Vanderbilt University and the International Society of Jazz Arrangers and Composers (ISJAC), will be held at the Vanderbilt University Blair School of Music in Nashville, TN from May 16-18, 2024. The Symposium is designed as a forum to bring jazz composers of all ages and nationalities together for an informal exchange of ideas, information, and inspiration. This year’s Symposium will include noted master artists in a series of concerts, lectures, master classes, panel discussions, research presentations, and industry sessions.
CALL FOR SCORES
Composers of all ages and nationalities are invited to submit scores and recordings for inclusion in one of several featured new music / master class sessions as well as consideration for ISJAC’s “SONIC” Awards. Works selected will be aired for listening by the open Symposium audience (along with projected score whenever possible) with each composer offering brief insights into his/her compositional concepts.
Applicants may submit only one work and must elect to submit in one of three categories:
CALL FOR PAPERS
The Symposium welcomes proposals from scholars and composers of all ages and nationalities for presentations of their own research related to aspects of jazz composition: analyses, historical perspectives, the creative process, business/audience models, criticism, etc. Presentations will be limited to 25 minutes – inclusive of time for questions and comments from the audience.
Research papers must not have been presented at any other conference or forum. While they may have been submitted for publication, they must not have appeared in print prior to the Symposium. Composers may present analyses of their own composition but are encouraged to do so only if their work has been widely disseminated through recordings and/or publication. (Works that have already been disseminated ARE eligible for consideration for the Poster Sessions. See below.)
Interested researchers should submit:
an application form (found on the ISJAC website),
An abstract of the paper (250 words or less)
a bio (no more than 100 words)
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Jazz Encounters Conference
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The eighth Rhythm Changes Conference, Jazz Encounters, will take place at the Institute for Jazz Research (University of Music and Performing Arts, Graz, Austria) from 3 to 6 April 2024. This conference is organised in conjunction with the fourteenth International Jazz Research Conference.
Keynotes
Keynote: Prof. George McKay (University of East Anglia, UK)
Keynote: Maite Hontelé (trumpet player, the Netherlands)
Closing address: Stephanie Vos (Stellenbosch University, South Africa)
We invite submissions for Jazz Encounters, a four-day multidisciplinary conference bringing together researchers, writers, musicians, critics, and others interested in jazz studies. The event will feature academic papers and panels.
Jazz is a music born of encounter. Jazz encounters are dynamic; they create synergies and frictions and have the power to reconfigure social and political spheres. To understand these encounters is to understand ongoing processes of identity-making and the history and meaning of jazz in the world. Jazz encounters have arisen from and are influenced by myriad factors, including histories and legacies of enslavement, cultural and creative exchanges, ideological contestation, technological change, new modes of communication, economic development, trade, war, occupation, and political consolidation. These processes of encounter and migration – of people, ideas, goods, and objects – shape understandings of the music and its impact on society, from
the influence on the lives of individuals to the ideology of societal institutions.
We welcome papers addressing the conference theme from multiple perspectives, including cultural studies, musicology, cultural theory, music analysis, jazz history, media studies, and practice-based research. We particularly welcome contributors who identify as women or gender diverse and from other under-represented groups and communities within jazz studies and academia more generally. Within the general theme of Jazz Encounters, we have identified several sub-themes. Where relevant, please clearly specify which sub-theme you are referring to in your proposal.
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Art Dedrick: Pioneer in Jazz Education
by Jason Dedrick
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The remarkable life story of Art Dedrick a jazz trombonist, composer, arranger, teacher, and pioneer in music education. He was the first to publish professional-sounding big band charts that could be played by students of all skill levels. This book documents how he overcame daunting challenges to become a trailblazer in the jazz education movement. Includes: photos and interviews with musicians, educators, students, family and friends.
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RAPP Lab Finalisation
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After six international Labs and numerous public appearances, conferences and online events with a total of over 500 participants, the EU-funded research project RAPP Lab (Reflection-based Artistic Professional Practice) under the artistic-scientific direction of Dr. Evelyn Buyken (Artistic Research) and coordinated by Dr. Sybille Fraquelli has been completed in August 2023.
From the six experimental Labs and their results, a tool kit was then created that collects and re-structures the gained insights and results about the multiplicity of reflexive practices. It consists of a Catalogue Raisonné containing the guidelines of the project, a Handbook including a Practical Guide, a documentation showing the material used and produced as well as an interactive website (www.rapplab.eu).
This tool-kit has been published on the Research Catalogue and can be found at the link below.
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Zentrum Fokus Forschung, Univeristy of Applied Arts Vienna
On Certain Groundlessness - Navigating Dizziness Together
by Ruth Anderwald, Leonhard Grond, & Sergio Edelsztein
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Do you like to tread on unsteady ground? Do you enjoy the view from a high-rise building, balancing over a high wire or following the allure of the unknown and uncertain?
This is a podcast as an artistic research endeavour – a piece of PodArt – that will get your head spinning, proposing artworks alongside conversations.
Following the pleasures and risks of becoming dizzy, we, artists duo Ruth Anderwald + Leonhard Grond and curator Sergio Edelsztein, have the immense pleasure of discussing dizziness with brilliant artists, writers, musicians, political scientists, philosophers, historians, mathematicians, urban planners, curators and other thinkers and creatives from Europe, North and South America, South East Asia and the Middle East. We’re excited to discuss and learn something unexpected along the way as our guests talk about their ideas about dizziness, uncertainty, and anxiety, the generative and destructive potential these states yield in our personal and social lives and environments, and eventually propose ways of navigating dizziness individually and
collectively. When do we enjoy getting dizzy? When does it constitute a risk, and what risks are worth taking individually and as a society?
With contributions by Gloria Benedikt, Katrin Bucher-Trantow, Michael Butter, Gabriela Carneiro da Cunha, Davide Deriu, Tim Etchells, Karoline Feyertag, Dani Gal, María Auxiliadora Gálvez Pérez, David Grubbs, Ran Holtzmann, Anna Kim, Gal Kronenberg, Philippe-Alain Michaud, Dan Novy, Alice Pechriggl, Letizia Ragaglia, Evdokia Romanova, Grace Samboh, Katja Schechtner, Başak Şenova, Ben Spatz, Trevor Paglen, Ursula Prutsch, Angelos Varvarousis, Ilan Volkov, and others.
Produced in spatial audio, this PodArt is best enjoyed with a high-quality headset.
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