JazzWorldQuest Update: Jazz Knowledge

CONTINENTAL DRIFT: 50 years of jazz from Europe Zack Moir
Edinburgh Napier University, Popular Music, Faculty Member
Edited conference proceedings, including papers from: William Bares Emma Webster Petter Frost Fadnes Chris Inglis Michael Kahr Renée Stefanie Matthias Heyman
THE BLUE NOTE OF DEMOCRACY (JAZZ AND DEMOCRACY) Ziga Vodovnik  
University of Ljubljana, Faculty for Social Sciences, Political Science, Faculty Member Abstract: The article starts from the assumption that old criteria for analysing the state and perspectives of democracy – e.g. sovereign state, party pluralism, elections , representation, national identity, market economy etc. – are wholly obsolete categories that no longer have any connection to the current dynamics of democratic innovations. For these reasons, the article appropriates the jazz idiom as a convenient metaphor and discourse to highlight epistemological and methodologi-cal challenges entailed in understanding democracy. In the last part, the article indicates deeper and substantial…
The Early Performance of Jazz Music in Turkey Yaprak Melike Uyar
Abstract: This article investigates the emergence of jazz music in Turkey and its early years of performance. The early years of jazz music in Turkey cover the time period between 1923 and 1941; the former represents the declaration of the Turkish Republic and the latter stands for the first performance of a ‘real’ jazz band, Swing Amatör, as stated by musicians and chroniclers of the period. This study is based on oral history interviews conducted with jazz musicians who experienced the 1930s and 40s.
Storytelling in Jazz Work as Retrospective Collaboration Fumi Okiji
Northwestern University, Performance Studies, Post-Doc Abstract: Storytelling has proved to be a useful metaphor in jazz commentary and analysis. Within such literature it is invariably solos, portrayed as discrete cultural articles, that “tell a story” through their adherence to internal coherence and logic. This prized autonomy is modeled on that which we find in the modern European tradition. Pathbreaking studies by scholars such as Ingrid Monson, Paul Berliner, and Keith Sawyer have redressed this hegemony in highlighting the importance of collaborative work in jazz.