Cuba Street parade
Identity, authenticity and self-expression in contemporary Australasian jazz scenes
DOI:
https://doi.org/10.1558/jazz.v8i1-2.26780Keywords:
identity, authenticityAbstract
While jazz has developed into a global artform, its history (and much of its present) remain bound to activity in the US. Jazz musicians in Australia and New Zealand must negotiate the tension between normative expression via an adopted artform, and expression of their own identities as contemporary New Zealanders and Australians, through the discarding of convention in order to achieve greater integrity of expression. Through interviews with musicians from the (multiple) scenes in Melbourne and Wellington, various perspectives are considered. The influence of jazz education, and the notion of national style are also discussed.
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——(2000) The Inaudible Music: Jazz, Gender and Australian Modernity. Sydney: Currency Press.
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Atkins, E. Taylor (2001) Blue Nippon: Authenticating Jazz in Japan. Durham, NC: Duke University Press. http://dx.doi.org/10.1215/9780822380030
Atkins, E. Taylor, ed. (2003) Jazz Planet. Jackson, MS: University Press of Mississippi.
Ballantine, Christopher (2012) Marabi Nights: Jazz, ‘Race’ and Society in Early Apartheid South Africa. Scottsdale: University of KwaZulu-Natal Press.
Berliner, Paul (1994) Thinking in Jazz: The Infinite Art of Improvisation. Chicago: University of Chicago Press. http://dx.doi.org/10.7208/chicago/9780226044521.001.0001
Burns, Lori (2010) Challenges to the Wellington Jazz Community from a Business Perspective. MBA thesis. Wellington: Victoria University.
DeVeaux, Scott (1991) ‘Constructing the Jazz Tradition: Jazz Historiography’. Black American Literature Forum 25/3: 525–60. http://dx.doi.org/10.2307/3041812
DeVeaux, Scott, and Gary Giddins (2009) Jazz. New York: W. W. Norton.
Ellison, Ralph (1966) Shadow and Act. New York: New American Library.
Feld, Steven (2012) Jazz Cosmopolitanism in Accra: Five Musical Years in Ghana. Durham, NC: Duke University Press. http://dx.doi.org/10.1215/9780822394969
Grabowsky, Paul (2007) ‘Introducing… Paul Grabowsky’. State Library of Queensland, 13 June, http://www.slq.qld.gov.au/__data/assets/pdf_file/0004/65587/SLQ-Paul_Grabowsky_transcript-9_Jun_07.pdf (accessed 8 October 2014).
Hardie, Richard (2009) ‘Jazz on a Summer’s Night’. In Jazz Aotearoa: Notes Towards a New Zealand History, ed. Richard Hardie and Allan Thomas, 41–55. Wellington: Steele Roberts.
Heble, Ajay, and Rob Wallace (2013) ‘People Get Ready: The Future of Jazz is Now’. In People Get Ready: The Future of Jazz is Now!, ed. Ajay Heble and Rob Wallace, 1–28. Durham, NC: Duke University Press. http://dx.doi.org/10.1215/9780822399728-001
Jackson, Travis (2004) ‘“Always New and Centuries Old”: Jazz, Poetry, and Tradition as Creative Adaptation’. In Uptown Conversation: The New Jazz Studies, by R. O’Meally, B. H. Edwards and F. J Griffin, 357–73. New York: Columbia.
——(2012) Blowin’ the Blues Away: Performance and Meaning on the New York Jazz Scene. Berkeley: University of California Press. http://dx.doi.org/10.1525/california/9780520270442.001.0001
Johnson, Bruce (1987) The Oxford Companion to Australian Jazz. Melbourne: Oxford University Press.
——(2000) The Inaudible Music: Jazz, Gender and Australian Modernity. Sydney: Currency Press.
——(2002) ‘Jazz as Cultural Practice’. In The Cambridge Companion to Jazz, ed. Mervyn Cooke and David Horn, 96–113. Cambridge: Cambridge University Press.
Kivy, Peter (1995) Authenticities: Philosophical Reflections on Musical Performance. New York: Cornell University Press.
Lilburn, Douglas (2011) A Search for Tradition and a Search for a Language. Wellington: Lilburn Residence Trust in association with Victoria University Press.
Meehan, Norman (2010) ‘Mike Nock: A NZ Voice in Jazz’. In Many Voices: Music and National Identity in Aotearoa/New Zealand, ed. Henry Johnson, 103–10. Newcastle: Cambridge Scholars.
Moore, Hilary (2007) Inside British Jazz: Crossing Borders of Race, Nation and Class. Aldershot: Ashgate.
Nicholson, Stuart (2005) Is Jazz Dead? (Or has it Moved to a New Address). New York: Routledge.
Shand, John (2009) Jazz: The Australian Accent. Sydney: University of NSW.
Small, Christopher (1998) Musicking: The Meanings of Performing and Listening. Middletown, CT: Wesleyan University Press.
Ward, Aleisha (2012) ‘Any Rags, Any Jazz, Any Boppers Today?: Jazz in New Zealand 1920–1955’. PhD dissertation, University of Auckland.
Whiteoak, John (1996) ‘“Jazzing” and Australia’s First Jazz Band’. Popular Music 13/3: 279–95. http://dx.doi.org/10.1017/S0261143000007200
Published
2015-06-16
Issue
Section
Articles
How to Cite
Tipping, N. (2015). Cuba Street parade: Identity, authenticity and self-expression in contemporary Australasian jazz scenes. Jazz Research Journal, 8(1-2), 111-125. https://doi.org/10.1558/jazz.v8i1-2.26780
