Category Archives: Darmstadt Jazzforum

Jazz @ 100

Conference, 28 – 30 September 2017
Concerts, exhibition (September / October 2017)

In the centenary of jazz – the recordings of the Original Dixieland Jass Band from 1917 are often cited as the first jazz recordings ever – the Darmstadt Jazzforum conference looks at the pitfalls of jazz historiography, which often relies on myths and legends that distort what is even more important: the multi-perspectivity of a music which is being created not only by great masters, but certainly by many individualists.

In all of this, the 15th Darmstadt Jazzforum does not plan to re-write jazz historiography. During the international conference, during concerts and an exhibition, however, we hope for a lively discussion about how our understanding of the music, its history and its aesthetic has been shaped. We see jazz as a music with a history of more than a hundred years, and we know that it’s much more complex than history books usually tell us. Our objective is to unravel some more of this complexity, even though we know that we will only be scratching at the surface.

— — —

Conference/Short Overview
“Jazz @ 100. An alternative to a story of heroes”

On Thursday we will look at the perception of jazz history, its heroes and the places where it develops. For his book “American Jazz Heroes” the photographer and journalist Arne Reimer visited musicians in their personal homes, received intimate insights into their lives, and reflects about the difference between reality, self- and outside perception.  Nicholas Gebhardt reflects on Alan Lomax’s Library Of Congress recordings of Jelly Roll Morton in 1938 and connects them to broader issues in historiography, especially the relation between narrative, memory and the cultural imagination. Katherine  M. Leo ends the first day of the conference looking at the Original Dixieland Jazz Band whose recording of “Livery Stable Blues” and “Dixieland Jass Band One-Step” from 26 February 1917 is often cited as the first jazz record ever, and uses court documents for copyright lawsuits as well as a critical reading of the music’s reception to set the different narratives in perspective which the record evoked.

Six papers on Friday will focus on the changing perspectives on jazz and its history.  Klaus Frieler reports about an attempt to tell jazz history not just through a mixture of biographical, social and cultural context and musical characterizations but by using a computer-based analysis tool to approach solo improvisations. Andrew Hurley reads the different editions of Joachim Ernst Berendt’s influential “Jazzbuch”  (The Jazz Book), focusing on the author’s changed and changing attitudes and using this example to describe different methods of narrative formation. Tony Whyton discusses the influence of local and often very personal memories of musicians or promoters on the discourse about jazz as a trans-national practice. Mario Dunkel reads Darcy James Argue’s Secret Society as a attempt of imagining an alternative kind of jazz history and thus making room for a history of jazz as a story of both realized and unrealized potentialities. The pianist and composer Orrin Evans talks about jazz as a current and relevant art form as well as about (African-)American identity of the music in the context of a more and more complex global network.  Krin Gabbard looks at the film “Syncopation” from 1942 in order to ask how “new jazz studies” approaches can help analyze racial and economic ideologies and to emphasize the importance of not only concentrating on the (mostly male) heroes of the music.

The papers on Saturday will deal with the issue of major narratives in jazz, how it is being influenced by the music industry, how musicians have the power to change the historical narrative which involves them directly, and how all of such discourses influence the perception of the public. Wolfram Knauer looks at specific places where jazz is being performed, and asks about the effect of such often iconic venues with the music, the musicians, the jazz scene(s) and the public perception of the music. Oleg Pronitschew looks the increasing institutionalization of the German jazz scene during the last 40 years, discussing selected case studies and asking for its effect on the public image of the music. Rüdiger Ritter examines the idea of “jazz giants” in East and Central Europe and finds that myth in jazz can be a productive element and an artistic prison at the same time. Karen Chandler describes the influence of Gullah and Geechie culture on the coastal region of South Carolina and argues that a representation of jazz history along clear geographical centers can distort the much more complex notion of jazz as a musical as well as social practice. Scott DeVeaux revisits the birth of bebop, which provided the ideology for much of modern jazz, but asks us to reconsider whether the choices made by musicians in the 1940s should still govern contemporary music-making. Nicolas Pillai ends the 15th Darmstadt Jazzforum with a look at the representation of Miles Davis across different media, asking in which ways the late Miles created impact beyond his music.


Conference/Lecturers and Timetable
Jazz @ 100. An alternative to a story of heroes”

Thursday, 28 September 2017

2:00pm
Opening remarks

2:30pm
Arne Reimer, Germany
My Encounters with “American Jazz Heroes”

For his two coffee-table-sized books “American Jazz Heroes”, Arne Reimer visited older American jazz musicians at home, covering artists whose career proved to be financially successful as well as such who live under economically unstable conditions. At the Darmstadt Jazzforum Reimer asks how musicians deal both with the gap between their self- and their media perception, how they handle a lack of recognition or the fact that the most creative and successful part of their career might be long past. At the same time he reflects about his own approach as a photographer and journalist whose focus on these musicians will put them back into some sort of spotlight and thus create its own, new narrative about them.

Arne Reimer studied photography at the Academy of Fine Arts in Leipzig, Germany (HGB) as well as at Massachusetts College of Art in Boston, MA. He has taught for six years at the Academy of Fine Arts in Leipzig. His photos have been widely published; his two books “American Jazz Heroes” published in 2013 and 2016 have been praised and won several prizes, among them an 2017 Echo Jazz special award. Reimer also works as a curator and freelance photographer for magazines (Jazz Thing) and record companies (ECM Records).

3:30pm
Nicholas Gebhardt, England
Reality Remade: Historical Narrative and the Cultural Imagination in Alan Lomax’s Mister Jelly Roll

Nicolas Gebhardt looks at one of the first autobiographical documents on jazz, Jelly Roll Morton’s interview for the Library of Congress from 1938 and asks about the different perspectives reflected within this material: Morton’s view of his own role during the early history of the music, Alan Lomax’s editorial decisions and thus interpretation of the excerpts which he selected for the book “Mister Jelly Roll”, and our own approach as jazz researchers contextualizing musicians, their music, their living and working conditions in order to gain a more nuanced description of jazz history.

Nicholas Gebhardt is Professor of Jazz and Popular Music Studies at Birmingham City University in the United Kingdom. His work focuses on jazz and popular music in American culture, and his publications include Going For Jazz: Musical Practices and American Ideology (Chicago), The Cultural Politics of Jazz Collectives (Routledge) and Vaudeville Melodies: Popular Musicians and Mass Entertainment in American Culture, 1870-1929 (Chicago). He is the co-editor of the Routledge book series, Transnational Studies In Jazz and the forthcoming The Routledge Companion to Jazz Studies.

4:30pm
Katherine M. Leo, USA
The ODJB at 100: Revisiting Essential Narratives and Victor 18255

Katherine  M. Leo examines the self-portrayal as well as the public image of the Original Dixieland Jazz Band whose “Livery Stable Blues” and “Dixieland Jass Band One-Step” from 26 February 1917 often are called jazz history’s first recordings. She discovers that the band’s critical and public reception often is being reduced to this recording from 1917 and pleads for a more nuanced discussion not just of the music but also of the narrative which was attached to the ODJB over the last 100 years. Among the sources she uses for this reconsideration are court documents for copyright lawsuits  about exactly these two tunes.

Katherine M. Leo is an Assistant Professor in Musicology/Ethnomusicology at Millikin University, in Decatur, IL. Her research explores the intersection of American legal and music histories, with specific emphasis on early-twentieth-century popular musics. Having recently received her Ph.D. (2016) and J.D. (2015) from Ohio State, Katherine’s dissertation examined the history and nature of musical expertise in federal copyright litigation, while her masters’ research focused on notions of authorship surrounding the ODJB. Katherine has notably presented papers for the American Musicological Society and the Society for American Music, and will soon be published in the Journal of Music History Pedagogy.

— — —

Friday, 29 September 2017

9:30am
Klaus Frieler, Germany
A Feature History of Jazz Solo Improvisation

Klaus Frieler reports about an attempt to narrate jazz history not so much by mixing biographical accounts of eminent figures, descriptions of sociological and cultural context and genuine musical characterizations, but through the computer-based analysis of solo improvisations. For this he uses high-quality solo transcriptions from the Weimar Jazz Database as well as an analytical software developed for the Jazzomat Research Project which allows to search for a variety of characteristics such as scalar features, tonal and rhythmic complexity and other parameters. Frieler then discusses how such seemingly objective finds can be useful to describe the creative process and looks at potential future extensions to the project.

Klaus Frieler graduated in theoretical physics (diploma) and received a PhD in systematic musicology in 2008 from the University of Hamburg. He worked as a freelance software developer for several years, before taking up a post as a lecturer in systematic musicology at the University of Hamburg in 2008. In 2012, he spent a brief period at the Centre for Digital Music, Queen Mary University of London. Since autumn 2012, he has been working as a post-doctoral researcher with the Jazzomat Research Project at the University of Music “Franz Liszt” Weimar. His main research interests are computational and statistical music psychology with a focus on creativity, melody perception, singing intonation, and jazz research. Since 2006, he has also been working as an independent music expert specializing in copyright cases. See http://www.mu-on.org for more information.

10:30am

Andrew Hurley, Australia
In and Out: Processes of Inclusion and Exclusion in Joachim-Ernst Berendt’s Jazzbuch/Jazzbook, 1953-2011

For German jazz fans the books written by Joachim Ernst Berendt were a major point of reference. Andrew Hurley reads the different editions of “The Jazz Book” from 1953 up to the presently available edition and discovers shifts in narrative perspective and elisions. He discusses what the decisions about which narratives to use (or not) tell us about changing concepts of jazz historiography. In a close reading of “The Jazz Book”, Hurley discovers how narratives establish themselves, how alternative readings are suppressed or emerge, and how the quarrel between narratives can change perceptions of apparent reality.

Andrew W. Hurley is Associate Professor in the Faculty of Arts and Social Sciences at the University of Technology, Sydney, where he teaches in the International Studies programme. He is the author of two monographs: The Return of Jazz: Joachim-Ernst Berendt and West German Cultural Change (Berghahn, 2011) and Into The Groove:  Popular Music and Contemporary German Fiction (Boydell & Brewer, 2015)

11:30am
Tony Whyton, England
Wilkie’s story: hidden musicians, cosmopolitan connections, and dominant jazz histories

Tony Whyton discovered a box full of memorabilia by a distant family member documenting his connections within the British jazz scene since the mid-1920s. Using this example, Whyton discusses the hidden histories of musicians and the role they play in the ecologies of jazz. Archival materials such as these comment on the inter-relationship between dominant jazz narratives and other cosmopolitan connections. They can enable us to start a conversation about the realities of the jazz world, the connectedness of people in different cultural settings, and the development of jazz as a transnational practice.

Tony Whyton is Professor of Jazz Studies at BCU. His critically acclaimed books Jazz Icons: Heroes, Myths and the Jazz Tradition (Cambridge University Press, 2010) and Beyond A Love Supreme: John Coltrane and the Legacy of an Album (Oxford University Press, 2013) have sought to develop cross-disciplinary methods of musical enquiry. As an editor, Whyton published the Jazz volume of the Ashgate Library of Essays on Popular Music in 2011 and continues to work as co-editor of the Jazz Research Journal (Equinox). In 2014, he founded the new Routledge series ‘Transnational Studies in Jazz’ alongside BCU colleague Dr Nicholas Gebhardt. Gebhardt and Whyton also edited The Cultural Politics of Jazz Collectives: This Is Our Music (Routledge) in 2015, a collection that explores the ways in which musician-led collectives offer a powerful model for rethinking jazz practices in the post-war period. From 2010-2013, Whyton was Project Leader for the ground-breaking HERA-funded Rhythm Changes: Jazz Cultures and European Identities project (www.rhythmchanges.net), where he led a consortium of 13 researchers working across 7 Universities in 5 countries.

2:30pm

Mario Dunkel, Germany
Darcy James Argue’s Uchronic Jazz

Mario Dunkel presents the latest project of composer and bandleader Darcy James Argue as an attempt to investigate an alternative history of jazz by, for instance, asking how big band music might sound if it had stayed popular and incorporated many of the popular genres that have emerged since, including rock, grunge, steampunk, and hip hop. By asking what might have been, argues Dunkel, Argue provides a new perspective on what was, and on what was not, making room for a history of jazz as a story of both realized and unrealized potentialities.

Mario Dunkel is assistant professor (Juniorprofessor) at the Music Department of the Carl von Ossietzky University of Oldenburg. His research interests include transcultural music education, the history of jazz, and the practice of music diplomacy.

3:30pm
Orrin Evans, USA
A Talk with Orrin Evans

As a pianist and composer Orrin Evans who lives in Philadelphia is very much a part of today’s New York jazz scene. For the Darmstadt Jazzforum he shares his view of jazz as a relevant art form, talks about improvisation as a road to artistic identity in jazz history, as well as about the changes of jazz from an (African-)American music towards a complex global art form which developed quite varied practices that at times seem to be difficult to subsume under the same term.

Since 1995 pianist and composer Orrin Evans has recorded more than 25 albums as a leader or co-leader and performed on numerous others. He came up in the culturally rich jazz scene of Philadelphia where he still lives although he plays in New York (and elsewhere) on a weekly basis. Evans performs with his trio, his band Tarbaby or his Captain Black Big Band. From early 2018 he will replace Ethan Iverson in the trio The Bad Plus. Orrin Evans will perform a solo piano concert at the Darmstadt Jazzforum on Saturday evening.

4:30pm
Krin Gabbard, USA
Syncopated Women

Krin Gabbard picks up discussion of our last Darmstadt Jazzforum in his presentation when he asks, after a close reading of William Dieterle’s film “Syncopation” from 1942, how specific representations of jazz and jazz history reflect racial, gender, and economic ideologies.  Unlike virtually every other jazz film of the 1940s, “Syncopation” acknowledges slavery as a crucial element in jazz history.  It is also unique in distinguishing between the economies of black and white jazz bands.  In addition, the film has an unusually ambivalent view of the participation of women in the music’s development.  Using the example of “Syncopation”, Gabbard argues that the “new jazz studies” can provide a rich conception of jazz histories and how these traditions have been understood.

Krin Gabbard is Professor of Jazz Studies and director of the J-Disc, the jazz discography project at Columbia University. His books include Jammin’ at the Margins: Jazz and the American Cinema (University of Chicago Press, 1996), Black Magic: White Hollywood and African American Culture (Rutgers University Press, 2004), and Better Git It in Your Soul: An Interpretive Biography of Charles Mingus (University of California Press, 2016). He is also the editor of Jazz Among the Discourses (Duke University Press, 1995).

— — —

Saturday, 30 September 2017

9:30am

Wolfram Knauer, Germany
Four Sides of a House. How jazz spaces irritate, fascinate, stimulate creativity or become icons

Wolfram Knauer looks at the ideal room for jazz from different perspectives. There are venues with an excellent acoustic, clubs with their own aura (often soaked in jazz history), halls where one can literally hear everything, and others that offer an intimate connection between the artists and their audience. Knauer looks at several examples to speculate about different conceptions of what might constitute an ideal room for jazz. He discusses the involvement of such venues with local and regional scenes, and he asks how changes in the presentation and reception can be both seen as a chance and as a threat to established local activities because (a) they indeed have an impact on the perception of the music, and because (b) new venues will also change the general expectation of the audience in regard to the music they are going to hear.

Wolfram Knauer is the director of the Jazzinstitut Darmstadt since its inception in 1990. He is the editor of Darmstadt Studies in Jazz Research (14 volumes till now, Wolke 1890-2016) has published several books, among them critical studies of Louis Armstrong (Reclam 2010) and Charlie Parker (Reclam 2014). A study of Duke Ellington and his music will be published in 2017 (Reclam). He has taught at several schools and universities and was appointed the first non-American Louis Armstrong Professor of Jazz Studies at the Center for Jazz Studies, Columbia University, New York, for spring 2008.

10:30am
Oleg Pronitschew, Germany
A New Place for Jazz. Insights Into the Historic Institutionalization of German Jazz Music.

Oleg Pronitschew looks at the institutionalization of the German jazz scene during the last 40 years and asks what effect it had on the public image of the music. He describes how jazz was more and more seen as a form of art music and discusses how as a result the aesthetic, social as well as commercial expectations have changed that both musicians, the industry and the audience directed towards the music.

Oleg Pronitschew is an European Ethnologist and PhD candidate at the Christian-Albrechts-University of Kiel. He has studied European Ethnology, Political Science and New German Literature and Media Studies at the CAU Kiel from 2005 to 2011. He was as a lecturer at the Department of European Ethnology in Kiel from 2011 to 2013. Currently he is finishing his PhD project on the topic of jazz/popular musicians as a cultural practice between imagination and valuation. He is a PhD-fellow of the Ernst-Ludwig-Ehrlich-trust in Berlin since 2014.

11:30am
Rüdiger Ritter, Germany
Myths in jazz – artistic prison or productive element? Examples from East and East Central Europe

The history of jazz in Poland and other East European countries was often presented as a succession of national “jazz greats” who could be compared with their US-American counterparts. Thus, the highest praise for a Polish musician might have been to be described as the “Polish Charlie Parker”. Rüdiger Ritter asks how such a view of jazz musicians as national heroes influenced the role of jazz as a constitutive moment of Polish national culture. He also discusses a different kind of identification with jazz “myths” in the Soviet Union and in Czechoslovakia where musicians saw jazz as an option to realize one’s own aesthetic ideas without seeking out specific role models. The Polish example demonstrates that clinging to the “giant” myth does not necessarily have to be an aesthetic prison, but can offer creative paths to music-making as well – and the Soviet and Czechoslovakian examples show how rejecting the mythical jazz narratives allowed for a maximum of aesthetic possibilities, even though these came with the danger of the music being questioned as to its jazz content. Myths in jazz, then, seem to be a productive element and an artistic prison as well.

Rüdiger Ritter is an expert on Eastern Europe and has published extensively about jazz in countries of the former Eastern bloc. He teaches at the University of Bremen; at the same time he is assistant director of the Museum of the 1950s in Bremerhaven. Ritter was coordinator for the research project “Jazz in the Eastern Bloc”, and has written his habilitation dissertation about Willis Conover and the effect of his jazz radio broadcasts.

2:30pm
Karen Chandler, USA
Bin Yah (Been Here). Africanisms and Jazz Influences in Gullah Culture

Music like most cultural expressions is based in regional networks, in the communities in which they serve specific functions. Karen Chandler describes some of the Africanisms which survived in the Gullah and Geechee culture of the coastal region of South Carolina and which strongly influenced the music in Charleston. Jazz history is often told by focusing on clear geographical centers (New Orleans, Chicago, New York, Kansas City, Los Angeles etc.), a narrative that thus blurs the real complexity of a music which, after all, was not just “invented” a hundred years ago but is the result of cultural negotiations between people of different origins in different places and under different conditions.

Karen Chandler is the Director of the Arts Management program at the College of Charleston. She is also Co-Founder/Principal of the Charleston Jazz Initiative (CJI), a multi-year study of the jazz tradition in Charleston and South Carolina. From 2001-2004, she served as director of the College of Charleston’s Avery Research Center for African American History and Culture.

3:30pm
Scott DeVeaux, USA
An Alternative History of Bebop

Bebop was a crucial moment in jazz history.  In the 1940s, musicians made choices that separated jazz from popular culture and defined it as a new and distinct genre, one that still governs our sense of jazz today.  Yet, as Scott DeVeaux notes, the assumptions underlying bebop can be reconsidered.  Why should jazz be seen as separate from dance and popular song? Why should jazz audiences insist on hearing instrumental improvisers in isolation, instead of encouraging collaborations with other spheres of pop culture? He will illustrate with examples from contemporary music.

Scott DeVeaux is a nationally recognized jazz scholar whose 1997 book The Birth of Bebop: A Social and Musical History won the American Book Award, an ASCAP–Deems Taylor Award, the Otto Kinkeldey Award from the American Musicological Society, and the ARSC Award for Excellence in Historical Sound Research. He has taught jazz history at the University of Virginia since 1983.

4:30pm
Nicolas Pillai, England
A Star Named Miles: tracking jazz musicians across media

The perception of jazz heroes is influenced by many aspects, music being just one of them. In the final presentation of our conference, Nicolas Pillai looks at the media representation of trumpeter Miles Davis in his later years, and describes “the dissonant image” of his appearances in film, television drama, music videos, fashion magazines and TV advertising. He considers the industry networks which formed Miles’ multi-media personality, taking into account the trumpeter’s own influence on his public image, discussing gesture, speech and costume.

Nicolas Pillai is the author of Jazz as Visual Language: Film, Television and the Dissonant Image (I. B. Tauris, 2017) and the co-editor of New Jazz Conceptions: History, Theory, Practice (Routledge, 2017). With Tim Wall and Roger Fagge, he is preparing an edited collection on late Miles Davis. He has published work on jazz and film in The Soundtrack journal and Darmstadt Studies in Jazz, 14. He is currently working on chapters for The Routledge Companion to New Jazz Studies, The Routledge Companion to Popular Music History and Heritage and The Oxford History of Jazz in Europe.

15th Darmstadt Jazzforum

Jazz @ 100 | An alternative to a story of heroes

Conference, Concerts, exhibition, 28 – 30 September 2017

Details about the conference “Jazz @ 100 | An alternative to a story of heroes”
Details about the concert with the Kirk Lightsey Quintet feat. Paul Zauner
Details about the concert with the Julia Hülsmann Octet

Details about the concert with Orrin Evans
Details about the exhibition “My Encounters with ‘American Jazz Heroes'”

In the centenary of jazz ­– the recordings of the Original Dixieland Jass Band from 1917 are often cited as the first jazz recordings ever – the Darmstadt Jazzforum conference looks at the pitfalls of jazz historiography, which often relies on myths and legends that distort what is even more important: the multi-perspectivity of a music which is being created not only by great masters, but certainly by many individualists.

In all of this, the 15th Darmstadt Jazzforum does not plan to re-write jazz historiography. During the international conference, during concerts and an exhibition, however, we hope for a lively discussion about how our understanding of the music, its history and its aesthetic has been shaped. We see jazz as a music with a history of more than a hundred years, and we know that it’s much more complex than history books usually tell us. Our objective is to unravel some more of this complexity, even though we know that we will only be scratching at the surface. We do not just want to look at the past, either, but are just as much interested in papers that focus on today’s developments and their significance in the cultural discourse jazz always was a part of.

The Darmstadt Jazzforum will focus on different aspects of jazz historiography, such as:

Places:
Jazz historiography mostly talks of major cities, of New Orleans, Chicago or New York, of Paris, London or Berlin. An alternative reading might identify other places (such as Charleston, St. Louis, Los Angeles or Lyon, Leeds, Wuppertal) and link these to specific events, movements, or group activities. An alternative reading might also stress the fact that any fixation of cultural activity to a specific place forgets aspects of mobility which are important in a music dealing mostly with cultural encounters. How do “scenes” and connections between scenes work? What does the historigraphic choice of focusing on a specific “place” or the deliberate negation of geographical positioning mean for our understanding of jazz? And what are the specific connections between locations and the music itself?

People:
Jazz historiography often talks about successful or tragic heroes. An alternative reading might move other protagonists into the focus, might talk about temporary networks which enable artistic developments but are much more than mere musical relationships. An alternative reading should not necessarily question the importance of the great personalities but ask what kind of an example they set and/or what examples might have been alternatives from a very different direction. Focusing on people in jazz one needs to ask about the concept of artistic or commercial “success”; one needs to look at the processual aspects of improvisation (as opposed to the “Werk” aesthetic which shines through in most artists’ discographies); and one needs to look at the involvement of artists in the cultural discourses of their direct environments (community, city, scene, politics).

Style:
It seems like those lucky days when jazz history could easily be categorized with clear stylistic distinctions are over since the 1970s. And yet we often search for new descriptions to sum up more recent developments. The designation of stylistic names may be helpful for talking about music, but is it a suitable procedure in the internet era in which genre-hopping is the rule for a whole generation? The discussion about “genre” or “style” needs to take into consideration how such terms and categories have been canonized in the past and are being used in the present, by the music press, the industry, by fans as well as even by those pretending not to like jazz (Branford Marsalis: “People think if nobody sings it’s jazz.”). When questioning the illusion of genre purity, one has to ask about the general necessity  for categories in the first place and speculate about a future with no need to “file under…”

Presentations, Discussions, Concerts, Exhibition

At the 15th Darmstadt Jazzforum all of these topics are addressed by scholars from different disciplines, by journalists and by musicians. An exhibition with photos by Arne Reimer allows a “view behind the scenes” of the public life of jazz musicians. Three concerts will complete the event (and some of the musicians will also talk at the conference). Attending the conference is free. We ask, though, for informal registration.

More about the 15th Darmstadt Jazzforum about “Jazz @ 100. An alternative to a story of heroes” (concerence program, information about the concerts and the exhibition) will be online here in late May.

PS: The language at the Darmstadt Jazzforum conference is English.

14th Darmstadt Jazzforum

A4_header_jazzforum_2015_0615_2

Conference, exhibition, workshop, concerts
Gender and Identity in Jazz

Darmstadt Jazzforum 2015 GENDER_IDENTITY from Jazzinstitut Darmstadt on Vimeo.

The speakers have been chosen; here is an overview of the papers.

Introduction

Jazz used to be a predominantly male music. Not only were most of the musicians male, but its aesthetics and social environment was dominated by male ideals and male players as well. In the public perception of this music women as well as other groups or identities not compliant with the male orientation of jazz’s origins played only a minor role. Strong female instrumental voices, for instance, or musicians with a LGBT background were marginalized both by the media and by the jazz scene, seen as an exception or celebrated as a fig-leaf for the alleged openness of the music.

Celebrating the Jazzinstitut’s 25th anniversary, the 14th Darmstadt Jazzforum will approach the gender topic from different sides. We are aware of the fact that there is no “female jazz” or “male jazz”, that music in itself does neither have a gender nor a sexual orientation. And yet our identity which we acquired in our respective environments are highly influential on how we express our creativity, how we think about art and music, which associations we may have with specific genres if not even with specific sounds. “I don’t care whom you’re screwing”, said the pianist Orrin Evans in September 2014 at the first “Queer Jazz Festival” in Philadelphia, “as long as you’re screwing somebody” – music, after all, is a taking place between people, it’s not a hermit’s art.

How, then, is our identity forming our understanding of jazz? Or to be even more precise: Is jazz really a man’s music? And if so, where exactly do its male attributes come from? Is some kind of emphasis on masculinity in the African-American community one of the reasons for the stereotype of jazz as a male art form? How can such an attitude be described – and how does it translate into other cultures? Why, for instance, doesn’t the slow softening of masculine values in global pop music since the 1970s have a stronger effect on jazz? Or is this actually happening and we just don’t notice it because of the general changes we experience around us? Are there musical qualities which are determined through identity (if not through gender)? We know about and acknowledge gender-typical approaches and methods of problem-solving in many other fields; can we identify such in music? Do men play more aggressively, are women more anxious to reach a consensus? Are words such as “empathetic” or “forceful” clearly linked to specific gender characteristics? What is the difference between the self-view and the independent view of this topic? How does one deal with the phenomenon that a musician such as Gary Burton makes clear that, of course, he does not play “gay jazz”, yet acknowledges that after his coming-out many of his colleagues told him he sounded much “freer”?

How, then, does one take the roles one is playing in the real world along into an art form which is about “playing yourself” on the one hand and which deals with an open kind of communication of specific individuals on the other hand? Jazz, after all, is one of the most individual approaches in the music field; it seems odd to argue that one’s personal background has no influence whatsoever on the musical result. “Where you come from is where you go to”, is at least part of the rule: Whoever you are, will define what and how you will play and perform.

At our 14th Darmstadt Jazzforum we plan to look at different views on this complex field of topics. We will focus on three thematic blocks. (1) We will discuss topics such as masculinity / gender / intersectionality / identity. (2) We will invite some analytical case studies, in which the art of specific musicians is being approached without first looking at the gender aspect of their music. (3) A third block is to bring us into the lived-in reality both of days gone by and of today’s world, allow for focused views into jazz history and for conversations with men and women active on today’s jazz scene.

The view of jazz musicians and their art may be distorted if we reduce them to any parts of their identity, be it their gender, their sexual orientation, their ethnicity, or anything else. However, to ignore these facets, be it in jazz history or today’s jazz scene, is a proof of neglect as well. At the 14th Darmstadt Jazzforum we hope to contribute to a discourse which is and remains important in our changing modern world.

Please find Darmstadt Jazzforum on Facebook    GENDER_IDENTITY


„GENDER_IDENTITY“ is hosted by the Jazzinstitut Darmstadt, a cultural institution of the City of Science Darmstadt.

Logo_JazzDa_4c          A5_Darmstadt-Logo_rgb-3c

The 14. Darmstädter Jazzforum is fonded by the Kulturfonds Frankfurt Rhein-Main, the  Hessischen Ministerium für Wissenschaft und Kunst and the jubilee-foundation of the Sparkasse Darmstadt.

KFFRM_logo_blau        hessisches_min_wiku     JUBI LOGO

hr2 Kultur, JAZZTHETIK and MELODIVA are media partners of the 14. Darmstädter Jazzforums

hr2_logo_neu.ai     JT_box_purple    LogoMelo_orange

We are co-operating for the 14. Darmstädter Jazzforums with the „Frauen machen Musik e.V.“, the Kulturzentrum Bessunger Knabenschule, WAGGONG Frankfurt e.V., the Centralstation Darmstadt and the Romanfabrik in Frankfurt/Main

Logo_BKS_orange     waggong      CS_Entega_pos_2014      romanfabrik

Gender and Identity in Jazz

A4_header_jazzforum_2015_0615_2

Conference schedule

(All papers of the 14th Darmstadt Jazzforum – except for the three presentations on the morning of 3 October – will be presented in English.)

FRIDAY, 18 September 2015, 8:30 pm
Opening-Concert at Jazzinstitut

JazzTalk 109 with “Playground”

with Stephanie Wagner (fl), Esther Bächlin (p,voc), Gina Schwarz (b), Lars Binder (dr)

Playground 1The three musicians Stephanie Wagner (fl-Darmstadt), Esther Bächlin (p/voc-Lucerne) and Gina Schwarz (bs-Vienna) met in 2014 while teaching at during a women’s workshop. They found their interplay at the final teachers’ concert so stimulating that they decided to form a new ensemble to be enlarged by other musicians whenever necessary.

The original compositions by the three musicians’ original complement each other: impressionist, colorful harmonies with a tendency towards darker nuances, entwined and filigreed melodies, airy odd-meter rhythms and bulky grooves – the band explores this rich musical playground with delight and develops the musical ideas in dramaturgical arches. Far from any clichés they create an intelligent collective interplay which alternates with sparkling solos and engulfs the listeners into the creative moment: music between freedom and concentration, pluse and breath!

Stephanie Wagner is one of just a few jazz flutists in Germany. She just recorded her second album with her quintet, “Stephanie Wagners Quinsch”; sie also published a textbook for jazz flute (Schott-Verlag). Esther Bächlin has returned to the contemporary jazz idiom with this project after working in improvisation projects across genres in recent years, including her collaboration with Lauren Newton. The Vienna-based bassist Gina Schwarz has just released her album “Jazzista” on Unit Records and toured with the American drummer Jim Black earlier this year. The drummer Lars Binder is well-known in Germany, having performed with Cécile Verny and the quintet L14,16. He supports and enriches the trio in his nuanced and creative approach.


Spontaneous. Female. Genuine

Exhibition at the Gallery of the Jazzinstitut 
September to December 2015

The exhibition Spontaneous. Female. Genuine focuses on four female jazz musicians from different countries, different eras and different stylistic approaches: the American “First Lady of Jazz” Ella Fitzgerald, the German organ virtuoso Barbara Dennerlein, The German-Polish energy saxophonist Angelika Niescier, and the Swiss free jazz pianist Irène Schweizer. The exhibition documents four lives and artistic approaches far from the usual clichés of “female jazz”  – an inviting trip to different scenes of the jazz world shown on photos, in films, covers and posters.

Echibition at the Gallery of the Jazzinstitut from 18 September to 4 December 2015
Opening of the exhibition: Saturday, 19 September 2015
Open MO, TU, TH 10am – 5pm, FR 10am – 2pm


FRIDAY TO SUNDAY 2 – 4 October 2015
Workshop at Waggong, Frankfurt

with Esther Bächlin, Gina Schwarz, Stephanie Wagner

www.waggong.de

waggong       LogoMelo_orange     Logo_JazzDa_4c


THURSDAY, 1 October 2015
Literaturhaus, Kasinostrasse 3
free and open to the public

1:30 pm

Opening remarks

Gender and Identity

2:00 pm

Wolfram Knauer, Darmstadt, Germany:
Clash of Identities

In his introductory paper, Wolfram Knauer asks about the stereotypes of identity. He looks at different criteria denoting musicians’ “identity” and asks in how far they can be found in the music itself or whether perhaps they have become a cultural vocabulary spoken and understood both by musicians, critics and audience while being hard to prove analytically. Knauer categorizes musical features which might represent identity to the listener and reflects both upon the explicit and implicit vocabulary jazz musicians have at their disposal to frame identity.

Wolfram Knauer is a musicologist and the director of the Jazzinstitut Darmstadt since its inception in 1990. He has written and edited more than 14 books on jazz and serves on the board of editors for the scholarly journal Jazz Perspectives. His most recent books are critical biographies of the trumpeter Louis Armstrong (2010) and the saxophonist Charlie Parker (2014). He has taught at several schools and universities and was appointed the first non-American Louis Armstrong Professor of Jazz Studies at the Center for Jazz Studies, Columbia University, New York, for spring 2008.

3:00 pm

Mario Dunkel, Dortmund, Germany:
Sexual Desire, Eroticism, and the Construction of the Jazz Tradition

Mario Dunkel argues that rather than revising the largely masculinist and sexist representations of eroticism in early texts on jazz, jazz writers of the 1940s and 1950s sought to legitimize jazz by entirely denying its erotic appeal. Besides leading to a largely de-eroticized jazz tradition, their de-sexualization of jazz continues to complicate attempts to re-inscribe eroticism into the jazz tradition. Dunkel explores how the de-eroticization of jazz interacted with conceptualizations of gender, and discusses how a reconsideration of jazz’s eroticism can actually help to position jazz within the larger narratives of musical history in the 20th century.

Mario Dunkel is a researcher and instructor in Musicology at TU Dortmund University, Germany. He holds a PhD in American Studies, which he completed in 2014 with a thesis on “The Stories of Jazz: Performing America through Its Musical History”. His articles and reviews have appeared in American Music, Jazz Research News, Musiktheorie, Popular Music and Society and other publications. His current research interests include the practice and repercussions of transnational music diplomacy as well as the conceptualization and performance of music history in Europe and the U.S.

4:00 pm
Katherine Williams, Plymouth, UK:
‘Alright For A Girl’ and Other Jazz Myths

Katherine Williams looks at the British saxophonists Kathy Stobart and Trish Clowes to explore how they, representing different generations in jazz history, negotiated their path through the traditionally male jazz environment. She draws upon existing jazz literature and original interviews to explore the challenges and rewards of their gendered and musical environments, offering a reworked narrative of the female role in jazz history.

Katherine Williams is a Lecturer in Music at Plymouth University. She gained her degrees from King’s College London (BMus(Hons)), and the University of Nottingham (MA, PhD). Her research specialisms are jazz, gender, popular music, digital cultures, and music and geography, and she has published in many of these fields. She has articles in Jazz Perspectives (2013), Jazz Research Journal (2013), and the Journal of Music History Pedagogy. Her first monograph (Rufus Wainwright), is forthcoming with Equinox in spring 2016, and she is editor and contributor to the Cambridge Companion to the Singer-Songwriter (also forthcoming 2016). Katherine is an active saxophonist, and practices in the idioms of jazz, classical and new music.

5:00 pm

Monika Bloss, Berlin, Germany:
Trouble with Genre and Gender: Female Jazz Musicians and their (Print) Media Representation – Four Examples from Past to Present

Monika Bloss asks how the thinking about women in jazz is being shaped by its coverage through the media. She takes the example of four female musicians, Hazel Scott, Diana Krall, Maria Baptist and Esperanza Spalding, and discusses the way their public representation is shaped by subtle forms of discrimination through both words and photos. She also discusses what actions female musicians can take to change the way in which they are being portrayed by the mainstream or the specialized jazz press.

Monika Bloss has published extensively about pop music and gender. She taught at Humboldt Universität Berlin as well as at the universities in Potsdam, Bremen, Dresden and Oldenburg. In 2010, she held the Aigner-Rollet Visiting Professorship at the Institute for Jazz Research of Art University Graz. Bloss curated the exhibition “SHEPOP – Frauen und Mädchen auf den Bühnen populärer Musik” at the rock’n’popmuseum Gronau in 2013 and organized a conference about gender and popular music accompanying that exhibition.


FRIDAY, 2 October 2015
Literaturhaus, Kasinostrasse 3
free and open to the public

9:00 am

Michael Kahr, Graz, Austria:
Chromaticism and Identity in Clare Fischer’s Music

Michael Kahr focuses on the pianist and composer Clare Fischer who has developed a highly individual style characterized by voice-leading and chromaticism. He asks about the interrelations between harmonic structures, personal experiences and general socio-cultural matters and how all of these help to describe indicators of Fischer’s musical identity.

Michael Kahr (Dr. Mag.Art., MMus, PhD Sydney) is senior lecturer at the Institute for Jazz at the University of Music and Performing Arts in Graz/Austria. He conducted the FWF-funded project Jazz & the City: Identity of a Capital of Jazzand teaches jazz piano. His dissertation on aspects of harmony and context in the music of Clare Fischer at the University of Sydney/Australia was funded by an International Endeavour Research Scholarship by the Australian Government. In 2010 Kahr conducted a research project on the music of Clare Fischer in Los Angeles as a Fulbright Scholar and, subsequently, organized the first International Clare Fischer Symposium at the University of Music in Graz with international presenters such as Bill Dobbins and Brent Fischer. In 2011 he was awarded the Morroe Berger – Benny Carter Jazz Research Award by the Rutgers University. In addition to his academic activities he pursues freelance work as a jazz pianist, composer and arranger.

10:00 am

Yoko Suzuki, Pittsburgh, PA, USA:
Gendering Musical Sound in Jazz Saxophone Performance

Yoko Suzuki focuses on jazz saxophone performance, examining how the instrument’s sound, intonation, and performance style are “gendered” in the narrative of her informants, four male and thirty female saxophonists. She asks what exactly is being associated with a masculine performance and what is being perceived as feminine. She suggests that while gender norms in general are constantly challenged and reconstructed, in jazz they seem to be rather stable. She discusses the effect of such gender norms in jazz and how the emergence of female jazz saxophonists in recent years could change them.

Yoko Suzuki earned a Ph.D. in ethnomusicology and a Ph.D. certificate in women’s studies at the University of Pittsburgh in 2011. Currently, she teaches jazz history and jazz ensemble at the University of Pittsburgh. She is also an active jazz saxophonist performing in Pittsburgh and New York City.

11:00 am

Ilona Haberkamp, Cologne, Germany:
(Jutta) Hipp Style or Adaption?

Ilona Haberkamp looks at the two musical careers of the German pianist Jutta Hipp, who was considered the most advanced pianist in Germany, male or female, in the early 1950s, and changed her piano style after moving to the United States in 1955 due to the competitive environment in New York. Hipp had developed her personal style through the adaption and imitation of musical role models, and Haberkamp shows by comparing recordings from different periods of Hipp’s career that once her life situation changed, so did her piano style.

Ilona Haberkamp studied saxophone in Dortmund and Köln as well as musicology in Münster (M.A.). She teaches at the Dortmund music school and the Jazzakademie, where she heads several jazz ensembles and the big band, but performs with her own musical projects as well. Her current band, Ilona Haberkamp Quartett, played at the Berlin Jazzfest in 2013 performing her “Cool is Hipp is Cool” project. He has been researching jazz in the Soviet Union, the musical style of Paul Desmond, and the art of Jutta Hipp.

12:00 – 2:00 pm
lunch break

2:00 pm

Martin Niederauer, Vienna, Austria:
Male Hegemony in Jazz

Martin Niederauer sees the genre of jazz being dominated by men. However, gender relations in jazz, he argues, cannot be explained merely on account of stereotyping of women or the preponderance of men; it is rather due to a jazz-specific production of masculinity prevailing both among recipients and musicians, in which male-to-male relations in jazz become increasingly important. As a result, it is less a case of the percentage ratio of men and women, but rather the social relations and practices in jazz which pave the way for the prevailing gender relations and through which they are manifested.

Martin Niederauer, Dr. phil, studied Sociology in Trier and Frankfurt am Main. He wrote his doctoral thesis on “Die Widerständigkeiten des Jazz – Sozialgeschichte und Improvisation unter den Imperativen der Kulturindustrie” (“Jazz as social criticism and aesthetic resistance”). Since 2013 he works in a research project at the Institute for Music Sociology at the University of Music and Performing Arts Vienna on the relation between knowledge and artistic practices in art music composing. His further research interests are critical theory, aesthetics, jazz, and empirical social research.

3:00 pm

Joy Ellis, London, UK:
Women and the Jazz Jam

Joy Ellis looks at the jam session as a specific jazz practice which due to its competitiveness seems to have often been considered a predominantly masculine one. She examines prejudices which female musicians might encounter sitting in and, referring to interviews with musicians, both male and female, asks in how far general social changes in today’s culture have influenced the acceptance of women playing at jam sessions.

Joy Ellis is a jazz pianist, vocalist and composer based in London. Since appearing on the music scene in 2003 she has performed in the UK, Europe, the USA and Southeast Asia. She achieved a Masters in Jazz Performance at the Guildhall School of Music and Drama, graduating in July 2008. Since then Joy has performed with an array of well-established artists on the UK music scene including Omar Lye-Fook MBE, Nikki Iles and Anita Wardell. This year she is looking forward to the release of her debut jazz album entitled “Life On Land”. Joy has a growing portfolio of work as a composer, arranger and orchestrator. In 2012, she was the winner of the BASBWE festival for an original composition for concert wind band due for publication this year. Renowned UK composer Philip Sparke described one of her pieces as “the work of a composer with an original voice and the means to express it.”

4:00 pm

Christopher Dennison, New York, NY, USA:
One-Armed Ball Players: The Language of Homosexuality in Jazz

Christopher Dennison finds that stereotypes of gay men as effeminate have been present throughout jazz history, and that some of these stereotypes have become so central to jazz’s treatment of homosexuality that even prominent gay musicians seem to believe them. In his paper Dennison examines the language used in discussions of homosexuality in jazz, focusing on the problematic stereotype that is deeply ingrained in jazz culture.

Christopher Dennison has an MA in Jazz History and Research from Rutgers University-Newark. His research interests include language and discussions of jazz. His undergraduate thesis deals with elements of jazz in James Joyce’s Ulysses, and his 2015 master’s thesis focuses on the role of oral history in the construction of the bebop story, specifically through Ira Gitler’s Swing to Bop. Christopher currently works on the NPR program Jazz Night in America.

5:00 pm

Jenna Bailey, Lethbridge, Canada / Sussex, UK:
‘Play Like A Man and Look Like a Woman”: Exploring the Role of Gender in Ivy Benson’s All Girl Band

Jenna Bailey looks at the British bandleader Ivy Benson who managed to keep an all-girl band working from 1940 into the 1980s, a band which would be the starting point for well-known British female instrumentalists such as Barbara Thompson, Deidre Cartwright and Annie Whitehead. Drawing upon interviews with Benson band members, Bailey explores the ways in which gender assumptions influenced the working lives of these women and how, despite being an advocate for female musicians, Ivy herself reinforced long held negative gender stereotypes about women and music by insisting her musicians “play like men” and “look like women”.

Jenna Bailey is an historian and a writer. She has her PhD in Contemporary History from the University of Sussex and is currently an Executive Member of the Centre for Oral History and Tradition (COHT) at the University of Lethbridge, Canada and the Visiting Research Fellow for the Centre for Life History and Life Writing Research (CLHLWR) at the University of Sussex, England. Jenna is the author of the best-selling book Can Any Mother Help Me? (Faber) and is currently working on her next book about Ivy Benson’s All Girl Band.

20:30 Uhr
Conzert and session at the Jazzinstitut

Jürgen Wuchner Quartet

Thomas Bachmann (ts) – Uli Partheil (p) – Jürgen Wuchner (b) – Ulli Schiffelholz (d)

[The concert originally planned for Friday, featuring Lynne Arriale, Cécile Verny and Grace Kelly, has been canceled.]

Insetad we invited the Jürgen Wuchner Quartett to play at the Jazzinstitut’s concert space. After the first set the stage will be open to sit in at a jam session at which we expect a number of conference speakers to join the band. Bring your instrument/s!

This concert / session is free and open to the public.

JT_box_purple


SATURDAY, 3 October 2015
Literaturhaus, Kasinostrasse 3
free and open to the public

9:00 am

Ilka Siedenburg, Münster/Bremen, Germany:
Bigbandklassen: Ein Weg zur musikalischen Identität jenseits von Geschlechterstereotypen?

Ilka Siedenburg looks into the increasing formation of big bands in school education, a typically male-connoted activity (playing jazz) in a typically female-connoted field of action (music class), and the effect of this development on the gender self-image of participating boys and girls. She reports about a pilot study on “doing and undoing gender” in big band classes which tries to identify the gender perception of children and adolescents through their musical preferences and perspectives. [This presentation will be held in German]

Ilka Siedenburg is a professor of music education at the university of Muenster, Germany. After her studies in music education at the University of Oldenburg and the Conservatory of Frankfurt, she worked as a musician and as a teacher in different fields of music education and was a professor of didactics of popular music at the University of Applied Sciences in Osnabrueck. She received a PhD from the university of Oldenburg.

10:00 am

Mane Stelzer, Frankfurt, Germany:
“Für uns war es fremde Musik” – wie junge Instrumentalistinnen zum Jazz finden (oder auch nicht)

Mane Stelzer explores the decision-making process of girls when it comes to taking up instruments, as well as the obstacles they meet trying to collect their first experiences either in pop or jazz bands. Based on interviews with young female musicians, Stelzer explores the divergent musical biographies of young female instrumentalists ad asks how some of them succeed in making a profession out of their passion and others don’t. She also asks which aspects of their musical biography qualifies these young women to be accepted at jazz and pop departments of German Musikhochschulen (conservatories). [This presentation will be held in German]

Mane Stelzer is an ethnologist and a freelance editor for the online journal MELODICA issued by Frauen Musik Büro in Frankfurt, Germany, an organization representing, supporting and connecting female musicians. Her focus are interviews with female musicians about their living and working conditions, about the compatibility of family and work or study etc. In 2014 she melodita.de in cooperation with the University of Applied Sciences, a website by and for young female musicians. She teaches at songwriting workshops for girls and performs as a singer/songwriter (www.mane-musik.de).

11:00 am

Nicole Johänntgen, Zurich, Switzerland:
Get the flow and go! Music & Business

Nicole Johänntgen reports about two initiatives she is involved in, SOFIA (Support Of Female Improvising Artists) and HELVETIA ROCKT, both of which try to help female musicians in an environment which is mostly dominated by male decision-makers. Johänntgen explains the need for such initiatives and the outlook for regional, national and international networking and self-marketing, by all of which she and her colleagues aim to change the existing social stereotypes as well as the lack of female role models in the field of jazz and rock. [This presentation will be held in German]

Nicole Johänntgen is a German saxophonist / composer, currently living in Zürich, Switzerland. In 2013 she founded the project SOFIA – Support Of Female Improvising Artists. The pioniering project helps female improvising musicians in today’s difficult music business.

12:00 – 2:00 pm:
lunch break

2:00 pm

Sherrie Tucker, Lawrence, KS, USA:
A Conundrum is Woman-in-Jazz: Continual Improvisations on the Categorical Exclusions of Being Included

Sherrie Tucker reflects about the longevity of the “women in jazz” category (analytic, tactical, programmatic, marketing, reception, gatekeeping, advocating, etc.) as a shifting set of gendered and sexed parameters that appear to span the gamut of jazz history. She looks at different approaches towards this and related subjects (Gender in Jazz, LGBTQ in Jazz, Sexuality in Jazz etc.), highlights some of the creative ways in which improvising artists and scholars have worked with and against the conundrum “women in jazz”, and asks what it might take to compose more innovative parameters for gender and sex difference in jazz practice and study than inclusion/exclusion, in/out, omission/addition, invisibility/recognition.

Sherrie Tucker (Professor, American Studies, University of Kansas) is the author of Dance Floor Democracy: the Social Geography of Memory at the Hollywood Canteen (Duke, 2014), Swing Shift: “All-Girl” Bands of the 1940s (Duke, 2000) and co-editor, with Nichole T. Rustin, of Big Ears:  Listening for Gender in Jazz Studies (Duke, 2008). She is a member of two major collaborative research initiatives: International Institute of Critical Improvisation Studies and Improvisation, Community, and Social Practice (for which she served as facilitator for the Improvisation, Gender, and the Body research area) both funded by the Social Sciences and Humanities Research Council of Canada. She is a founding member of the Melba Liston Research Collective, a member of the AUMI (Adaptive Use Musical Instrument) research team of the Deep Listening Institute, and founding member of AUMI-KU InterArts, one of six member institutions of the AUMI Research Consortium. She was the Louis Armstrong Visiting Professor at the Center for Jazz Studies at Columbia University in 2004-2005, where she was a member of the Columbia Jazz Study Group. With Randal M. Jelks, she co-edits the journal American Studies. She is one of three Series Editors, along with Deborah Wong and Jeremy Wallach, of the Music/Culture Series at Wesleyan University Press.

3:00 pm

John Murph, Washington, D.C., USA:
Exploring the Queer Overtones of Sun Ra’s Outer Space Ways

John Murph discusses examples in which the charismatic pianist, composer and bandleader Sun Ra incorporated homoeroticism and other gay overtones through his expansive multi-disciplinary, idiosyncratic artistic realm, which incorporated music, theatre, film, poetry, dance and street fashion. In a comparative analysis he touches upon iconic gay culture touchstones as drag-queen balls, disco, pageantry, self-invention and self-mythologies as well as some of Sun Ra’s lyrics, philosophies, the art of challenging traditional gender, the concept of otherness, and the visual representations through concert and films.

John Murph is a Washington, DC-based music journalist, whose written have been published by JazzTimes, Down Beat, The Washington Post, JazzWise, NPR, The Root and AARP. He was written several articles related to the arts and gay culture, mostly notably JazzTimes’ 2010 article, “Rhapsody in Rainbow: Jazz and the Queer Aesthetic.” He was also a panelist at Philadelphia’s first annual OutBeat Jazz Festival in 2014.

4:00 pm

Christian Broecking, Berlin, Germany:
Authentic lesbian as I am…” Aspects of Gender, Marginalisation and Political Protests in the Life and Work of Irène Schweizer

Christian Broecking looks at the career of the Swiss pianist Irène Schweizer, an important source of inspiration on the European free music scene since the late 1960s, early 1970s. Drawing upon his ongoing biography project about Schweizer, Broecking reflects about the pianist’s commitment to feminist issues and its impact on her art, and he discusses aspects of gender coming up in interviews with fellow musicians, family and friends.

Dr. Christian Broecking, sociologist and musicologist, curated the international conferences “Transatlantic Dialogue on the Societal Relevance of Music” (Heidelberg Center for American Studies, 2012 and 2013). He is the author of several books on African American culture (“Der Marsalis-Komplex”) and writes for newspapers as well as for music journals, he also produces radio features. Christian Broecking was the founding program director of Jazz Radio Berlin (1994–1998) and program director of Klassik Radio in Frankfurt (2000-2003). Broecking is a juror at the “Preis der deutschen Schallplattenkritik” and NPR (National Public Radio). He has lectured at the universities of Frankfurt, Heidelberg, Basel, Luzern, Osnabrück and Berlin as well as at the Winterthurer Institut für aktuelle Musik (WIAM). Currently he is a Senior Research Associate at Hochschule Luzern. In 2004 he founded the Berlin based Broecking Publishing House. Among his recent book publicatons: “Gregory Porter: Jazz, Gospel & Soul” (2015).

5:00 pm

Nicolas Pillai, Birmingham, UK:
Watching Men Play: the Erotics of the Hollywood Jazz Film

Nicolas Pillai argues that while Hollywood cinema was structured around a “male gaze” assuming a heterosexual male point-of-view which objectified the female body, Hollywood jazz films like “Young Man With a Horn”, “The Benny Goodman Story”, “Bird” or “Whiplash” problematized this conception, making the male performing body the object of scrutiny and desire. Pillai suggests that the homosocial scenes of male musical interaction constructs a network of gazes – some mutual, some yearning, some unacknowledged, some hidden – which dramatize musical achievement. It is only in this erotic context, Pillai argues, that musical pleasure can be understood in these films, as texts designed to be consumed by non-jazz listeners.

Dr Nicolas Pillai is a researcher in the Jazz Research Centre at Birmingham City University. His first book Jazz as Visual Culture: film, television and the dissonant image will be published by I. B. Tauris in 2016. Nicolas is a frequent speaker at the National Jazz Archive (London) and in 2014 he organised the New Jazz Conceptions: History, Theory, Practice conference (University of Warwick) and curated the Jazzprojector film season at The Vortex Jazz Club (London). Nicolas currently teaches at the Birmingham Conservatoire of Music.

8:00 pm
Konzert, Bessunger Knabenschule

Tenors of Kalma

with Jimi Tenor (sax), Kalle Kalima (g), Joonas Riippa (dr)

TenorsOfKalma rae photo by Maarit KytöharjuTenors of Kalma combines jazz with electronic pop music in a new way. Sun Ra meets Kraftwerk here.

Jimi Tenor and Kalle Kalima have made music together for ten years and now they are breaking ground in a new trio with Joonas Riippa on drums. Jimi Tenor has never settled for the traditional role of a pop artist. He is known as a musician whose work lies beyond current trends although he has also written hits like “Take me Baby”. He is at home in front of the crowd gone wild, wearing a glittering self-­designed costume and a flowing cape, holding a self made noise-producing device. Kalle Kalima is a Berlin-based Finnish jazz guitarist who mixes elements of jazz and rock in a unique way. He has played a.o. with Jazzanova, Jason Moran, Jim Black, Greg Cohen, Anthony Braxton, Tony Allen, Leo Wadada Smith, Michael Wertmüller and Marc Ducret. Kalima is also known of his bands Klima Kalima and K-18. Joonas Riippa is one of the most important drummers in Finland today working with renowned musicians like Mikko Innanen, Verneri Pohjola, Teemu Viinikainen, Seppo Kantonen and Joonatan Rautio.

Tickets: www.knabenschule.de

hr2_logo_neu.ai     Logo_BKS_orange     MES_logo_engl


MONDAY, 5 Oktober 2015, 8:30 pm
Closing-concert at the Romanfabrik Frankfurt/Main

“Playground”

with Stephanie Wagner (fl), Esther Bächlin (p,voc), Gina Schwarz (b), Lars Binder (dr)

Tickets: www.romanfabrik.de


Please find the Darmstadt Jazzforum on Facebook    GENDER_IDENTITY

„GENDER_IDENTITY“ is hosted by the Jazzinstitut Darmstadt, a cultural institution of the City of Science Darmstadt.

Logo_JazzDa_4c          A5_Darmstadt-Logo_rgb-3c

The 14. Darmstädter Jazzforum is fonded by the Kulturfonds Frankfurt Rhein-Main, the  Hessischen Ministerium für Wissenschaft und Kunst and the jubilee-foundation of the Sparkasse Darmstadt.

KFFRM_logo_blau        hessisches_min_wiku     JUBI LOGO

hr2 Kultur, JAZZTHETIK and MELODIVA are media partners of the 14. Darmstädter Jazzforums

hr2_logo_neu.ai        JT_box_purple       LogoMelo_orange

We are co-operating for the 14. Darmstädter Jazzforums with the „Frauen machen Musik e.V.“, the Kulturzentrum Bessunger Knabenschule, WAGGONG Frankfurt e.V., the Centralstation Darmstadt and the Romanfabrik in Frankfurt/Main

Logo_BKS_orange     waggong      CS_Entega_pos_2014      romanfabrik

Darmstadt Studies in Jazz Research

Ekkehard Jost (Hg.): Darmstädter Jazzforum 89. Beiträge zur Jazzforschung

Hofheim 1990 (Wolke Verlag), 237 Seiten, ISBN 3-923997-40-X, 19 €

1989_darmstaedter-jazzforumBeim 1. Darmstädter Jazzforum trafen sich im Dezember 1989 Jazzforscher aus ganz Deutschland zu einem informellen, inhaltlich noch bunt-gemischten Symposium.

Die Beiträge:

  • Bert Noglik: Improvisierte Musik in der Folge des Free Jazz
  • Jürg Solothurnmann: Die aktuelle Situation des Jazz und der improvisierten Musik
  • Hans Kumpf: Sowjetischer Jazz
  • Klaus Scheuer: Zur Improvisationsweise Bix Beiderbeckes
  • Wolfram Knauer: Die Entwicklung des Jazz zwischen Bebop und Free Jazz
  • Ekkehard Jost: Cecil Taylor – Solo
  • Günter Sommer: Die Jazzszene in der DDR
  • Dieter Glawischnig: Eine Gemeinschaftsproduktion mit Ernst Jandl
  • Bernd Konrad: Probleme der Jazzpädagogik
  • Ludolf Kuchenbuch: “Notation” im Amateurjazz der 60er und 70er Jahre
  • Wolfgang Schickhaus: Das Phänomen Swing
  • Peter Niklas Wilson: Syntax und Ästhetik der Musik Ornette Colemans
  • Herbert Hellhund: Einige Strukturprinzipien improvisierter Avantgardemusik

Wolfram Knauer (Hg.): Jazz und Komposition. Darmstädter Beiträge zur Jazzforschung, Bd. 2

Hofheim 1992 (Wolke Verlag), 225 Seiten, ISBN 3-923997-41-8, 19 €

1991_jazz-und-kompositionBeim 2. Darmstädter Jazzforum ging es um unterschiedlichste Konzepte jazzmusikalischen Komponierens.

Die Beiträge:

  • J. Bradford Robinson: “Jazz”-Rezeption in der Weimarer Periode
  • Hans Ulrich Engelmann: Hans Ulrich Engelmann und der Jazz
  • Lutz Neitzert: Über das problematische Verhältnis der bürgerlichen Musikkultur zu improvisierter Musik
  • Gerhard Putschögl: John Coltrane. Strukturelle Organisation als orale Komposition
  • Wolfram Knauer: Charles Mingus. Jazzkomposition nach Ellington
  • Peter Niklas Wilson: Musikalische Systemphilosophie nach ihrem Ende. Anthony Braxtons musikalische Metaphysik
  • Ekkehard Jost: Typen jazzmusikalischer Komposition
  • Ran Blake: Third Stream – Vorrang des Ohrs
  • Hermann Keller: Komplexe Vorgänge – einfache Grundlagen. Was vom kompositorischen Handwerk in meine Improvisationen eingeht
  • Ulrich Kurth: Zur Rolle der Streichinstrumente. Kompositionen von Tony Oxley, Peter Herborn und Mark Dresser
  • Bert Noglik: Komposition und Improvisation. Anmerkungen zu einem spannungsreichen Verhältnis

Wolfram Knauer (Hg.): Jazz in Europa. Darmstädter Beiträge zur Jazzforschung, Bd. 3

Hofheim 1994 (Wolke Verlag), 261 Seiten, ISBN 3-923997-42-6, 19 €

1993_jazz-in-europaDas 3. Darmstädter Jazzforum versuchte eine Rundreise mit allgemeinen genauso wie mit ganz speziellen Beiträgen zum europäischen Jazz.

Die Beiträge:

  • Marko Paysan: Transatlantic Rhythm. Jazzkontakte zwischen Deutschland und den USA vor 1945
  • Erik Wiedemann: Jazz in Dänemark 1933 bis 1945
  • Kees Wouters: Von den Wandervögeln zum Wanderers Hotclub
  • Theo Mäusli: Jazz und Geistige Landesverteidigun. Zur Rezeption des Jazz in der Schweiz der Jahre 1933 bis 1945
  • Walter Ojakäär: Jazz in Estland. Hoffnungen und Wirklichkeit
  • Virgil Mihaiu: Entwicklung und Probleme des Jazz in Rumänien 1965 bis 1993
  • Lubomir Doruzka: Jazz in der Tschechoslowakei 1945 bis 1993
  • Bert Noglik: Osteuropäischer Jazz im Umbruch der Verhältnisse. Vom Wandel der Sinne im Prozeß gesellschaftlicher Veränderungen
  • Misha Mengelberg: Misha Mengelberg spricht über seine Musik
  • Wolfram Knauer: “Musicianer”, oder: Der Jazzmusiker als Musikant. Anmerkungen zum Verhältnis von Jazz und Folklore
  • Jürg Solothurnmann: Die Alpine Jazz Herd. Zeitgenössischer Jazz und natonale Folklore, paßt das zusammen?
  • Erik Kjellberg: “Old Folklore in Swedish Modern”. Zum Thema Volksmusik und Jazz in Schweden
  • Ekkehard Jost: Über das Europäische im europäischen Jazz

Wolfram Knauer (Hg.): Jazz in Deutschland. Darmstädter Beiträge zur Jazzforschung, Bd. 4

Hofheim 1996 (Wolke Verlag), 287 Seiten, ISBN 3-923997-70-1, 19 €

1995_jazz-in-deutschlandBeim 4. Darmstädter Jazzforum wurde der deutsche Jazz thematisiert: von den 30er Jahren bis in die Gegenwart.

Die Beiträge:

  • Horst Bergmeier & Rainer Lotz: Charlie and his Orchestra. Ein obskures Kapitel der deutschen Jazzgeschichte
  • Guido Fackler: Jazz im KZ. Ein Forschungsbericht
  • Bernd Hoffmann: Die “Mitteilungen”. Anmerkungen zu einer “verbotenen Fanpostille”; Die “Mitteilungen (Reproduktion)
  • Wolfram Knauer: Emanzipation wovon? Zum Verhältnis des amerikanischen und des deutschen Jazz in den 50er und 60er Jahren
  • Musikergespräch mit Michael Naura: Es war ein lustiges Völkchen
  • Komponistengespräch mit Klaus König: Reviews (A Revue for Frank Zappa)
  • Bert Noglik: Hürdenlauf zum freien Spiel. Ein Rückblick auf den Jazz der DDR
  • Ernst Ludwig Pettrowsky & Uschi Brüning: Gednaken eines Menschen aus Güstrow, der zwischen Nazi-Märschen, Stalin-Panzern und FDJ-Liedern der Faszination des Jazz erlag
  • Ulrich Kurth: “Kurze Geschichten”. Die 90er Jahre
  • Joachim Ernst Berendt: Wandel und Widerstand

Wolfram Knauer (Hg.): Jazz und Sprache, Sprache und Jazz. Darmstädter Beiträge zur Jazzforschung, Bd. 5

Hofheim 1998 (Wolke Verlag), 189 Seiten, ISBN 3-923997-79-5, 19 €

1997_jazz-und-spracheBeim 5. Darmstädter Jazzforum im Oktober 1997 ging es um den Einfluß des Jazz auf die Literatur, um den Einfluß von Literatur und Literaturästhetik auf das Verständnis des Jazz, um Lyrik-und-Jazz-Projekte in den USA wie in Europa, um die Umsetzung sprachlich-literarischer Vorlagen im kleinen wie im großen Umfang, um die Sprachlichkeit oder Sprachähnlichkeit von Jazznimprovisation, um Bezüge zwischen dem Sprechen über Musik (also: Jazzkritik) und der Musik selbst.

Die Beiträge:

  • Wolfram Knauer: Jazz – Sprache – Lyrik – Kritik. Einige grundsätzliche Anmerkungen
  • Stephan Richter: Magic Books and a Jam Session. Das Spannungsfeld von Literatur, Literaturtheorie und Jazz
  • Heinz Steinert: “… und in dem allen ist der Gestus von Musik der Stimme entlehnt, die redet.” Über das komplexe Arbeitsbündnis des Genres “Jazz und Lyrik”
  • Ernst Jandl & Dieter Glawischnig: ….. ‘texte und Jazz’ …..
  • Mike Westbrook: The Westbrook Song Book
  • Ekkehard Jost: Zum Sprachcharakter von Musik im allgemeinen und Jazz im speziellen
  • Hans Ulrich Engelmann: Zur szenischen Kantate “Die Mauer”
  • Wolfram Knauer: From Ellington to Malcolm X. Vom Umgang mit Texten/Libretti im Jazz
  • George Gruntz: Jazz – Was für ein Theater?
  • Christian Broecking: Viel Lärm um große Worte. Auch fiese Sätze können swingen. Wynton Marsalis und die Verbalisierung des Jazz in den 90er Jahren

Wolfram Knauer (Hg.): Duke Ellington und die Folgen. Darmstädter Beiträge zur Jazzforschung, Bd. 6

Hofheim 2000 (Wolke Verlag), 276 Seiten, ISBN 3-923997-91-4, 19 €

1999_duke-ellingtonDas 6. Darmstädter Jazzforum widmete sich erstmals einem einzelnen Musiker. Aus Anlaß seines 100. Geburtstages beschäftigten sich die referate und Konzerte im September/Oktober 1999 mit der Musik des Pianisten, Komponisten ujnd Bandleaders Edward Kennedy “Duke” Ellington. Ellington ist eine der wenigen stilübergreifenden Persönlichkeiten der Jazzgeschichte, wa auf Musiker der 20er und 30er Jahre genauso einflußreich wie auf solche der 60er bis 90er Jahre. Die referate des Darmstädter Jazzforums untersuchen ganz unterschiedliche Aspekte in Ellingtons Schaffen. Es geht um seine Rolle als Komponist, Arrangeur und Pianist, um seinen Einfluß auf die band-eigenen sowie viele nachfolgende Musiker, um seine Ästhetik und um die Rezeption seiner Konzerte in Deutschland. Die Vielfalt der Ansätze ztwischen musikalischer Analyse und musikästhetischer Betrachtung läßt bekannte wie weniger bekannte Seiten seines Schaffens in neuem Licht erscheinen.

Die Beiträge:

  • Wolfram Knauer: “Each Man Prays In His Own Language…” Duke Ellington und seine Welt
  • Wolfram Knauer: “Reminiscing in Tempo”. Tradition und musikästhetische Ideale in Ellingtons kompositorischem OEuvre
  • Bernd Hoffmann: “Zugunsten der deutschen Jugend”. Zur Rezeption afro-amerikanischer Musik in der Nachkriegszeit
  • Peter Niklas Wilson: “Money Jungle”. Fäden eines Beziehungsnetzes
  • Ekkehard Jost: “Open Letter to Duke”. Was Charles Mingus an Duke Ellington schrieb
  • Franz Krieger: “Piano in the Foreground?”. Zum Klavierstil Duke Ellingtons
  • Günter Lenz: “Die kulturelle Dynamik der afroamerikanischen Musik”. Duke Ellingtons Kulturbegriff und seine Bedeutung in der afro-amerikanischen Literatur
  • Bill Dobbins: “Mood Indigo”. Die harmonische Sprache Duke Ellingtons
  • Walter van de Leur: “Scores of Scores”. Einige Anmerkungen zu Manuscripten der Billy-Strayhorn- und Duke-Ellington-Sammlungen in den USA

Martin Pfleiderer: “Far East of the Blues”. Ellington und Weltmusik


Wolfram Knauer (Hg.): Jazz und Gesellschaft. Sozialgeschichtliche Aspekte des Jazz. Darmstädter Beiträge zur Jazzforschung, Bd. 7

Hofheim 2002 (Wolke Verlag), 304 Seiten, ISBN 3-936000-01-8, 19 €

2003_jazz-und-gesellschaftDer Jazz war immer eine gesellschaftlich relevante Musik. Er hat das 20. Jahrhundert begleitet wie keine andere Musikrichtung, stand für kulturelle Entwicklungen, die auch auf anderen Gebieten von Bedeutung waren: den Wandel vom Euro- zum Amerikazentrismus, die Einführung neuer Medien zur massenkulturellen Verwertung, den Vorrang von Interpretation vor Komposition und individuellem Sound vor klassischem Klangideal. Um die unterschiedlichsten Aspekte der gegenseitigen Einflüsse von Jazzmusik und Gesellschaft, um die Lebensumstände der Musiker in den USA wie in Europa, um musikästhetische Fragen, um den Themenkreis Jazz und Kritik, um eine kritische Bestandsaufnahme soziologischer Forschungen zum Jazz und dergleichen mehr ging es beim 7. Darmstädter Jazzforum, dessen Referate in diesem Band zusammengefasst sind. Das 7. Darmstädter Jazzforum fand gerade mal zwei Wochen nach dem 11. September 2001 statt. Seine Beiträge über die soziale Relevanz von Kunst erhalten dadurch besondere Aktualität.

Die Beiträge:

  • Ralf-Peter Fuchs: Neue Menschen und Kultur der Moderne. Der Jazz und sein Publikum in der deutschen Nachkriegspresse 1945 – 1953
  • Christian Broecking: Adorno versus Berendt revisited. Was bleibt von der Kontroverse im Merkur 1953?
  • Tobias Richtsteig: Jazz und Zahlen. www.jazzpublikum.de – Sozialpsychologische Basisdaten im Zeitvergleich. Ein Forschungsbericht
  • Wolfram Knauer: “Wegweiser Jazz“. Anmerkungen zum Zustand der deutschen Jazzszene
  • Heinz Steinert: Musik und Lebensweise. Warum und wie sich Jazz-Musik eignet, eine soziale Position zu markieren
  • Wolfgang Sandner: Verbaler Impressionismus, wohlmeinende Apologie. Probleme der Jazzkritik
  • Ursel Schlicht: Individuelle Musik auf Jazzbasis. Arbeitsbedingungen und Ausdrucksformen von Musikerinnen in Hamburg und New York
  • Lewis A. Erenberg: Swing Left. Linke Politik und Bigband-Jazz in der Zeit des New-Deal
  • Ingrid Monson: Über Jazz, Geschichte und soziale Theorie. Theoretische Hintergründe der “Freedom Sounds“
  • George E. Lewis: “Gittin’ to know y’all“. Von improvisierter Musik, vom Treffen der Kulturen und von der “racial imagination“
  • Mike Heffley: Vom Anarchischen zum Archaischen. Zur Theorie der freienImprovisation
  • Peter Niklas Wilson: Von der sozialen Irrelevanz improvisierter Musik
  • Ekkehard Jost: Reflexionen über die Soziologie des Jazz

Wolfram Knauer (Hg.): improvisieren… Darmstädter Beiträge zur Jazzforschung, Bd. 8

Hofheim 2004 (Wolke Verlag), 248 Seiten, ISBN 3-936000-02-6, 19,- €

2001_improvisieren… keine Definition des Jazz wird um diesen Eingangssatz herumkommen. Viele andere Momente spielen eine wichtige Rolle – swing, drive, Instrumentation, spezifische Soundcharakteristika – aber wo zu verschiedenen Zeiten all solche Parameter Schwankungen unterworfen, wechselbar waren, da bleibt die Improvisation sicheres Kontinuum in der Geschichte dieser Musik. Ein großartiger Musiker ist sicher auch, wer gut zu swingen vermag, an erster Stelle aber steht die Fähigkeit, in der Improvisation eine „gute Geschichte“ erzählen zu können. Die Improvisation wurde so sehr zum zentralen Merkmal des Jazz, dass die beiden fast synonym schienen: Wenn sich in den USA oder Europa ab den 1960er Jahren jemand als „improvising musician“, als „improvisierender Musiker“ bezeichnete, so erhielt er sicher in der Regel die Antwort, „Ach ja, Jazz!“ Solche Gleichsetzung zeigt nur, dass die Musikgeschichte offenbar vergesslich ist, denn auch die europäische Musik besaß ja über lange Zeit ihre ganz eigenen Improvisationstraditionen. Und in außereuropäischen Musikkulturen ist Improvisation bis heute selbstverständlich – und hier übrigens wiederum eine ganz andere Form von Improvisation als jene, die im Jazz entwickelt wurde.

Die Beiträge:

  • Wolfram Knauer: Noodlin’ and Doodlin’ and Playin’ Around…Zum sich wandelnden Selbstverständnis des Jazz als improvisierter Musik
  • Lawrence Gushee: Improvisation im frühen Jazz
  • Martin Pfleiderer: Improvisieren – ästhetische Mythen und psychologische Einsichten
  • Thomas Mießgang: Die Kunst des Spontanen. Kann ein Bild improvisiert werden? Über Free Jazz, automatische Saxophone, Jack the Dripper, Materialaktionen und letzte Lockerungen
  • Christopher Dell: Möglicherweise Improvisation
  • George E. Lewis: “Voyager“ … Improvisieren mit dem Computer
  • Ekkehard Jost: Notizen zur Improvisation
  • Joachim Kühn und Bert Noglik im Gespräch: Improvisation und musikalische Realität
  • Paul F. Steinhardt: between the lines. Die verwunderliche Verbindung von Geld und Musik
  • Michael Rüsenberg: Improvisation als Modell wirtschaftlichen Handelns. Eine Erkundung
  • Peter Niklas Wilson: Neue Paradigmen in der improvisierten Musik

Wolfram Knauer (Hg.): Jazz goes Pop goes Jazz. Der Jazz und sein gespaltenes Verhältnis zur Popularmusik. Darmstädter Beiträge zur Jazzforschung, Bd. 9
Hofheim 2006 (Wolke Verlag), 284 Seiten, ISBN: 3-936000-03-4; 22 €

2005_jazz-goes-popDer Jazz saß zeitlebens zwischen den Stühlen der ästhetischen Schubladen: Für die einen war er die populäre Musik der 1930er Jahre und Grundlage für viele Musikstile in der späteren Popmusik, für die anderen eine dezidierte Kunstmusik, ein Gegenentwurf zu den kommerziellen Seiten der Popmusik. Mit diesem Spagat mussten Jazzmusiker immer leben, mit ihm mussten sie sich auseinandersetzen, ihn konnten sie allerdings durchaus auch für ihre Zwecke nutzen. Beim 9. Darmstädter Jazzforum werden die verschiedenen Seiten im Verhältnis von populärer Musik und Jazz beleuchtet. Dabei geht es um grundsätzliche Fragen (Was macht Musik populär?), um historische Einordnungen (Wo trennen sich Jazz und Popmusik und wie entwickelte sich ihr Verhältnis zueinander?), um wirtschaftliche Fragen (den Einfluss der Plattenfirmen), um aktuelle Tendenzen (das bewusste Spiel mit Popmusik in Aktivitäten jüngerer Musiker), um ästhetische Fragen (Jazz als Kunstmusik und der suspekte Charakter des kommerziellen Erfolgs) und vieles mehr. Neben Wissenschaftlern aus Deutschland, Österreich, Dänemark und Australien kommen auch Praktiker zu Wort wie der britische Komponist Colin Towns, der New Yorker Paul D. Miller alias DJ Spooky. Schließlich kommen in einer Diskussionsrunde Vertreter aus der Plattenproduktion, diverser Medien, Agenturen aber auch Musiker zusammen.

Die Beiträge:

  • Martin Pfleiderer: Was macht Musik populär? Überlegungen zur (Un-)Popularität im Jazz und anderswo
  • Andrew Hurley: Joachim Ernst Berendt – Jazz, U-Musik, Pop-Jazz und die Ambivalenz (1950-1970)
  • Fabian Holt: Not a Silent Way. Populäre Musik und Jazzmodernismus nach Elvis
  • Wolfram Knauer: Healing Force of the Universe? Warum der Free Jazz zahm wurde
  • Jürgen Schwab: New Standards – Die (gar nicht mal so) neue Lust am Covern im Jazz
  • Frithjof Strauß: Zwischen Mystizismus und Funktionalismus. Zur Popularität des Jazz aus Skandinavien
  • Doris Schröder: Bunte Musik. Die Jazzbilder Tony Munzlingers zwischen Karikatur, Popart und Gebrauchskunst
  • Roundtable zu Aspekten der Produktion und Vermarktung von Jazz mit Veit Bremme, Bodo Jacoby, Harald Justin, Reiner Michalke und Olaf Schönborn
  • Peter Kemper: Wer wär nicht gern ein Global Player? – Über die orthodoxe und paradoxe Annäherung von Jazz und Pop
  • Colin Towns: Musik für Herz, Kopf und Füße. Die unterschiedlichen musikalischen Seiten des Colin Towns
  • Wolfram Knauer: Die Wissenschaft vom Rhythmus. DJ Spooky, der Philosoph der Plattenleger, erklärt die DJ-Kunst
  • Andreas Felber: Alter Greis auf der Suche nach neuer Jugend? Anmerkungen zur neuen Offenheit zwischen Jazz und populärer Musik in den 90er- und 00er-Jahren
  • Diedrich Diederichsen: Jazz als Concept-Art

Wolfram Knauer (Hg.): Begegnungen. The World Meets Jazz. Darmstädter Beiträge zur Jazzforschung, Bd. 10
Hofheim 2008 (Wolke Verlag), 320 Seiten, ISBN: 3-936000-04-7; 24 €

2007_begegnungen-the-worldDer Jazz ist eine Musik mit afro-amerikanischen Wurzeln, doch er blüht überall auf der Welt in allen möglichen (Klang)-Farben. Jazz ist eine produktive Kunst: Musiker in aller Welt, die sich ihm zuwandten, mussten seine Wurzeln als afro-amerikanische Musik genauso kennen und respektieren wie sie aufgefordert waren, ihre eigenen Traditionen mit einzubringen. Von diesen Prozessen zwischen Respekt und Eigenständigkeit handelt dieses Buch. Es geht dabei nicht so sehr um “Weltmusik“ an sich als vielmehr um die produktive Auseinandersetzung mit den Traditionen, und um die Tatsache, dass der Jazz mittlerweile jede Menge Impulse aus allen möglichen Ecken der Welt erhält, wo man ihn auch als eigene Musik begreift.

Dieser Band enthält die Referate des 10. Darmstädter Jazzforums, in denen unterschiedliche musikalische Annäherungen, Adaptionen oder Adoptionen näher beleuchtet werden. Oft handelt es sich dabei um Ideen, die zwar aus ethnischen Musikrichtungen stammen, aber mit der Spielhaltung des Jazz so hervorragend harmonieren, dass es schwer fällt, die musikalischen Ergebnisse noch unter gängigen Genrebegriffen abzulegen. Weder kann man dann nämlich wirklich von „Weltmusik“ sprechen, noch ist es Mainstream-Jazz im herkömmlichen Sinne. Es ist ein kreativer Austausch, der den Jazz verändert, egal ob einem das gefällt oder nicht.

Die Beiträge:

  • Andrew W. Hurley: But Did the World Meet Jazz? Ein Blick hinter Joachim Ernst Berendts Plattenreihe”Jazz Meets the World”
  • Martin Pfleiderer: The World Meets Jazz. Zur Ästhetik des Jazz im Zeitalter der Globalisierung
  • Maximilian Hendler: Jazz oder nicht Jazz? Rollenpolyphonie und ihr Vorkommen auch außerhalb des Jazz
  • Torsten Eßer: Jazz in Lateinamerika – Eine periphere Erscheinung?
  • Wolfram Knauer: Blowin’ Up a (European) Storm. Eine Annäherung an die Personalstile von Harry Beckett, Tomasz Stanko und Enrico Rava
  • Gerhard Putschögl: Flamenco Jazz
  • Timothy R. Mangin: Cosmopolitan Roots. Jazz im Senegal
  • Gerhard Kubik: Referentielle Elementarpulsationen. Bemerkungen zur konzeptuellen Welt unseres Jazz aus dem südlichen Afrika
  • Günther Huesmann: John Zorn und der japanische Traditionsbegriff
  • Ralf Dombrowski: Das Originale und das Originelle. Techniken kultureller Aneignung am Beispiel des Oriental Jazz
  • Gilad Atzmon: Jazz und Jihad. Ein (Bird-)Fundamentalist erklärt seine Sicht des Jazz
  • Karl Berger: Skizzen weltmusikalischer Erfahrungen
  • Harald Justin: Jazz und World Music im Fadenkreuz des Kulturkampfes

Wolfram Knauer (Hg.): Albert Mangelsdorff. Tension | Spannung. Darmstädter Beiträge zur Jazzforschung, Bd. 11
Hofheim 2010 (Wolke Verlag), 320 Seiten, ISBN: 078-3-936000-05-4; 27,- €

2009_albert-mangelsdorffAlbert Mangelsdorff galt seit den 1950er Jahren als die überragende Persönlichkeit des deutschen Jazz. Er war ein Musiker, der stil- und genreübergreifend Anerkennung fand und an Projekten beteiligt war, die zwischen Tradition, Avantgarde und Rock/Pop wechselten. Man achtete ihn international als einen Künstler mit einem ausgewiesen eigenständigen Stil, als einen Virtuosen auf der Posaune, als einen bedeutenden Komponisten und als einen Wegbereiter des Jazz in Deutschland. Für die Autoren dieses Bandes ist Mangelsdorff Ideengeber für Beiträge, in denen es um Albert Mangelsdorff geht, um die Geschichte des Jazz in Deutschland, um Instrumentaltechnik, um Free Jazz, die Frankfurter Szene, um vokale Expressivität im Jazz, soziale Ordnung im Free-Jazz-Kontext, ein erwachendes politisches Bewusstsein bei Musikern der 1960er Jahre oder das neue ästhetische Selbstbewusstsein europäischer Jazzmusiker heute.

Der Band enthält die Referate des 11. Darmstädter Jazzforums vom Oktober 2009. Er beleuchtet Facetten im Schaffen des Posaunisten, schaut auf musikalische und ästhetische Parallelentwicklungen, aber auch auf jüngste Entwicklungen im deutschen Jazz. Der rote Faden ist dabei letztlich die musikalische Offenheit, die Albert Mangelsdorff vorgelebt hat.

Beiträge:

  • Wolfgang Sandner: Ein Prototyp und Sonderfall: Albert Mangelsdorff, Jazzmusiker in Deutschland
  • Rüdiger Ritter: Jazz-Musiker als „Gründungsväter“ für nationale Jazzszenen? Krzysztof Komeda und der polnische Jazz
  • René Grohnert: Bilder zur Musik. Jazzplakate (von Günther Kieser und Niklaus Troxler) zwischen Ankündigung und Erinnerung
  • Wolfram Knauer: Es sungen drei Engel. Zum Umgang von Jazzmusikern mit deutscher Musiktradition
  • Martin Pfleiderer: Singin’ the Blues. Vokale Expressivität im instrumentalen Jazz
  • Kai Stefan Lothwesen: Emanzipation, Jazz-Dissidenten und Paradigmenwechsel. Anmerkungen zur Diversität des europäischen Jazz
  • Harald Kisiedu: „European Freedom“. Zum Verhältnis von Musik und Politik bei Peter Brötzmann
  • William Bares: Play Your Own Thing „Our“ Thing: „Young German Jazz“ und die deutsche Jazzidentität
  • Silvana K. Figueroa-Dreher: Was kann die Soziologie vom Free Jazz lernen?
  • Harald Justin: Jenseits des Skandals. Albert Mangelsdorff: Autobiographisches Erzählen im Kontext (und mögliche Paradigmenwechsel im deutschen Jazz)
  • Michael Rieth: Goethe und der Blues, Kropotkin und die Krone, Albert und die Anarchie
  • Jürgen Schwab: „50 Jahre institutionalisierte Subkultur“. Das hr-Jazzensemble, eine Bestandsaufnahme
  • Michael Rüsenberg: „Ein musikalisches Zwiegespräch zwischen dem weltberühmten Posaunisten und dem unbekannten Wal“. Anmerkungen zu Albert Mangelsdorff

Wolfram Knauer (Hg.): JAZZ.SCHULE.MEDIEN. Darmstädter Beiträge zur Jazzforschung, Band 12
Hofheim 2012 (Wolke Verlag), 256 Seiten, ISBN: 978-3-936000-92-4; 24,- €

2011_jazz-schule-medienAuch eine unmittelbare Musik wie der Jazz kommt nicht um Vermittlungsstrategien herum. Die Beiträge in diesem Buch beleuchten unterschiedliche Facetten einer solchen Jazzvermittlung. In einem ersten Block geht es darum, welchen Stellenwert Jazz im schulischen Unterricht besitzt, wie er in Lehrpläne eingebaut werden kann, welche pädagogischen Ansätze sich mit jazz-affinen Themen verbinden lassen, worauf die Musiklehrerausbildung achten muss, um Jazz und Popularmusik an Allgemeinbildenden Schulen gezielt einsetzen zu können. In einem zweiten Block wird aus unterschiedlichen Sichtweisen der Stellenwert diskutiert, den Jazz in den tagesaktuellen Medien besitzt, also in Tageszeitungen, Blogs etc. Schließlich kommen auch Jazzmusiker selbst zu Wort, die über Strategien berichten, ihr Publikum zu erreichen, in einer Zeit der kurzen Aufmerksamkeitsspanne Lust auf die Konzentration machen, die der Jazz verlangt, Neugier zu wecken auf das spontane Experiment der musikalischen Improvisation.

Die in diesem Band enthaltenen Beiträge entstanden aus Anlass des 12. Darmstädter Jazzforums im September 2011, das der theoretischen Diskussion über Jazzvermittlung auch einige praktische Workshops und Konzerte zur Seite stellte. Mit der Publikation wollen wir den Leser mit in den Diskurs darüber einbinden, wie der Jazz auch in Zukunft ein breites Publikum erreichen kann, ohne sich zu verbiegen, ohne seine kreative Freiheit dreinzugeben.

Beiträge:

  • Walter Turkenburg: Jazzpädagogik in Europa . Straße und Schule
  • Joe Viera: Jazzpädagogik. Zur Geschichte in Deutschland nach 1945. Aufgaben – Methoden – Zukunft
  • Siegried Busch: Jazz für Lehrer
  • Bert Gerhardt: Jazz in der Schule – nur was für die Elite?
  • Jürgen Terhag: Jazz als Basis der musikpädagogischen Arbeit mit Populärer Musik. Wege aus dem Ghetto
  • Günter B. Schmidt und Cordula Groß: Black Music als Teil der Schulsozialarbeit
  • Daphne Lipp und Sascha Wild: Jazz und improvisierte Musik in der Schule.! Eine Förderausschreibung der Stiftung Polytechnische Gesellschaft Frankfurt am Main
  • Olaf Stötzler und Jochen Stolla: Vermittlung durch Begegnung. Jugendprojekte der hr-Bigband. Bedingungen und Chancen musikalischer Bildung durch eine Rundfunk-Bigband
  • Wolfram Knauer: jazzwissen.de. Online-Modul als Hilfe zur Vermittlung von Jazz im Schulunterricht
  • Michael Rüsenberg: “Amylgada: das Jazz-Zentrum im Gehirn”. Eine Exkursion zu den Neurowissenschaften
  • Elena Ungeheuer: Herausforderungen der Musikvermittlung heute
  • Bernd Hoffmann: Spieglein, Spieglein an der Wand. Präsentationen des Jazz in deutschsprachigen Medien
  • Hans-Jürgen Linke: Alltagsraunen. Über inhaltliche FRagen, Jazz in der Tagespresse, Feulleton-Betrieb und andere langsam veraltende Probleme
  • Reinhard Köchl: Jazzjournalismus heute: Ohne Anzeige keine Zeile?
  • Nils Wülker: Über dem Publikum muss die Sonne aufgehen
  • Roundtable Jazzjournalismus: Reporter, Kritiker, Vermittler
  • Arndt Weidler: PSSST! … und wenn das Jazzpublikum schuld daran ist, dass so wenig Publikum zu Jazzkonzerten kommt?!
  • Roundtable Musiker: Das Publikum: Amorphe Masse oder Energiespender?

Wolfram Knauer (ed./Hg.): Jazz Debates / Jazzdebatten, Darmstädter Beiträge zur Jazzforschung Bd. 13
Wolke Verlag (Hofheim), 2014, English and German, 224 pp., Photos, Paperback, € 24,-, ISBN: 978-3-95593-013-4

2013_debattenDebates in jazz history are aesthetic marks which reflect discourses about the directions the music might take. In September 2013 experts from Europe and the USA met at the Darmstadt Jazzforum to discuss how such debates inform the perception of jazz to this day. The essays in this book focus on the effects of jazz debates on the aesthetic opinion. They examine historical as well as current debates within the German jazz scene. They discuss the gender debate in jazz, asking how an ideal of masculinity influences both the music and its reception as well as where in the jazz discourses one might find room for women and the LGBT community. Finally, they focus on the latest debate about the term “jazz” itself, touching questions about both historical and aesthetic ownership of music.

Debatten in der Jazzgeschichte sind ästhetische Wegmarken. Sie spiegeln Entscheidungsdiskurse wider darüber, wie es in der Musik weitergehen kann. Beim Darmstädter Jazzforum im September 2013 ergründeten Experten aus Europa und den USA, wie solche Debatten bis heute die Wahrnehmung des Jazz bestimmen. Die Beiträge dieses Buchs fragen etwa nach den Auswirkungen von Debatten auf das ästhetische Urteil. Sie beleuchten historische und aktuelle Jazzdebatten der deutschen Jazzszene. Sie diskutieren die Genderdebatte, fragen also, wie das Ideal von Maskulinität die Musik und ihre Rezeption prägt und wo in den Jazzdiskursen Raum etwa für Frauen oder die LGBT-Community ist. Und sie thematisieren die jüngste Debatte über den Begriff “Jazz” selbst und damit die Frage, wem der Jazz seiner historischen und ästhetischen Entwicklung nach “gehört”.

Beiträge:

  • Jürgen Arndt: Schlager, Jazz und Argumente: 1953 und 60 Jahre danach oder: Als der Jazz seine Stimme verlor
  • Siegfried Schmidt-Joos: Jazzpapst Revisited. Rückblick auf einen Konflikt
  • Martin Pfleiderer / Wolf-Georg Zaddach: Der gegenwärtige Jazzdiskurs in Deutschland. Versuch einer empirischen Rekonstruktion anhand von Jazzzeitschriften
  • John Gennari:  Remapping the Boundaries of Jazz: The Case of Jason Moran
  • Peter Elsdon: The Potential of the Jazz Record
  • Nichole Rustin-Paschal: Self Portrait: On Emotion and Experience As Useful Categories of Gender Analysis in Jazz History
  • John Gill: Miles in the Sky: Dismantling the glass closet in jazz
  • Tony Whyton: Crosscurrents: the cultural dynamics of jazz
  • Christian Broecking: Not Black enough? Debating jazz in the post-blackness time space
  • Wolfram Knauer “Jazz” or not “Jazz”. From Word to Non-Word and Back

Wolfram Knauer (ed./Hg.): Gender and Identity in Jazz, Darmstädter Beiträge zur Jazzforschung Bd. 14
Wolke Verlag (Hofheim), 2016, English and German, 308 pp., Photos, Paperback, € 28,-, ISBN: 978-3-95593-014-1

2016knauerThe 14th Darmstadt Jazzforum held in October 2015 focused on different aspects of identity in jazz. The participants talked about the perception of female instrumentalists, about “male” or “female” sound, about homosexuality, about references to the body as well as about the denial of the erotic element in music, about Jutta Hipp, Ivy Benson, Clare Fischer, Sun Ra and others. The conference participants looked at jazz history, but they self-confidently also looked at the jazz scene of today. They discussed how common prejudices can be overcome and how to describe the gender discourse of the 21st century. It is perfectly clear that the view of jazz musicians and their art may be distorted if we reduce them to any parts of their identity, be it their gender, their sexual orientation, their ethnicity, or anything else. However, to ignore these facets, be it in jazz history or today”s jazz scene, is a proof of neglect as well. With this publication we hope to contribute to a discourse which is and remains important in our changing modern world.

Das 14. Darmstädter Jazzforum im Oktober 2015 befasste sich mit ganz unterschiedlichen Aspekten von Identität im Jazz. Es ging um die Wahrnehmung von Instrumentalistinnen, um “männlichen” oder “weiblichen” Sound, um Homosexualität, Körperlichkeit und die Verleugnung des erotischen Moments in der Musik, um Jutta Hipp, Ivy Benson, Clare Fischer, Sun Ra und andere. Die Teilnehmer der Konferenz reflektierten über Jazzgeschichte und schauten selbstbewusst auf die Gegenwart. Sie diskutierten Wege, wie sich Vorurteile überwinden lassen und wie man den Gender-Diskurs des 21sten Jahrhunderts im Jazz angemessen beschreiben kann. Dass der Blick auf den Jazz verfälscht wird, wenn man seine Protagonisten auf einzelne Teile ihrer vielfältigen Identität reduziert, ist klar. Diese jedoch in Jazzgeschichte und -gegenwart völlig außer Acht zu lassen, ist ein genauso großes Versäumnis. In diesem Buch wollen wir somit einen Diskurs fortführen, der auch in unserer bereits erheblich veränderten Welt wichtig bleibt.

Beiträge:

  • Wolfram Knauer: Clash of Identities
  • Mario Dunkel: Sexuality, Eroticism, and the Construction of the Jazz Tradition
  • Katherine Williams: “Alright for a Girl”, and Other Jazz Myths
  • Michael Kahr: Chromaticism and Identity in the Music of Clare Fischer
  • Yoko Suzuki: Gendering Musical Sound in Jazz Saxophone Performance
  • Ilona Haberkamp: Hipp Style or Adaption?
  • Martin Niederauer: Male Hegemony in Jazz – Trying to Understand One Important Element of Jazz’s Gender Relations
  • Joy Ellis and Adam Osmianski: Women and the Jazz Jam
  • Christopher Dennison: One-Armed Ball Players: The Language of Homophobia in Jazz
  • Jenna Bailey: “Play Like a Man and Look Like a Woman”, Exploring the Role of Gender in Ivy Benson’s All Girl Band
  • Ilka Siedenburg: Bigbandklassen: Ein Weg zur musikalischen Praxis jenseits von Geschlechterstereotypen?
  • Mane Stelzer: „Für uns war es fremde Musik“, Wie junge Instrumentalistinnen zum Jazz finden (oder auch nicht)
  • Nicole Johänntgen: SOFIA und mehr, Eine persönliche Annäherung an ein Frauen-Musikprojekt
  • Sherrie Tucker: A Conundrum is a Woman-in-Jazz: Enduring Improvisations on the Categorical Exclusions of Being Included
  • John Murph: Exploring Queer Notions Inside Sun Ra’s Outer Space Ways
  • Christian Broecking: “Authentic Lesbian As I Am”, Aspects of Gender, Marginalization and Political Protest in the Life and Work of Irène Schweizer
  • Nicolas Pillai: Watching Men Play. The Erotics of the Hollywood Jazz Film

2007: Encounters … The World meets Jazz

JFProgrammlogo_2007The 10th Darmstadt Jazzforum from October 4th to 7th, 2007 centered on the subject “Encounters – The World Meets Jazz”. The subject matter was not so much “world music” but rather the fact that jazz was a productive music from the beginning. We were aware, that musicians all over the world who took up jazz had to know and respect its roots as African-American music as well as had to contribute some of their own traditions. The Darmstadt Jazzforum discussed this productive discourse of traditions, the fact that jazz has been influenced by music traditions from all over the globe, from countries and regions in which the jazz tradition meanwhile has been accepted as their own tradition. We planned to discuss such convergences, adaptions or adoptions and will look at ideas which come from ethnic musical genres but so excellently work within the jazz context that it’s difficult to place the results in any of the existing genres. It’s not “world music” and it’s not mainstream jazz either. It’s a creative exchange of ideas which changes jazz.

2009: Albert Mangelsdorff – Tension

programmheftDuring the 11th Darmstadt Jazzforum, a conference dealt with Albert Mangelsdorff, his music, his influence on German jazz history and his role as an integrational figure for German and European jazz. The papers given at the three day conference (Oct 1-3, 2009) not only delved into Mangelsdorff himself, though, but also with German jazz history, with instrumental techniques, with free jazz, with the Frankfurt jazz scene, with the fusion of jazz and rock, with musical communication in an improvised music, with a growing self confidence of European jazz musicians in recent years and with the aesthetic problems and chances of jazz today. The Jazzforum, thus, tried to not just look back but approach the world of today’s jazz as well, which was so strongly influenced by Mangelsdorff’s lifelong musical efforts. The golden thread is perhaps the musical candor, which always shaped Albert Mangelsdorffs aesthetic credo.

The Darmstadt Jazzforum consists of five program parts: (1) an international three day conference, (2) a concert series over more than one week, (3) an exhibition, (4) an evening of rare film footage, and (5) a book documentation of the Jazzforum to be published next year.

The conference from vom 1. to 3. October 2009 will gather musicologists, historians, journalists and scholars from other fields as well as musicians. This year’s speakers include: the musicologist William Bares (Cambridge, USA, Harvard University) talking about the growing assertiveness of European jazz and problems arising from it; the sociologist Silvana Figueroa-Dreher about social order in free jazz improvisation; the art historian René Grohnert (Essen) about poster art in jazz and the graphic designer Günter Kieser; the Journalist Harald Justin (Wien) talking about biographies and autobiographies of jazz musicians (and especially looking at Bruno Paulot’s Albert Mangelsdorff biography); the musicologist Harald Kisiedu (New York, Columbia University) reflecting upon music and politics in the work of Peter Brötzmann; the musicologist Wolfram Knauer (Darmstadt) talking about how German musicians dealt with their national folkloric traditions; the musicologist Kai Lothwesen (Frankfurt) reflecting upon the diversity of today’s European jazz; the musicologist Martin Pfleiderer (Weimar) about vocal expressiveness in instrumental jazz; the journalist Michael Rieth talking about jazz criticism; the historian Rüdiger Ritter (Berlin) with a paper about the Polish pianist Krzysztof Komeda; the journalist Michael Rüsenberg (Köln) explaining “The Making Of” of a lengthy Albert Mangelsdorff film documentary; the journalist, musicologist and lkong-time friend of Mangelsdorff Wolfgang Sandner (Frankfurt) giving a keynopte speech about the trombonist; the musicologist Jürgen Schwab (Hanau) reflecting about the Jazzensemble des Hessischen Rundfunks; and the trombonist Nils Wogram (Zürich) showing trombone techniques and talking about Albert’s influence on trombonists.

The concert series will feature the alto saxophonist Emil Mangelsdorff, Albert’s older brother, in concert with his quartet and in conversation (Sep. 25, 2009); the duo of vibraphonist Wolfgang Schlüter and pianist Boris Netsvetaev in another concert plus conversation event (Sep. 30, 2009); the American trombonist Roswell Rudd in a duo with the pianist Lafayette Harris (Oct. 2, 2009); the German guitar duo of Joe Sachse and Uwe Kropinski; as well as a trio by trombonist Nils Wogram, organist Florian Ross and drummer Dejan Terzic (Oct. 3, 2009).

The concert series lasted from September 25th to October 3rd, 2009; the conference itself took place from October 1st through 3rd, 2009. Participation in the conference was free; concerts and workshop a reasonable admission price was charged.

2011: Jazz. School. Media.

Forum_2011_quadrat_72_webTo this day, jazz belongs among the most creative and inspiring forms of music. The art of improvisation challenges musicians to express themselves spontaneously in a way few other art forms ask for. On the other hand jazz is still being considered a minority music, even though there is hardly any musical genre with more stylistic facets or that has been influential on so many developments within the field of popular music.

Musically then, jazz should be the music of the future even though this music sometimes has its problems reaching its audience which senses reservations about a seemingly difficult-to-understand music. The 12th Darmstadt Jazzforum focuses on different aspects of the mediation of jazz, be it in education in schools or conservatories, in the media or directly between the musicians and their audience.

The conference will be held from September 29th to October 1st, 2011 and feature papers by scholars from the fields of media and communication science, educators, journalists, PR experts but also practical mediators, i.e. musicians and concert promoters. We plan a workshop for educators as well as an online competition for critics.

By grouping these topics the Jazzforum wants to show that the future of jazz is not just a task for educators but should combine all aspects of education, media and especially life performance. The conference and the workshops will be in German without simultaneous translation. Paper suggestions from German speakers or scholars who understand sufficient German to be able to participate in the conference are welcome.

2013: jazz debates / jazz analysis

Click here to open program folderControversies regarding jazz have been as old as the music and fought between fans, private researchers as well as journalists and scholars. Historical, aesthetic, sociological, analytical and discographical approaches have enabled the growing field of jazz research to describe jazz as an expression of 20th century art music still valid in the 21st century.

The Darmstadt Jazzforum is an international conference taking place every other year in Darmstadt, Germany. The 13th edition of the Jazzforum took place from September 26 to 28, 2013 as an event co-organized with the Institute for Jazz Research at the Arts University of Graz. The discussions during the double conference focused on two subjects: “Jazz Debates” (organized by the Jazzinstitut Darmstadt) and “Jazz Analysis: Postbop” (organized by the Institute for Jazz Research).

The double conference focused on some aspects of these aesthetic as well as analytiocal approaches toward jazz. By organizing a joined conference of the two most important research institutions in the field of jazz we wanted to illuminate some facets of current jazz research but also instigate discussions which hopefully will discover connections between the two strands of the conference. The conference languages were English (main language) and German.

All lectures are free of attendance fees. Her you can find all abstracts and biographies in a printable PDF file.

Darmstadt Jazzforum

Ruesenberg, Leur, Whyton, Gennari, Kahr - 13. Darmstädter JazzfThe Darmstadt Jazzforum is an international conference taking place every other year since 1989 and focuses on different topics in each edition. It is unique mix featuring an international conference, concerts, workshops or exhibitions. Each Jazzforum has been documented in our book series “Darmstädter Beiträge zur Jazzforschung” (“Darmstadt Contributions to Jazz Research” published by Wolke editors, Hofheim), a book series of thirteen volumes up-to-now which focuses on jazz scholarship and documentation.

The 15th Darmstadt Jazzforum will take place 28 – 30 September 2017. Its title is “Jazz @ 100 | An alternative to a story of heroes”. Here are further details.

Previous Darmstadt Jazzforums dealt with subjects as “Darmstädter Jazzforum 89” (1989), “Jazz und Komposition” (1991), “Jazz in Europa” (1993), “Jazz in Deutschland” (1995), “Jazz und Sprache” (jazz and language; 1997), “Duke Ellington und die Folgen” (Duke Ellington and what next; 1999), “Jazz und Gesellschaft” (Jazz and Society; 2001), “Improvisieren…” (2003), “Verrat!!… oder Chance. Der Jazz und sein gespaltenes Verhälnis zur Popmusik” (Treason !!! … or Chance? Jazz and its ambivalent relationship(s) with popular music; 2005), “Begegnungen… The World meets Jazz” (Encounters… The World meets Jazz; 2007), “Spannung | Tension. Albert Mangelsdorff” (2009), “Jazz.Schule.Medien.” (2011), “Jazzdebatten / jazz debates” (2013), “Gender and Identity in Jazz” (2015).

Please find Darmstadt Jazzforum on Facebook    GENDER_IDENTITY