Remixing European Jazz Culture (Transnational Studies in Jazz)

Description

Remixing European Jazz Culture examines a jazz culture that emerged in the 1990s in cosmopolitan cities like Amsterdam, Rotterdam, Berlin, London, and Oslo – energised by the introduction of studio technologies into the live performance space, which has since developed into internationally recognised, eclectic, hybrid jazz styles. This book explores these oft-overlooked musicians and their forms that have nonetheless expanded the plane of jazz’s continued prosperity, popularity, and revitalisation in the twenty-first century – one where remix is no longer the sole domain of studio producers. Seeking to update the orthodoxies of the field of jazz studies, Remixing European Jazz Culture: incorporates electronic and digital performance, recording, and distribution practices that have transformed the culture since the 1980s; provides a more diverse and multifaceted cultural representation of European jazz and the contributions of a variety of performers; and offers an encompassing picture of the depth of jazz practice that has erupted through Northern Europe since 1989. With an expansion of international networks and a disintegration of artistic boundaries, the collaborative, performative, and real-time improvisational process of remixing has stimulated a merging of the music’s past and present within European jazz culture. Cover Half Title Series Page Title Page Copyright Page Dedication Table of Contents List of Figures Series Foreword Acknowledgements Introduction: Remixing European Jazz Culture – Historical Precedents, Methodological Approaches, and Theoretical Interventions Setting the Stage – Punkt 2018 – Kristiansand, Norway Theorising Remix within Music Cultures Remix and European Jazz Culture Part I European Jazz Star Circuits, Transnational Routes, and Institutional Networks Part II Remixing European Jazz Culture in Seven Chapters Notes Chapter 1: Jazz in Post-War Europe: From Free Collectives to Electronic Jazz Europe’s Free and Collectivising Jazz of the 1970s and 1980s European Jazz in the Digital Era Independent Electronic Crossover Jazz Labels DJ as Gatekeeper/Taste- Maker/Curator Electric Jazz Zines – Straight No Chaser Jazz Festivals, Revivals, and the Participatory Bodies of European Jazz Culture Chapter 2: Wicked Jazz Sounds and Blue Note Trips: Dance Tourists and Musical Migrants in Amsterdam’s Crossover Jazz Scene Introduction Scenes, Networks, and Circulations Amsterdam’s ‘Cosmopolitan’ Jazz Scene Amsterdam’s Jazz Club Night Series: Wicked Jazz Sounds and Blue Note Trips The Melkweg Blue Note Trip Club Nights at The Melkweg The Sugar Factory Conclusion Notes Chapter 3: DJs and PLOs in Berlin’s Electronic Jazz Scene: The Hybrid Production Aesthetics of Jazzanova Technology, Sampling, and Authenticity Listening with Jazzanova – Good Remix, Bad Remix Nina Simone – The Remix ‘Stomp Treatment’ ‘Stimela’ – Engaged Remixes Building a Jazz Archive, Cultivating ‘Jazz Ears’: for Electronic Jazz Producers Jazzanova’s Trajectory from Record-collecting Cafés to Producer-led Studios Compiling the Remixes Sampling Community and Love in ‘L.O.V.E. and You & I’ (In Between 2001) Sampling a Recorded History in PLOs (Producer- led Outfits) Archiving and Sampling as Musicking Of All the Things (2008, Second Production- basedAlbum) Acoustic Orchestra Samples Sample- based Jazz – The Sonar Kollectiv Orchester Conclusion Notes Chapter 4: Oslo’s Jazzland Recordings: Finding Home in a New Conception of Jazz Nordic Tone Affiliations Oslo’s Urban Renewal and Cultural Transformation Barcode Project, the National Opera House and the Nasjonal Jazzscene Nasjonal Jazzscene Grünerløkka – Home of Electronic Jazz Blå Bugge Wesseltoft and Jazzland Recordings Jazzland’s Electronic Jazz Remixing Electronic Jazz ‘Eve Nin’, Sharing (1998) ‘Eve Nin’ (Les Gammas Remix), Jazzland Remixed (2000) Beady Belle CEWBEAGAPPIC On My Own (2016) Conclusion Notes Chapter 5: Part One: The ‘revival of the revival’ or a swing dance continuum?: Mediascapes, Time Machines, and Intercultural Encounters at the Herräng Dance Camp Introduction The Herräng Dance Camp and the Swedish Lindy Hop Continuum The Original European Black Atlantic Lindy Roots/Routes The 1980s Swing Dance Revival in Sweden Germany and the Subcultural Revival of Rock ‘n’ Roll Dancing Part One HDC as Time Machine: A ‘Brain Wash’ in Jazz Culture Herräng’s Immersive Jazz Culture Collectivising a Jazz Sociability at Herräng Daily Camp Meetings Camp Films Music and Dance Acts at Daily Camp Meetings Old- timers Library Talks as Embodied Jazz Discourse Notes Chapter 5: Part Two: Jazz Records, Dance Media, and Survival Technologies within Herräng’s Professional Jazz Dance Network Place- makingat Herräng Dance Parties and Contemporary Swedish Jazz Spaces Regenerating the Jazz Past on the Herräng Dance Floor Social Dancing at Herräng in Folkets Hus Dancing Gender on the Herräng Dance Floor The Third Generation of Herräng’s Transnational Lindy Dancers Bianca and Nils Marie and Hasse Competing and Dancing as Lifelong Careers Intercultural Dancing and Cross-culturalExchange The Harlem Hot Shots and the Stockholm Swing Dance Scene Conclusion Notes Chapter 6: Part One: Configuring crisis and Sampling Swing in Vintage Festivals and Electro Swing Introduction Electro Swing and its Antecedents Sonically Signifying Swing Festivals as Immersive Spaces for Vintage Remix Jazz Anjou Vélo Vintage – An Escape into the Jazz Past Vintage Remix and Electro Swing at the Anjou Vélo Festival Electric Swing Circus and the Swingamajig Festival The Electro Swing Club Consortium The Electric Swing Circus: Live Performance within Vintage Remix Penniless Optimist (2011) Empires (2016) Conclusion Notes Chapter 6: Part Two: (Re)Generating the Jazz Past in the Vintage Remix of Caravan Palace and Caro Emerald The French Wave of Electro Swing Caravan Palace and Electro Swing Liveness and Spontaneous Jazz Acts within Electro Swing The Music Video as the ‘Calling Card’ of Vintage Remix ‘Rock It for Me’ (2012) ‘Dramophone’ (2012) Caro Emerald – Reviving Europe’s Jazz Past within Convergence Culture ‘The Ghost of You’ (2017) Conclusion Notes Epilogue Concluding Thoughts on Theorising Remix in European Jazz Culture Notes Bibliography Interviews Discography Filmography Index