By Deborah Mawer
French live performance tune and jazz frequently loved a distinct inventive trade around the interval 1900-65. French modernist composers have been rather receptive to early African-American jazz through the interwar years, and American jazz musicians, specifically these interested by modal jazz within the Nineteen Fifties and early Sixties, exhibited a special affinity with French musical impressionism. yet regardless of a common, if contested, curiosity within the cultural interaction of classical track and jazz, few writers have probed the explicit French music-jazz courting intensive. during this publication, Deborah Mawer units such musical interaction inside of its historical-cultural and critical-analytical contexts, providing an in depth but available account of either French and American views. mixing intertextuality with extra distinct borrowing recommendations, Mawer provides case reports at the musical interactions of a variety of composers and performers, together with Debussy, Satie, Milhaud, Ravel, Jack Hylton, George Russell, invoice Evans and Dave Brubeck
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Additional info for French music and jazz in conversation : from Debussy to Brubeck
There is no place here for extended discussion of neoclassicism; it is rather its role in French music–jazz interplay that matters. For the classic text, still relevant today, see Scott Messing, Neoclassicism in Music from the Genesis of the Concept through the Stravinsky/Schoenberg Polemic, Studies in Musicology 101 (Ann Arbor, MI: UMI Research Press, 1988). 30 French Music and Jazz in Conversation 1915–17). Its sophisticated modality, rhythmic vitality and structural conﬁdence, its later exquisite orchestration and balleticization, served to make it an archetype of modelling,76 itself subject to further modelling as in George Russell’s reinterpretation (Chapter 7).
4 Nevertheless, Cooke acknowledges the category as one emerging in the later 1950s: ‘Take Five’ by Paul Desmond (1924–77) is viewed as an early instance, fusing thirty-two-bar song form with ‘modal 2 3 For lengthy discussion of the early meanings of jazz, especially in a French context, see Jackson, ‘The Meanings of Jazz: America, Nègre, and Civilization’, in Making Jazz French, 71–103, and analogous chapters in Jordan, Le Jazz, including ‘Vamp on the Meaning of Jazz: The Cakewalk Comes to Town’, 17–38.
Francis Davis, Jazz and Its Discontents: A Francis Davis Reader (New York: Da Capo Press, 2004), 70. Jackson, Making Jazz French, 18. ’73 Such bands enlivened a pre-existent, continually evolving, EuropeanFrench popular music scene. Revues included Pa-ri-ki danse (1919), Paris qui jazz (1920−1) and Laisse-les tomber! (1917, starring Gaby Deslys and her Hungarian-American husband Harry Pilcer), which were experienced by the likes of Cocteau and Milhaud. The mid 1920s ﬁrst witnessed the remarkable phenomenon that was Josephine Baker, starring in the sexually explicit Revue nègre (1925) and accompanied by Bechet amongst others.
French music and jazz in conversation : from Debussy to Brubeck by Deborah Mawer