Traditional jazz and the mainstreaming of authenticity
The case of British traddy pop (1959–1963)— a grounded theory approach
DOI:
https://doi.org/10.1558/pomh.v5i2.125Keywords:
authenticity, grounded theory, mainstreaming, New Orleans jazz revivalism, traditional jazzAbstract
This article sets forth a grounded theory of ‘mainstreaming’ with reference to traditional jazz, the mainstreaming of authenticity, and the relevant popular music studies literature. It considers ‘British traddy pop’ (the ‘trad fad’)—a major force in British popular music between 1959 and 1963—in terms of a phased trajectory of mainstreaming. Mainstreaming is considered as a generic social process which subsumes a number of Janus-faced major sub-processes: those of ‘sourcing’, ‘selecting’, ‘adopting/adapting’, ‘commodifying’, and ‘progressing’. The dimensions of each sub-process are examined in terms of musical style, instrumentation, personnel, and repertoire, and their various properties. It is suggested that the conceptual framework detailed in the article might provide the foundations for a comprehensive theory of mainstreaming in popular music studies, more generally.
References
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Adorno, Theodor. 1976. ‘Perennial Fashions: Jazz’. In Theodor Adorno, Prisms. London: Neville Spearman.
—1991. The Culture Industry: Selected Essays on Mass Culture, ed. J. Bernstein. London: Routledge.
Ball, Kenny, with William Hall. 2004. Blowing My Own Trumpet. London: John Blake.
Berg, Ivan, and Ian Yeomans. 1962. Trad: A Who’s Who of Traditional Jazz. London: W. Foulsham & Co.
Blesh, Rudi. 1943. This is Jazz: A Series of Lectures Given at the San Francisco Museum of Art. Privately printed in San Francisco.
—1958 [1946]. Shining Trumpets: A History of Jazz, 4th enlarged edn. London: Cassell.
Blumer, Herbert. 1954. ‘What is Wrong with Social Theory?’ American Sociological Review 19: 3–10. http://dx.doi.org/10.2307/2088165
—1969. Symbolic Interactionism: Perspective and Method. Englewood Cliffs, NJ: Prentice Hall.
Bradley, Dick. 1992. Understanding Rock ‘n’ Roll: Popular Music in Britain, 1955–1964. Buckingham: Open University Press.
Bryant, Anthony, and Kathy Charmaz, eds. 2007. The Sage Book of Grounded Theory. Los Angeles: Sage.
Carter, William. 1991. Preservation Hall: Music from the Heart. New York: W. W. Norton.
Charts and Memorabilia. 1962. http://www.bradfordtimeline.co.uk/mindex62e.htm.
Colyer, Ken. 2009. When Dreams are in Dust: The Path of a Jazzman. Newly restored version, Ken Colyer Trust. (First published, Milbury Publications, 1989.)
Cool 78 of the Month. 2005. ‘Humphrey Lyttelton and his Band. Bad Penny Blues’. Parlophone R 4184 (UK). Summer 1956. http://www.cool78s.com/Cool_200511.html.
Curran, Dale. 1947. ‘Three Brass, Four Rhythm’. In Jazzways, ed. George S. Rosenthal and Frank Zachary, in collaboration with Frederick Ramsay, Jr., and Rudi Blesh, 103–109. London: Musicians Press.
Davies, Jude. 1999. ‘ “It’s Like Feminism but You Don’t Have to Burn Your Bra”: Girl Power and the Spice Girls’ Breakthough, 1996–7’. In Living Through Pop, ed. Andrew Blake, 159–63. London: Routledge.
Dewe, Mike. 1998. The Skiffle Craze. Aberystwyth: Planet.
Donnelly, Mark. 2005. Sixties Britain: Culture, Society and Politics. Harlow: Pearson Education.
Downtown Syncopators. 1962. Downtown Syncopators (Aka Original Downtown Syncopators). Video newsreel film. http://www.britishpathe.com/record.php?id=501.
Du Noyer, Paul. 2009. In the City: A Celebration of London Music. London: Virgin Books.
Dyer, Richard. 1998. Stars. Macmillan: Palgrave. New edn, with a supplementary chapter by Paul McDowell.
Ekins, Richard. 2009. ‘Bob Wallis on Authenticity and the New Orleans Jazz Revival in Britain’. Just Jazz 138 (October): 22–27.
Frame, Peter. 1997. The Beatles and Some Other Guys: Rock Family Trees of the Early Sixties. London: Omnibus Press.
Frith, Simon. 1987. ‘Towards an Aesthetic of Popular Music’. In Music and Society, ed. R. Leppert and S. McClary, 133–49. Cambridge: Cambridge University Press.
Frow, John. 1995. Cultural Studies and Cultural Value. Oxford: Clarendon Press.
Gabbard, Krin. 1995. ‘Introduction: the Jazz Canon and its Consequences’. In Jazz Among the Discourses, ed. Krin Gabbard, 1–28. Durham, NC: Duke University Press.
Gendron, Bernard. 1986. ‘Theodor Adorno Meets the Cadillacs’. In Studies in Entertainment: Critical Approaches to Mass Culture, ed. Tania Modleski, 18–36. Bloomington, IN: Indiana University Press.
—1995. ‘ “Mouldy Figs” and Modernists: Jazz at War (1942–1946)’. In Jazz Amongst the Discourses, ed. Krin Gabbard, 31–56. Durham, NC: Duke University Press.
Giddens, Anthony. 1984. The Constitution of Society: Outline of a Theory of Structuration. Cambridge: Polity Press.
Glaser, Barney G. 1978. Theoretical Sensitivity: Advances in the Methodology of Grounded Theory. Mill Valley, CA: Sociology Press.
Glaser, Barney, and Anselm L. Strauss. 1967. The Discovery of Grounded Theory: Strategies for Qualitative Research. Chicago: Aldine.
Godbolt, Jim. 1989. A History of Jazz in Britain, 1950–1970. London: Quartet Books.
Goldmark, Daniel. 2005. Tunes for ‘Toons: Music and the Hollywood Cartoon. Berkeley, CA: University of California Press.
Goodey, Brian R. 1968. ‘New Orleans to London: Twenty Years of the New Orleans Jazz Revival in Britain’. Journal of Popular Culture 2.2: 173–94. http://dx.doi.org/10.1111/j.00223840.1968.0202_173.x
Grossberg, Lawrence. 1999. ‘Same as it Ever Was? Rock Culture. Same as It Ever Was! Rock Theory’. In Stars Don’t Stand Still in the Sky: Music and Myth, ed. Karen Kelly and Evelyn McDonnell, 99–121. London: Routledge.
Hadlock, Richard. 2000. ‘The New Orleans Revival’. In The Oxford Companion to Jazz, ed. Bill Kirchner, 301–15. Oxford: Oxford University Press.
Hall, S., and T. Jefferson, eds. 1976. Resistance Through Rituals: Youth Subcultures in Post-war Britain. London: Hutchinson/BCCCS.
Harron, M. 1988. ‘Pop as a Commodity’. In Facing the Music, ed. S. Frith, 173–220. New York: Pantheon Books.
Hebdige, Dick. 1979. Subculture: The Meaning of Style. London: Routledge. http://dx.doi. org/10.4324/9780203139943
Hesmondalgh, David, and Keith Negus. 2002. ‘Production, Institutions and Creativity: Editors’ Introduction’. In Popular Music Studies, ed. David Hesmondaigh and Keith Negus, 145–48. London: Hodder Education.
Hoffman, Frank, and William G. Bailey.1990. Arts and Entertainment Fads. Binghamton, NY: Haworth.
Huber, Alison. 2004. ‘How to “Get Your Juices Going”: The Starburst Incident and Mapping Top 40 Culture’. Perfect Beat: The Pacific Journal of Research into Contemporary Music and Popular Culture 7.1: 3–16.
—2005. ‘Learning to Love the Mainstream: Top 40 Culture in Melbourne’. Unpublished PhD thesis, University of Melbourne.
—2008. ‘Top 40 in Australia: Popular Music and the Mainstream’. In Sounds of Then, Sounds of Now: Popular Music in Australia, ed. Shane Homan and Tony Mitchelle, 271–88. Hobart: ACYS Publishing.
—2010. ‘Making Time Stand Still: How to “Fix” the Transient Top 40’. International Journal of Cultural Studies 13.2: 147–62. http://dx.doi.org/10.1177/1367877909356726
Hughes, Richard. 2006. ‘It All Came Easy to the Master: Ade Monsbourgh, 1917–2006’. The Sydney Morning Herald, August 16. http://www.smh.com.au/news/obituaries/it-allcame-easy-to-the-master/2006/08/15/1155407805914.html.
Jenkins, Henry, Tara McPherson and Jane Shattuc. 2002. ‘Defining Popular Culture’. In Hop on Pop: The Politics and Pleasure of Popular Culture, ed. Henry Jenkins, Tara McPherson and Jane Shattuc, 26–42. Durham, NC: Duke University Press.
Jones, Mike. 2003. ‘Marxists in the Market Place’. In Policing Pop, ed. Martin Cloonan and Reebee Garafalo, 100–12. Philadelphia: Temple University Press.
Kelly, Paul. 2000. ‘Foreword’. In Clinton Walker, Buried Country: The Story of Aboriginal Country Music. Annandale, VA: Pluto Press.
LaRocca, Nick. 1936. ‘Jazz Stems from Whites, Not Blacks’. Metronome 52/20 (October): 20, 51, 53.
—1958. ‘Interviews’ by Richard B. Allen, 21 May, 26 May, 2 June, 9 June and 16 June, tape recordings. New Orleans: Hogan Jazz Archive, Tulane University.
Leach, Elizabeth Eva. 2001. ‘Vicars of “Wannabe”: Authenticity and the Spice Girls’. Popular Music 20.2: 143–67.
Lefebvre, Henri. 1991. The Production of Space, trans. Donald Nicholson-Smit. Oxford: Blackwell.
Leigh, Spencer. 2002. Sweeping the Blues Away: A Celebration of the Merseysippi Jazz Band. Liverpool: University of Liverpool, Institute of Popular Music.
Leslie, Peter. 1961. ‘Read This’ [sleeve commentary]. ‘Mr. Acker Bilk and his Paramount Jazz Band, Mr. Acker Bilk’s Landsdowne Folio’. Columbia 33SX 1348.
Leslie, Peter, and Patrick Gwynn-Jones. 1961. The Book of Bilk: or 41 Characters in Search of an Acker. London: MacGibbon & Kee.
Liverpool Philharmonic Hall. 2011. ‘The Three Bs: Acker Bilk, Chris Barber & Kenny Ball’. Friday 20 May, 2011, 7:30 pm, Liverpool Philharmonic Hall, http://www.liverpoolphil.com/2086/events-contemporary-music/the-three-bs.html.
Lyttelton, Humphrey. 1959. I Play as I Please: The Memoirs of an Old Etonian Trumpetet. London: Pan Books.
Matthew, Brian. 1962. Trad Mad. London: World Distributors, in association with Souvenir Press.
McKay, George. 2003. ‘Just a Closer Walk with Thee: New Orleans Style Jazz and the Campaign for Nuclear Disarmament in 1950s Britain’. Popular Music 22.3: 261–82. http://dx.doi.org/10.1017/S0261143003003180
—2004. ‘ “Unsafe Things Like Youth and Jazz”: Beaulieu Jazz Festivals (1956–61) and the Origins of Pop Festival Culture in Britain’. In Remembering Woodstock, ed. Andy Bennett, 90–110. Aldershot: Ashgate.
—2005. Circular Breathing: The Cultural Politics of Jazz in Britain. Durham, NC: Duke University Press.
—2010. ‘Trad Jazz in 1950s Britain—Protest, Pleasure, Politics—Interviews with Some of those Involved’. http://salford.academia.edu/GeorgeMcKay/Papers/139997/Trad_ jazz_in_1950s_Britain--protest_pleasure_politics--interviews_with_some_of_ those_involved.
Melly, George. 1984. ‘Whatever Happened to Bill Brunskill?’ Directed by Peter Newington; script by George Melly. Thames Television.
Meyersohn, Rolf, and Elihu Katz. 1957. ‘Notes on the Natural History of Fads’. American Journal of Sociology 62.6: 549–601.
Moore, Hilary. 2007. ‘Ken Colyer and the Trad Jazz Movement: Class, Authenticity and the Nostalgic Imagination’. In Hilary Moore, Inside British Jazz: Crossing Borders of Race, Nation and Class, 37–65. Aldershot: Ashgate.
Panassié, Hugues. 1942. The Real Jazz. New York: Smith & Durrell.
Perchard, Tom. 2011. ‘Tradition, Modernity and the Supernatural Swing: Re-Reading “Primitivism” in Hugues Panassie’s Writing on Jazz’. Popular Music 30: 25–45. http://dx.doi. org/10.1017/S0261143010000644
Pidgeon, John. 2009. ‘Blues Incorporated: How British R&B Trashed Trad’. http://www. rocksbackpagesblogs.com/2009/09/blues-incorporated-how-british-rb-trashedtrad/.
Pointon, Mike, and Ray Smith. 2010. Goin’ Home: The Uncompromising Life and Music of Ken Colyer. London: The Ken Colyer Trust.
Prus, R. 1987. ‘Generic Social Processes: Maximising Conceptual Development in Ethnographic Research’. Journal of Contemporary Ethnography 16: 250–93. http://dx.doi.org/ 10.1177/0891241687163002
Raeburn, Bruce Boyd. 2009. New Orleans Style and the Writing of American Jazz History. Ann Arbor: University of Michigan Press.
Shipton, Alyn. 2007. A New History of Jazz. Revised and updated edn. New York: Continuum.
Shuker, Roy. 2005. Popular Music: The Key Concepts. 2nd edn. London: Routledge.
Strausbaugh, John, and George Tabb. 2000. ‘Having a Rave Up with Giorgio Gomelsky: From the Beatles and Stones to the Internet, He Keeps Rocking’. Rocking, 26 April. http://www.nypress.com/article-1522-having-a-rave-up-with-giorgio-gomelsky-fromthe-beatles-and-stones-to-the-internet-he-keeps-rocking.html.
Thornton, S. 1995. Club Cultures: Music, Media and Subcultural Capital. London: Routledge.
Toynbee, Jason. 2002. ‘Mainstreaming, from Hegemonic Centre to Global Networks’. In Popular Music Studies, ed. David Hesmondaigh and Keith Negus, 149–63. London: Hodder Education.
The Trad Fad. 1962. ‘The Trad Fad—A Special Feature: Jazz on a Winter’s Night’. Photoplay 13.1 (January): 22–23, 37.
Walker, Clinton. 2000. Buried Country: The Story of Aboriginal Country Music. Annandale, VA: Pluto Press.
Warwick, Neil, Jon Kutner and Tony Brown. 2004. The Complete Book of the British Charts: Singles and Albums. London: Omnibus Press.
Williams, Gordon. 1962. Acker Bilk. London: Mayfair Books.
Willis, Paul. 1974. ‘A Theory for the Social Meaning of Pop’. Stencilled Occasional Paper, Sub and Popular Culture Series: SP 13. Centre for Contemporary Cultural Studies, Birmingham.
—1978. Profane Culture. London: Routledge.
Zimmerman, Don H., and Melvin Pollner. 1971. ‘The Everyday World as a Phenomenon’. In Understanding Everyday Life, ed. Jack Douglas, 80–103. London: Routledge and Kegan Paul.
Filmography
It’s Trad Dad. 1962. Directed by Richard Lester. [Ring-A-Ding Rhythm in USA].
Adorno, Theodor. 1976. ‘Perennial Fashions: Jazz’. In Theodor Adorno, Prisms. London: Neville Spearman.
—1991. The Culture Industry: Selected Essays on Mass Culture, ed. J. Bernstein. London: Routledge.
Ball, Kenny, with William Hall. 2004. Blowing My Own Trumpet. London: John Blake.
Berg, Ivan, and Ian Yeomans. 1962. Trad: A Who’s Who of Traditional Jazz. London: W. Foulsham & Co.
Blesh, Rudi. 1943. This is Jazz: A Series of Lectures Given at the San Francisco Museum of Art. Privately printed in San Francisco.
—1958 [1946]. Shining Trumpets: A History of Jazz, 4th enlarged edn. London: Cassell.
Blumer, Herbert. 1954. ‘What is Wrong with Social Theory?’ American Sociological Review 19: 3–10. http://dx.doi.org/10.2307/2088165
—1969. Symbolic Interactionism: Perspective and Method. Englewood Cliffs, NJ: Prentice Hall.
Bradley, Dick. 1992. Understanding Rock ‘n’ Roll: Popular Music in Britain, 1955–1964. Buckingham: Open University Press.
Bryant, Anthony, and Kathy Charmaz, eds. 2007. The Sage Book of Grounded Theory. Los Angeles: Sage.
Carter, William. 1991. Preservation Hall: Music from the Heart. New York: W. W. Norton.
Charts and Memorabilia. 1962. http://www.bradfordtimeline.co.uk/mindex62e.htm.
Colyer, Ken. 2009. When Dreams are in Dust: The Path of a Jazzman. Newly restored version, Ken Colyer Trust. (First published, Milbury Publications, 1989.)
Cool 78 of the Month. 2005. ‘Humphrey Lyttelton and his Band. Bad Penny Blues’. Parlophone R 4184 (UK). Summer 1956. http://www.cool78s.com/Cool_200511.html.
Curran, Dale. 1947. ‘Three Brass, Four Rhythm’. In Jazzways, ed. George S. Rosenthal and Frank Zachary, in collaboration with Frederick Ramsay, Jr., and Rudi Blesh, 103–109. London: Musicians Press.
Davies, Jude. 1999. ‘ “It’s Like Feminism but You Don’t Have to Burn Your Bra”: Girl Power and the Spice Girls’ Breakthough, 1996–7’. In Living Through Pop, ed. Andrew Blake, 159–63. London: Routledge.
Dewe, Mike. 1998. The Skiffle Craze. Aberystwyth: Planet.
Donnelly, Mark. 2005. Sixties Britain: Culture, Society and Politics. Harlow: Pearson Education.
Downtown Syncopators. 1962. Downtown Syncopators (Aka Original Downtown Syncopators). Video newsreel film. http://www.britishpathe.com/record.php?id=501.
Du Noyer, Paul. 2009. In the City: A Celebration of London Music. London: Virgin Books.
Dyer, Richard. 1998. Stars. Macmillan: Palgrave. New edn, with a supplementary chapter by Paul McDowell.
Ekins, Richard. 2009. ‘Bob Wallis on Authenticity and the New Orleans Jazz Revival in Britain’. Just Jazz 138 (October): 22–27.
Frame, Peter. 1997. The Beatles and Some Other Guys: Rock Family Trees of the Early Sixties. London: Omnibus Press.
Frith, Simon. 1987. ‘Towards an Aesthetic of Popular Music’. In Music and Society, ed. R. Leppert and S. McClary, 133–49. Cambridge: Cambridge University Press.
Frow, John. 1995. Cultural Studies and Cultural Value. Oxford: Clarendon Press.
Gabbard, Krin. 1995. ‘Introduction: the Jazz Canon and its Consequences’. In Jazz Among the Discourses, ed. Krin Gabbard, 1–28. Durham, NC: Duke University Press.
Gendron, Bernard. 1986. ‘Theodor Adorno Meets the Cadillacs’. In Studies in Entertainment: Critical Approaches to Mass Culture, ed. Tania Modleski, 18–36. Bloomington, IN: Indiana University Press.
—1995. ‘ “Mouldy Figs” and Modernists: Jazz at War (1942–1946)’. In Jazz Amongst the Discourses, ed. Krin Gabbard, 31–56. Durham, NC: Duke University Press.
Giddens, Anthony. 1984. The Constitution of Society: Outline of a Theory of Structuration. Cambridge: Polity Press.
Glaser, Barney G. 1978. Theoretical Sensitivity: Advances in the Methodology of Grounded Theory. Mill Valley, CA: Sociology Press.
Glaser, Barney, and Anselm L. Strauss. 1967. The Discovery of Grounded Theory: Strategies for Qualitative Research. Chicago: Aldine.
Godbolt, Jim. 1989. A History of Jazz in Britain, 1950–1970. London: Quartet Books.
Goldmark, Daniel. 2005. Tunes for ‘Toons: Music and the Hollywood Cartoon. Berkeley, CA: University of California Press.
Goodey, Brian R. 1968. ‘New Orleans to London: Twenty Years of the New Orleans Jazz Revival in Britain’. Journal of Popular Culture 2.2: 173–94. http://dx.doi.org/10.1111/j.00223840.1968.0202_173.x
Grossberg, Lawrence. 1999. ‘Same as it Ever Was? Rock Culture. Same as It Ever Was! Rock Theory’. In Stars Don’t Stand Still in the Sky: Music and Myth, ed. Karen Kelly and Evelyn McDonnell, 99–121. London: Routledge.
Hadlock, Richard. 2000. ‘The New Orleans Revival’. In The Oxford Companion to Jazz, ed. Bill Kirchner, 301–15. Oxford: Oxford University Press.
Hall, S., and T. Jefferson, eds. 1976. Resistance Through Rituals: Youth Subcultures in Post-war Britain. London: Hutchinson/BCCCS.
Harron, M. 1988. ‘Pop as a Commodity’. In Facing the Music, ed. S. Frith, 173–220. New York: Pantheon Books.
Hebdige, Dick. 1979. Subculture: The Meaning of Style. London: Routledge. http://dx.doi. org/10.4324/9780203139943
Hesmondalgh, David, and Keith Negus. 2002. ‘Production, Institutions and Creativity: Editors’ Introduction’. In Popular Music Studies, ed. David Hesmondaigh and Keith Negus, 145–48. London: Hodder Education.
Hoffman, Frank, and William G. Bailey.1990. Arts and Entertainment Fads. Binghamton, NY: Haworth.
Huber, Alison. 2004. ‘How to “Get Your Juices Going”: The Starburst Incident and Mapping Top 40 Culture’. Perfect Beat: The Pacific Journal of Research into Contemporary Music and Popular Culture 7.1: 3–16.
—2005. ‘Learning to Love the Mainstream: Top 40 Culture in Melbourne’. Unpublished PhD thesis, University of Melbourne.
—2008. ‘Top 40 in Australia: Popular Music and the Mainstream’. In Sounds of Then, Sounds of Now: Popular Music in Australia, ed. Shane Homan and Tony Mitchelle, 271–88. Hobart: ACYS Publishing.
—2010. ‘Making Time Stand Still: How to “Fix” the Transient Top 40’. International Journal of Cultural Studies 13.2: 147–62. http://dx.doi.org/10.1177/1367877909356726
Hughes, Richard. 2006. ‘It All Came Easy to the Master: Ade Monsbourgh, 1917–2006’. The Sydney Morning Herald, August 16. http://www.smh.com.au/news/obituaries/it-allcame-easy-to-the-master/2006/08/15/1155407805914.html.
Jenkins, Henry, Tara McPherson and Jane Shattuc. 2002. ‘Defining Popular Culture’. In Hop on Pop: The Politics and Pleasure of Popular Culture, ed. Henry Jenkins, Tara McPherson and Jane Shattuc, 26–42. Durham, NC: Duke University Press.
Jones, Mike. 2003. ‘Marxists in the Market Place’. In Policing Pop, ed. Martin Cloonan and Reebee Garafalo, 100–12. Philadelphia: Temple University Press.
Kelly, Paul. 2000. ‘Foreword’. In Clinton Walker, Buried Country: The Story of Aboriginal Country Music. Annandale, VA: Pluto Press.
LaRocca, Nick. 1936. ‘Jazz Stems from Whites, Not Blacks’. Metronome 52/20 (October): 20, 51, 53.
—1958. ‘Interviews’ by Richard B. Allen, 21 May, 26 May, 2 June, 9 June and 16 June, tape recordings. New Orleans: Hogan Jazz Archive, Tulane University.
Leach, Elizabeth Eva. 2001. ‘Vicars of “Wannabe”: Authenticity and the Spice Girls’. Popular Music 20.2: 143–67.
Lefebvre, Henri. 1991. The Production of Space, trans. Donald Nicholson-Smit. Oxford: Blackwell.
Leigh, Spencer. 2002. Sweeping the Blues Away: A Celebration of the Merseysippi Jazz Band. Liverpool: University of Liverpool, Institute of Popular Music.
Leslie, Peter. 1961. ‘Read This’ [sleeve commentary]. ‘Mr. Acker Bilk and his Paramount Jazz Band, Mr. Acker Bilk’s Landsdowne Folio’. Columbia 33SX 1348.
Leslie, Peter, and Patrick Gwynn-Jones. 1961. The Book of Bilk: or 41 Characters in Search of an Acker. London: MacGibbon & Kee.
Liverpool Philharmonic Hall. 2011. ‘The Three Bs: Acker Bilk, Chris Barber & Kenny Ball’. Friday 20 May, 2011, 7:30 pm, Liverpool Philharmonic Hall, http://www.liverpoolphil.com/2086/events-contemporary-music/the-three-bs.html.
Lyttelton, Humphrey. 1959. I Play as I Please: The Memoirs of an Old Etonian Trumpetet. London: Pan Books.
Matthew, Brian. 1962. Trad Mad. London: World Distributors, in association with Souvenir Press.
McKay, George. 2003. ‘Just a Closer Walk with Thee: New Orleans Style Jazz and the Campaign for Nuclear Disarmament in 1950s Britain’. Popular Music 22.3: 261–82. http://dx.doi.org/10.1017/S0261143003003180
—2004. ‘ “Unsafe Things Like Youth and Jazz”: Beaulieu Jazz Festivals (1956–61) and the Origins of Pop Festival Culture in Britain’. In Remembering Woodstock, ed. Andy Bennett, 90–110. Aldershot: Ashgate.
—2005. Circular Breathing: The Cultural Politics of Jazz in Britain. Durham, NC: Duke University Press.
—2010. ‘Trad Jazz in 1950s Britain—Protest, Pleasure, Politics—Interviews with Some of those Involved’. http://salford.academia.edu/GeorgeMcKay/Papers/139997/Trad_ jazz_in_1950s_Britain--protest_pleasure_politics--interviews_with_some_of_ those_involved.
Melly, George. 1984. ‘Whatever Happened to Bill Brunskill?’ Directed by Peter Newington; script by George Melly. Thames Television.
Meyersohn, Rolf, and Elihu Katz. 1957. ‘Notes on the Natural History of Fads’. American Journal of Sociology 62.6: 549–601.
Moore, Hilary. 2007. ‘Ken Colyer and the Trad Jazz Movement: Class, Authenticity and the Nostalgic Imagination’. In Hilary Moore, Inside British Jazz: Crossing Borders of Race, Nation and Class, 37–65. Aldershot: Ashgate.
Panassié, Hugues. 1942. The Real Jazz. New York: Smith & Durrell.
Perchard, Tom. 2011. ‘Tradition, Modernity and the Supernatural Swing: Re-Reading “Primitivism” in Hugues Panassie’s Writing on Jazz’. Popular Music 30: 25–45. http://dx.doi. org/10.1017/S0261143010000644
Pidgeon, John. 2009. ‘Blues Incorporated: How British R&B Trashed Trad’. http://www. rocksbackpagesblogs.com/2009/09/blues-incorporated-how-british-rb-trashedtrad/.
Pointon, Mike, and Ray Smith. 2010. Goin’ Home: The Uncompromising Life and Music of Ken Colyer. London: The Ken Colyer Trust.
Prus, R. 1987. ‘Generic Social Processes: Maximising Conceptual Development in Ethnographic Research’. Journal of Contemporary Ethnography 16: 250–93. http://dx.doi.org/ 10.1177/0891241687163002
Raeburn, Bruce Boyd. 2009. New Orleans Style and the Writing of American Jazz History. Ann Arbor: University of Michigan Press.
Shipton, Alyn. 2007. A New History of Jazz. Revised and updated edn. New York: Continuum.
Shuker, Roy. 2005. Popular Music: The Key Concepts. 2nd edn. London: Routledge.
Strausbaugh, John, and George Tabb. 2000. ‘Having a Rave Up with Giorgio Gomelsky: From the Beatles and Stones to the Internet, He Keeps Rocking’. Rocking, 26 April. http://www.nypress.com/article-1522-having-a-rave-up-with-giorgio-gomelsky-fromthe-beatles-and-stones-to-the-internet-he-keeps-rocking.html.
Thornton, S. 1995. Club Cultures: Music, Media and Subcultural Capital. London: Routledge.
Toynbee, Jason. 2002. ‘Mainstreaming, from Hegemonic Centre to Global Networks’. In Popular Music Studies, ed. David Hesmondaigh and Keith Negus, 149–63. London: Hodder Education.
The Trad Fad. 1962. ‘The Trad Fad—A Special Feature: Jazz on a Winter’s Night’. Photoplay 13.1 (January): 22–23, 37.
Walker, Clinton. 2000. Buried Country: The Story of Aboriginal Country Music. Annandale, VA: Pluto Press.
Warwick, Neil, Jon Kutner and Tony Brown. 2004. The Complete Book of the British Charts: Singles and Albums. London: Omnibus Press.
Williams, Gordon. 1962. Acker Bilk. London: Mayfair Books.
Willis, Paul. 1974. ‘A Theory for the Social Meaning of Pop’. Stencilled Occasional Paper, Sub and Popular Culture Series: SP 13. Centre for Contemporary Cultural Studies, Birmingham.
—1978. Profane Culture. London: Routledge.
Zimmerman, Don H., and Melvin Pollner. 1971. ‘The Everyday World as a Phenomenon’. In Understanding Everyday Life, ed. Jack Douglas, 80–103. London: Routledge and Kegan Paul.
Filmography
It’s Trad Dad. 1962. Directed by Richard Lester. [Ring-A-Ding Rhythm in USA].
Published
2011-11-21
Issue
Section
Articles
How to Cite
Ekins, R. (2011). Traditional jazz and the mainstreaming of authenticity: The case of British traddy pop (1959–1963)— a grounded theory approach. Popular Music History, 5(2), 125-150. https://doi.org/10.1558/pomh.v5i2.125
