🎶 July News from the JEN Research Interest Group

Welcome to the July edition of the JEN Research Interest Group newsletter. Below please find a variety of news items, announcements, callouts, new publications, and job opportunities.

As you prepare for the upcoming school year, please consider including articles from JAZZ in your reading lists. All information, table of contents for the previous three issues, and subscription links are now available through Project Muse at this link. Make sure your library has a current subscription and note that JEN members have access to reading the articles for free on the JEN website, but also have access for a discounted yearly subscription to the print or electronic edition for $15 through the IU Press website. In order to use articles in class, encourage students to order copies through your library, there is a wealth of information applicable to a range of classes.

The conference lineup will be announced soon, make plans to attend January 4-7. Volume 4 of JAZZ (Jazz Education in Research and Practice) is in the editorial process to be published by the 2023 JEN conference. The monthly series of webinars will continue on August 5 with Garo Saraydarian - Pedagogy of Place - Connecting the improvisational language with geographical context, 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/or Facebook 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.

🎶 FREE WEBINAR 🎶

Place-Based Pedagogies for Improvisation
with Garo Saraydarian

Friday, August 5 • 3pm ET

Zoom (Members) & Facebook Live (Non-members)

Join Garo Saraydarian, MIT Lecturer on Music and Associate Professor at Berklee College of Music, for this live webinar in which he imagines a pedagogy of place for the teaching of jazz improvisation. Placed-based pedagogy sees learning as occurring not just within classroom walls, but in the surrounding cultural and natural environment. My idea is that by making a space for place, we create opportunities for students to ground their creative development, enculturing their technical skills so that they have a spot from which to say something from a place deeply felt and personally meaningful.

Plus a Q & A with the live Zoom audience.

A presentation from the Jazz Education Research and Practice Journal, a publication of the Jazz Education Network.

Have a question you don't see covered above? Once registered, you will be invited to submit any questions you would like answered.

PLEASE NOTE:

JEN Members will receive a link 1-hr before the event to join the Zoom Room.

Non-members & youth (under 18) members will receive a link 1-hr before the event to join via Facebook Live. Click here for membership information.

Audiopollination Guelph is a monthly music and arts event featuring ad hoc trios performing creative improvised music, convened by local improvising musician Emjay Wright in partnership with the Guelph Jazz Festival. All ages, skill levels, backgrounds, and artistic disciplines are welcome, including visual artists and dancers. This is a space to experiment and discover new sound-making and artistic methods. Artists who are interested to perform can simply sign up for a slot one of the monthly event, which will pair them with other artists with whom they will collaborate.

SIGN UP TO PLAY AT AUDIOPOLLINATION GUELPH HERE

The first four events will take place on 13 May, 10 June, 8 July, and 12 August, and take place at Silence, 46 Essex St., Guelph. Admission for audience members is $10 (sliding scale).
Questions about the series can be emailed to Emjay Wright, audiopollinationguelph@gmail.com.

The Chicago Jazz Festival returns with performances celebrating all forms of jazz in Millennium Park, at the Chicago Cultural Center and citywide. Produced by DCASE and programmed by the Jazz Institute of Chicago (JIC), full schedule is listed below and also available at JazzinChicago.org. Admission to all performances is free.

As in previous years, outside alcohol is not allowed for the Chicago Jazz Festival in Millennium Park, but alcohol at various price points may be purchased inside the venue. Plan your visit here (link to MP page}

The Chicago Jazz Festival is a Labor Day weekend tradition that promotes all forms of jazz through free, high-quality music programming. The festival showcases Chicago's local talent alongside national and international artists to raise awareness and appreciation for one of the city’s most beloved art forms.

In the lead-up to the Labor Day performances, don’t miss free Jazz concerts happening at local venues across the city, August 23 – 31, as part of the Chicago Jazz Festival. Supported by DCASE through the Citywide Jazz Community Funding Program, the venues participating include The South Side Jazz Coalition, Hungry Brain, Constellation, Sleeping Village, The Birdhouse Inc., Live the Spirit Residency, 51st Street Business Association, Museum of Contemporary Art, Elastic Arts Foundation and The Whistler.

The National Endowment for the Arts (NEA) is pleased to announce the 2023 recipients of the NEA Jazz Masters Fellowship—musicians Regina Carter, Kenny Garrett, and Louis Hayes, as well as Sue Mingus, recipient of the 2023 A.B. Spellman NEA Jazz Masters Fellowship for Jazz Advocacy. These fellowships include an award of $25,000 and the honorees will be celebrated at a public concert in Washington, DC, on Saturday, April 1, 2023, in collaboration with the John F. Kennedy Center for the Performing Arts.

“From its origins in the Black American experience to what is now a global treasure, jazz continues to be a source of inspiration and creativity, due in large part to the stewards of this tradition, four of whom we are excited to honor this year,” said NEA Chair Maria Rosario Jackson, PhD. “Congratulations to the 2023 NEA Jazz Masters! We look forward to collaborating with the Kennedy Center on an event that will celebrate their contributions and passion for jazz with a wide audience.”

The master jazz musicians honored this year were all raised in Detroit, Michigan, and have gone on to make extraordinary contributions within jazz:

Regina Carter (Maywood, New Jersey) is renowned for her mastery of the violin and exploring the instrument’s possibilities in jazz, as well as taking journeys in other genres of music. A recipient of a MacArthur “genius” grant and a Doris Duke Artist Award (as well as an individual NEA jazz grant in 1990), Carter also shares her knowledge and talent through teaching and workshops.

Kenny Garrett (Glen Ridge, New Jersey) is a Grammy Award-winning saxophonist, arranger, composer, and band leader who has garnered critical recognition for his versatility in jazz, blues, and R&B contexts. Garrett began his career performing with the Duke Ellington Orchestra and Mel Lewis Orchestra and, in 1987, began working with Miles Davis, becoming a member of Davis’ working group—a collaboration that lasted for five years.

Louis Hayes’ (Bronx, New York) ability to shift seamlessly between driving hard bop and quiet sensitivity on ballads for more than 50 years make him one of the premier drummers in jazz. In addition to being a member of bands led by jazz legends, since the 1970s, he primarily has led his own bands to popular acclaim, often featuring new generations of stellar musicians.

USArtists International supports in-person and virtual performances by American artists at engagements at international festivals and global presenting arts marketplaces outside of the United States. The program funds individuals and ensembles across all performing arts practices and disciplines.

USArtists International is designed to encourage the presence of U.S. performing artists on international stages and in the global arts community; to support engagements that develop and expand both the careers and artistic goals of U.S. performers by providing connections with presenters, curators, and fellow artists; and to promote justice in the arts community by elevating the diverse voices contributing to the vibrant array of creative expression in the United States.
USAI provides grants of up to $18,000 toward eligible expenses; please reference the guidelines for further detail.

USArtists International is a program of Mid Atlantic Arts through the generous funding of the National Endowment for the Arts, the Mellon Foundation, and The Trust for Mutual Understanding.

Contingent Agencies is an artistic research project conceived as an inquiry into atmospheres— the subtle, dynamic, complex, and enveloping presences that emerge in given situations for those who inhabit them. More particularly, this project investigates the specific ways in which the agencies of single components of a situation (from light to animals, artifacts to sounds, matter to vegetation, traffic to color …) condition the emergence of these all-over and senseful presences.

In this concluding symposium, a cross-disciplinary group of researchers will address this complex subject matter as well as the specific research methodology developed in this project, based on practices of notation and reflection in diverse media. Participant researchers will be Karen Barad, Arno Boehler, Emma Cocker, Gerhard Dirmoser, Mika Elo, Tim Ingold, Sabina Holzer, Paula Kramer, Lambros Malafouris, Erin Manning, Dieter Mersch, Hans Jörg Rheinberger, and Andreas Spiegl, together with the principal investigators Nikolaus Gansterer and Alex Arteaga and the head of the Zentrum Fokus Forschung Alexander Damianisch.

Agencies and atmospheres will be inquired from a multi-perspective approach with contributions from artistic research (somatics, choreography, drawing, sound, video, photography, language-based practices) philosophy, archeology, anthropology and physics. The symposium is conceived as an intensive research week that includes micro-workshops, practice sessions, public lectures, panel discussions (both accessible onsite and online), and showings of artifacts. Further information and a detailed program can be found on the project’s website: www.contingentagencies.net

The international, 1-year Master program ‘Performing Public Space’ (PPS) invites guest artists from a variety of backgrounds, with a focus on public space as their research/practice environment, to apply with proposals to host interactive, on-site workshops for our students. (Fontys Campus Tilburg, The Netherlands).

PPS offers a flexible and innovative environment to artistically question, redefine and reclaim public space in its broadest sense. Combining an interdisciplinary range of approaches and subjects, with an equally diverse range of research methods, PPS creates the opportunity for its Master students to explore their practice and its potential in public space. The primary goal of the program is to enable students to adopt an independent and critical reflective attitude while inventively switching between different roles in the organizational process of their artistic research. Our students come from various backgrounds such as theatre, dance, circus, music, fine arts, architecture, digital arts and graphic design.

What are you going to do?
Lead artistic workshops during one of the on-site Bootcamps (October / January / May) in Tilburg, The Netherlands. (by invitation only)

OR
Lead interactive online session (by invitation only)

Content and methodology may vary according to your respective discipline and practice but must be connected to: public space discourse, artistic research and the public sphere, collaborative artistic practices, socially engaged practices.

The benefits at a glance:
Becoming part of our international network of artists and researchers
Work in higher education (Fontys University of Fine and Performing Arts)
Working in an interdisciplinary setting focusing on current developments in artistic research and practice
Remuneration: €50/hour (excl. tax)
Plus: 2h preparation, travel

What we ask?
Teaching/workshop and artistic experience
Affinity with artistic research
Practical experience with working in/with public space
A Master’s Degree/PhD is considered a plus
Residency in the Netherlands or Belgium is a plus

Interested? Please submit the following via e-mail to  FHKpublicspace@fontys.nl (use subject line: "Workshop Proposal”))

Workshop proposal & student preparation/assignment material (if applicable)
Curriculum Vitae
Portfolio of artistic experience (should include visuals like photos, videos, audio, sketches, reviews)

Deadline for applications:  September 1, 2022

24 Hours, beginning at 7 PM ET, August 26
FREE

IICSI will once again be presenting 24 hours of improvised music, dance, poetry, visual art, film, theatre, and more—and it's only a bit over a month away. Join us on August 26-27 for IF 2022!

Over the course of 24 hours, IF 2022 will showcase a continuous stream of more than 150 artists from around the world, all of whom filmed their contributions in advance.

Think of it as Nuit Blanche, plus . . . Jour Blanche (I guess?) component, but without having to shuffle from thing to thing in a giant crowd composed primarily of people who are inexplicably yelling at the friends who are walking right next to them. Always with the yelling, those Nuit Blanche crowds! It must have something to do with the reckless abandon inspired by moving through spaces that are traditionally locked-down after hours, seeing them in new contexts presented by the installations and shows. I guess that’s relatable enough, in hindsight. I shouldn’t be so quick to judge.

In terms of those new contexts and ways of seeing/hearing/feeling, IF definitely aligns, but you don’t even have to leave the comfort of your sofa, bed, or sofa bed for this! Please do remember to take breaks to stretch and move around, though. You can yell if you want, but be mindful of your neighbours.

This year's festival will also feature live, in-person performances at the University of Guelph on August 26th and August 27th (starting and capping the festival). And if that's not enough, IF 2022 will also be complemented by a conference on festivals taking place Friday, August 26th between 9-5pm, also at the University of Guelph (more details to come!).

University of California, Irvine, 17–19 March 2023

Keynote Speaker: Professor Jann Pasler (University of California, San Diego)

Since the eighteenth century, the piano has afforded women the potential to attain mobility and visibility, to exploit public mouthpieces such as journalism and technological media, to secure financial independence, and to make (often controversial) decisions in their personal lives. Yet, in popular readers such as Schonberg’s The Great Pianists (rev. 1983, 2006), Dubal’s The Art of the Piano (1989, 2004) and Mach’s Great Contemporary Pianists Speak for Themselves (1980 & 1988/1991), men vastly outnumber women, and those women are often European or American. Scholarly studies reproduce this bias (e.g. Hellaby 2013). Existing biographies of women pianists, e.g. of Novaes or Haskil, tend to be stylistic studies or hagiographical. Rieger and Steegmann’s 1996 Frauen mit Flügel is an important contribution but offers only biographical sketches.

This conference seeks to broaden out – historically and geographically – the discourse surrounding professional women pianists between 1848 and 1970. These years witnessed sustained interest in public piano performance, both onstage and in recording, against a backdrop of socio-political and technological change, from the 1848 revolutions, through two World Wars, to the decline of imperialism and the rise of second-wave feminism.
The conference themes are derived from recent work on Clara Schumann (Davies, Loges, Stefaniak, among others), with whom female pianists were compared well into the twentieth century. While Schumann has attracted much attention, many others, from across the world, remain comparatively unexplored. The conference committee therefore particularly welcomes contributions on women pianists linked to the global South and East, or papers that explore the piano as an instrument of globalism, colonialism, and mobility, with particular implications for women. The conference themes include but are not limited to:
Women’s public self-construction as pianists
Shared experiences and practices of women pianists
Women’s shaping of pianistic values
Marketing, business strategies, and reception of women pianists
Teaching and associated pedagogical activities
Performance styles, genres, and aesthetic beliefs
Repertoires, including the inclusion/exclusion of own compositions and improvisations
Performance, including live, recorded, broadcast, and through other media
Duo piano, chamber, and song pianist careers
The harpsichord and other keyboard instruments
Career trajectories from youth to old age
Women’s bodies, illness, injury, and disability
Personal lives, including relationships, singlehood, divorce, parenthood, and widowhood

Can young children play improvised jazz together? The answer provided by Guro Graven Johansen is an emphatic yes. While jazz is often constructed as an adult music genre, children are arguably among the most active and receptive of musical learners. The private Norwegian learning center Improbasen offers beginner’s instrumental tuition within jazz improvisation for children aged 7-15.To a very great exten, this is a book about one man;s approach to jazz pedagogy. Johansen thoroughly describes jazz teacher Odd Andre Elveland’s methods for instructing children in jazz improvisation. Johansen’s ethnographic study of the teaching and learning at Improbasen highlights several features, spanning from the micro-interactions within lessons to international concert tours and touching on critique of traditional jazz pedagogy as well as on the socially transformative potential of gender inclusivity.

Hello everyone--

Here are links to the 11th anniversary issue of Jazz History Online. Please feel free to share these links with friends, family and colleagues!

Newly Published

Historical Essay: (Red Rodney/Ira Sullivan): https://jazzhistoryonline.com/the-spirits-within-the-collaborations-of-red-rodney-and-ira-sullivan-part-1/
Book Review: (Mary Lou Williams): https://jazzhistoryonline.com/mary-lou-williams-music-for-the-soul-by-deanna-witkowski/
Retro Review (Ella Fitzgerald, Dave Brubeck, Charles Mingus, Oscar Peterson): https://jazzhistoryonline.com/do-you-remember-the-concert-when/
Vocal CD Reviews (Alex Baird, Dawn Derow, Carol Sloane, Melissa Stylianou, Tierney Sutton, Mark Winkler): https://jazzhistoryonline.com/reflections/
Instrumental CD Reviews: (Lynne Arriale, Eli Degibri, Fred Hersch, Martin Wind): https://jazzhistoryonline.com/reflections/
Notes from the Editor: https://jazzhistoryonline.com/notes-from-the-editor-07-22/

New concert reviews next week. New video review (WBGO story) to be published when product is available for sale.

Continuing and updated articles

Historical Essay (JATP at the Opera House): https://jazzhistoryonline.com/jatp-opera-house/
Profile (Veronica Swift): https://jazzhistoryonline.com/veronica-swift-her-infinite-variety/

Use our nifty search bar to find over 500 jazz articles and reviews on this site.

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Best,
Tom Cunniffe
1201 W 9th St (# 2)
Wilmington, DE 19806
(303) 246-8237 (cell)
tomsjazz@msn.com
jazzhistoryonline@gmail.com