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• W2461529989 abstract "Reviewed by: The Fierce Urgency of Now: Improvisation, Rights, and the Ethics of Cocreation by Daniel Fischlin, Ajay Heble, George Lipsitz, and: People Get Ready: The Future of Jazz is Now! ed. by Ajay Heble, Rob Wallace Michael Borshuk Daniel Fischlin, Ajay Heble, and George Lipsitz. The Fierce Urgency of Now: Improvisation, Rights, and the Ethics of Cocreation. Durham and London: Duke up, 2013. 292pp. $23.95. Ajay Heble and Rob Wallace, eds. People Get Ready: The Future of Jazz is Now! Durham and London: Duke up, 2013. 312pp. $25.99. Since the turn from the past century, after jazz completed its decades-long ascension from ribald musical novelty to what so many listeners consider the soundtrack of refinement and urbanity, it has become commonplace to suggest that the music isn’t just a notable artform but, more broadly, a model for social organization as well. What, after all, might illustrate the [End Page 132] egalitarian, idealized set of interactions we all crave than a music that, at its very core, insists upon collective improvisation and the unification of individual voices in constant democratic exchange? The ur-text for this line of thinking may be Ken Burns’s mammoth nineteen-hour documentary Jazz, which first appeared on pbs in 2001. The first words we hear in the film come from trumpeter (and frequent evangelist) Wynton Marsalis, who tells us “jazz music objectifies America. It’s an artform that can give us a painless way of understanding ourselves.” Expanding on this broad claim, Marsalis explains that since group extemporization is the jazz tradition’s aesthetic centre, then naturally the music constitutes the most essential embodiment of the American necessity of negotiating diverse agendas. “That negotiation,” Marsalis concludes triumphantly, “is the art.” If the gospel of Burns and Marsalis—as influenced by the prophets Albert Murray and Stanley Crouch, both notable African American intellectuals who earlier described jazz in this redemptive manner—is pleasing and unthreatening to many, its ameliorative tone has also earned its share of criticism, not least for the self-congratulatory way it fuses jazz music’s “triumph” with an imaginary move toward cultural pluralism. And as many have argued, the very way that Burns and Marsalis tell the artistic story of jazz amidst their democratic frame is indicative of their gospel’s problems. They focus conservatively, that is, on jazz styles that primarily emphasize the aesthetic qualities “swing” and “blues” and on those that at some point achieved commercial success, as performed by a line of artists beginning with Louis Armstrong and proceeding through Duke Ellington, Charlie Parker, and Miles Davis to Marsalis himself. Those more avant-garde or hybridized styles, like free jazz or fusion, get short shrift, discussed only briefly as less important offspring within the music’s genealogy. One effect of these choices is to marginalize the importance of those jazz artists potentially threatening to the mainstream audiences most invested in triumphant narratives of American democracy and capitalism. Note, for instance, the disparity in narrative screen time Burns accords to white swing clarinetist Artie Shaw, jetsetting star of the Swing Era, versus that given to the politically outspoken African American bassist Charles Mingus. Or register how shamelessly the film neglects the legendary Chicago-based musicians’ collective, the Association for the Advancement of Creative Musicians, a network of avant-garde artists who have successfully self-governed their activity and mentored across generations for the past fifty years. Moreover, while the Burns film quiets some of jazz history’s most politically incendiary figures, the documentary’s warped chronology—covering 1900 to 1960 in its first seventeen hours and then [End Page 133] squeezing four decades into its final episode—also consigns “the jazz tradition” primarily to the past, rendering the heterogeneity of the music’s complicated history as a stable canon rather than a lively, discordant set of practices that continues still. The two volumes under review in this essay confront these problems extensively. Together, they argue for a more complicated imagining of jazz music’s capacity for social organization and ethical interaction, as they also challenge both the rigidity of the Ken Burns canon and the illusion of its finite status. Unsurprisingly, the unifying figure across..." @default.
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• W2461529989 title "The Fierce Urgency of Now: Improvisation, Rights, and the Ethics of Cocreation by Daniel Fischlin, Ajay Heble, George Lipsitz, and: People Get Ready: The Future of Jazz is Now! ed. by Ajay Heble, Rob Wallace" @default.
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