In this Book

  • Eurojazzland: Jazz and European Sources, Dynamics, and Contexts
  • Book
  • Edited by Luca Cerchiari, Laurent Cugny, and Franz Kerschbaumer
  • 2012
  • Published by: Northeastern University Press
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summary
It is often said that jazz is America’s great gift to the world, but while true, this belies the surprising, often crucial role that Europe has played in the development and popularity of jazz throughout the world. Based on a series of symposia attracting leading scholars, critics, and musicians from throughout Europe and the United States, Eurojazzland first addresses the impact of European musical traditions and instruments on the formation and development of American jazz. Part two details the vital experiences of American musicians on European soil, from black minstrels to such jazz greats as Benny Carter and Duke Ellington, and deals with European jazzmen and their developments of American jazz styles. The final part chronicles the importance of European critics and musicologists in jazz criticism and offers essays on European contributions to jazz musicianship and production.

Eurojazzland proves that jazz is simply too rich and varied for one country to claim, define, or contain. This groundbreaking collection will appeal to jazz aficionados, scholars, musicologists, and musicians.

Table of Contents

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  1. Cover
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  1. Title Page, Copyright Page
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  1. Contents
  2. pp. v-vi
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  1. Introduction
  2. pp. vii-xvii
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  1. Part I | Europe as a Source of Jazz
  1. 1 | The Influence of Celtic Music on the Evolution of Jazz
  2. pp. 3-20
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  1. 2 | Beyond the ‘‘Spanish Tinge’’: Hispanics and Latinos in Early New Orleans Jazz
  2. pp. 21-46
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  1. 3 | Why Did Art Music Composers Pay Attention to ‘‘Jazz’’?: The Impact of ‘‘Jazz’’ on the French Musical Field, 1908–1924
  2. pp. 47-80
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  1. 4 | Violin and Bowed Strings in Jazz: A French School?
  2. pp. 81-97
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  1. 6 | Across Europe: Improvisation as a Real and Metaphorical Journey
  2. pp. 123-140
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  1. Part II | Jazz Meets Europe
  1. 7 | Cross-Cultural Links: Black Minstrels, Cakewalks, and Ragtime
  2. pp. 143-166
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  1. 8 | Benny Carter in Britain, 1936–1937
  2. pp. 167-188
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  1. 9 | ‘‘A New Reason for Living’’: Duke Ellington in France
  2. pp. 189-213
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  1. 10 | Cool Jazz in Europe
  2. pp. 214-234
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  1. 11 | Orchestral Thoughts: Jazz Composition in Europe and America (An Interview with Composer-Director Giorgio Gaslini)
  2. pp. 235-252
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  1. 12 | The New Orleans Revival in Britain and France
  2. pp. 253-274
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  1. 13 | The European Jazz Avant-Garde of the Late 1960s and Early 1970s: Where Did Emancipation Lead?
  2. pp. 275-297
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  1. Part III | The Circulation of Eurojazzland
  1. 14 | Did Europe ‘‘Discover’’ Jazz?
  2. pp. 301-341
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  1. 15 | European Jazz Developments in Cross-Cultural Dialogue with the United States and Their Relationship to the Counterculture of the 1960s
  2. pp. 342-365
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  1. 16 | Europe and the New Jazz Studies
  2. pp. 366-380
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  1. 17 | Revisioning History Lived: Four European Expats, Three Men and One Woman, Who Shaped One American Life in Two American Cultures
  2. pp. 381-406
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  1. 18 | Utopian Sounds: Mimesis and Identity in European Jazz Technologies
  2. pp. 407-430
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  1. 19 | Roots and Collage: Contemporary European Jazz in Postmodern Times
  2. pp. 431-446
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  1. Contributors
  2. pp. 447-448
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  1. Index
  2. pp. 449-484
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