Black Music Research Journal

This journal offers articles on philosophy, aesthetics, history and criticism of black music.

Articles from Vol. 33, No. 1, Spring

Audiences, Cosmopolitanism, and Inequality in Black British Jazz
In one sense, jazz is a marginal cultural form in Britain. Poised uneasily between high and low culture, state subsidy and commerce, and youthful and aging cohorts, jazz has a relatively small listenership. Jazz is also an imported genre, and whereas...
Editors' Introduction
This number of Black Music Research Journal is devoted to black British jazz. As we hope the articles show, this is an important topic not only in its own right, but also because it sheds light on two general problems: the connection between race and...
Jazz Endings, Aesthetic Discourse, and Musical Publics
The title above contains a melodic fragment from the closing bars of Billy Strayhorn's "Take the A Train." It is often called the "Ellington ending" after the composer and musician for whom the piece became a signature tune. Despite its close motivic...
Out but In: Between Discourse and Practice in a London Jazz Quartet
I think the key is that we really try to think about what we're doing. I think a lot of bands don't. We put so much thought into what we're playing--and really deliberately in terms of concept or what we're trying to express. Each tune has an identity....
Race, History, and Black British Jazz
Since the arrival of jazz in Britain in 1919, black musicians have played a key role in the development of the genre. They have made significant innovations and brought a distinct African diasporic voice to this corner of jazz. From the 1950s at least,...
The Tomorrow's Warriors Jam Sessions: Repertoires of Transmission and Hospitality
While jam sessions in London do not enjoy a centrality in jazz lore comparable to the New York scene, there has been a tradition of jamming (albeit a discontinuous one) since the beginnings of the music in the United Kingdom. In the years since the...
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