The organising committee met at Amsterdam Conservatory in late September 2016 to reflect on the Birmingham #jazzutopia conference at Easter, and to discuss the theme and call for papers for our 2017 conference…. It will be our fifth, a fact we are quite proud of. Announcement imminent, but for all you jazz and music scholars around the world do note the 2017 dates below! The committee consists of (L-R in photo) Dr Loes Rusch (BCU), Dr Christa-Bruckner-Haring (Graz), Prof Tony Whyton (BCU), Prof Nick Gebhardt (BCU), Prof Walter van de Leur (Amsterdam) and, behind the fuzzbox camera, me.
A position paper presented to the Cultural Heritage and Improvised Music in European Music Festivals (CHIME) project team meeting, Amsterdam Conservatory, February 4 2016. All team members were asked to produce short papers about their approach to a key question for the project, a sort of early mapping exercise for this three-year EU-funded research project, which will be made available on the project website. This is mine.
Here are the opening sentences of the EU Heritage+ joint call grant application that the project team wrote in 2014, and which formed the basis of CHIME’s successful submission.
‘What an amazing experience, the clash of seeing Miles Davis in the Roman amphitheatre during the Nice Jazz Festival. The ancient stones and arches are re-sounded, the music somehow more resonant, old and modern at the same time. I’ll never forget that.’ This first-hand experience of a European festival-goer provided the initial inspiration for CHIME.
I want to interrogate the cultural space we have chosen a little further, which I hope will throw further light on my question, why look at jazz (and not, say, rock or folk) festivals?
There was a nice line tweeted on the CHIME Twitter feed recently, a quotation from Chris Goddard’s book Jazz Away From Home that sought to describe the experience of jazz in southern Europe, as a music ‘cut[ting] through the warm, humid Mediterranean night like a chainsaw through cheese’ (1979, ?). Is jazz more cheese wire than chainsaw, do you think, though? If we want chainsaw music we need really to go to something more industrial—or agricultural—starting with the excessive, aggressive culture of rock music. Rock does after all sometimes feature a chainsaw: see southern US rock band Jackyl, who still finish each live set with their signature song ‘The lumberjack’ (the video is great and indeed a little Pythonesque, have a look: Jackyl 1992) in which the lead singer does a chainsaw solo (though not through cheese). (Here is a pressing question for the New Jazz Studies: has a jazz band featured a chainsaw solo, ever?)
So, for questions of the clash or disjunction between heritage, festival site and popular music, the jarring re-sounding when both our ears double-take in stereo, rock music would be very good to think about. Though its history as a popular music has been shorter than folk or jazz (50-60 years as opposed to 100-120, very approximately)—does that mean its heritage is reduced?—rock music can supply a very powerful shock of the new, not least through its characteristic of being superloud, via a practice of extreme volume and a competitive rather than functional culture of amplification. (Even to the extent of rock deafening its bands and fans: McKay 2013, chapter 4.) And its use of chainsaws.