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E-raamat: Jazz on the Line: Improvisation in Practice

(University of Stavanger, Norway)
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Jazz on the Line: Improvisation in Practice presents an ethnographic reflection on improvisation as performance, examining how musicians think and act when negotiating improvisational frameworks. This multidisciplinary discussionguided by a focus on recordings, composition, authenticity, and venuesexplores the musical choices made by performers, emphasizing how these choices can be logically understood within the context of controlled, musical outputs.

Throughout the text, the author engages directly with musicians and their varied practicesfrom canonized dogmas to innovative experimentalismoffering interviews both planned and spontaneous. Musical agency is posited as a tightrope balancing act, signifying the skill and excitement of improvisational performativity and exemplifying the life of a jazzaerialist. With a travel journal approach as a backdrop, Jazz on the Line provides concepts and theories that demystify the creative processes of improvisation.
List of Figures
xi
Series Foreword xiii
Preface xv
Acknowledgements xxiii
How to visualize a theme (a conversation) xxv
1 Introduction to Improvisational Performativity
1(36)
It's What We Do
1(1)
Jazzaerialism
2(4)
Weeding the Past
6(3)
The Adrenalin Junkie
9(3)
Sounding Embodiment
12(6)
Improvisational Architecture
18(4)
The Composer
22(2)
Making a Case for Performativity
24(5)
Staying on the Line
29(2)
Notes
31(1)
References
32(5)
2 Recording Experience and the `Natural' Death of Improvised Music
37(45)
Introducing the Auricular Past
37(3)
Constructing a Technocratic Jazz Co-op (TJC)
40(14)
Improv is Dead, Long Live Improv
54(3)
Remixed Technocracy
57(4)
Secrets and Lies
61(5)
Vinylmania
66(3)
From Sound to Sound
69(4)
Death Cometh to Me, to Set Me Free
73(3)
Notes
76(2)
References
78(4)
3 Alexander von Schlippenbach and the Question of Tabula Rasa
82(53)
Start with the Beginning
82(3)
Towards the Cologne Jazz Field
85(8)
Sehr Jazzmaβig
93(5)
Collective Improvisation
98(11)
Taking Control
109(1)
The Globe in Globe Unity Orchestra
110(5)
The Wuppertal Years
115(2)
If We Speak about Free
117(2)
The Interpersonality
119(2)
Schbnbergian Monk
121(8)
Fifty-Four Years of Unity (and Counting)
129(2)
Notes
131(1)
References
132(3)
4 Between the Jazu Kissa and the Underground
135(45)
Jazz and Coffee/Coffee and Jazz
135(11)
Lo-Fi
146(4)
Individuality and the Hyper-Metropolis
150(3)
Enculturation /Acculturation
153(8)
Cultural Uniforms
161(3)
New Meetings
164(3)
Something Old, Something New, Something Borrowed, Something Blue
167(6)
The Puppet Master
173(2)
Notes
175(1)
References
176(4)
5 Cultural Factories and the Contemporary Production Line
180(34)
Cave Tout Court
180(6)
Monuments and Rituals
186(2)
Cultural Factories
188(3)
Workshops
191(4)
The Cultural Context of the Venue
195(3)
From Deluxe to SuperDeluxe
198(3)
Test Tone and New Shamballa Day
201(5)
Making an Impact
206(1)
Policies, Politics, and Typhoons
207(1)
Performing Space
208(3)
The After-gig Hang
211(1)
Notes
212(2)
References 214(5)
Index 219
Petter Frost Fadnes is a saxophone player and researcher based at the Faculty of Performing Arts, University of Stavanger, Norway.