Download Eurojazzland: Jazz and European Sources, Dynamics, and by Luca Cerchiari, Laurent Cugny, Franz Kerschbaumer PDF

By Luca Cerchiari, Laurent Cugny, Franz Kerschbaumer

It's always stated that jazz is America’s superb present to the realm, yet whereas real, this belies the stunning, usually an important function that Europe has performed within the improvement and recognition of jazz during the global. in keeping with a sequence of symposia attracting prime students, critics, and musicians from all through Europe and the U.S., Eurojazzland first addresses the effect of ecu musical traditions and tools at the formation and improvement of yankee jazz. half information the important reports of yank musicians on eu soil, from black minstrels to such jazz greats as Benny Carter and Duke Ellington, and bargains with ecu jazzmen and their advancements of yank jazz types. the ultimate half chronicles the significance of eu critics and musicologists in jazz feedback and provides essays on eu contributions to jazz musicianship and production.

Eurojazzland proves that jazz is just too wealthy and sundry for one kingdom to say, outline, or comprise. This groundbreaking assortment will attract jazz aficionados, students, musicologists, and musicians.

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Extra info for Eurojazzland: Jazz and European Sources, Dynamics, and Contexts

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Representation for Latinos and Hispanics is more di≈cult to ascertain. ≥π The Italian researcher Guido Festinese estimates that of the approximately one hundred musicians constituting the ‘‘first generation’’ of New Orleans jazz (those born before 1900), nearly a third had Italian surnames. ≥∫ While they are submerged within these categorizations, Hispanic surnames nevertheless constitute a significant proportion of the total. Al Rose and Edmond Souchon’s New Orleans Jazz: A Family Album lists twenty-four musicians with Hispanic or Latino surnames born before 1900, most of which Beyond the ‘‘Spanish Tinge’’ would have been identified as Hispanic-heritage Creoles of color (Tios, Marreros, Santiagos, Dominguez, Toca, and Ysaguirre).

I shall make my position on these issues clear from the outset: my belief is that the proper locus for discussion of jazz origins is New Orleans and its immediate hinterland, which does not eliminate the need to investigate pan-American antecedents to jazz or recognition of the a≈nities that existed within the circumCaribbean or Latin American cultural context. Yet dynamic models are necessary, and historical particularities must be respected, with due diligence given to the role of human agency.

Selections representing ‘‘post-Gottschalk exoticism’’ included in Piano Music from New Orleans, 1851–1898, compiled and with a preface by John H. Baron, illustrate this tendency. In his review of the compendium, J. Bunker Clark comments on the special features characteristic of the New Orleans environment: ‘‘William T. Francis . . composed two Mexican dances that are reminiscent of Gottschalk’s exoticism and pianistic virtuosity and arranged three others played at the 1885 World Cotton Exposition by the Mexican Military Band.

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