231 Chapter 1 1. In fact, one Johnston & Murphy advertisement stretches reality somewhat by depicting pianist Eric Reed holding a tenor saxophone along with three other musicians seated on the stairs leading to the basement of the Village Vanguard. See GQ, October 2000, 57. 2. House Congressional Resolution 57, proposed by John Conyers Jr. on 3 March 1987 and passed by the House of Representatives and the United States Senate on 23 September and 4 December 1987, respectively. One could also track the increased interest in jazz shown by the various localities and corporations that have begun to sponsor jazz festivals, particularly during the summer months. For a discussion of jazz as America’s classical music, see Sales (1984) as well as the statements of pianist and educator Billy Taylor (Clarke 1982). 3. Those same audiences are less interested in other publicly supported art activities. According to the National Endowment for the Arts’ 2008 Survey of Public Participation in the Arts, between 1982 and 2008, live audiences for classical music, ballet, non-musical theater, and jazz “have aged faster than the general adult population” of the United States. “Even among the most educated , adults are participating less than in previous years” (Williams and Keen 2009, iii). 4. Some of the essays in Ted Gioia’s award-winning book present that precise view of jazz as an “imperfect art” (1988); and while Gunther Schuller’s writing on jazz (1958, 1968, 1989) has served to unlock some of its mysteries for many who might have ignored the music, his work suffers from a similarly misguided emphasis. See also Walser (1997). 5. In the mid-1970s Greil Marcus (1975) was making similar claims about the work of (at least some) rock musicians. See Mazullo (1997) for further discussion. Notes 232 | Notes to pages 6–9 6. WQCD switched to an adult rock format on 6 February 2008. WBGO continues to operate as a straight-ahead jazz station. 7. The first five terms refer to those musical styles that are consistent with common practices of jazz musicians from the 1920s to the 1960s—particularly those of musicians who based their improvisations on chordal or modal frameworks .“Free bop,” on the other hand, indicates those styles that partake of those common practices and approaches to improvisation as well as some of the approaches pioneered by performers associated with “free” or “action” jazz in the 1960s and 1970s. There are situations, however, in which the term “traditional” applies more specifically to styles that precede the 1950s—particularly New Orleans–style jazz. For the origin of the term “mainstream,” see Tucker (1999, 231–33). 8. Many of the musicians who play primarily in “free” styles, such as saxophonists Charles Gayle and David S. Ware or pianist Matthew Shipp, are not part of the straight-ahead jazz scene, precisely because they play in different venues and for audiences that have different conventional expectations about how musical events are to proceed (see Freeman 2001 for one account of those expectations in the 1990s). Likewise, smooth jazz musicians, such as saxophonists Kenny G and George Howard, and musicians whose work is marketed primarily to the audiences for classic Broadway shows, such as Michael Feinstein, are not generally performing participants in the straight-ahead scene. 9. Multiple LP set Savoy 5500 and multiple compact disc set Riverside RCD 022–2, respectively. 10. See Goehr (1992) for an exploration of the regulative function of the work concept in some forms of musical research. 11. Similar arguments have been advanced by Tirro (1974, 305), Clark (1985, 34), and Griffin (1985, 112). For scholars doing research on subjects who are no longer living, Schuller’s claim has some validity. But when many of the performers, as well as others who were acquainted with them, are still living, a recording is not the only data available to the researcher. 12. It is clear from Hodeir and Schuller’s comments that neither distinguishes between scores as “prescriptive” sets of instructions for realizing musical sound and recordings as “descriptive” accounts of performances (Seeger 1958). For discussions of the problems of transcription, see List (1963, 1974), Jairazbhoy (1977), Nettl (1983), and DeVeaux (1988, 126). 13. In early acoustic jazz recordings remastered for reissue, William Tallmadge , for example, has shown how recording and rerecording processes could distort the sounds they were supposed to capture. He explains that “in many instances distortion of pitch, tempo, and tone quality of an original performance has occurred because of a malfunction of the...