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When it rains, it pours! I haven’t been writing much here at the blog, mostly because I’ve been busy preparing for Montreal, attending class, and writing my MA thesis. Expect something to chew on in the next week or so.
In the meantime, I’ve been asked to present even more research in the next two months! All in all, I have four presentations on my spring calendar, and would be honored if you came to check out any of them:
1) The Jazz Journalism Association presents the research of three jazz scholars under 30: yours truly on Jack Teagarden, Paul Brady on Django Reinhardt and Jared Negley on Sonny Sharrock. The panel will be hosted by David Adler and Howard Mandel. Tuesday, March 9, 6-8 PM at the New School.
3) The same presentation, “Rhythmic Dissonance in the Early Improvisation of Jack Teagarden” at the University of Cincinnati Music Theory and Musicology Society‘s 2010 Graduate Student Conference. April 9-10 in Cincinnati, OH.
4) A roundtable discussion and overview of my research at the Institute of Jazz Studies, part of their monthly Jazz Research Roundtable series. April 21, 7-9 PM at the Institute of Jazz Studies in Newark, NJ.
I hope to see some of you there — maybe even meet you for the first time. In the meantime, bear with me as I try to keep my head above water while continuing to provide you with jazz-related food for thought.
I was just informed yesterday that a paper proposal I submitted to the McGill Music Graduate Symposium was accepted! So I’ll be heading to lovely Montreal for the first time next month to talk about rhythmic complexity in Jack Teagarden’s early recorded improvisation.
If you’ve got any good jazz tips for me while I’m there, please do share. I will be sure to post my thoughts on my first conference paper presentation experience once it goes down next month. As of now, I am honored to be participating, super excited to present and nervous about paring this down into something that people will actually be willing to sit down and listen to for 20 minutes … wish me luck!
As I mentioned earlier, the year 2010 will see me delving deeply into the still-emerging field of jazz academia. As a part of that process, I’m going to be reading a lot of books and articles. Furthermore, I am going to be summarizing and commenting on their contents for my own research.
Given that, I thought that Lubricity would be a good place for me to share these thoughts, and provide a place for others to share their own opinions on the subjects that these books discuss, all of which are relevant to the current issues of jazz writing to which I have always paid particular attention here at the blog.
The first book that I’ve been reading, New Orleans Style and the Writing of American Jazz History by Bruce Boyd Raeburn, has been a real eye-opener. The book takes a look at how “New Orleans style” has been codified. He cleverly posits that the rigid understanding of the style that began to develop in the late 1930s — instrumentation, repertoire, etc. — was influenced primarily not by New Orleans musicians, but by record collectors: a white, educated, leftist parallel culture that developed alongside recorded jazz. Read the rest of this entry »