By Mark Banks, 21 July 2010
The history of jazz owes much to the capitalist market. The market has provided the principal means for the manufacture, distribution and promotion of musical works, a coterie of willing buyers, and a means of accruing incomes that have sustained musicians and financed further production. Yet while jazz musicians have used the market in order to distribute and support their otherwise invisible (or rather, inaudible) music, they have also demanded distance from it in order to create ‘autonomous’ art-works beyond the reach of economic interest.
By Jason Toynbee, 13 July 2010
This week I had the opportunity to read an engaging essay by Kristin McGee, a colleague doing research on jazz in the Netherlands (the chapter will appear in Migrating Music, edited by Jason Toynbee and me, forthcoming with Routledge). McGee discusses the prominent place of bebop in contemporary jazz pedagogy and practice, and the roots of this high standing in both ideology and community practice.